style="font-size:15px;"> 32. Bernardo Daddi (Attributed to), c. 1290–1350, Early Renaissance, Florentine School, Italian, Crucifixion, c. 1335. Tempera on panel, 36 × 23.5 cm, The National Gallery of Art, Washington, D. C.
Daddi is believed to have been Giotto’s student and his work strongly shows his influence. Daddi, on his side, influenced Florentine art until the second half of the century.
33. Ambrogio Lorenzetti, c. 1290–1348, Early Renaissance, Sienese School, Italian, Madonna and Child Enthroned with Angels and Saints, c. 1340. Tempera on panel, 50.5 × 34.5 cm, Pinacoteca Nazionale, Siena
34. Master of Kaufmann, Early Renaissance, Bohemian, The Crucifixion of Christ, c. 1340. Tempera on panel, 76 × 29.5 cm, Gemäldegalerie, Alte Meister, Berlin
35. Hohenfuhrth Master, Early Renaissance, Bohemian, The Agony in the Garden, c. 1350. Tempera on panel, 100 × 92 cm, Narodni Galeri, Prague
36. Master of the Berlin Nativity, Early Renaissance, Bavarian, Nativity, 1330–40. Tempera on panel, 33 × 24 cm, Gemäldegalerie, Alte Meister, Berlin
37. Ambrogio Lorenzetti, c. 1290–1348, Early Renaissance, Sienese School, Italian, Birth of the Virgin, 1342. Tempera on panel, 188 × 183 cm, Museo dell’Opera del Duomo, Siena
38. Andrea di Cione Orcagna, c. 1320–68, Gothic Art, Florentine School, Italian, The Redeemer with the Madonna and Saints, 1354–57. Tempera on panel, Strozzi Chapel, Santa Maria Novella, Florence
It was originally the altarpiece of the Strozzi Chapel of Santa Maria Novella, Florence. In this painting Orcagna reverted from a more naturalistic style to the Byzantine remote and monumental figural type with resplendent colours and lavish use of gold.
39. Bohemian Master, Gothic Art, Bohemian, Death of the Virgin, 1355–60. Tempera on panel, 100 × 71 cm, Museum of Fine Arts, Boston
40. Master of the Eichhorn Madonna, Gothic Art, Bohemian, Eichhorn Madonna, c. 1350. Tempera on panel, 79 × 63 cm, Narodni Galeri, Prague
41. Giovanni da Milano, active 1346–69, Gothic Art, Italian, Pietà, 1365. Tempera on panel, 122 × 58 cm. Galleria dell’Accademia, Florence
42. Andrea di Cione Orcagna, c. 1320–68, Gothic Art, Florentine School, Italian, St Matthew and Four Stories from his Life, 1367. Tempera on panel, 291 × 265 cm. Galleria degli Uffizi, Florence
43. Giottino, c. 1320–69, Gothic Art, Florentine School, Italian, Pietà of San Remigio, c. 1360–65. Tempera on panel, 195 × 134 cm. Galleria degli Uffizi, Florence
44. Tommasso da Modena, c. 1325–79, Gothic Art, Italian, The Departure of St Ursula, c. 1355–58. Tempera on panel, 233.5 × 220 cm, Museo Civico, Treviso
45. Matteo di Pacino, active 1359–94, Early Renaissance, Italian, St. Bernard’s Vision of the Virgin with Saints. Tempera on panel, 175 × 200 cm. Galleria dell’Accademia, Florence
46. Agnolo Gaddi, c. 1345–96, Early Renaissance, Florentine School, Italian, Madonna of Humility with Six Angels, c. 1390. Tempera on panel, 118 × 58 cm. Galleria dell’Accademia, Florence
47. Melchior Broederlam, Early Renaissance, Dutch, The Dijon Altarpiece: Annunciation and Visitation; Presentation in the Temple and Flight into Egypt, 1394–99. Tempera on panel, 167 × 125 cm, Musée des Beaux-Arts, Dijon
48. Named after Wilton House, International Gothic, French, The Wilton Diptych, Richard II presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund, c. 1395–99, Egg tempera on oak panel, 57 × 29.2 cm, National Gallery, London
The anonymous artist of this diptych is a Sienese painter, contemporary of Giotto, renewer of the Sienese School. The Wilton Diptych was painted as a portable altarpiece for the private devotion of King Richard II; the outside bears his arms and his personal emblem of a white hart (a young deer) chained with a crown around its neck.
49. Anonymous, Early Renaissance, French, Book of Hours of the Use of Rome, late 14th c.– early 15th c.. Manuscript illumination, Stolen from the Library
St. Petersburg, St. Petersburg
50. Guyart des Moulins, Early Renaissance, French, La Bible Historiale, Third quarter of the 14th c.. Manuscript illumination, Stolen from the Library St. Petersburg, St. Petersburg
15th Century
51. Lorenzo Monaco, c. 1370–1424, International Gothic, Italian, Adoration of the Magi, 1421–22. Tempera on panel, 115 × 170 cm. Galleria degli Uffizi, Florence
Bridging the fourteenth and the fifteenth centuries was the Hundred Years War. This war contributed to instability and strife across the entire continent, even though the primary conflicts were between France and England, it also involved Flanders. After Philip the Bold (1342–1404) married the daughter of the count of Flanders, he was able to add these counties from the Netherlands to his realm as the Duke of Burgundy. Philip the Good (1396–1467) ruled next in secession, in what would then become known as the Burgundian Netherlands. Bruges, an important city for trade in Flanders, now lent enormous economic power to the newly acquired territory, making the Burgundian Netherlands a rival of France. Later, in a period of decline towards the end of the fifteenth century after Charles the Bold (1433–1477) had died at the battle of Nantes in 1477, the Burgundian lands were reabsorbed into France and the Netherlands became a part of the Holy Roman Empire.
This is an important time for the development of European capitalism. Big families throughout Europe developed international trade, such as the Medici of Florence. The French word for stock market, bourse, is derived from another big family of international traders, the van der Breuse family, who centred their enterprise in Bruges. Along with the increasing wealth from trade came a new opulence in materials for art. It is at this time that painters turned from using egg-based paint, or tempera, to oil-based paint. Oil had been used for many centuries, but it was not until the fifteenth century that it became widely popular, first in the north and then spreading to the south.
The development of manuscript illumination flourished at this time. The duc of Berry (1340–1416) was one of the greatest
