Signorelli 1502 Hell; B. Gozzoli 1459 The Medici Family Disguised as the Three Wise Men; Le Perugino 1482 Delivering the Keys to Saint Peter. Domenico Veneziano (c. 1410–1460) was among Florentine painters who placed the greatest emphasis on the relationship between light and color, because his contemporaries were solely focused on exploring drawing, showing little concern for light and color.

Andrea del Castagno (c. 1421–1457) was one of the most representative painters of the Florentine School and, following Masaccio, one of its most influential figures. His early work reflected Masaccio’s vivid naturalism, but he later leaned toward the emotional and linear style of the sculptor Donatello, thereby translating Donatello’s sculpture into painterly language and making his works more perfect and vivid.

Benozzo Gozzoli (1420–1497) was one of the most representative painters of the Italian Renaissance Florentine School. A pupil and close follower of Fra Angelico, his work combined a perfect depiction of natural life with sensual, ornate colors, imbued with poetic quality. His most famous masterpiece is the fresco cycle The Medici Family Disguised as the Three Wise Men.

Antonio and Piero Pollaiuolo (1432–1498) were among the most representative painters of the late fifteenth-century Florentine Renaissance School. They devoted their lives to studying anatomy, new oil painting techniques, and dynamic figure representation, becoming some of the earliest artist-scientists. Influenced early on by Donatello and Castagno, they emphasized formal contours, violent bodily movement, and sculptural form within a distinctive naturalistic realism.

Andrea del Verrocchio (1435–1488) was one of the most representative sculptors and painters of the early Italian Renaissance. A disciple of the renowned sculptor Donatello, he became Florence’s leading sculptor and painter after Donatello. His sculptures are characterized by a focus on light, elegant, and dignified poses, along with technical completeness, lacking the tragic grandeur of his teacher. In painting, his naturalistic realism was poetic and picturesque, filled with humanistic emotion and an air of elegance and quietude. He was Leonardo da Vinci’s teacher and had a profound influence on him. (Reference: Lion Arts Dictionary).

Luca Signorelli (1441/1450–1523) was one of the most representative painters of the early Italian Renaissance. It is said that both he and the painter Perugino were students of Piero della Francesca, though his works reveal that Pollaiuolo had the deepest influence on him. His painting style emphasized outlines, violent motion, and the effect of stretched muscles (anatomy) within a naturalistic realism, all of which display the characteristics of the Florentine School. His most notable works, The Last Judgment and The End of the World, present dramatic effects through a terrifying artistic style born of rich imagination.

Perugino (1448–1523) was one of the most representative painters of the Italian Renaissance. Bridging the past (student of Piero della Francesca) and the future (teacher of Raphael), his early work featured “simplicity” and “order” within naturalistic realism. Later influenced by Signorelli, he strengthened his draftsmanship to achieve greater perfection. His painting features beautiful, serene figures, harmonious and balanced compositions, and vivid colors. He skillfully used rigorous architecture and pastoral landscapes to express deep, expansive space.