Medieval

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

A timeline depicting the transition from medieval paintings to the early renaissance and Early Netherlandish paintings.

Maesta of Santa Trinita, Cenni di Pepo Cimabue, 1280 - 1290, From the collection of: Uffizi Gallery
Tempera on panel. Believed to be commissioned Vallumbrosan monks for the high altar of the church of Santa Trinita.
The Nativity with the Prophets Isaiah and Ezekiel, Duccio di Buoninsegna, 1308 - 1311, From the collection of: National Gallery of Art, Washington DC
A Byzantine style painting originally on the altarpiece in the Siena Cathedral.
The Three Marys at the Tomb, Hubert van Eyck or Jan van Eyck or both, 1425 - 1435, From the collection of: Museum Boijmans Van Beuningen
Recently believed to be the work of Hubert van Eyck, the lesser-known brother of Jan. The three Marys are dressed in 15th century Burgundian style.
The Annunciation, Jan van Eyck, c. 1434 - 1436, From the collection of: National Gallery of Art, Washington DC
Believed to be the left wing of a triptych, this painting displays the angel Gabriel appearing before the virgin Mary. Symbolism including scenes from the Old Testament show the change to the New Testament. Also, the windows transition from Romanesque windows at the top to Gothic windows at the bottom.
The Madonna in the Church, Jan van Eyck, around 1438, From the collection of: Gemäldegalerie, Staatliche Museen zu Berlin
This half of a diptych is considered one of Van Eyck's best pieces. The background is a contemporary Gothic cathedral which is atypical of Van Eyck's usual style; he normally paints Romanesque cathedral backgrounds.
The Altar of Our Lady (Miraflores Altar), Rogier van der Weyden, around 1440, From the collection of: Gemäldegalerie, Staatliche Museen zu Berlin
The panels in this triptych display Jesus and his mother Mary's relationship. Starting with the birth, then the death, and then the Resurrection.
Portrait of a Lady, Rogier van der Weyden, c. 1460, From the collection of: National Gallery of Art, Washington DC
The woman in this painting is unknown however her fashion is similar to that of the Burgundian court. The contrast in light and dark help enhance the figure's Gothic beauty. Her lowered eyes, tightly grasped fingers, and fragile physique give her a very reserved and humble air.
The Adoration of the Magi, Fra Angelico and Fra Filippo Lippi, c. 1440 - 1460, From the collection of: National Gallery of Art, Washington DC
This painting, once owned by the Medici family, portrays the transition from Medieval times to the Renaissance. The nude figures in the background represent the new fascination with the classical body and the classical ruins juxtaposed with the intact stable displays the rise of the Christian religion over paganism. The procession of people (all in contemporary clothing) is believed to be based off of one that would happen in Florence on Epiphany every few years.
Small Triptych of St. John the Baptist, Hans Memling, 1485/1490, From the collection of: Kunsthistorisches Museum Wien
In the middle is the Madonna and child, on the left is John the Baptist and on the right is the John the Evangelist. The sacrifice of Isaac and the decapitation of Saint Catherine are depicted in the small statues. The fruit laurels show some influence from the early Italian Renaissance.
The Virgin and Child with Saints and Donor, Gerard David, probably 1510, From the collection of: The National Gallery, London
The Madonna and child are depicted here in a walled in garden (possibly a reference to Mary's virginity) with Saint Barbara, Mary Magdalene, and Saint Catherine. The kneeling man is the man who commissioned the painting.
Potiphar's Wife Displays Joseph's Garment, Lucas van Leyden, circa 1512, From the collection of: Museum Boijmans Van Beuningen
This is one of Leyden's earlier paintings.
The Fall of the Rebel Angels, Pieter Bruegel the Elder, 1562, From the collection of: Royal Museums of Fine Arts of Belgium
This painting depicts a passage from Revelations. The style shows Bruegel's devotion to the painter Hieronymous Bosch especially with the grotesque, half-monster fallen angels.
The Numbering at Bethlehem, Pieter Bruegel the Elder, 1566, From the collection of: Royal Museums of Fine Arts of Belgium
Bruegel depicts a scene of daily life in Northern Europe in the winter with the unassuming figures of Mary and Joseph making their way to Bethlehem for the census.
Massacre of the Innocents, Pieter Bruegel the Elder, 1565 - 1567, From the collection of: Royal Collection Trust, UK
The title of this painting relates to the story in the bible when king Herod ordered the slaughter of all the male children under two years old. The scene depicted here however is the Spanish army attacking a small Dutch village during Spain's campaign to stop Protestantism in the area. This painting however has been doctored because the original owner considered it too violent and gruesome. Figures of murdered children have been faintly blotted out or turned into the figures of animals or sacks. In some of the spots you can see where the children were covered.
The Peasant Wedding, Pieter Brueghel the Younger, From the collection of: Hallwyl Museum
Pieter Bruegel the Younger, the son of Pieter Bruegel the Elder did a lot of works that were based off of his fathers. This one is based upon Bruegel the Elder's peasant life paintings.
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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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