14 Facts About Proto-Renaissance

Proto-Renaissance begins with the professional life of the painter Giotto and includes Taddeo Gaddi, Orcagna and Altichiero.

Proto-Renaissance's first set of Baptistry doors took 27 years to complete, after which he was commissioned to make another.

Proto-Renaissance did a number of these in terra verde, enlivening his compositions with touches of vermilion.

Proto-Renaissance worked on the high altar and created a series of bronze panels in which he achieved a remarkable illusion of depth, with perspective in the architectural settings and apparent roundness of the human form all in very shallow relief.

Proto-Renaissance studied and drew the flowers of the fields, the eddies of the river, the form of the rocks and mountains, the way light reflected from foliage and sparkled in a jewel.

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Proto-Renaissance exhibited a revolutionary use of colour by defining the transition between figures by colour modulation instead of by actual lines.

Proto-Renaissance's work invited the viewer into a mysterious world of shifting shadows, chaotic mountains and whirling torrents.

Proto-Renaissance's first signed and dated painting, executed at the age of 21, is the Betrothal of the Virgin, which immediately reveals its origins in Perugino's Christ giving the Keys to St Peter.

Proto-Renaissance was painting right up until his death and his works illustrate several influences.

Proto-Renaissance was first the teacher of Giorgione and Titian but was later influenced by Giorgione, most notably in adopting tonalism wherein paint is applied in superimposed layers creating a soft diffused effect so figures and landscapes become more unified in atmosphere.

Proto-Renaissance did this by applying colours of paint paste-like in patches alongside each other with loose and sweeping brush strokes.

Proto-Renaissance painted flesh in a delicate, voluptuous manner that has never been surpassed and presents a new concept of feminine beauty only rediscovered during the Rococo period.

Proto-Renaissance's figures show a greater individuality than earlier High Renaissance works while losing none of the nobility.

Proto-Renaissance usually included other objects in the background or foreground of the portrait to portray the subject's character.