Top 100 - Renaissance
The 100 painters who reinvented the visible world
From Giotto to Artemisia Gentileschi, three centuries of inventions, travels and workshops
The Renaissance is neither limited to Florence nor to three geniuses. It circulates between Siena, Venice, Bruges, Nuremberg, Toledo and European courts, transforming perspective, portrait, landscape, color and the place of the spectator.
From the precursors of the Trecento to Mannerist legacies
Before classification
The Renaissance is a network of workshops, not a sudden enlightenment
Perspective, anatomy, the study of light and the return to Antiquity do not arise in a day. These innovations are built by successive transmissions: Giotto gives weight to the figures, Masaccio organizes space, Piero measures light, Leonardo blurs the contours and Titian makes color an architecture.
The movement is also European. Flemish painters developed a new precision thanks to oil, Dürer linked Nuremberg to Venice, Spanish artists translated Italian models into their own traditions and French courts made portraiture an instrument of political presence.
This Top 100 combines historical influence, pictorial invention, importance of works and diversity of schools. The rank constructs a readable visit: it erases neither the filiations nor the differences in context.
Measure
Perspective transforms the painting into a constructed space
Architecture, vanishing lines and proportions give the viewer a precise place. The image becomes a coherent world rather than a simple symbolic surface.
Observe
The body, face and nature become subjects of study
The anatomy, the individual portrait and the landscape testify to a renewed attention to the visible, without eliminating the religious or political functions of the works.
Circulate
Ideas travel with artists, engravings and commissions
Florence dialogues with Bruges, Venice with Nuremberg, Rome with Fontainebleau. The Renaissance was built by translations rather than by imitation.
Exceed
Mannerism pushes inventions to instability
Stretched bodies, unreal colors and complex spaces show how subsequent generations transform classical balance into expressive tension.
The essentials
The ten masters who recast space, the body and the story
From Leonardo to Piero della Francesca, ten artists who immediately give the measure of the resurgent revolution.
#1
Leonardo da Vinci
At thirteen he entered Andrea del Verrocchio's studio in Florence and never really left - there he learned drawing, perspective, anatomy, blacksmithing, the studious silence of a master who would later sculpt the Colleone of Venice. It's there that he meets Botticelli, Perugino, Lorenzo di Credi,...
See the Leonardo da Vinci collection
#2
Michelangelo
Michelangelo (1475-1564) is one of the great artists of Western history - painter, sculptor, architect, poet. Trained in the Florentine studio of Domenico Ghirlandaio, he then perfected his skills in the garden of Laurent the Magnificent, alongside ancient sculptures which taught him to think of the body as an architect...
See the Michelangelo collection
#3
Raphael Sanzio
First trained in Urbino's father's workshop where his father Giovanni Santi taught him the basics of drawing, Raphaël Sanzio joined Pietro Perugino's workshop in Perugia at a very young age, from which he absorbed the softness of faces and the science of architecture on the run....
See the Raphaël Sanzio collection
#4
Tiziano Vecellio
Titian learned the trade in Venice, first in the workshop of Giovanni Bellini, then alongside Giorgione from whom he absorbed the mists and golden flesh. His touch quickly frees himself from the line - he superimposes the glazes, impasto the light, raises the color in carnal strata until the material seems to breathe under the C...
See the Tiziano Vecellio collection
#5
Sandro Botticelli
Botticelli learned everything in Filippo Lippi's studio in Florence, where the painter monk passed on to him the elegance of drapes and the taste of elongated faces, then he drank Medici's Neoplatonism like others drink chianti. His line is a reverse whiplash,...
See the Sandro Botticelli collection
#6
Jan van Eyck
Probably trained in the workshop of Robert Campin in Tournai, Jan van Eyck moved to Bruges in 1429 in the service of Philip the Good, Duke of Burgundy, where he became official court painter - a position which did not prevent him to paint for the enriched bourgeois of the city.
See the Jan van Eyck collection
#7
#8
Giotto di Bondone
At Cimabue, in the Florentine workshop, Giotto grabs the palette and begins to loosen the Byzantine vice. He paints like one breathes: with weight, volume, and drapes that finally fall under their own gravity. His figures have feet that tread the ground, faces that cry for real,...
See the Giotto di Bondone collection
#9
Masaccio
Masaccio lived only 27 years (1401-1428), but this brevity was enough to transform Western painting. Probably trained in Florence with Bicci di Lorenzo, he installed in the Brancacci chapel of Santa Maria del Carmine - with Masolino and Filippo Lippi - the first great demonstration of linear perspective in the...
See the Masaccio collection
#10
Piero della Francesca
Piero della Francesca grew up in Borgo Sansepolcro, where he probably received his first training, before joining Florence in contact with Domenico Veneziano, who taught him the rigor of drawing and the scholarly use of linear perspective. His art, of almost mathematical clarity,...
See the Piero della Francesca collectionChapter I · Ranks 11 to 25
Florence, Rome and the great Italian workshops
Frescoes, altarpieces, portraits and research on perspective structure a shared language, without erasing singularities.
#11
Andrea Mantegna
Trained in Padua in the demanding workshop of Francesco Squarcione - where he also met the future father-in-law Jacopo Bellini - Andrea Mantegna forged a line discipline there from adolescence which never left him.
See the Andrea Mantegna collection
#12
Fra Angelico
Fra Angelico received his first training in Lorenzo Monaco's studio in Florence, before joining the Dominican Antonino Pierozzi and the congregation of San Marco, a setting that will anchor all his work in prayer. There he learns to color devotion rather than illustrate it.
See the Fra Angelico collection
#13
Giovanni Bellini
Giovanni Bellini grew up in his father Jacopo's workshop in Venice, before inheriting the management of the family bottega at a very young age - a direct lineage which forged his obsession with lagoon light.
See the Giovanni Bellini collection
#14
Rogier van der Weyden
Trained in Tournai in the workshop of Robert Campin, known as the Master of Flémalle, around 1427, he learned the precision of detail and the rigor of Nordic drawing before settling in Brussels where he became the city's official painter.
See the Rogier van der Weyden collection
#15
Hans Holbein the Younger
Hans Holbein the Younger was born in Augsburg around 1497, where he entered the workshop of his father Hans Holbein the Elder, before fleeing Basel for London where he conquered the court of Henry VIII through the rigor of his line and the implacable acuity of his gaze.
See the Hans Holbein the Younger collection
#16
Hieronymus Bosch
Hieronymus Bosch, born around 1450 in 's-Hertogenbosch, was trained in the van Aken's paternal workshop before joining the Brotherhood of Notre-Dame in 1486, an elitist circle of artists and devotees who sustainably guided his moral vision of the world. His pictorial grammar is based on careful drypoint drawing,...
See the Hieronymus Bosch collection
#17
Pieter Brueghel the Elder
Trained in Antwerp in the workshop of Pieter Coecke van Aelst, whom he perhaps accompanied to Italy, Pieter Bruegel the Elder (around 1525-1569) discovered the Alps and the Lombard lakes there, engraving landscapes which would nourish lastingly his eye.
See the Pieter Brueghel the Elder collection
#18
Paul Veronese
Born in Verona in 1528, Paolo Caliari - known as Veronese - received training from his master Antonio Badile there before descending to Venice in 1553 to create frescoes on the facade of San Sebastiano, a decisive encounter with the lagoon light which would guide all his work.
See the Paul Veronese collection
#19
Jacopo Tintoretto
He entered Titian's workshop in Venice around 1530, but only stayed there for a few weeks - chased away or left of his own accord, he nonetheless retained the desire to dip his brush in the Venetian color. He completed his training by frequenting engravers, statuaries of the Scuola di San Marco,...
See the Jacopo Tintoretto collection
#20
Giorgione
Trained in Venice in Giovanni Bellini's workshop, Giorgione learned the patience of glazes and the science of Venetian lights before becoming, in just a decade, the secret master of an entire school. He practices a vaporous sfumato where the contours fade in a humid atmosphere,...
See the Giorgione collection
#21
Antonio da Correggio
Antonio Allegri, known as Le Correggio (around 1489-1534), is one of the great innovators of the Parma school, whose inventions of light and perspective directly prepared the Baroque. Trained in Mantegna's entourage then influenced by Raphael, he quickly freed himself from all tutelage to develop a sensual and lum...
See the Antonio da Correggio collection
#22
Pietro Perugino
Pietro Perugino, born Pietro Vannucci around 1446 in Città della Pieve, trained in the Florentine workshop of Andrea del Verrocchio, where he met the young generation who would reinvent the Tuscan language - Leonardo, Botticelli, Ghirlandaio - before settling permanently in Perugia where he runs one of the most active workshops on the peninsula.
See the Pietro Perugino collection
#23
Domenico Ghirlandaio
Trained in Florence in the workshop of Alesso Baldovinetti, Domenico Ghirlandaio very early encountered the rigor of Tuscan drawing and the demand for a tradition that leaves nothing to chance. However, it was in Rome, during a decisive stay in the years 1470-1480,...
See the Domenico Ghirlandaio collection
#24
Fra Filippo Lippi
Fra Filippo Lippi learned the trade in the Carmel of Florence, where he received training from a painter monk who introduced him to the secrets of fresco before he emancipated himself towards the city's major public construction sites, rubbing shoulders with the heirs direct from Masaccio....
See the Fra Filippo Lippi collection
#25
Paolo Uccello
Trained in Florence in the Lorenzo Ghiberti workshop, sculptor and goldsmith, Paolo Uccello - whose real name is Paolo di Dono - learned the rigor of drawing there before turning to monumental painting.
See the Paolo Uccello collectionChapter II · Ranks 26 to 50
Venice, Mannerism and the Northern Renaissance
Venetian color, mannerist elegance and Flemish precision expand the movement well beyond Florence.
#26
Andrea del Sarto
Trained in the Florentine workshop of Piero di Cosimo, Andrea d'Agnolo - known as del Sarto - very early on encountered the lesson of Leonardo da Vinci and Michelangelo, which can be read in his way of dissolving the contour and seeking the modeled by sfumato.
See the Andrea del Sarto collection
#27
Parmigianino
He learned drawing in the workshop of his uncles Pier Ilario and Michele Mazzola in Parma, before briefly crossing paths with Correggio, whose fluid elegance he retained. His technical gesture is based on a voluntary deformation of the body: he lengthens the necks, stretches the fingers, stretches the columns,...
See the Parmigianino collection
#28
Pontormo
Jacopo Pontormo, whose real name is Jacopo Carucci, grew up in the Florentine workshops of the early 16th century, where he had the chance (and bad luck) to fall under the control of Andrea del Sarto, whose lesson he digested before twist it in all directions. His gesture is based on a nervous drawing,...
See the Pontormo collection
#29
Bronzino
Bronzino, whose real name was Agnolo di Cosimo, trained in Florence in Pontormo's workshop, from which he inherited the mastery of drawing and the mannerist elegance which permeated the Medici court.
See the Bronzino collection
#30
Luca Signorelli
Luca Signorelli (around 1445-1523) is one of the great Tuscan masters of the late Renaissance, whose violent and muscular art directly announces Michelangelo. Trained in Piero della Francesca's entourage, he assimilated the geometric rigor of the master before freeing himself from it towards an almost baroque expressiveness....
See the Luca Signorelli collection
#31
Antonello da Messina
Antonello da Messina (around 1430-1479) is one of the decisive transmitters of the Renaissance: he brought back the technique of oil painting from Flanders, and introduced it to Naples then to Venice. Probably trained in the workshop of Niccolo Colantonio, he assimilated the optical precision of the Flemish Primitives - but combined it with monume...
See the Antonello da Messina collection
#32
Lorenzo Lotto
Lorenzo Lotto (1480-1556) is one of the most singular portraitists of the Italian Renaissance - a painter who looks at his models with an almost contemporary intensity. Trained in Venice in the entourage of Giovanni Bellini and probably Albrecht Dürer (when the latter traveled to Italy in 1494-95),...
See the Lorenzo Lotto collection
#33
Sebastiano del Piombo
Sebastiano Luciani, known as Sebastiano del Piombo, was born in Venice around 1485 and first trained in the workshop of Giovanni Bellini, before crossing paths with Giorgione whose colorful lesson left a lasting mark on him. Arriving in Rome around 1511, he met Michelangelo there,...
See the Sebastiano del Piombo collection
#34
Fra Bartolomeo
Training and meeting: Fra Bartolomeo, born Baccio della Porta in 1472 in Florence, first trained in the workshop of Cosimo Rosselli before joining the Dominican convent of San Marco, where he encountered the shadow of Savonarola and the brush of Leonardo da Vinci who passed on the secrets of sfumato to him.
See the Fra Bartolomeo collection
#35
Benozzo Gozzoli
He learned the trade in Fra Angelico's studio in Florence around the middle of the 15th century - a lineage that can be read in the purity of the drawing and the narrative tenderness.
See the Benozzo Gozzoli collection
#36
Vittore Carpaccio
Trained in Venice in the entourage of Gentile Bellini, from whom he inherited descriptive rigor and an eye for topographical detail, Carpaccio established himself in the 1490s as the most meticulous visual chronicler of the Serenissima. His gesture is based on a rigorous perspective construction inherited from Mantegna and Jacopo de' Barbari...
See the Vittore Carpaccio collection
#37
Nice Bellini
Gentile Bellini grew up in Jacopo Bellini's father's studio in Venice, where he learned the rigor of drawing and the meticulousness of perspective by watching his brother Giovanni paint alongside him. He thus inherits family know-how which will make him the official painter of the Serenissima,...
See the Gentile Bellini collection
#38
Cima da Conegliano
Cima da Conegliano (c. 1459-1518) belongs to the first generation of the Venetian school, alongside Giovanni Bellini and Giorgione. Trained in Venice probably in the studio of Giovanni Bellini himself, he settled in Conegliano (north of the lagoon) and cultivated an art of equal light and serene landscapes - almost...
See the Cima da Conegliano collection
#39
Jacopo Bassano
Born in Bassano del Grappa around 1510, Jacopo Bassano first trained in the paternal workshop of Francesco da Ponte, where he assimilated the Venetian tradition before crossing, according to tradition, the influence of Bonifazio Veronese and Paris Bordone during of his stays on the lagoon.
See the Jacopo Bassano collection
#40
Sofonisba Anguissola
Sofonisba Anguissola trained in Cremona with Bernardino Campi, then Bernardino Gatti, before meeting Michelangelo in Rome who, struck by his drawings, encouraged him to study the nude which he considered essential to any serious painter. His gesture is that of a restrained sfumato, with an almost invisible touch,...
See the Sofonisba Anguissola collection
#41
Lavinia Fontana
Trained in Bologna in Prospero Fontana's paternal studio, Lavinia Fontana received a more complete education as a painter than any other woman of her century and married in 1577 the landscaper Gian Paolo Zappi, who became her assistant.
See the Lavinia Fontana collection
#42
Rosso Fiorentino
Rosso Fiorentino (1494-1540), Giovanni Battista di Jacopo known as "the Red", is one of the founders of Florentine mannerism. Trained in the workshop of Andrea del Sarto alongside Pontormo - a rebellious duo formed in the same pot - he developed a nervous style very early on, with colors stretched like a bow,...
See the Rosso Fiorentino collection
#43
He Sodoma
Formed in the shadow of the Lombard school, perhaps in the orbit of Leonardo da Vinci, Giovanni Antonio Bazzi settled in Siena at the turn of the 16th century, where he absorbed the local tradition of dolce stil novo pictorial.
See the Il Sodoma collection
#44
Domenico Veneziano
Domenico Veneziano (around 1410-1461) belongs to the first generation of Florentines who reinvented light after Masaccio. Probably trained in the workshop of Gentile da Fabriano, he stayed in Pistoia then in Perugia, before settling in Florence where he worked on the frescoes (now lost) of Sant'Egidio alongside ...
See the Domenico Veneziano collection
#45
Andrea del Castagno
Born around 1421, Andrea del Castagno trained in Florence within the orbit of Donatello's sculpture and Masaccio's revolutionary frescoes, possibly working alongside Domenico Veneziano in the Brancacci Chapel workshops. This apprenticeship among sculptors and monumentalists forged his understanding of the body as a volume under tension.
See the Andrea del Castagno collection
#46
Piero di Cosimo
Trained in Florence in the studio of Cosimo Rosselli - hence his name - Piero di Cosimo met the generation working on the frescoes of the Sistine Chapel at a very young age, including a certain Sandro Botticelli.
See the Piero di Cosimo collection
#47
Cosimo Tura
Cosimo Tura (around 1430-1495) is the founder of the Ferrara school, alongside Francesco del Cossa and Ercole de' Roberti. Trained in Padua in the workshop of Francesco Squarcione, he encountered the antiquizing rigor of Mantegna which definitively sculpted his gaze: metallic figures, tense architecture,...
See the Cosimo Tura collection
#48
Carlo Crivelli
Carlo Crivelli was trained in Padua, in contact with the Paduan school, where he absorbed the geometric rigor of Mantegna and inherited the profession of Antonio Vivarini. His drawing stands out like a blade: steel contours, dry modeling, bony musculature, and this way of enclosing each figure in a network of folds like armor....
See the Carlo Crivelli collection
#49
Nice da Fabriano
Gentile da Fabriano was formed at the end of the 14th century in the Marches, between the workshops of Venice and the Lombard influence which marked his first works. The probable encounter with the Pisanello school and the miniaturists of northern Europe sharpened his taste for precious ornament.
See the Gentile da Fabriano collection
#50
Andrea del Verrocchio
Verrocchio trained in Antonio del Pollaiuolo's workshop in Florence, where he learned to dissect movement and musculature before blowing everything up. He then runs his own workshop via del Proconsolo, transforming his place into a nursery of geniuses - Leonardo, Botticelli, Ghirlandaio all pass through his table.
See the Andrea del Verrocchio collectionChapter III · Ranks 51 to 75
From the origins of the Trecento to European courts
Siena, Bruges, Nuremberg, Toledo and Fontainebleau reveal parallel paths to naturalism, portraiture and landscape.
#51
Duccio di Buoninsegna
Sa Maestà unites Byzantine tradition, lively narration and chromatic delicacy, preparing the innovations of the Trecento.
See the Duccio di Buoninsegna collection
#52
Cimabue
It loosens Byzantine rigidity and gives more volume, weight and emotion to sacred figures.
See the Cimabue collection
#53
Matthias Grünewald
The Issenheim altarpiece carries color, pain and mystical vision at exceptional intensity.
See the Matthias Grünewald collection
#54
Hans Memling
His silent portraits and precise altarpieces combine intimacy, atmospheric depth and meticulous refinement.
See the Hans Memling collection
#55
Hugo van der Goes
The Portinari triptych imposes monumental figures and psychological tension which have a lasting impact on Florence.
See the Hugo van der Goes collection
#56
Robert Campin
The master of Flémalle transforms familiar interiors into symbolic spaces where each object participates in the story.
See the Robert Campin collection
#57
Dirk Bouts
Its calm perspective, its distant landscapes and its collected characters give the story a strange suspension.
See the Dirk Bouts collection
#58
Simone Martini
Its elegant line, its gold and its precious colors spread Sienese art to the court of Avignon.
See the Simone Martini collection
#59
Ambrogio Lorenzetti
The Effects of good government make the city, the territory and civic life an immense pictorial laboratory.
See the Ambrogio Lorenzetti collection
#60
Lorenzo Monaco
Its luminous colors and undulating rhythms extend Gothic elegance on the threshold of the Florentine Renaissance.
See the Lorenzo Monaco collection
#61
Giovanni di Paolo
Its unreal landscapes, expressive perspectives and bold colors make up a recognizable spiritual world.
See the Giovanni di Paolo collection
#62
Federico Barocci
His spiral compositions, vibrant pastels and preparatory studies announce baroque sensibility.
See the Federico Barocci collection
#63
Luis de Morales
His close devotional figures favor contained pain, lowered gazes and tactile precision.
See the Luis de Morales collection
#64
Juan de Juanes
It adapts Italian balance to Valencian devotion with light color and readable compositions.
See the Juan de Juanes collection
#65
El Greco
Its stretched figures, cold colors and vertical spaces transform Toledo into a theater of inner vision.
See the El Greco collection
#66
Jean Fouquet
It combines Nordic precision, Italian experience and a sense of portraiture to renew French painting.
See the Jean Fouquet collection
#67
Petrus Christus
His coherent interiors and direct portraits continue Van Eyck's research with sobriety.
See the Petrus Christus collection
#68
Gerard David
His painting balances meticulous Flemish, peaceful landscapes and softness of faces in orderly compositions.
See the Gerard David collection
#69
Jan Gossaert
After his trip to Italy, he introduced monumental nudes and ancient architecture to the Netherlands.
See the Jan Gossaert collection
#70
Lucas Cranach the Elder
Portraitist of the Reformation, he also developed a nervous language for his nudes and mythological subjects.
See the Lucas Cranach the Elder collection
#71
Hans Baldung Grien
A student of Dürer who became independent, he mixes portraiture, witchcraft, death and sensuality with restless energy.
See the Hans Baldung Grien collection
#72
Albrecht Altdorfer
It makes the landscape an autonomous subject and transforms forests, mountains and battles into cosmic visions.
See the Albrecht Altdorfer collection
#73
Joachim Patinir
Its vast bluish panoramas give the landscape a new dimension, while religious scenes become secondary.
See the Joachim Patinir collection
#74
Bernard van orley
Court painter and tapestry designer, he combines Flemish tradition and Italian monumentality.
See the Bernard van Orley collection
#75
Pieter Aertsen
Its markets and kitchens place food, objects and daily actions at the forefront.
See the Pieter Aertsen collectionChapter IV · Ranks 76 to 100
Court portraits, regional homes and late inheritances
The last rows follow traffic between France, Spain, Italy and Central Europe up to the Baroque thresholds.
#76
Pieter Pourbus
His precise portraits and religious compositions extend the Bruges tradition with a classical organization.
See the Pieter Pourbus collection
#77
Jean Clouet
His court portraits define a sober presence, attentive to the face, costume and social rank.
See the Jean Clouet collection
#78
François Clouet
He pushes the art of French portraiture towards a refined accuracy where psychology and fabrics respond to each other.
See the François Clouet collection
#79
Cornelius of Lyon
His small portraits focus all attention on the face and individual expression.
See the Corneille de Lyon collection
#80
Konrad Witz
His Miraculous Fishing inscribes a sacred episode in a topographical landscape and a concrete light.
See the Konrad Witz collection
#81
Pedro Berruguete
It combines Flemish heritage, Italian perspective and Castilian taste for portraiture and religious narrative.
See the Pedro Berruguete collection
#82
Juan de Flandes
Painter of Isabella the Catholic, he combines Flemish finesse, clear light and concentrated narration.
See the Juan de Flandes collection
#83
Fernando Gallego
Its powerful altarpieces combine Nordic details, expressive silhouettes and monumentality.
See the Fernando Gallego collection
#84
Filippino Lippi
It transforms the legacy of Lippi and Botticelli into a nervous language, rich in fantastic architecture.
See the Filippino Lippi collection
#85
Pinturicchio
Its narrative frescoes seduce with their brilliant colors, open landscapes and decorative abundance.
See the Pinturicchio collection
#86
Domenico Beccafumi
Unstable lights, bold perspectives and unreal colors give his painting a disturbing modernity.
See the Domenico Beccafumi collection
#87
Dosso Dossi
In Ferrara, he mixes poetry, mythology and landscape in a free and enigmatic colorful material.
See the Dosso Dossi collection
#88
Garofalo
It combines Raphaelesque clarity, Ferrarese color and devotional narration in balanced compositions.
See the Garofalo collection
#89
Giulio Romano
A student of Raphael, he pushed architecture, decor and painting towards spectacular theatricality.
See the Giulio Romano collection
#90
Daniele da Volterra
Close to Michelangelo, he constructs powerful figures and tense compositions dominated by drawing.
See the Daniele da Volterra collection
#91
Giuseppe Arcimboldo
His portraits of fruits, flowers, books or animals transform court scholarship into visual enigmas.
See the Giuseppe Arcimboldo collection
#92
Bartholomeus Spranger
At the court of Rudolf II, he developed sinuous bodies, complex poses and scholarly sensuality.
See the Bartholomeus Spranger collection
#93
Taddeo Gaddi
Giotto's main heir, he deepened research on space, light and narration.
See the Taddeo Gaddi collection
#94
Michael Wolgemut
Master of Dürer, he directed a major workshop where painting, altarpiece and engraving responded to each other.
See the Michael Wolgemut collection
#95
Bernardino Luini
His soft and luminous style transposes Leonardo's influence into frescoes of accessible grace.
See the Bernardino Luini collection
#96
Francesco Francia
A goldsmith turned painter, he seeks calm harmony, precise contours and elegant devotion.
See the Francesco Francia collection
#97
Antonio Pollaiuolo
His study of the body in motion and anatomy gives the fights remarkable tension.
See the Antonio Pollaiuolo collection
#98
Jacopo de' Barbari
A traveling engraver and painter, he linked Venice to the northern courts and experimented with perspective and still life.
See the Jacopo de' Barbari collection
#99
Annibale Carracci
With the Bolognese Academy, he brought together observation, drawing and classical heritage to overcome mannerism.
See the Annibale Carracci collection
#100
Artemisia Gentileschi
Its heroines impose a powerful physical and psychological presence, carried by dramatic chiaroscuro.
See the Artemisia Gentileschi collectionAfter the hundredth artist
Reread the Renaissance by cities, materials and circulation
Compare Flemish oil to Florentine fresco, Venetian color to Tuscan drawing, French portrait to German experiences. The connections reveal a plural Renaissance, made up of local answers to common questions.
Unmissable collections
Benchmarks for further investigation
One hundred artists to understand how the Western gaze has changed scale
The Renaissance does not replace an ancient world with a modern world: it reorganizes traditions, techniques and knowledge. Each painter in this classification provides a different solution to the same ambition: to make bodies, spaces and stories more present.
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