Floor plan

West wing: Old MastersRenaissance

Renaissance

A work made of tempera on panel.
A work made of engraving in black on cream laid paper.
Martyrdom of Saint Andrew, by Guido Reni, 1600s
Arm of Eve, by Albrecht Dürer, 1507
Painting of the Annunciation, dove flying above Mary with angel.
A work made of etching in black on cream laid paper.
St. Catherine of Siena and the Beggar, by Giovanni di Paolo, 1460s
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.

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. A work made of tempera on panel.
    Saint John the Baptist Entering the WildernessGiovanni di Paolo, 1455–60Courtesy of the Art Institute of Chicago
  2. A work made of engraving in black on cream laid paper.
    The Farnese HerculesGiorgio Ghisi, c. 1577Courtesy of the Art Institute of Chicago
  3. Martyrdom of Saint Andrew, by Guido Reni, 1600s
    Martyrdom of Saint AndrewGuido Reni, 1600sCourtesy of the Cleveland Museum of Art
  4. Arm of Eve, by Albrecht Dürer, 1507
    Arm of EveAlbrecht Dürer, 1507Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. Painting of the Annunciation, dove flying above Mary with angel.
    The AnnunciationJean Hey (called Master of Moulins), 1490–95Courtesy of the Art Institute of Chicago
  2. A work made of etching in black on cream laid paper.
    Dead Christ Held by AngelsOrazio Samacchini, 1580/1620Courtesy of the Art Institute of Chicago
  3. St. Catherine of Siena and the Beggar, by Giovanni di Paolo, 1460s
    St. Catherine of Siena and the BeggarGiovanni di Paolo, 1460sCourtesy of the Cleveland Museum of Art
  4. 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

Section 2, south wall

  1. A work made of engraving in black on cream laid paper.
    The Academy of Baccio BandinelliEnea Vico, 1544/50, printed c. 1560sCourtesy of the Art Institute of Chicago
  2. 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
  3. The Nativity, by Giorgio Ghisi, 1553
    The NativityGiorgio Ghisi, 1553Courtesy of the Cleveland Museum of Art
  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, north wall

  1. Virgin and Child with Saints, c. 1510
    Virgin and Child with SaintsUnrecorded Italian maker, c. 1510Courtesy of the Cleveland Museum of Art
  2. Portrait of a Couple, c. 1580–88
    Portrait of a CoupleUnrecorded Italian maker, c. 1580–88Courtesy of the Cleveland Museum of Art

Section 3, north wall

  1. A work made of black chalk on laid paper, laid down on tan laid pulp board.
    Study of a Standing Male NudeGiuseppe Cesari, called Cavaliere d'Arpino, 1595/96Courtesy of the Art Institute of Chicago
  2. A work made of etching in black on cream laid paper.
    Saint Catherine of Siena Receiving the StigmataFrancesco Vanni, c. 1595Courtesy of the Art Institute of Chicago