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| c. 550 BC |
| | The murals of Etruscan tombs, such as the Tomb of the Lionesses in Tarquinia, give a lively glimpse of an earlier tradition in Greek art | |
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| c. 250 |
| | The Christians of Rome use the catacombs as tomb chambers, and decorate the walls with murals on New Testament themes | |
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| c. 1305 |
| | Enrico degli Scrovegni employs Giotto to paint the cycle of frescoes in his chapel in Padua | |
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| 1308 |
| | The cathedral authorities in Siena commission from Duccio the great altarpiece which becomes known as the Maestà | |
| | Duccio Crucifixion (detail) Manchester City Museum and Art Gallery
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| 1423 |
| | Masaccio paints some of the frescoes in the chapel of a Florentine silk merchant, Felice Brancacci, in Santa Maria del Carmine | |
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| 1436 |
| | Perspective fascinates Italian Renaissance painters after the publication of Alberti's treatise on the subject, De Pictura | |
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| c. 1443 |
| | The Dominican convent of San Marco, in Florence, is provided with a serenely beautiful series of frescoes by Fra Angelico and his assistants | |
| | Fresco in San Marco Monastery Fotofile CG
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| c. 1450 |
| | Piero della Francesca paints masterpieces in his small home town of San Sepolcro | |
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| c. 1450 |
| | Paolo Uccello is interested in the laws of perspective, in works such as The Battle of San Romano | |
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| c. 1460 |
| | Oil paints, long familiar in the Netherlands, begin to be adopted in Italy in place of tempera | |
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