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Renaissance - IV 


Matthias Grunewald
 
1470-1528

Matthias Grünewald (c. 1470 – 31 August 1528) was a German Renaissance painter of religious works who ignored Renaissance classicism to continue the style of late medieval Central European art into the 16th century. His first name is also given as Mathis and his surname as Gothart or Neithardt.
Only ten paintings—including several polyptychs—and thirty-five drawings survive, all religious, although many others were lost at sea on their way to Sweden as war booty. He was obscure until the late nineteenth century, when many of his paintings were attributed to Albrecht Dürer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece created c. 1512 to 1516.


 

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Matthias Grünewald
John the Evangelist.
This work was long thought to be a self-portrait.


 

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Isenheim Altarpiece
 

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Isenheim altarpiece - First view

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Isenheim altarpiece - Second view

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Isenheim altarpiece - Third view

 

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Crucifixion (detail), Isenheim Altarpiece,
c. 1512–16

 

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Isenheim altarpiece - Resurrection pane
 

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Far left and far right panels seen when altarpiece is fully open (here illustrated sided-by-side).
Left: the Temptations of Saint Anthony
Right: Saint Anthony visits Saint Paul


 

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Demons Armed with Sticks (detail from the Isenheim Altarpiece)

 

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Isenheim altarpiece - Temptations of Saint Anthony panel (detail)
 

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Detail of Concert of Angels from the Isenheim Altarpiece 

 


Isenheim altarpiece - First view (detail)


 

Albrecht Dürer
1471 - 1528

Albrecht Dürer (21 May 1471 – 6 April 1528), sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.
Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts series are more Gothic than the rest of his work. His well-known engravings include the three Meisterstiche (master prints) Knight, Death and the Devil (1513), Saint Jerome in his Study (1514), and Melencolia I (1514). His watercolours mark him as one of the first European landscape artists, while his woodcuts revolutionised the potential of that medium.
Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions.



 

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Self Portrait
Albrecht Dürer


 

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Nude Self-portrait
c.1503 - 1505

 

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Portrait of Barbara Dürer
1490

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Self-portrait at 22
1493

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The Sea Monster
c. 1498

 

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The Sea Monster
c. 1498


 

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Adam and Eve
1504

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Knight, Death, and the Devil
1513

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Melencolia I
 

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The Temptation of the Idler
1498

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Witch Riding Backwards On A Goat
1500

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Nemesis (The Great Fortune)
1501 - 1503

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Satyr Family
1505

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Der heilige Hieronymus im Gehäus, Kupferstich
(1514)


 

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The Penance of Saint John Chrysostom
c. 1496

 

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Five figure studies,
1515

 

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The Expulsion from Paradise,
1510

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Paradise
 

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Abduction of Proserpine on a Unicorn
 

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Coat of Arms with a Skull,
1503

 


The Apocalypse

The Apocalypse, 1-15, properly Apocalypse with Pictures (Latin: Apocalipsis cum figuris), is a series of fifteen woodcuts by Albrecht Dürer published in 1498 depicting various scenes from the Book of Revelation, which rapidly brought him fame across Europe. These woodcuts likely drew on theological advice, particularly from Johannes Pirckheimer, the father of Dürer's friend Willibald Pirckheimer.
Work on the series started during Dürer's first trip to Italy (1494–95), and the set was published simultaneously as a book with 15 pages of biblical text facing the 15 illustrations.  in Latin and German at Nuremberg in 14
98, at a time when much of secular Europe feared an invasion of the Ottoman Empire and Christian Europe anticipated a possible Last Judgment in the year 1500. Dürer was the publisher and seller of this series, and became the first artist to publish a book and create a copyright. Considering the 15 woodcuts, The Four Horsemen of the Apocalypse (c. 1497–98), referring to Revelation 6:1–8, is often viewed as the most famous piece. 
In 1511, Dürer published the second edition of Apocalypse in a combined edition with his Life of the Virgin and Large Passion; single impressions were also produced and sold.


 

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Title page of the second Latin edition of the Apocalypse series
(1511)

 

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1. The martyrdom of St John
 

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2. St John's vision of the seven candlesticks
 

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3. St John kneeling before Christ and the twenty-four elders
 

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4. The four horsemen of the Apocalypse
 

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5. The opening of the fifth and sixth seals
 

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6. Four angels holding back the winds, and the marking of the elect
 

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7. The hymn in adoration of the lamb
 

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8. The opening of the seventh seal and the eagle crying 'Woe'
 

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9. The four angels of Death
 

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10. St John eating the book
 

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11. The woman of the Apocalypse and the seven-headed dragon
 

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12. Saint Michael Fighting the Dragon
 

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13. The Whore of Babylon
 

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14. The beast with the lamb's horns and the beast with seven heads
 

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15. The angel with the key of the bottomless pit[a]


 

Great Passion is a 1497-1510 series of eleven woodcuts plus a frontispiece by Albrecht Dürer. Its title distinguishes it from his later Small Passion. One of the best surviving sets is now in the Albertina in Vienna.

At first, after settling in Nuremberg, Dürer only produced prints, a far more guaranteed income stream than chasing commissions for paintings. Around 1497 he began to plan an ambitious and in many ways innovative plan to produce an illustrated edition of the Passion of Jesus, which he worked on in parallel with his Apocalypse. He not only produced the preparatory drawings for the work but also the woodblocks for printing the images and text. As with Apocalypse, the illustrations were full-page works in recto, followed by the text of the relevant Biblical verses, telling the same scene in image and words without the reader having to compare each illustration with its corresponding passage.

He drew on both local and foreign artistic influences, including Raphael's Christ Falling on the Way to Calvary. The stand-out print from his first phase of work on Passion is Christ Bearing his Cross - its crowd and Christ uniting two themes from copperplate engravings by Martin Schongauer and accentuating their Late Gothic style whilst the musculature of the soldier on the right also draws on the contemporary study of anatomy which Dürer would have seen in Italian Renaissance works in Venice. These two influences are merged in an idiosyncratic but naturalistic style, making the best use of the bold black-white contrast inherent in woodcutting, giving volume to the figures through parallel hatching, already used for copperplate engravings at that time. The synthesis intensifies as the work goes on, merging the visionary nature of the events with a classical naturalism and monumentality in the figures.

The full set was only completed with its last four plates and the frontispiece in 1510, appearing as a book with a Latin text. In the meantime, Dürer had had to release individual prints from the set, thus (combined with its less sensational and fantastical nature than Apocalypse) lessening the final work's impact and success.


 

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1.Frontispiece (1510)
 

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2Last Supper (1510)
 

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3Agony in the Garden (around 1497)

 

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4Christ Arrested (1510)
 

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5Flagellation of Christ (around 1497)
 

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6Ecce Homo (1499 circa)
 

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7Christ Carries his Cross (1498)
 

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8Crucifixion (1498)
 

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9Lamentation (around 1497)
 

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10Burial of Christ (around 1497)
 

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11Christ Descends into Limbo (1510)
 

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12Resurrection of Christ (1510)

 

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Martyrdom of the Ten Thousand 

Martyrdom of the Ten Thousand (detail)
 

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Adoration of the Magi
(1504)

 

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Adam and Eve
1507

 

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Lamentation for Christ
1500-03

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Portrait of a Young Venetian Woman
1505

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Madonna of the Pear
1512

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Portrait of Bernhard von Reesen
1521



 

Lucas Cranach the Elder
c. 1472 – 1553

Lucas Cranach the Elder (c. 1472 – 16 October 1553) was a German Renaissance painter and printmaker in woodcut and engraving. He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German princes and those of the leaders of the Protestant Reformation, whose cause he embraced with enthusiasm. He was a close friend of Martin Luther. Cranach also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn from mythology and religion.

Cranach had a large workshop and many of his works exist in different versions; his son Lucas Cranach the Younger and others continued to create versions of his father's works for decades after his death. He has been considered the most successful German artist of his time.
He was born at Kronach in upper Franconia (now central Germany), probably in 1472. His exact date of birth is unknown. He learned the art of drawing from his father Hans Maler (his surname meaning "painter" and denoting his profession, not his ancestry, after the manner of the time and class). His mother, with surname Hübner, died in 1491. Later, the name of his birthplace was used for his surname, another custom of the times. How Cranach was trained is not known, but it was probably with local south German masters, as with his contemporary Matthias Grünewald, who worked at Bamberg and Aschaffenburg (Bamberg is the capital of the diocese in which Kronach lies). There are also suggestions that Cranach spent some time in Vienna around 1500.

From 1504 to 1520 he lived in a house on the south west corner of the marketplace in Wittenberg.

According to Gunderam (the tutor of Cranach's children), Cranach demonstrated his talents as a painter before the close of the 15th century. His work then drew the attention of Duke Frederick III, Elector of Saxony, known as Frederick the Wise, who attached Cranach to his court in 1504. The records of Wittenberg confirm Gunderam's statement to this extent: that Cranach's name appears for the first time in the public accounts on the 24 June 1504, when he drew 50 gulden for the salary of half a year, as pictor ducalis ("the duke's painter"). Cranach was to remain in the service of the Elector and his successors for the rest of his life, although he was able to undertake other work.

Cranach married Barbara Brengbier, the daughter of a burgher of Gotha and also born there; she died at Wittenberg on 26 December 1540. Cranach later owned a house at Gotha, but most likely he got to know Barbara near Wittenberg, where her family also owned a house, which later also belonged to Cranach. Cranach had two sons, both artists: Hans Cranach, whose life is obscure and who died in Bologna in 1537; and Lucas Cranach the Younger, born in 1515, who died in 1586. He also had three daughters. One of them was Barbara Cranach, who died in 1569, married Christian Brück (Pontanus), and was an ancestor of Johann Wolfgang von Goethe. His granddaughter married Polykarp Leyser the Elder, thus making him an ancestor of the Polykarp Leyser family of theologians.

 

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Lucas Cranach the Elder, portrait at age 77, c. 1550, by Lucas Cranach the Younger. 

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Triptych with the Martyrdom of St Catherine
1506

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Triptych with the Holy Kinship
1509

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Virgin and Child with a Bunch of Grapes
1509-10

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The Martyrdom of St Catherine
1504-05

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Christ and the Adulteress
1532

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Salome
c. 1530

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The Feast of Herod
1533

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Judith with the Head of Holofernes
c. 1530

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Samson and Delilah
1528-30

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David and Bathsheba
1534

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Lot and his Daughters
1528

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Adam and Eve
1526

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Adam and Eve
c. 1538

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Madonna and Child with the Young St John the Baptist

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The Judgment of Paris
1512-14

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Reclining Nymph
1520-34

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Reclining Nymph
1520-34

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Reclining Nymph
1520-34

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Reclining Nymph
1520-34

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Apollo and Diana
c. 1526

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The Faun Family
1531

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Reclining Nymph
1520-34

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Cupid Complaining to Venus
1526-27

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Lucretia
1510-13

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Lucretia
1532

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The Golden Age
c. 1530

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Allegory of Melancholy
1532

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Portrait of Dr. Johannes Cuspinian
c. 1502

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Portrait of Anna Cuspinian
c. 1502

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Ill-Matched Couple: Young Widow and Old Man
1525-30


 

Michelangelo Buonarroti
1475 – 1564

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Michelangelo di Lodovico Buonarroti Simoni (6 March 1475 – 18 February 1564), known mononymously as Michelangelo, was an Italian sculptor, painter, architect, and poet of the High Renaissance. Born in the Republic of Florence, his work was inspired by models from classical antiquity and had a lasting influence on Western art. Michelangelo's creative abilities and mastery in a range of artistic arenas define him as an archetypal Renaissance man, along with his rival and elder contemporary, Leonardo da Vinci. Given the sheer volume of surviving correspondence, sketches, and reminiscences, Michelangelo is one of the best-documented artists of the 16th century. He was lauded by contemporary biographers as the most accomplished artist of his era.

Michelangelo achieved fame early. Two of his best-known works, the Pietà and David, were sculpted before the age of thirty. Although he did not consider himself a painter, Michelangelo created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. His design of the Laurentian Library pioneered Mannerist architecture. At the age of 71, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan so that the Western end was finished to his design, as was the dome, with some modification, after his death.

Michelangelo was the first Western artist whose biography was published while he was alive. Three biographies were published during his lifetime. One of them, by Giorgio Vasari, proposed that Michelangelo's work transcended that of any artist living or dead, and was "supreme in not one art alone but in all three."

In his lifetime, Michelangelo was often called Il Divino ("the divine one"). His contemporaries admired his terribilità—his ability to instill a sense of awe in viewers of his art. Attempts by subsequent artists to imitate the expressive physicality of Michelangelo's style contributed to the rise of Mannerism, a short-lived movement in Western art between the High Renaissance and the Baroque. 

 

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Pietà, St Peter's Basilica
(1498–1499)

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David
1504

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The Holy Family with the infant St. John the Baptist (the Doni tondo)
c. 1506

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Leda and the Swan
1535-60

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The Sistine Chapel Ceiling
(1508–1512)

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Sistine Chapel
Drunkenness of Noah
1509

 

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Sistine Chapel
The Deluge
1508-09

 

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Sistine Chapel
Sacrifice of Noah
1509

 

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Sistine Chapel
The Fall and Expulsion from Garden of Eden
1509-10

 

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Sistine Chapel
Creation of Eve
1509-10

 

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Sistine Chapel
Creation of Adam
1510

 

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Sistine Chapel
Separation of the Earth from the Waters
1511

 

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Sistine Chapel
Creation of the Sun, Moon, and Plants
1511

 

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Sistine Chapel
Separation of Light from Darkness (with ignudi and medallions)
1511

 

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Sistine Chapel
The Delphic Sibyl
1509

 

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Sistine Chapel
The Erythraean Sibyl
1509

 

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Sistine Chapel
Last Judgment 
1537-41

 

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Sistine Chapel
Last Judgment (detail)
1537-41

 

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Sistine Chapel
Last Judgment (detail)
1537-41

 

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Sistine Chapel
Last Judgment (detail)
1537-41

 

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