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Part of European Paintings
Antonio Rossellino (Italian, Settignano 1427–ca. 1479 Florence)
Date: ca. 1455–60Accession Number: 14.40.675
Mino da Fiesole (Mino di Giovanni) (Italian, Papiano or Montemignaio 1429–1484 Florence)
Date: third quarter 15th centuryAccession Number: 14.40.674
Luca della Robbia (Italian, 1399/1400–1482 Florence)
Date: 15th centuryAccession Number: 14.40.685
Francesco Francia (Italian, Bologna ca. 1447–1517 Bologna)
Date: 1510Accession Number: 14.40.638
Domenico Ghirlandaio (Domenico Bigordi) (Italian, Florence 1448/49–1494 Florence)
Date: ca. 1488Accession Number: 49.7.7
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In the fifteenth century, patrons were as likely to commission portrait busts as painted portraits for their palace interiors and as inclined to decorate their bedrooms with sculpted reliefs as with painted images of the Madonna and Child. The great theorist and critic Leon Battista Alberti felt that painting and sculpture were closely related, and Renaissance artists and critics habitually debated the superiority of one to the other. Painters emphasized the three-dimensionality of their figures and sometimes simulated sculpture in paint, while sculptors often embellished the surfaces of their marble sculptures with gold and painted decoration. Luca della Robbia famously incorporated color into his glazed terracotta images, and sculptures in wood and terracotta were invariably colored—most commonly by a professional painter. A number of artists practiced both painting and sculpture; the portrait medal was invented by a painter, Pisanello, who invariably signed himself PICTOR ("painter").
The Benjamin Altman Collection
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