name the artist for the image shown
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| Italian painter whose many paintings exemplify the ideals of the High Renaissance (1483-1520) |  | |
| Italian painter and sculptor and engineer and scientist and architect |  | |
| This artist used the technique of atmospheric perspective and even wrote about the phenomenon in his journal |  | |
| 1452-1519, became teacher in mechanics, biology, math, physics, and art, last supper, mona lisa, louvre vitruvian man |  | |
| had an endless curiosity that fed a genius for invention |  | |
| best known for his Madonnas and for his large figure compositions in the Vatican in Rome. |  | |
| School of Athens |  | |
| student of michelangelo, made the school of athens, and the madonna and child series. used pudgeyness to show that people aren't as perfect as they thought. |  | |
| Florentine sculptor and painter and architect |  | |
| David |  | |
| Florentine sculptor and painter and architect, painted the Sistine chapel |  | |
| Moses |  | |
| New Sacristy (Medici Chapel) 1519-34, Church of San Lorenzo, Florence. |  | |
| The great grotto, Boboli Gardens, Pitti Palace, Florence 1583-1593 |  | |
| High Renaissance, trained as painter, most important work at age 60, THE TEMPIETTO |  | |
| Courtyard Facade, Palazzo Del Te, Mantua 1527-1534 |  | |
| artist of the Gonzaga family; Raphael's top assistant; Mannerist |  | |
| Assumption of the virgin 1530 Fresco Italy Mannerist |  | |
| Dreamy, relaxed style, no science to his drawing, leaves story to be interpretted by viewers, "sleeping venus" |  | |
| Greatest Renaissance painter in Venice, used vivid color and movement, which was the opposite of the subtle colors and static figures in Florentine paintings. |  | |
| Venus of Urbino |  | |
| Last Judgment, Sistine Chapel 1536-1541 |  | |
| Saint Peter's Basilica, Vatican 1546-1564 |  | |
| Rondanini Pieta |  | |
| Architect, Sculptor, pupil of Michelangelo |  | |
| made the Entombment of Christ |  | |
| "Madonna with the Long Neck" distorted, doesn't make sense. Mannerism, with little or no logic or structure |  | |
| *Portrait of a Young Man--bones of the hand look kind of elongated and strange |  | |
| Venus, Cupid, Folly, and Time (The Exposure of Luxury) |  | |
| Venetian; tried to unite design of Michelangelo and color of Titian, dissected bodies to learn anatomy |  | |
| Villa Rotunda 1550, S. Giorgio Maggiore 1576 |  | |
| highly original and much imitated Italian architect (1508-1580) |  |
