Lorenzo Ghiberti, Gates of Paradise, east door,
Florence Baptistery, 1424-1452, gilded bronze relief, approx. 17ft. tall
The doors were commissioned by the wool refiners guild.
Paolo Uccelo, Sir John Hawkwood, Florence
Cathedral, 1436, fresco transferred to canvas, the horse and the base are shown from two different viewpoints, Uccello’s love for mathematics is evident in the rider’s armor and the horse’s trappings, the horse looks like a toy horse (very rigid and stylized), the family crest is shown on the shields on the base.
Donatello, Mary Magdalen, c.1455, painted wood,
6 ft. 2 in., created at the end of Donatello’s life, shows his concern with the spiritual aspects of life,
Mary is portrayed wearing her hair as clothing, a symbol of penance, she is very skeletal and is missing teeth, she also has sunken cheeks and eyes.
Piero della Francesca, Battista Sforza and Federico da Montefeltro, Duke of Urbino, after 1475, oil and tempera on panel, use of oil was probably a result of his contact with Flemish painters at court of
Urbino, radical portrayal of depth of space indicates the wealth and territory of the patrons.

Piero della Francesca, Annunciation, c. 1450, San
Francesco, Arezzo, Mary is shown very monumental signifying that she is the House of
God, the composite column has entasis (swells in the middle) showing that Mary is pregnant, the closed door behind Gabriel = Mary is a virgin, open door behind Mary = she is receptive to God’s will, light rays from God’s hands are impregnating Mary as is the shadow that runs along the upper wall through the metal ring and into the window.
Drapery is full and voluminous and the halos are foreshortened.
Fra Angelico, Annunciation, c. 1440, fresco, San
Marco, Florence, Mary is depicted as frail, humble and spiritual, she bows before Gabriel who has come to bring the Good News. The scene is observed by a Black Friar who is from the
Dominican order. The orthogonal meet at the lightest part of the wall again signifying the presence of God. The posture of Mary and the wings of Gabriel carry the eye up into the vaults of the ceiling, the halos are flat (byzantine influence) and the decorative wings are typical of Gothic style
Hugo van der Goes, Portinari Altarpiece (open),
1470’s, oil on wood, central panel 8ft. X 10 ft., the angels focus on the wheat (the body), vase painted with grape vines (the blood) and the glass that is flooded with light (impregnated virgin), the red carnations (or nail flowers) signify Christ on the cross, the Irises are purity and death and the violets signify Mary’s suffering and humility. The ox is paying attention to the intensity of the scene while the ass (symbol of heretics and nonbelievers) keeps eating.

Jan Van Eyck, the Arnolfini Portrait, 1434, oil on wood, Many characteristics portray fertility, fruit on the windowsill and chest, the way the wife is holding up her gown, the single candle in the candelabra shows the presence of Christ, the dog represents fidelity, her open hand shows that she is receptive to his offer, the textures are painted realistically. The 10 circles around the mirror show stages of the passion of Christ, the mirror is convex and reflects a great deal of the room – from the backs of the patrons to the artist and one other person in the door way. It is as if van Eyck painted his signature twice, once by painting himself in and another by signing above the mirror, Jan van Eyck was here.
Robert Campin (Master of Flemalle), Merode
Altarpiece (open), c. 1425 – 1430, Tempera and oil on wood, Flemish painters were compelled to include various objects that contained Christian symbolism, the snuffed out candle, the 3 white lilies, the wash basin, the priests robes on Gabriel, the little Christ surrounded by golden light carrying the cross on his way to Mary, Joseph is in his workshop making mouse traps which is to signify his role of protector for the family, patrons look on from the left through the slightly open door showing their privilege in viewing the annunciation.
Masaccio, Holy Trinity, c. 1425, fresco, Santa Maria
Novella, Florence, Tommaso di Ser Giovanni di
Mone. This piece utilizes illusionism (trompe l’oeil) where the image is painted utilizing linear perspective and in such a realistic manner that it fools the eye into believing that there is a whole other room off of the side aisle where this was painted. The figures form a triangle from the trinity, to Mary and St. John, then out to the patrons. While the perspective of the coffered ceiling moves the eye from one set of pilasters and arch to another set behind the trinity.

Andrea Mantegna, ceiling oculus of the Camera
Picta, Ducal Palace, Mantua, finished 1474, fresco, observing vs. being observed, four women look over the edge while a potted plant is balancing on the edge of the parapit. The playful putti are climbing around, one is ready to drop an apple, while three other have their heads stuck through the holes
Sandro Botticelli, Birth of Venus, c. 1480, tempera on canvas, Venus is depicted in a classical form as seen in the Medici Venus and the Venus of Knidos, blown in from sea by Zephyr and clothed by the personification of Spring. She is on the scallop shell which is also symbolic of rebirth.
Jan Van Eyck, Ghent Altarpiece, 1432, oil on panel,
Cathedral of Saint Bavon, Ghent, Belgium, 11ft.
6in. X 14 ft. 5 in.
Adam – angels singing – Mary – God/Jesus – St.
John(Deesis) – angels playing music – Eve
Judges and knights on horseback, Adoration of the
Lamb, holy hermits and pilgrims