International Gothic in the context of "Duchy of Burgundy"

Giotto di Bondone (Italian: [ˈdʒɔtto di bonˈdoːne]; c. 1267 – January 8, 1337), known mononymously as Giotto, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period. Giotto's contemporary, the banker and chronicler Giovanni Villani, wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature" and of his publicly recognized "talent and excellence". Giorgio Vasari described Giotto as making a decisive break from the prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years".

Giotto's masterwork is the decoration of the Scrovegni Chapel, in Padua, also known as the Arena Chapel, which was completed around 1305. The fresco cycle depicts the Life of the Virgin and the Life of Christ. It is regarded as one of the supreme masterpieces of the Early Renaissance.

Gothic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, and much of Northern, Southern and Central Europe, never quite effacing more classical styles in Italy. In the late 14th century, the sophisticated court style of International Gothic developed, which continued to evolve until the late 15th century. In many areas, especially Germany, Late Gothic art continued well into the 16th century, before being subsumed into Renaissance art. Primary media in the Gothic period included sculpture, panel painting, stained glass, fresco and illuminated manuscripts. The easily recognisable shifts in architecture from Romanesque to Gothic, and Gothic to Renaissance styles, are typically used to define the periods in art in all media, although in many ways figurative art developed at a different pace.

The earliest Gothic art was monumental sculpture, on the walls of Cathedrals and abbeys. Christian art was often typological in nature (see Medieval allegory), showing the stories of the New Testament and the Old Testament side by side. Saints' lives were often depicted. Images of the Virgin Mary changed from the Byzantine iconic form to a more human and affectionate mother, cuddling her infant, swaying from her hip, and showing the refined manners of a well-born aristocratic courtly lady.

Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the beginning of the Dutch Revolt in 1566 or 1568 – Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.

The major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their work typically features complex iconography. Their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century. The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is also noted for its sculpture, tapestries, illuminated manuscripts, stained glass and carved retables.

Terracotta, also known as terra cotta or terra-cotta (Italian: [ˌtɛrraˈkɔtta]; lit. 'baked earth'; from Latin terra cocta 'cooked earth'), is a clay-based non-vitreous ceramic fired at relatively low temperatures. It is therefore a term used for earthenware objects of certain types, as set out below.

Usage and definitions of the term vary, such as:

Erfurt Cathedral (German: Erfurter Dom, officially Hohe Domkirche St. Marien zu Erfurt, English: Cathedral Church of St Mary at Erfurt), also known as St Mary's Cathedral, is the largest and oldest church building in the Thuringian city of Erfurt, central Germany. It is the episcopal seat of the Roman Catholic Diocese of Erfurt. The cathedral was mainly built in the International Gothic style and is located on a hillside overlooking the main town square (Domplatz, Cathedral Square), directly next to St Severus' Church. As a unique architectural ensemble, both churches together form the city's landmark. Former German names include Marienkirche and Propsteikirche Beatae Mariae Virginis.

The Très Riches Heures du Duc de Berry (French pronunciation: [tʁɛ ʁiʃz‿œʁ dy dyk də beʁi]; English: The Very Rich Hours of the Duke of Berry), or Très Riches Heures, is an illuminated manuscript that was created between c. 1412 and 1416. It is a book of hours, which is a Christian devotional book and a collection of prayers said at canonical hours. The manuscript was created for John, Duke of Berry, the brother of King Charles V of France, by Limbourg brothers Paul, Johan and Herman. The book is now MS 65 in the Musée Condé, Chantilly, France.

Consisting of a total of 206 leaves of very fine quality parchment, 30 cm (12 in) in height by 21.5 cm (8+1⁄2 in) in width, the manuscript contains 66 large miniatures and 65 small. The design of the book, which is long and complex, has undergone many changes and reversals. Many artists contributed to its miniatures, calligraphy, initials, and marginal decorations, but determining their precise number and identity remains a matter of debate. Painted largely by artists from the Low Countries, often using rare and costly pigments and gold, and with an unusually large number of illustrations, the book is one of the most lavish late medieval illuminated manuscripts. The work was created in the late artistic phase of the International Gothic style.

Hans Holbein the Younger (UK: /ˈhɒlbaɪn/ HOL-byne, US: /ˈhoʊlbaɪn, ˈhɔːl-/ HOHL-byne, HAWL-; German: Hans Holbein der Jüngere; c. 1497 – between 7 October and 29 November 1543) was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda, and he made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father Hans Holbein the Elder, an accomplished painter of the Late Gothic school.

Holbein was born in Augsburg but worked mainly in Basel as a young artist. At first, he painted murals and religious works, and designed stained glass windows and illustrations for books from the printer Johann Froben. He also painted an occasional portrait, making his international mark with portraits of humanist Desiderius Erasmus. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His Late Gothic style was enriched by artistic trends in Italy, France, and the Netherlands, as well as by Renaissance humanism. The result was a combined aesthetic uniquely his own.

Paolo Uccello (/uːˈtʃɛloʊ/ oo-CHEL-oh, Italian: [ˈpaːolo utˈtʃɛllo]; 1397 – 10 December 1475), born Paolo di Dono, was an Italian Renaissance painter and mathematician from Florence who was notable for his pioneering work on visual perspective in art. In his book Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari wrote that Uccello was obsessed by his interest in perspective and would stay up all night in his study trying to grasp the exact vanishing point. Uccello used perspective to create a feeling of depth in his paintings. His best known works are the three paintings representing the battle of San Romano, which were wrongly entitled the Battle of Sant'Egidio of 1416 for a long period of time.

Paolo worked in the Late Gothic tradition, emphasizing colour and pageantry rather than the classical realism that other artists were pioneering. His style is best described as idiosyncratic, and he left no school of followers. He has had some influence on twentieth-century art and literary criticism (e.g., in the Vies imaginaires by Marcel Schwob, Uccello le poil by Antonin Artaud and O Mundo Como Ideia by Bruno Tolentino).