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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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| c. 1460 |
| | Andrea Mantegna combines an interest in classical detail and recently discovered perspective | |
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| c. 1465 |
| | The Sicilian artist Antonello da Messina adopts the Flemish technique of painting in oils | |
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| c. 1470 |
| | Sandro Botticelli is established as one of the leading painters of Florence, working in particular for the Medici | |
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| 1472 |
| | Leonardo da Vinci joins the painters' guild in Florence, probably after training with Verrocchio | |
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