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.
Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicized as Anthony of Messina, was an Italian painter from Messina, active during the Italian Early Renaissance.
Pietro Lorenzetti or Pietro Laurati was an Italian painter, active between c. 1306 and 1345. Together with his younger brother Ambrogio, he introduced naturalism into Sienese art. In their artistry and experiments with three-dimensional and spatial arrangements, the brothers foreshadowed the art of the Renaissance.
The Descent from the Cross, or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross, and is also the sixth of the Seven Sorrows of the Blessed Virgin Mary.
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.
Bernardo Daddi was an early Italian Renaissance painter and the leading painter of Florence of his generation. He was one of the artists who contributed to the revolutionary art of the Renaissance, which broke away from the conventions of the preceding generation of Gothic artists, by creating compositions which aimed to achieve a more realistic representation of reality. He was particularly successful with his small-scale works and contributed to the development of the portable altarpiece, a format that subsequently gained great popularity.
St. John on Patmos is an oil on panel painting by the Netherlandish artist Hieronymus Bosch, created c. 1489. The painting is held in the Gemäldegalerie, in Berlin, Germany. The reverse is also painted, the title of that picture is Scenes from the Passion of Christ and the Pelican with Her Young.
Bartolo di Fredi, also called Bartolo Battiloro, was an Italian painter, born in Siena, classified as a member of the Sienese School.
Lippo Memmi was an Italian painter from Siena. He was the foremost follower of Simone Martini, who was his brother-in-law.
The Master of the Virgo inter Virgines was an Early Netherlandish painter and designer of woodcuts active around Delft between 1483 and 1498. He is named for The Virgin and Child with Four Holy Virgins, an altarpiece of the Virgin with Saints Catherine, Cecilia, Ursula, and Barbara which formerly hung in the convent of Konigsveld, but which is now in the Rijksmuseum in Amsterdam. He was first distinguished individually in 1903; based upon the style of the altarpiece a considerable body of work has since been built up. The Master has been described as the most uncompromisingly "realist" of his contemporaries, and not at all concerned with elegance; he has also been called a forerunner of the Dutch school of painting.
Jean Malouel, or Jan Maelwael in his native Dutch, was a Dutch artist who was the court painter of Philip the Bold, Duke of Burgundy and his successor John the Fearless, working in the International Gothic style.
The Entombment is a glue-size painting on linen attributed to the Early Netherlandish painter Dieric Bouts. It shows a scene from the biblical entombment of Christ, and was probably completed between 1440 and 1455 as a wing panel for a large hinged polyptych. While the altarpiece remains lost as a complete set, it is thought to have contained a central crucifixion scene flanked by four wing panel works half its height – two on either side – depicting scenes from the life of Christ. The smaller flanking panels would have been paired in a format similar to Bouts's 1464–1468 Altarpiece of the Holy Sacrament. The larger work was probably commissioned for export to Italy, possibly to a Venetian patron whose identity is lost. The Entombment was first recorded in a mid-19th-century inventory in Milan, and has been in the National Gallery, London, since its purchase on the Gallery's behalf by Charles Lock Eastlake in 1861.
The Annunciation is an oil painting by the Early Netherlandish painter Hans Memling. It depicts the Annunciation, the archangel Gabriel's announcement to the Virgin Mary that she would conceive and become the mother of Jesus, described in the Gospel of Luke. The painting was executed in the 1480s and was transferred to canvas from its original oak panel sometime after 1928; it is today held in the Robert Lehman collection of the Metropolitan Museum of Art in New York.
The Seilern Triptych, variously dated c. 1410-15 or c. 1420–25, is a large oil and gold leaf on panel, fixed winged triptych altarpiece generally attributed to the Early Netherlandish painter Robert Campin. It is the earliest of two known triptychs attributed to him, although the outer wing panels paintings are lost. The work details the events of Christ's passion; with iconography associated with the liturgy of Holy Week. The panels, which should be read from left to right, detail three stations of the cycle of the Passion of Jesus; the crucifixion, the burial and the resurrection.
The Bladelin Altarpiece, or Middelburg Altarpiece, is a triptych painting created around 1450 by the Flemish painter Rogier van der Weyden, towards the end of his artistic career. It depicts scenes relating to the birth of Jesus; and as the only nativity scene definitively attributed to van der Weyden is sometimes known as the Nativity Triptych.
The miniature altarpiece in the British Museum, London, is a very small portable Gothic boxwood miniature sculpture completed in 1511 by the Northern Netherlands master sometimes identified as Adam Dircksz, and members of his workshop. At 25.1 cm (9.9 in) high, it is built from a series of architectural layers or registers, which culminate at an upper triptych, whose centre panel contains a minutely detailed and intricate Crucifixion scene filled with multitudes of figures in relief. Its outer wings show Christ Carrying the Cross on the left, and the Resurrection on the right.
The Vyšší Brod (Hohenfurth) cycle, ranks among the most important monuments of European Gothic painting. It is made up of nine panel paintings depicting scenes from the Life of Christ, covering his childhood, Passion and resurrection. These paintings were made between 1345 and 1350 in the workshop of the Master of Vyšší Brod that was most probably based in Prague. The pictures were either meant for a square altar retable or else they decorated the choir partition of the church of the Cistercian Abbey in Vyšší Brod.
Christ Bearing the Cross
Crucifixion
Descent from the Cross
Entombment
