1400-1500 A.D.

1400-1500 A.D.

Period: Jan 1, 1400 to Dec 31, 1499

Ife Head (artist unknown)

Jan 1, 1410

This bronze sculpture possesses a realism that led early 1900 historians to theorize the art was actually produced by Greeks settlers in Africa. Attributing the work to the appropriate culture, there is a depth of texture in this Nigerian artwork. The expression is quite peaceful and strong, which befits someone of African royalty.

The Forbidden City

Jan 1, 1420

The Forbidden City is one of the largest ancient palaces in the world. It is comprised of 90 individual palaces and courtyards, which accounts for the 178 acres covered. Despite its age, the palace is the best-preserved imperial palace in China. Amidst the thousands of rooms are countless gardens and intricate sub-palaces, all surrounded by a ten-meter high wall. Once forbidden to those not in the elite, the Forbidden City is now open to the public, so that everyone can experience the opulence.

Expulsion from the Garden of Eden by Massachio

Jan 1, 1427

Massachio is a celebrated artist of the renaissance, especially for his ability to produce such realistic images. The pain and agony is evident, without question, in his interpretation of the expulsion. Adam buries his head in his hands, while Eve, aware of her nakedness, attempts to cover her body, her face twisted with shame and sorrow. The realism of both the bodies and expressions are part of why this art endures.

Ca d'Oro by Giovanni Bon and his son Bartolomeo Bon

Jan 1, 1430

Ca d'Oro translates to "Golden House," a name given for the gold leaf detailing originally installed in the building. There are numerous gothic arches and extensive detail work which make this palace by the canal intricately beautiful. Originally built for a wealthy and titled family, the palazzo is now open to the public as a gallery.

Arnolfini Portrait by Jan van Eyck

Jan 1, 1434

The detail of this portrait by Jan van Eyck represents a depth of skill still impressive today. The ability to capture the effect of light on the chandelier coupled with the use of perspective in the reflection of figures on the mirror create a work of art that conveys the world from the artists's perspective. Additionally, there is a humorous cast in the inscription on the back wall, which is Van Eyck's signature. It translates to "Jan van Eyck was here 1434," similar to modern graffiti tags.

Dome of Cathedral del Santa Maria del Fiore by Brunelleschi

Jan 1, 1436

Though begun years earlier, it was the finished dome design of Brunelleschi that marked the completion of the cathedral. Coming 100 years after the initial design of the cathedral, Brunelleschi decided to opt for a traditional mediterranean dome, rather than the gothic style. This mirrors the Renaissance mentality of looking back to Greco-Roman times for inspiration while adding new perspectives.

Nuper Rosarum Flores by Guillaume Dufay

Mar 25, 1436

https://youtu.be/v2Qz4KL1U18 "The Rose Blossoms" was written for the consecration of Florence Cathedral. In keeping with the structure's religious nature, Dufay produced a religious song. He is credited as the starting point for the musical renaissance.

Descent from the Cross by Rogier van der Weyden

Jan 1, 1438

Unlike the later depiction of La Pieta, this image of Christ after being removed from the cross is emotionally charged. The colors are vivid, in contrast to the paleness of Christ's body, and his limp form is also in contrast to the tension and motion throughout the rest of the painting. Mary is clearly distraught, rather than peaceful or resigned, and her body mirrors the shape of Christ's. Whether you perceive this as fact or myth, the boldness tempered with an aesthetic rendering is striking.

David by Donatello

Jan 1, 1440

Part of the reason for this work's renown is the status as first freestanding bronze sculpture since antiquity. Additionally, while still keeping with religious themes of the time, Donatello depicts David not as the king he would become, but as the youth who triumphed against staggering odds. When originally displayed, the work was upon a pedestal, and so the viewer would loop up at David, a youth, naked, but see his victory and presence.

Gates of Paradise by Lorenzo Ghiberti

Jan 1, 1452

This pair of bronze doors by Lorenzo Ghiberti are also gilded. Each door contains five panels with religious images from the Old Testament. Although the panels are not very deep, they are designed to give perspective and depth. The doors are seventeen feet tall and weigh three tons, which took 27 years to complete. While in keeping with the religious preoccupation of the time, the artistry is still remarkable in modern contexts.

Le Morte d'Arthur by Sir Thomas Malory

Jan 1, 1469

Translated to "The Death of Arthur," this collection of stories are Malory's reinterpretation of King Arthur's court and their many adventures. After the literary brilliance of Chaucer, the 1400s were considered a dark time for writing, but Malory's collection includes not only inspiring storytelling but a strength of style in the writing itself. The classic tales reveal themes of morality that transcend time and culture, while the setting transports the reader to a time of chivalry and quests.

Portinari Triptych by Hugo van der Goes

Jan 1, 1475

Unlike Da Vinci's "Adoration of the Magi", Van Der Goes' depiction of the birth of Christ represents the coming of the shepherds. Between the chapters of Matthew and Luke, the birth stories differ and so at times there are shepherds, in other versions, wise men. The adults in the painting are very boldy or darkly colored, in contrast to the neutral space where Christ lays. The construction on three panels can also be seen as allusion to the holy trinity, referencing the spirital focus.

Adoration of the Magi by Leonardo Da Vinci

Jan 1, 1481

While much of the religious work of this period centered around more serious topics including the fate of the soul and the death of Christ, the topic of this work is that of Christ's beginning. Created with oil on wood, Da Vinci still manages to create an image with depth and warmth while conveying his rendering of this benchmark moment in biblical history. The virgin mother and her baby are focal points, with others kneeling in deference.

Everyman (original author unknown)

Jan 1, 1485

Everyman is a classic morality play, focusing on themes of sin and salvation, which were common topics in this time period. Characters are allegorical, which was a common form of conveying messages on morality. While based on Christian themes, the moral lessons are universal, highlighting that although we live life with human connection, in the end we are alone and responsible for our own choices.

Birth of Venus Sandro Botticelli

Jan 1, 1486

During the latter part of the 15th century, there was reflection to earlier works including those of Homer. This sparked renewed interest in Greek Mythology which encouraged poems and eventually this depiction of the Goddess of Love. Her nudity is a contradiction to the other concern of the time-religion. Additionally, the form itself represents an ability to capture form that is both fanciful and realistic. "Botticelli curls" is a phrase derived from the skill and yet effortless result.

The Garden of Earthly Delights by Hieronymous Bosch

Jan 1, 1490

This triptych work represents not only the theological mindset of the time, but a style which has been called inspiration for the surrealist movement. Bosch depicts an array of events, beginning on the far panel with the introduction of Adam and Eve, moving to a more sensual depiction in the middle, which is the largest portion, and then transitioning into images of damnation and torment. The progression might be seen as a warning or depiction of reality.

Adam by Tullio Lombardo

Jan 1, 1490

Lombardo's Adam is in keeping with the religious focus of art in the 1400s. The sculpture is deceptively simple, but focus to the details, such as the scrolling locks of curly hair given movement in stone, indicate the level of skill. The face is innocent, but in the hand is the fruit indicative of the fall of man--the mythic story of humanity's weakness. Whether viewed as mythic or factual, the image is iconic and expertly rendered.

Primavera by Sandro Botticelli

Jan 1, 1492

The bawdy image and Greco-Roman mythic content represent Botticelli's divergence from the typical religious themes of the time. This ability to appreciate the human form, which he barely clothed in sheerly draped fabric, is part of the Renaissance and more liberal end of the artistic spectrum at that time. Cupid is present, as is Venus, but this scene is set in a wood at Spring. The season represents birth, growth, and life which abound in the movement of the dancing trio and the form at right.

The Last Supper by Leonardo Da Vinci

Jan 1, 1495

As with many famous works, this piece was commissioned. The work was placed on a stone wall in the dining hall of a monastery. Da Vinci created his own base to protect the work against the elements, but it has still been damaged by moisture and climate change. When painting, he affixed a nail to the wall with string so that he could understand perspective for the various positions. This creates a dimensional affect, reinforced by his choice to choose a long table, rather than traditional forms.

The Pietà

Jan 1, 1499

This work was commissioned to go in Saint Peter's Basilica in Rome. When reflecting on the process, Michelangelo thought this particular piece of marble was the most pristine he'd worked with, and the attention to detail is evident. Though the medium is stone, the ability to render folds of cloth creates a lifelike texture. The image depicted possesses the religious themes common for this time period, but the resigned expression of a mother losing her child translates across faiths.