Field Trip

Renaissance Art

How did art—and life—radically change during the Renaissance? We’ll consider how perspective, the representation of the human figure, and the influence of scientific discovery and humanism changed art during this dynamic period. The tour will include four or five stops and activities like small group work, creative writing, and sketching tailored to connect with your curriculum.

This square portrait shows the head and shoulders of a young woman in front of a spiky bush that fills much of the background except for a landscape view that extends into the deep distance to our right. The woman's body is angled to our right but her face turns to us. She has chalk-white, smooth skin with heavily lidded, light brown eyes, and her pale pink lips are closed. Pale blush highlights her cheeks, and she looks either at us or very slightly away from our eyes. Her brown hair is parted down the middle and pulled back, but tight, lively curls frame her face. Her hair turns gold where the light shines on it. She wears a brown dress, trimmed along the square neckline with gold. The front of the bodice is tied with a blue ribbon, and the lacing holes are also edged with gold. A sheer white veil covers her chest and is pinned at the center with a small gold ball. The bush fills the space around her head with copper-brown, spiky leaves. A river winds between trees and rolling hills in the distance to our right. Trees and a town along the horizon, which comes about halfway up the painting, is pale blue under an ice-blue sky.
Leonardo da Vinci, Ginevra de' Benci [obverse], c. 1474/1478, oil on panel, Ailsa Mellon Bruce Fund, 1967.6.1.a

Grade Level

Subject

Duration

60–75 minutes

Language

Schedule a Field Trip

Looking and Learning Skills

During four or five field trip stops in the galleries, students engage in activities—such as looking exercises, small-group work, and sketching—that foster conversations about works of art. On this field trip, students will practice the following skills:

  • Compare and contrast different visual representations of Renaissance ideas

  • Use art as a primary source to generate ideas about Renaissance art and society

  • Make and articulate careful observations

  • Ask questions that demonstrate curiosity and engagement

  • Connect new ideas from the tour to prior knowledge of Renaissance art and culture

  • In-Person Field Trip Information

    Group Size: Up to 90 students
    Length: 75 minutes
    Meeting Location: West Building Rotunda

  • Virtual Field Trip Information

    Length: 60 minutes

  • Important Scheduling Information

    Field trips must be scheduled at least four weeks in advance. Groups must contain at least 15 students.

    Once your field trip has been scheduled, you will receive an email confirmation within ten business days.

  • Bus Transportation

    Bus transportation is available for DCPS (District of Columbia Public Schools) participating in our docent-led school field trips. Teachers should follow the guidelines to apply for bus transportation.

Examples of Works Featured on Field Trip

About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.
Sandro Botticelli, The Adoration of the Magi, c. 1478/1482, tempera and oil on poplar panel, Andrew W. Mellon Collection, 1937.1.22
This freestanding, beige, terracotta bust shows the head and shoulders of a cleanshaven man, Giuliano de' Medici, wearing a suit of armor. The bust is straight across the bottom so it rests directly on the white surface on which it is photographed. In this view, the man’s shoulders are square to us, and he looks off to our right, chin lifted. His eyes are blank, and he has a bumped, aquiline nose and rounded cheeks. His lips are closed, the corners slightly pulled back. His thick, curly hair is cut to create an angle down from his eyebrows, on either side of his forehead, to the back of his neck. His breastplate has a high collar, and, at the front center, a man’s head is sculpted in relief with his mouth wide open, head flanked by upswept wings. The yelling man’s teeth and tongue are visible, and he has wavy hair and prominent ears. The pauldrons, the armor covering Giuliano's shoulders, and the rest of the breastplate are decorated geometric shapes and curved lines that end in sharp points.
Andrea del Verrocchio, Giuliano de' Medici, c. 1475/1478, terracotta, Andrew W. Mellon Collection, 1937.1.127

You may also like

This painting shows a canyon landscape viewed from a high vantage point, with ridges and formations extending into the distance. The horizon is positioned high in the painting, with the light-blue sky featuring soft white clouds. The canyon displays vibrant shades of red, pink, and green, contrasting with shadowed areas in darker shades of blue and gray. In the bottom right corner of the painting, there are some geometric white and blue patterns overlayed on top of the canyon.

Educational Resource:  Create a Landscape: Kay WalkingStick 

This piece shows a colorful house resembling a three-dimensional architectural sketch that has been created with intricate, thin, multicolored lines against white paper. The roof of the house is pointed and covered in curved shingles, while the walls of the house appear to be brick. The thin lines creating the image are an array of bright colors including neon green, vivid blue, bright yellow, magenta, and purple. In some areas, the lines overlap, creating darker shades. Beyond the edges of this house, the thin lines continue outward in curves and loops.

Educational Resource:  Explore Place and Belonging: Do Ho Suh 

A close-up view of a deep plum-purple jack-in-the-pulpit flower surrounded by emerald-green leaves fills this vertical painting. The flower is narrow at its base, where it is striped with white and pale lilac purple, and it flares open like a trumpet in the top half of this composition. The unfurled petal is streaked with wavy white and magenta-pink veins around a deep purple tube-like stalk emerging from inside the base. Leaves in spring and kelly green billow up around the base of the flower along the bottom of the canvas, and more leaves surround the top of the flower. The area behind the pointed, curling tip of the flower glows with a lemon-lime yellow. The space around the flower and bewteen the green leaves is mauve pink.

Educational Resource:  Close Looking: Georgia O’Keeffe