This portrait was called Holy Trinity which was painted by Masaccio between 1424-1427. It is a Fresco in Santa Maria Novella, Florence, which is a masterwork of Masaccio. It is great example of applying mathematics to the depiction of space by painting the composition on two levels of unequal height. The crucified christ is in the middle and Mary and Saint John appear on either side. God emerges from the back and is supporting the arms of the cross. It appears God is presenting his son to the worshipper. Also there is dove of the Holy spirit between god's head and christ's head. In the portrait, there is a tomb containing a skeleton above which it is inscribed in italian, "I was once what you are, and what I am you will become." The inscription above the skeleton is so true, and it reminds the spectator the reality of life. The vanishing point of the painting is at the foot of cross. It is about 5 feet above the floor level, which pulls the two views, Trinity and Tomb, together. It creates an illusion of real structure transecting the wall's plane. The illusion is created by projecting the tomb forward into the church whereas the chapel subsides visually behind the wall and appears as an extension of spectator's space. The painting powerfully conveys on of the central tenets of Christian faith. 

Donatello sculptured David between 1440-1460. Donatello was first renaissance sculptor to portray freestanding nude statue. Donatello made history by creating his masterpiece, David.  The statue was completely unsupported and free-standing bronze sculpture in Renaissance period which is 5' 2.25'' high. The sculpture depicts David of the legend "David and Goliath" standing with David's left foot on top of head of fallen Goliath. Also it holds the sword in the right hand that he claimed from Goliath. The art work is body of a male, yet it is possessed both relaxed classical stance and femininity and subtle frailty of gods. These are some of the qualities that were missing from medieval figures. 

Jan Van Eyck, Giovanni Arnolfini and His Wife (1434)

This portrait is painted by Jan Van Eyck which shows Giovanni Arnolfini and his wife painted on oil on wood. It is a private painting supposedly in the home of Giovanni Arnolfini and his wife. There are two stories behind this painting. One of the two is Giovanni Arnolfini is giving legal authorities of the business to his wife. Another story is that the painting was portrayed during their wedding. The painting is very detailed and every element is painted beautifully and has a deeper meaning. For instance, the size of the room explains that Giovanni Arnolfini and his are not extremely wealthy, but not poor either due to the fashionable clothes they are wearing of that era. The convex mirror show the viewer that two persons who were not the principals, Giovanni Arnolfini and his wife, were also looking through the door. One of them was the painter Jan Van Eyck because it was inscribed above the mirror that Johannes de Eyck fuit hic, which means Jan van Eyck was here, announcing his presence. Also he did not sign this private painting instead he inscribed his presence above the mirror. Also Giovanni Arnolfini is waving in the painting, which is assumed to be toward that other person in the convex mirror who is at the door. Another major detail that was portrayed was the role of man and woman in a married life. The man is near the window and his shoes are pointing away from the bed explains that he deals with the outer world while the woman is closer to the bed showing her duties as a woman and wife. Also exhibits that she is responsible for taking care of the family. The expression on their faces and detailing in all the other items present in the room gives it a photorealistic impact.

Robert Campin, Merode Altarpiece (1425-1428)

The painting is oil on wood and is a triptych, which means it is a 3 panel painting with the center piece being the largest. The portrait illustrates the angel came to meet Mary at the person's house who is portrayed in left panel. Also the man, in the left panel, paid that artist to incorporate him in the portrait. It is an oil painting, which was a newly adapted technique during that time period. Oil painting helps create a lot of detail and almost makes it look like a photograph because it allows a painter to include variety of dark and light shades of color showing the depth of a painting making it look exactly like a photograph. However, this painting is not hundred percent photorealism because the table was slanted upwards. If table existed in reality then everything would slide off the table. The Right panel shows a man building two mousetraps and oblivious to the arrival of an angel. The names of the couple in the left panel are significant because it means angel bringer. 

Chapter 14 Comparison Between 13th and 14th Centuries Artwork

Cimabue and Giotto Di Bondone painted the same subject, but there were numerous distinctions. One of the reason was Cimabue was an Italian Gothic painter, while Giotto was a Renaissance painter. So the distinction in their work was explicable. Cimabue painted Madonna Enthroned with Angels and Prophets in 1280-1290 whereas Giotto painted Madonna Enthroned in 1310, about 20-30 years after Cimabue’s painting. Both the painters used same technique, tempera and gold leaf on wood. However, their perspectives were different. Giotto used top-back perspective making it look like saints are standing on top of each other, while Giotto used linear perspective. Giotto created illusion of depth by using the stairs, and illusion of space by facing all the characters toward center creating a focal point, on Mary and Jesus. On the other hand, Cimabue created depth through use of light and dark colors. Giotto’s picture is more realistic because the baby Jesus was sitting like an ordinary child with Mary holding him instead of baby Jesus portrayed like a fictional character. Also Cimabue’s artwork was highly symmetrical and very stoic, but Giotto’s portrayal was fairly symmetrical.

The painting, Saint Luke Drawing the Virgin, above was made by a famous and re-owned painter named Rogier van der Weyden. It was made during 1435-1440 which was Late Medieval and Early Renaissance period. This portrait is very captivating due to the fact that it shows one of the most sacred relationship in the universe. It is the relationship between a mother and its child. The care and nurture a mother provides to a child is very evident in this illustration. The maternal relationship between mother Mary and baby Jesus is very noticeable as she looks down at him lovingly and he reciprocates the gaze with a smile. The mother-child relationship that the painter tried to expresses could be easily empathize by anyone.