Floor plan

West wing: Old MastersRenaissance

Renaissance

Madonna and Child in a Niche, by Antonio del Ceraiolo, c. 1520s
A work made of tempera on panel.
View of Venice, by Jacopo de' Barbari, 1500
This is a drawing of two armored figures on horseback engaged in a joust. Both knights are clad in ornate armor and mounted on horses as they participate in the match. The scene captures the moment of impact, with splintered lances flying in the air. One knight in silver armor with blue accents is being unseated from his horse, while the other knight in red and silver armor remains mounted. Both horses are draped in colors matching their riders' armors. The focus is on the dynamic action and energy of the joust, with fine details showing the armor's shine and the movement of the horses. The drawing is bordered, and there is some script at the top and bottom.
The Crucifixion, by Sodoma, 1500s
A work made of oil on panel.
The Last Supper (pair), by Lucantonio degli Uberti, c. 1500

The works in this room are listed below.

Works in this room

European art from about 1400 to 1600, when painters rediscovered perspective and the classical past.

Section 1, north wall

  1. Madonna and Child in a Niche, by Antonio del Ceraiolo, c. 1520s
    Madonna and Child in a NicheAntonio del Ceraiolo, c. 1520sCourtesy of the Cleveland Museum of Art
  2. A work made of tempera on panel.
    Saint Anthony AbbotFra Angelico, 1440–41Courtesy of the Art Institute of Chicago
  3. View of Venice, by Jacopo de' Barbari, 1500
    View of VeniceJacopo de' Barbari, 1500Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. This is a drawing of two armored figures on horseback engaged in a joust. Both knights are clad in ornate armor and mounted on horses as they participate in the match. The scene captures the moment of impact, with splintered lances flying in the air. One knight in silver armor with blue accents is being unseated from his horse, while the other knight in red and silver armor remains mounted. Both horses are draped in colors matching their riders' armors. The focus is on the dynamic action and energy of the joust, with fine details showing the armor's shine and the movement of the horses. The drawing is bordered, and there is some script at the top and bottom.
    Italian Joust of PeaceUnrecorded German maker, c.1512-1515Courtesy National Gallery of Art, Washington
  2. The Crucifixion, by Sodoma, 1500s
    The CrucifixionSodoma, 1500sCourtesy of the Cleveland Museum of Art
  3. A work made of oil on panel.
    The Fall of Man with Scenes of the CreationAugustus Cordus, 1544Courtesy of the Art Institute of Chicago
  4. The Last Supper (pair), by Lucantonio degli Uberti, c. 1500
    The Last Supper (pair)Lucantonio degli Uberti, c. 1500Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. Christ Crowned with Thorns, by Martin Schongauer, 1470–82
    Christ Crowned with ThornsMartin Schongauer, 1470–82Courtesy of the Cleveland Museum of Art
  2. Saint Sebastian, by Perugino, c. 1493
    Saint SebastianPerugino, c. 1493Courtesy of the Cleveland Museum of Art
  3. A work made of tempera on panel, transferred to canvas.
    The NativityPerugino, 1500–05Courtesy of the Art Institute of Chicago
  4. A work made of tempera on panel, transferred to canvas.
    Christ and the Woman of SamariaPerugino, 1500–05Courtesy of the Art Institute of Chicago

Section 2, north wall

  1. Martyrdom of Saint Andrew, by Guido Reni, 1600s
    Martyrdom of Saint AndrewGuido Reni, 1600sCourtesy of the Cleveland Museum of Art
  2. A work made of oil on panel.
    Virgin and ChildHans Memling, c. 1485Courtesy of the Art Institute of Chicago
  3. A work made of oil on panel.
    Alessandro de' MediciPontormo, (Jacopo Carrucci), 1534–35Courtesy of the Art Institute of Chicago

Section 3, north wall

  1. A work made of engraving in black on cream laid paper.
    The Farnese HerculesGiorgio Ghisi, c. 1577Courtesy of the Art Institute of Chicago
  2. A work made of red chalk and brush and red chalk wash (recto) and black chalk, with black chalk grid lines, (verso) on cream laid paper.
    A Drapery Study for the Knees of a Seated Allegorical Figure of Charity (recto); Bust of a Naked Allegorical Figure of Charity with Two Putti (verso)Giovanni Antonio di Francesco Sogliani, 1520/30Courtesy of the Art Institute of Chicago