在费艺阅读艺术史 1100-1500
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罗曼式 Romanesque 11-13世纪
古罗马的遗产，传遍基督教区域；结实稳固的结构比例；体积感；装饰的立体感。
Artist/maker unknown, French
Gallery 304
哥特式 Gothic 12中-15世纪
法兰西岛大区；石墙让位于骨架式结构；垂直向上的张力；内部空间的跨度；丰富的装潢，比罗曼式更加突出的装饰雕塑。
High-Backed Armchair, Late 15th century
Artist/maker unknown, French
Gallery 314
辐射哥特式 Rayonnant Gothic 1230-1350
法国；去形态化的建筑形貌；宽大平衡的结构比例；线条感（辐射哥特式建筑也称宫廷哥特式建筑）。
Artist/maker unknown, French
Gallery 301
国际哥特式 International Gothic 1370-1450
艺术品流通所推动；主题追求精彩世界；怪诞的自然主义元素；炫技手法。
Saint Nicholas of Tolentino Saving a Shipwreck, 1457
Giovanni di Paolo (Giovanni di Paolo di Grazia) (乔万尼·迪·保罗), Italian (active Siena), first documented 1417, died 1482
Gallery 311
乔万尼·迪·保罗属于锡耶纳画派。
火焰哥特式 Flamboyant Gothic 14末-15中
法国；技术和装饰营造的华丽感；弧线形态具有火焰的跳跃感，光彩夺目又生动活泼。
Artist/maker unknown, French
Gallery 300
Artist/maker unknown, French
Gallery 300
锡耶纳画派 Sienese School 13-15世纪
呈现出脱离中世纪拜占庭艺术传统的趋势，并以其装饰线条为标志；完整的金色背景也是本派许多作品的显著特征；代表人物有杜乔、西蒙·马蒂尼等。
Workshop of Duccio (Duccio di Buoninsegna) (杜乔), Italian (active Siena and Florence), first documented 1278, died 1318
Gallery 310
早期弗拉芒画派 Flemish Primitives, or Early Netherlandish Painting 15世纪
油画；人在自然中；光线主导的视觉；逼真的细节。
Saint Francis of Assisi Receiving the Stigmata, 1430-1432
Jan van Eyck (扬·凡·艾克), Netherlandish (active Bruges), c. 1395 - 1441
Gallery 319
油画的前身是15世纪以前欧洲绘画中的蛋彩画，后经尼德兰画家扬·凡·艾克对绘画材料等加以改良后发扬光大。后人因扬·凡·艾克对油画艺术技巧的纵深发展做出的独特贡献，誉其为“油画之父”。
The Crucifixion, with the Virgin and Saint John the Evangelist Mourning, c. 1460
Rogier van der Weyden, Netherlandish (active Tournai and Brussels), 1399/1400 - 1464
Gallery 306
人文主义 Humanism 15世纪
从意大利开始；系统总结研究图形造型规律；人物刻画趋近逼真；承载平民意志。
The Archangel Raphael Preventing an Assassination, 1471
Neri di Bicci, Italian (active Florence), 1419 - January 4, 1493
Gallery 309
画面中的教堂由伯鲁乃列斯基设计，启发了后来透视学的发展。
透视学 Perspectives 15世纪
伯鲁乃列斯基；意大利；在艺术史中起到革命性的作用；绘画不止于丰富细节，而拥有了空间感。
Christ Healing a Lunatic and Judas Receiving Thirty Pieces of Silver, c. 1425-1426
Francesco d’Antonio, Italian (active Florence), born c. 1393-94; last documented 1433, Florence
Gallery 309
据研究，透视部分由马萨乔（第一位使用透视法的画家）完成。
佛罗伦萨画派 Florentine School 14-15世纪
现实经验；对背景的主动处理；简约朴素、唯一场景、比例和谐的构图；人物真实感或符号象征化；个体价值的复兴；文艺复兴的先声；代表人物有乔托，波提切利等。
Portrait of a Young Man, possibly Giuliano de’ Medici, 1465-1470
Sandro Botticelli (Alessandro di Mariano Filipepi) (波提切利), Italian (active Florence and Rome), 1445 - 1510
Gallery 309
Predella Panels from the High Altarpiece of Sant’Elisabetta delle Convertite, Florence, c. 1484?
Sandro Botticelli (Alessandro di Mariano Filipepi) (波提切利), Italian (active Florence and Rome), 1445 - 1510, and Filippino Lippi, Italian (active Florence, Rome, and Naples) (菲利皮诺·利皮), 1457 - 1504
Gallery 312
15世纪威尼斯画派 15th Century Venetian School
吸收了佛罗伦萨和意大利中部的文艺复兴时期的创新。由于这座城市在东方香料和奢侈品贸易中的卓越地位，威尼斯的艺术家们一直享有获得最好和最昂贵的颜料的机会。
Portrait of a Young Gentleman, 1474
Antonello da Messina (Antonello di Giovanni di Michele de Antonio) (安托内罗·达·梅西那), Italian (active Messina, Naples, and Venice), first securely documented 1456, died 1479
Gallery 313a
西西里人。他的作品受到了早期弗拉芒画派的影响，他将这种影响带给了威尼斯画派。乔尔乔·瓦萨里称赞他“把油画带到了意大利”。
Portrait of a Gentleman, c. 1500
School of Giovanni Bellini, also called Giambellino, Italian (active Venice), first documented 1459, died 1516
Gallery 308
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