Fra Filippo Lippi, Madonna and Child with Angels, ca. 1460-1465.

I really like the way Lippi used different expressions in the painting. Normally, people in this style painting look so serious and emotionless. It's like a "breath of fresh air" to see a smile on the young boy's face. Even Madonna has more emotion in her face than she does in the previous paintings of her. Compared with Duccio's and Giotto's earlier version of Madonna, Lippi's representation shows how far artists in this time had carried the humanization of the religious theme. Overall, Lippi's painting of Madonna and Child with Angels is much more realistic and full of life.

Sandro Botticello, Primavera. ca. 1482. Tempura on wood, 6'8" X 10'4".
Galleria degli Uffizi, Florence

Primavera (Spring)

Out of all the works that we have looked at so far, this is one of my favorite pieces. I love how the transparent garments flow around the Three Graces to the center/left, as well as on the nymph Chloris (who is later transformed into Flora, goddess of spring) on the right. These see-through garments show the shape of each figures body, which I feel is very different from the usual, baggy clothing we have observed in previous paintings.

My eye is immediately drawn to Venus (center). Botticello drew attention to Venus, the goddess of love, by opening the landscape behind her to reveal a portion of sky that forms a kind of halo around her head. Also, her red draped garments immediately catch my attention.

I love the story that this painting tells, as well as the meaning behind it. Several aspects in the painting suggest the occasion for the painting was Lorenzo's wedding in May 1482. However, the painting also depicts the Neo-Platonists' view that earthly love is compatible with Christian theology.

Assumption of the Virgin, center panel of Creglingen Altarpiece. I really liked this piece by Tilman Piemenschneider, mainly because of the framework and the sharp/rigid detailing. The figures look very troubled rather than having the emotionless expression that you see on many sculptures in this Era. This emotional strain helps bring the piece to life, as well as heighten the spirituality of the figures.

Last Supper, center panel of the Altarpiece of the Holy Sacrament. This oil painting by the artist Dirk Bouts is very different from the more well known version by Leonardo Da Vinci. I really like the way Bouts uses very neutral colors with pops of red to catch your eye. This painting demonstrates his use of a vanishing point. All of the converging diagonal lines lead to the vanishing point in the center of the mantelpiece right above Christ's head, causing him to be the main focal point in the picture.

I was very intrigued with Giovanni Pisano's Annunciation, Nativity, and Adoration of the Shepherds (1297-1301). Normally I'm not exactly interested in sculptures. However, the vivid detail on this 13th Century, French Gothic style work really catches my attention. The story that this piece tries to portray seems a little busy, but I love that the bold images are extremely realistic and basically jump off of the panel at you.