An altarpiece is a picture or relief representing a religious subject and suspended in a frame behind the altar of a church. The altarpiece is often made up of two or more separate panels created using a technique known as panel painting. It is then called a diptych, triptych or polyptych for two, three, and multiple panels respectively. In the thirteenth century each panel was usually surmounted with a pinnacle, but in the Renaissance, single panel, or pala, altarpieces became the norm. In both cases the supporting plinth, or predella often featured supplementary and related paintings. In the eighteenth century altarpieces, such as Piero della Francesca's polyptych of St Augustine, were often disassembled and seen as independent artworks.

If the altar stands free in the choir, both sides of the altarpiece can be covered with painting. The screen, retable or reredos are commonly decorated. Groups of statuary can also be placed on an altar. Sometimes the altarpiece is set on the altar itself and sometimes in front. Originally, the altarpiece was placed in front of the altar, with the priest standing behind it facing the congregation^{[citation needed]}. In the 13th century, the altarpiece moved behind the altar, with the sacrament placed in front of it and the priest standing with his back to the congregation. This placement to behind the altar allowed the altarpiece to expand to larger proportions, as during the Renaissance.

Jan van Eyck (or Johannes de Eyck) (Dutch pronunciation: [ˈjɑn vɑn ˈɛjk]) (before c. 1395 – before 9 July 1441) was a Flemish painter active in Bruges and is generally considered one of the most significant Northern European painters of the 15th century. The few surviving records indicate that he was born around 1390, most likely in Maaseik. Little is known of his early life, but his activities following his appointment to the court of Philip the Good c. 1425 are comparatively well documented. Van Eyck had previously served John of Bavaria-Straubing, then ruler of Holland, Hainault and Zeeburg. By this time van Eyck had assembled a workshop and was involved in redecorating the Binnenhof palace in The Hague. He moved to Bruges sometime around 1425 and there came to the attention of Philip the Good. He served as both court artist and diplomat and became a senior member of the Tournai painters' guild, where he enjoyed the company of similarly esteemed artists such as Robert Campin and Rogier van der Weyden. Over the following decade van Eyck's reputation and technical ability grew, mostly from his innovative approaches towards the handling and manipulating of oil paint. His revolutionary approach to oil was such that a myth, perpetuated by Giorgio Vasari, arose that he had invented oil painting.

Giovanni Bellini (c. 1430–1516) was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini, and his brother-in-law was Andrea Mantegna. He is considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.

Giovanni Bellini was born in Venice. He was brought up in his father's house, and always lived and worked in the closest fraternal relation with his brother Gentile. Up until the age of nearly thirty we find in his work a depth of religious feeling and human pathos which is his own. His paintings from the early period are all executed in the old tempera method; the scene is softened by a new and beautiful effect of romantic sunrise color (see for example, the St. Jerome at left).

Bonaventura Berlinghieri was an Italian painter from Lucca, Italy, of the Gothic period. He was the son of painter Berlinghiero Berlinghieri. He painted several panels and wall-paintings at Lucca, in 1235 and 1244. He is most famous for an altarpiece dedicated to the life of Francis of Assisi. This altarpiece is painted in tempera on wood in the Byzantine or maniera greca style. It depicts the stigmata as well as several scenes from the saint's life. This altarpiece is housed in the Church of San Francesco of Pescia where it can be seen today. He was the brother of Barone and Marco Berlinghieri.

Andrea Mantegna (Italian pronunciation: [anˈdrɛa manˈtɛɲɲa]; c. 1431 – September 13, 1506) was an Italian painter, a student of Roman archeology, and son in law of Jacopo Bellini. Like other artists of the time, Mantegna experimented with perspective, e.g., by lowering the horizon in order to create a sense of greater monumentality. His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the leading producer of prints in Venice before 1500.

Mantegna was born in Isola di Carturo, close to Padua (then part of the Republic of Venice), second son of a carpenter, Biagio. At the age of eleven he became the apprentice of Francesco Squarcione, Paduan painter. Squarcione, whose original vocation was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a faculty for acting. Like his famous compatriot Petrarca, Squarcione was something of a fanatic for ancient Rome: he travelled in Italy, and perhaps Greece, amassing antique statues, reliefs, vases, etc., forming a collection of such works, then making drawings from them himself, and throwing open his stores for others to study. All the while, he continued undertaking works on commission for which his pupils no less than himself were made available.