Fra Angelico, OP was a Dominican friar and Italian painter of the Early Renaissance, described by Giorgio Vasari in his Lives of the Artists as having "a rare and perfect talent". He earned his reputation primarily for the series of frescoes he made for his own friary, San Marco, in Florence, then worked in Rome and other cities. All his known work is of religious subjects.
Domenico di Tommaso Curradi di Doffo Bigordi, professionally known as Domenico Ghirlandaio, was an Italian Renaissance painter born in Florence. Ghirlandaio was part of the so-called "third generation" of the Florentine Renaissance, along with Verrocchio, the Pollaiolo brothers and Sandro Botticelli. Ghirlandaio led a large and efficient workshop that included his brothers Davide Ghirlandaio and Benedetto Ghirlandaio, his brother-in-law Bastiano Mainardi from San Gimignano, and later his son Ridolfo Ghirlandaio. Many apprentices passed through Ghirlandaio's workshop, including the famous Michelangelo. His particular talent lay in his ability to posit depictions of contemporary life and portraits of contemporary people within the context of religious narratives, bringing him great popularity and many large commissions.
Filippino Lippi was an Italian painter working in Florence, Italy during the later years of the Early Renaissance and first few years of the High Renaissance.
Luca Signorelli was an Italian Renaissance painter from Cortona, in Tuscany, who was noted in particular for his ability as a draftsman and his use of foreshortening. His massive frescos of the Last Judgment (1499–1503) in Orvieto Cathedral are considered his masterpiece.
Pinturicchio, or Pintoricchio, also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. He acquired his nickname because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.
Pietro Perugino, an Italian Renaissance painter of the Umbrian school, developed some of the qualities that found classic expression in the High Renaissance. Raphael became his most famous pupil.
Taddeo di Bartolo, also known as Taddeo Bartoli, was an Italian painter of the Sienese School during the early Renaissance. His biography appears in the Vite of Giorgio Vasari, who claims that Taddeo was the uncle of Domenico di Bartolo.
Oliviero Carafa, in Latin Oliverius Carafa, was an Italian cardinal and diplomat of the Renaissance. Like the majority of his era's prelates, he displayed the lavish and conspicuous standard of living that was expected of a prince of the Church. In his career he set an example of conscientiousness for his contemporaries and mentored his relative, Giovanni Pietro Carafa, who became Pope Paul IV.
Domenico Puligo (1492–1527) was an Italian painter of the Renaissance, active in Florence. His real name was Domenico di Bartolomeo Ubaldini.
Florentine painting or the Florentine School refers to artists in, from, or influenced by the naturalistic style developed in Florence in the 14th century, largely through the efforts of Giotto di Bondone, and in the 15th century the leading school of Western painting. Some of the best known painters of the earlier Florentine School are Fra Angelico, Botticelli, Filippo Lippi, the Ghirlandaio family, Masolino, and Masaccio.
Neri di Bicci (1419–1491) was an Italian painter active in his native Florence. A prolific painter of mainly religious themes, he studied under his father, Bicci di Lorenzo, who had in turn studied under his father, Lorenzo di Bicci. The three thus formed a lineage of great painters that began with Neri's grandfather.
Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian Peninsula, which was at that time divided into many political states, some independent but others controlled by external powers. The painters of Renaissance Italy, although often attached to particular courts and with loyalties to particular towns, nonetheless wandered the length and breadth of Italy, often occupying a diplomatic status and disseminating artistic and philosophical ideas.
Bartolomé Ordóñez was a Spanish Renaissance sculptor.
Giotto di Bondone, known mononymously as Giotto and Latinised as Giottus, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period. Giotto's contemporary, the banker and chronicler Giovanni Villani, wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature" and of his publicly recognized "talent and excellence". Giorgio Vasari described Giotto as making a decisive break from the prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years".
The Annunziata Polyptych is a painting cycle started by Filippino Lippi and finished by Pietro Perugino, whose central panel is now divided between the Galleria dell'Accademia and the Basilica dell'Annunziata, both in Florence, Italy. The polyptych had other six panels, which are housed in the Lindenau-Museum of Altenburg, the Metropolitan Museum of New York City, the Galleria Nazionale d'Arte Antica in Rome and in a private collection in South Africa.
The Carafa Chapel is a chapel in the church of Santa Maria sopra Minerva, Rome, Italy, known for a series of frescoes by Filippino Lippi.
The Fano Altarpiece is a painting by the Italian Renaissance artist Pietro Perugino, executed in 1497, and housed in the church of Santa Maria Nuova, Fano, central Italy. It also includes a lunette with a Pietà and several predella panels.
The Girdle of Thomas, Virgin's Girdle, Holy Belt, or Sacra Cintola in modern Italian, is a Christian relic in the form of a "girdle" or knotted textile cord used as a belt, that according to a medieval legend was dropped by the Virgin Mary from the sky to Saint Thomas the Apostle at or around the time of the Assumption of Mary to Heaven. The supposed original girdle is a relic belonging to Prato Cathedral in Tuscany, Italy and its veneration has been regarded as especially helpful for pregnant women. The story was frequently depicted in the art of Florence and the whole of Tuscany, and the keeping and display of the relic at Prato generated commissions for several important artists of the early Italian Renaissance. The Prato relic has outlasted several rivals in Catholic hands, and is the Catholic equivalent of the various relics held by Eastern Christianity: the Cincture of the Theotokos of the Eastern Orthodox Church and the Holy Girdle of the Syriac Orthodox Church.
The Corciano Altarpiece is a 1513 painting by Perugino now in the parish church of Santa Maria in Corciano. It was produced following a past commission for Perugino to decorate the high altar of the parish church in Corciano.
The Transfiguration Altarpiece is an altarpiece of the Transfiguration of Jesus by Perugino, dating to 1517 and now in the Galleria Nazionale dell'Umbria in Perugia.
