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803:. No contemporary documents record the patron of the fresco, but recently references to ownership of a tomb at the foot of the fresco have been found in the records of the Berti family of the Santa Maria Novella Quarter of Florence; this working-class family expressed a long-standing devotion to the Trinity, and may well have commissioned Masaccio's painting. Probably it is the male patron who is represented to the left of the Virgin in the painting, while his wife is right of St. John the Evangelist. The fresco, considered by many to be Masaccio's masterwork, is the earliest surviving painting to use systematic linear perspective, possibly devised by Masaccio with the assistance of Brunelleschi.
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frescoes represent the life of St. Peter, two scenes, on either side of the threshold of the chapel space, depict the temptation and expulsion of Adam and Eve. As a whole, the frescoes recount the life of St Peter as if it were the story of salvation. The style of
Masaccio's scenes shows the influence of Giotto especially. Figures are large, heavy, and solid; emotions are expressed through faces and gestures; and there is a strong impression of naturalism throughout the paintings. Unlike Giotto, however, Masaccio uses linear and atmospheric perspective, directional light, and
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be). This skeleton is both a reference to Adam, whose sin brought humans to death, and a reminder to viewers that their time on earth is transitory. It is only through faith in the
Trinity, the fresco suggests, that one overcomes this death. The Holy Spirit is seen in the form of a dove, above Jesus. The combination of trinity, death and decay "can be interpreted as a transposition of the Golgotha chapel" in the
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He transformed the direction of
Italian painting, moving it away from the idealizations of Gothic art, and, for the first time, presenting it as part of a more profound, natural, and humanist world. Moreover, Masaccio influenced a great many artists both while he was alive and posthumously. His influence is particularly notable in the works of Florentine minor masters, such as
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747:, London. Although it is very damaged, the work features a sculptural and human Madonna as well as a convincing perspectival depiction of her throne. Masaccio probably worked on it entirely in Pisa, shuttling back and forth to Florence, where he was still working on the Brancacci Chapel. In these years,
675:. It is not known if this was because of money quarrels with Felice or an artistic divergence with Masaccio. It has also been supposed that Masolino planned this trip from the very beginning, and needed a close collaborator who could continue the work after his departure. But Masaccio left the frescoes
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Masaccio profoundly influenced the art of painting and is considered to have begun the Early
Italian Renaissance in painting. According to Vasari, all "most celebrated" Florentine "sculptors and painters" studied his frescoes extensively in order to "learn the precepts and rules for painting well."
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The sacred figures and the donors are represented above an image of a skeleton lying on a sarcophagus. An inscription seemingly carved into the wall above the skeleton reads: "Io fui gia quel che voi siete e quel ch'io sono voi anco sarete" (I once was what now you are and what I am, you shall yet
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12 (1961) 84–107. Scholars cannot agree on any teacher for the young artist, though several names (Mariotto di
Cristofano, Bicci di Lorenzo, Niccolo di ser Lapo) have been put forward. Recently scholars have also suggested that he may have trained as a manuscript illuminator. Roberto Bellucci and
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The San
Giovenale altarpiece was discovered in 1961 in the church of San Giovenale at Cascia di Reggello, very close to Masaccio's hometown. It depicts the Virgin and Child with angels in the central panel, Sts. Bartholomew and Blaise on the left panel, and Sts. Juvenal (i.e. San Giovenale) and
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There is no evidence for
Masaccio's artistic education; however, Renaissance painters traditionally began an apprenticeship with an established master around the age of 12. Masaccio would likely have had to move to Florence to receive his training, but he was not documented in the city until he
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According to the reconstruction
Masaccio started by producing a rough drawing of the composition and perspective lines on the wall. The drawing was covered with fresh plaster for making the fresco. To ensure the precise transfer of the perspective lines from the sketch to the plaster, Masaccio
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Some of the scenes completed by
Masaccio and Masolino were lost in a fire in 1771; we know about them only through Vasari's biography. The surviving parts were extensively blackened by smoke. In the twentieth century, the removal of marble slabs covering two areas of the paintings revealed the
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in
Florence. With the two artists probably working simultaneously, the painting began around 1425, but for unknown reasons the chapel was left unfinished, and was completed by Filippino Lippi in the 1480s. The iconography of the fresco decoration is somewhat unusual; while the majority of the
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is so marked that it is hard to see the older artist as the controlling figure in this commission. Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne.
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and the Apostles are depicted as neo-classical archetypes. Scholars have often noted that the shadows of the figures all fall away from the chapel window, as if the figures are lit by it; this is an added stroke of verisimilitude and further tribute to Masaccio's innovative genius. In the
344:, Masaccio was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality. He employed nudes and foreshortenings in his figures. This had seldom been done before him.
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Anthony Abbot in the right panel. The painting has lost much of its original framing, and its surface is badly abraded. Nevertheless, Masaccio's concern to suggest three-dimensionality through volumetric figures and foreshortened forms is apparent, and stands as a revival of
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in 1426 in order to respond to other commissions, probably coming from the same patron. However, it has also been suggested that the declining finances of Felice Brancacci were insufficient to pay for any further work, so the painter sought work elsewhere.
668:, he painted a pavement in perspective, framed by large buildings to obtain a three-dimensional space in which the figures are placed proportionate to their surroundings. In this he was a pioneer in applying the newly discovered rules of perspective.
701:, but apparently left it, too, unfinished, although it has been suggested that the painting was severely damaged later in the century because it had contained portraits of the Brancacci family, at that time excoriated as enemies of the
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Despite his brief career, he had a profound influence on other artists and is considered to have started the Early Italian Renaissance in painting with his works in the mid- and late-1420s. He was one of the first to use linear
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The name Masaccio is a humorous version of Maso (short for Tommaso), meaning "clumsy" or "messy" Tom. The name may have been created to distinguish him from his principal collaborator, also called Maso, who came to be known as
511:(1383/4–c. 1436). The circumstances of the two artists' collaboration are unclear; since Masolino was considerably older, it seems likely that he brought Masaccio under his wing, but the division of hands in the
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737:. The work was dismantled and dispersed in the 18th century, and only eleven of about twenty original panels have been rediscovered in various collections around the world. The central panel of the altarpiece (
614:
427:). Masaccio's father died in 1406, when he was only five; later that same year a brother was born, named Giovanni (1406–1486) after his father. He also was to become a painter, with the nickname of
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Only four frescoes undoubtedly from Masaccio's hand still exist today, although many other works have been at least partially attributed to him. Others are believed to have been destroyed.
556:. The traces of influences from ancient Roman and Greek art that are present in some of Masaccio's works presumably originated from this trip: they should also have been present in a lost
435:, Tedesco di maestro Feo, who already had several daughters, one of whom grew up to marry the only other documented painter from Castel San Giovanni, Mariotto di Cristofano (1393–1457).
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In 1424, the "duo preciso e noto" ("well and known duo") of Masaccio and Masolino was commissioned by the powerful and wealthy Felice Brancacci to execute a cycle of frescoes for the
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joined the painters guild (the Arte de' Medici e Speziali) as an independent master on January 7, 1422, signing as "Masus S. Johannis Simonis pictor populi S. Nicholae de Florentia."
606:, which is the representation of form through light and color without outlines. As a result, his frescoes are even more convincingly lifelike than those of his trecento predecessor.
649:, chased from the garden by a threatening angel. Adam covers his entire face to express his shame, while Eve covers her breasts and groin. The fresco had a huge influence on
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under the base of the cross and attached strings to it, which he pressed in (or carved into) the plaster. The marks of the preparatory works are still visible.
849:. It has never been confirmed that Masaccio collaborated on that work, even though it is possible that he contributed to Masolino's polyptych for the altar of
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On February 19, 1426, Masaccio was commissioned by Giuliano di Colino degli Scarsi da San Giusto, for the sum of 80 florins, to paint a major altarpiece, the
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419:. His family name, Cassai, comes from the trade of his paternal grandfather Simone and granduncle Lorenzo, who were carpenters/cabinet makers (
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145 (2003) 14–21. Most scholars had thought that the Lenzi family commissioned the fresco: Ugo Procacci, "Nuove testimonianze su Masaccio,"
755:. It is suggested that Masaccio's first ventures in plasticity and perspective were based on Donatello's sculpture, before he could study
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Masaccio died at the age of twenty-six and little is known about the exact circumstances of his death. Upon hearing of Masaccio’s death,
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1328:) is painted in a style so different from Masolino's approach that it is hard to tie the two together (Luciano Berti, "Masaccio 1422,"
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Vasari, Giorgio, "The Lives of the Artists" Translated by Julia Conaway Bondanella and Peter Bondanella, Oxford World Classics.
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in Florence (April 19, 1422). It was destroyed when the church's cloister was rebuilt at the end of the 16th century.
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Masaccio was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now
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Vasari (II, 295) implies that Masolino was Masaccio's teacher, but the earliest known work by Masaccio (the
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540:, at their prompting in 1423 Masaccio travelled to Rome with Masolino: from that point he was freed of all
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845:, where his companion Masolino was frescoing a chapel with scenes from the life of St. Catherine in the
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867:. Masaccio died at the end of 1428. According to a legend, he was poisoned by a jealous rival painter.
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The second work was perhaps Masaccio's first collaboration with the older and already-renowned artist,
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Rita Maria Comanducci, "'L'altare Nostro de la Trinità': Masaccio's Trinity and the Berti Family,"
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Masolino's figures are delicate, graceful and somewhat flat, while Masaccio's are solid and hefty.
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St. Peter Raising the Son of Theophilus and St. Peter Enthroned as First Bishop of Antioch
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B. Deimling, Early Renaissance Art in Florence and Central Italy, in R. Tolman (ed.),
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1423:, ed. Diane Cole Ahl, Cambridge, 2002, 138–157; J.T. Spike, “The Brancacci Code,” in
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was also working in Pisa at a monument for Cardinal Rinaldo Brancacci, to be sent to
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705:. This painting was either restored or completed more than fifty years later by
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Roberto Bellucci and Cecilia Frosinini, "The San Giovenale Altarpiece," in
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Saints Paul and Peter, and Saints John the Evangelist and Martin of Tours
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Masaccio returned in 1427 to work again in the Carmine, beginning the
1578:(4th ed., Portable ed.). Upper Saddle River, NJ: Prentice Hall.
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The Panel Paintings of Masolino and Masaccio: The Role of Technique,
887:, and others who attempted to replicate his glowing, lifelike forms.
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When it was cleaned in the 1980s, the added fig leaves were removed.
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1427:, ed. L. Catterson and M. Zucker (Todi: Ediart, 2006), pp. 247–54.
490:'s approach, rather than a continuation of contemporary trends.
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meaning "the splinter." In 1412 Monna Jacopa married an elderly
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On Giovanni's career, see Luciano Bellosi and Margaret Haines,
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Around 1427 Masaccio won a prestigious commission to produce a
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Jill Dunkerton and Dillian Gordon, "The Pisa Altarpiece", in
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Trinity with the Virgin, Saint John the Evangelist, and Donors
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Metropolitan Museum of Art DVD about perspective and Masaccio
1419:, New York, 1990; Diane Cole Ahl, "The Brancacci Chapel," in
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328:, was a Florentine artist who is regarded as the first great
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The John G. Johnson Collection: A History and Selected Works
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Le Vite de' piu eccellenti pittori, scultori ed architettori
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ed. Cristina Danti, Florence, 2002, 49–56; Verdon, 158–161.
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Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600
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to a more naturalistic mode that employed perspective and
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Cecilia Frosinini, "Masaccio: Technique in Context," in
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1718:, a Philadelphia Museum of Art free digital publication.
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The American Heritage Dictionary of the English Language
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La Trinità di Masaccio: il restauro dell'anno duemila,
560:, (today known through some drawings, including one by
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In September 1425 Masolino left the work and went to
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1402:Roberto Longhi, "Fatti di Masolino e di Masaccio,"
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1576:Art History Portable, Book 4 14th–17th Century Art
368:style and elaborate ornamentation of artists like
364:in art for the first time. He moved away from the
39:, Brancacci Chapel, S. Maria del Carmine, Florence
1939:15th-century people from the Republic of Florence
1701:. Vol. 17 (11th ed.). pp. 833–834.
187:ser Giuliano di Colino degli Scarsi da San Giusto
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1560:Alessandro Cortesi, "Una lettura teologica," in
1367:: CS1 maint: bot: original URL status unknown (
1480:ed. Carl Brandon Strehlke, Milan, 2002, 89–109.
1385:ed. Carl Brandon Strehlke, Milan, 2002, 69–79;
1337:, ed. Diane Cole Ahl, Cambridge, 2002, 105–122.
524:In Florence, Masaccio could study the works of
447:The first works attributed to Masaccio are the
411:and his mother the daughter of an innkeeper of
49:Tommaso di Ser Giovanni di Mone (Simone) Cassai
1671:Photos of five frescoes attributed to Masaccio
360:in his painting, employing techniques such as
324:; December 21, 1401 – summer 1428), born
1737:
1574:Cothren, Marilyn Stokstad Michael W. (2010).
1509:ed. Diane Cole Ahl, Cambridge, 2002, 158–160.
1501:Cambridge, 1998; Timothy Verdon, "Masaccio's
1425:Watching Art: Writings in Honor of James Beck
1393:ed. Diane Cole Ahl, Cambridge, 2002, 124–126.
1383:The Panel Paintings of Masolino and Masaccio,
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759:'s more scientific approach to perspective.
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1298:New York: 1996, 21–64, and Diane Cole Ahl,
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688:Raising of the Son of Theophilus of Antioch
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1676:Masaccio at Panopticon Virtual Art Gallery
1350:. Archived from the original on 2021-02-09
29:
1460:. Antella, Firenze, Italy: Scala. p. 15.
1440:. Antella, Firenze, Italy: Scala. p. 46.
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1093:– tempera on wood, diameter 56 cm,
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16:15th-century Italian Renaissance painter
1638:, University of California Press, 2001
1573:
1274:Masaccio, the old master who died young
948:– tempera on panel, 175 x 103 cm,
690:, containing self-portrait of Masaccio
387:said: "We have suffered a great loss."
1891:
609:
465:(Sant'Anna Metterza) (c. 1424) at the
1725:
1415:Umberto Baldini and Ornella Casazza,
1057:– tempera on panel, 51 x 30 cm,
1039:– tempera on panel, 83 x 63 cm,
930:– tempera on panel, 24 x 18 cm,
916:tempera on panel, 108 x 153 cm,
831:Masaccio produced two other works, a
699:Resurrection of the Son of Theophilus
666:Resurrection of the Son of Theophilus
642:The Expulsion from the Garden of Eden
319:
1507:The Cambridge Companion to Masaccio,
1391:The Cambridge Companion to Masaccio,
1389:, "The Altarpieces of Masaccio," in
1300:The Cambridge Companion to Masaccio,
653:and his work. Another major work is
589:in Santa Maria del Carmine, Florence
1866:List of major paintings by Masaccio
1600:"Tommaso Cassai Masaccio Biography"
1421:The Cambridge Companion to Masaccio
1335:The Cambridge Companion to Masaccio
1134:List of major paintings by Masaccio
1070:St. Jerome and St. John the Baptist
856:St. Jerome and St. John the Baptist
571:
13:
1929:People from the Province of Arezzo
1348:"Museo Masaccio - Cascia Reggello"
826:
729:, for his chapel in the church of
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14:
1960:
1792:Expulsion from the Garden of Eden
1649:
1458:Masaccio and the Brancacci Chapel
1438:Masaccio and the Brancacci Chapel
1110:– oil on table, 51 x 31 cm,
713:original appearance of the work.
326:Tommaso di Ser Giovanni di Simone
127:Expulsion from the Garden of Eden
1784:Virgin and Child with Saint Anne
1497:, 27 (1976) 233-4; Rona Goffen,
943:Virgin and Child with Saint Anne
513:Virgin and Child with Saint Anne
500:Virgin and Child with Saint Anne
462:Virgin and Child with Saint Anne
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1522:. 11 March 2018. Archived from
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841:, now lost, before leaving for
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1871:Giovanni di ser Giovanni Guidi
1549:The Art of Italian Renaissance
1318:
1305:
1288:
1264:
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1224:Merriam-Webster.com Dictionary
1211:
1183:
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453:Museum of Sacred Art in Cascia
442:
415:, a town a few miles north of
1:
1944:15th-century Italian painters
1551:, Konemann, 1995, p. 244-246
1199:(5th ed.). HarperCollins
1144:
984:– fresco, 667 x 317 cm,
966:– fresco, 247 x 597 cm,
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784:Santa Maria Novella, Florence
390:
156:
137:
77:latter half of 1428 (aged 26)
1899:Italian Renaissance painters
1751:
1661:Masaccio Biography and Photo
1016:Madonna with Child and Angel
817:Church of the Holy Sepulchre
795:for the Dominican church of
552:for the Carmelite Church in
451:(1422), now in the Masaccio
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1710:by Masaccio (inv. 408, 409)
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519:
185:Felice de Michele Brancacci
10:
1965:
1873:(brother and collaborator)
1656:Masaccio: Life & Works
853:with his panel portraying
807:inserted a nail in at the
548:influence, as seen in his
1858:
1842:
1759:
1687:Rossetti, William Michael
1075:panel, 114 x 55 cm,
906:halo, by Masaccio (1426).
873:
497:Masolino & Masaccio,
352:("little/delicate Tom").
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1705:Carl Brandon Strehlke, "
1491:The Burlington Magazine,
1456:Casazza, Ornella. 1990.
1436:Casazza, Ornella. 1990.
847:Basilica di San Clemente
528:and become friends with
1949:Italian Roman Catholics
1808:Portrait of a Young Man
1698:Encyclopædia Britannica
1173:Oxford University Press
1088:Nativity (Berlin Tondo)
1005:National Gallery of Art
998:Portrait of a Young Man
731:Santa Maria del Carmine
645:, depicts a distressed
599:Santa Maria del Carmine
566:Santa Maria del Carmine
459:near Florence, and the
1904:Painters from Florence
1768:San Giovenale Triptych
1326:San Giovenale Triptych
912:San Giovenale Triptych
907:
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478:San Giovenale Triptych
449:San Giovenale Triptych
1934:Italian male painters
1924:Painters from Tuscany
1909:Quattrocento painters
1499:Masaccio's "Trinity,"
1302:Cambridge, 2002, 3–5.
1169:UK English Dictionary
898:
772:
740:The Madonna and Child
686:
635:
617:
579:
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475:
397:San Giovanni Valdarno
63:San Giovanni Valdarno
1877:Masolino da Panicale
1811:(c. 1425) (disputed)
1776:Carnesecchi Triptych
1520:"Masaccio (1401-28)"
1417:The Brancacci Chapel
1406:25-6 (1940) 145–191.
1112:J. Paul Getty Museum
1041:Museo di Capodimonte
851:Santa Maria Maggiore
782:(c. 1427) – Fresco,
509:Masolino da Panicale
413:Barberino di Mugello
407:). His father was a
385:Filippo Brunelleschi
366:International Gothic
67:Republic of Florence
1129:History of painting
986:Santa Maria Novella
797:Santa Maria Novella
610:Works of the chapel
399:(today part of the
370:Gentile da Fabriano
338:Italian Renaissance
321:[maˈzattʃo]
1634:Mack, Rosamond E.
925:Madonna with Child
918:Cascia di Reggello
908:
885:Giovanni dal Ponte
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695:
692:(third from right)
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591:
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401:province of Arezzo
1886:
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1800:The Tribute Money
1315:, Florence, 1999.
1227:. Merriam-Webster
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1095:Staatliche Museen
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961:The Tribute Money
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656:The Tribute Money
597:in the church of
582:The Tribute Money
503:(c. 1424), Uffizi
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170:Early Renaissance
59:December 21, 1401
1956:
1850:Brancacci Chapel
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1175:. Archived from
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1139:Western painting
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1077:National Gallery
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1023:National Gallery
1021:– oil on table,
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1009:Washington, D.C.
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968:Brancacci Chapel
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881:Andrea di Giusto
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743:) is now in the
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587:Brancacci Chapel
585:, fresco in the
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1059:Museo Nazionale
992:
932:Palazzo Vecchio
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827:Other paintings
809:vanishing point
767:
726:Pisa Altarpiece
721:
718:Pisa Altarpiece
707:Filippino Lippi
612:
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536:. According to
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362:vanishing point
340:. According to
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1650:External links
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1635:
1618:
1607:. Retrieved
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1548:
1528:. Retrieved
1524:the original
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1229:. Retrieved
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1201:. Retrieved
1194:
1185:
1177:the original
1165:
1152:
1104:
1091:(1427–1428)
1086:
1068:
1050:
1032:
1014:
996:
982:(1425–1428)
979:Holy Trinity
977:
964:(1424–1428)
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946:(1424–1425)
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854:
839:Annunciation
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792:Holy Trinity
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647:Adam and Eve
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376:for greater
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334:Quattrocento
325:
197:
196:
153:Holy Trinity
151:
144:
131:
125:
117:Notable work
85:Papal States
36:
1919:1428 deaths
1914:1401 births
1666:A Biography
1313:Lo Scheggia
1116:Los Angeles
1034:Crucifixion
900:Virgin Mary
778:, in full:
628:(1426–1427)
618:Masaccio's
604:chiaroscuro
443:First works
429:Lo Scheggia
374:chiaroscuro
358:perspective
160: 1427
92:Nationality
1893:Categories
1622:Mack, p.66
1609:2017-02-14
1495:Commentari
1354:2021-01-08
1330:Commentari
1219:"Masaccio"
1191:"Masaccio"
1162:"Masaccio"
1157:"Masaccio"
1145:References
1037:(c. 1426)
891:Main works
677:unfinished
550:altarpiece
433:apothecary
391:Early life
55:1401-12-21
35:Detail of
1803:(c. 1425)
1795:(c. 1425)
1760:Paintings
1296:Masaccio,
1159:(US) and
1106:St Andrew
1001:(1425) –
821:Jerusalem
749:Donatello
659:in which
546:Byzantine
534:Donatello
181:Patron(s)
1753:Masaccio
1689:(1911).
1503:Trinity,
1466:25093965
1446:25093965
1363:cite web
1123:See also
1052:St. Paul
990:Florence
972:Florence
954:Florence
936:Florence
834:Nativity
801:Florence
520:Maturity
457:Reggello
423:, hence
417:Florence
350:Masolino
317:Italian:
198:Masaccio
166:Movement
106:Painting
23:Masaccio
1859:Related
1843:Chapels
1629:Sources
1530:8 April
1231:June 1,
1203:June 1,
1055:(1426)
1019:(1426)
928:(1424)
914:(1422)
837:and an
673:Hungary
405:Tuscany
378:realism
332:of the
96:Italian
1819:(1426)
1771:(1422)
1642:
1604:Artble
1582:
1464:
1444:
1167:Lexico
1099:Berlin
1081:London
1045:Naples
1027:London
1003:wood,
950:Uffizi
874:Legacy
865:London
753:Naples
703:Medici
620:fresco
542:Gothic
538:Vasari
526:Giotto
488:Giotto
481:(1422)
467:Uffizi
425:cassai
409:notary
342:Vasari
110:Fresco
1712:" in
1505:" in
902:with
661:Jesus
558:Sagra
421:casse
1640:ISBN
1580:ISBN
1532:2018
1462:OCLC
1442:OCLC
1369:link
1233:2019
1205:2019
1063:Pisa
843:Rome
735:Pisa
554:Pisa
544:and
532:and
149:1426
81:Rome
74:Died
45:Born
863:of
819:in
799:in
733:in
622:of
455:di
1895::
1695:.
1602:.
1540:^
1365:}}
1361:{{
1278:.
1254:^
1221:.
1193:.
1171:.
1164:.
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1007:,
988:,
970:,
952:,
934:,
883:,
823:.
709:.
469:.
403:,
380:.
315:;
308:oʊ
296:tʃ
293:ɑː
275:oʊ
269:tʃ
266:ɑː
247::
245:US
241:,
234:oʊ
228:tʃ
206::
204:UK
157:c.
138:c.
136:)
130:,
108:,
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302:i
299:(
290:z
287:ˈ
284:ə
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260:ˈ
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222:s
219:ˈ
216:æ
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
