Duccio di Buoninsegna, commonly known as just Duccio, was an Italian painter active in Siena, Tuscany, in the late 13th and early 14th century. He was hired throughout his life to complete many important works in government and religious buildings around Italy. Duccio is considered one of the greatest Italian painters of the Middle Ages, and is credited with creating the painting styles of Trecento and the Sienese school. He also contributed significantly to the Sienese Gothic style.
Carlo Crivelli was an Italian Renaissance painter of conservative Late Gothic decorative sensibility, who spent his early years in the Veneto, where he absorbed influences from the Vivarini, Squarcione, and Mantegna. He left the Veneto by 1458 and spent most of the remainder of his career in the March of Ancona, where he developed a distinctive personal style that contrasts with that of his Venetian contemporary Giovanni Bellini.
Madonna and Child was painted by one of the most influential artists of the late 13th and early 14th century, Duccio di Buoninsegna. This iconic image of the Madonna and Child, seen throughout the history of western art, holds significant value in terms of stylistic innovations of religious subject matter that would continue to evolve for centuries.
Lorenzo di Credi was an Italian Renaissance painter and sculptor best known for his paintings of religious subjects. He is most famous for having worked in the studio of Andrea del Verrocchio at the same time as the young Leonardo da Vinci.
Francesco Francia, whose real name was Francesco Raibolini was an Italian painter, goldsmith, and medallist from Bologna, who was also director of the city mint.
Bernardino Luini was a north Italian painter from Leonardo's circle during the High Renaissance. Both Luini and Giovanni Antonio Boltraffio were said to have worked with Leonardo directly; he was described as having taken "as much from Leonardo as his native roots enabled him to comprehend". Consequently, many of his works were attributed to Leonardo. He was known especially for his graceful female figures with elongated eyes, called Luinesque by Vladimir Nabokov.
Raffaellino del Garbo (1466–1527) was a Florentine painter of the early Renaissance.
The Madonna and Child Enthroned with Saints, also known as the Colonna Altarpiece, is a painting by the Italian High Renaissance artist Raphael, executed c. 1503-1505. It is housed in the Metropolitan Museum of Art of New York City. It is the only altarpiece by Raphael in the United States.
Giovanni Antonio Boltraffio was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci. Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan.
Lippo Memmi was an Italian painter from Siena. He was the foremost follower of Simone Martini, who was his brother-in-law.
Giampietrino, probably Giovanni Pietro Rizzoli, was a north Italian painter of the Lombard school and Leonardo's circle, succinctly characterized by S. J. Freedberg as an "exploiter of Leonardo's repertory."
The Madonna del Prato, formally Madonna with the Christ Child and Saint John the Baptist, is an oil on board painting by Raphael, created in 1506, now held in the Kunsthistorisches Museum in Vienna. It is also known as the Madonna del Belvedere after its long residence in the imperial collection in the Vienna Belvedere.
Bernardino de 'Conti was an Italian Renaissance painter, born in 1465 in Castelseprio and died around 1525.
The Madonna and Child with the Infant Saint John the Baptist is a lost composition by Leonardo da Vinci. The composition is known through a handful of paintings attributed to artists in Leonardo's circle. An original underdrawing by Leonardo may be preserved in a version in a private collection in Moscow, Russia.
The Bache Madonna or Madonna and Child is an oil painting on wood by Titian, dating to c. 1508 and belonging to his juvenile period, when he was still strongly influenced by Giorgione.
Mother and Child (The Oval Mirror) is an oil-on-canvas painting by the American Impressionist artist Mary Cassatt. The painting depicts a mother and her child in front of a mirror. The painting provides a glimpse of the domestic life of a mother and her child, evoking religious iconography from the Italian Renaissance. However, portrayals of a mother and her child are common in Cassatt's work, so it is possible that this similarity is coincidental rather than intentional.
The Lehman Madonna is a c.1470 tempera-on-panel painting of the Madonna and Child by the Venetian painter Giovanni Bellini.
The 1476 Altarpiece or San Domenico Altarpiece is a 1476 tempera and gold on panel altarpiece by Carlo Crivelli. Its central panel of the Pietà is now in the Metropolitan Museum of Art in New York, whilst the other nine are now in the National Gallery, London.
Study for the Madonna of the Cat is a set of two drawings by Leonardo da Vinci on both sides of a sheet of paper 13 centimeters high and 9.4 centimeters wide. The two drawings were made in pen and brown ink, on a preparatory drawing in stylus, with a brown wash on the back. This is one of the six works of Leonardo da Vinci showing the Virgin and Child playing with a cat or carrying it. A mirror symmetry between the drawings of the two faces is visible by transparency. The Study for the Madonna of the Cat is currently held at the British Museum in London under inventory number 1856,0621.1. The creative and scientific processes underlying the drawing Madonna of the Cat have been discussed by many art historians, including Kenneth Clark, Martin Kemp, Carmen Bambach and Larry Feinberg.
