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In many ways the style of the painting is traditional; the expensive gold background and ultramarine draperies of the Virgin, her enlarged scale, and her hierarchical presentation (ceremoniously enthroned) all fit within the late-medieval formulas for the representation of Mary and Jesus in glory. In
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narrative scenes: Peter, John the
Baptist, Julian and Nicholas. In particular it is unclear if these larger saints occupied the more traditional individual framed compartments, as proposed by C. Gardner von Teuffel and others, or stood in a unified field with the central Virgin and Child, as proposed
355:
Although the paintings are noticeably different (the subjects are clothed differently and on different chairs) the
Madonna is more or less in the same position in both works. This parallelism is designed to make viewers have the same attitude as the magus when looking at the Madonna and Child. They
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Masaccio has used linear perspective to create pictorial space; it can be seen on the orthogonal on the cornice of her throne. The vanishing point is at the child's foot. The reason for this is that the work was originally located above a representation of the
Adoration of the Magi, in which one of
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was placed above the central panel of the altarpiece, underlining the sacrificial (Eucharistic) nature of the central panel. Although the panel unnaturalistically represents the narrative against a gold background (a medieval formula for representing sacred scenes), Masaccio creates an effect of
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Giuliano di Colino, who commissioned the work on
February 19, 1426 for the sum of 80 florins. Payment for the work was recorded on December 26 of that year. The altarpiece was dismantled and dispersed to various collections and museums in the 18th century, but an attempted reconstruction was made
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The painting contains six figures: the
Madonna and Child and four angels. The Madonna is the centre figure and is larger than any of the others to signify her importance. Christ sits on her knees, eating grapes offered to him by his mother. The grapes represent the wine which was drunk at the
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This was placed below the central panel or panels; probably there were only the three surviving panels, according to most reconstructions. They are about 21 cm × 61 cm (8.5 in × 24 in) and now in the Gemäldegalerie, Berlin. They show the
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Eleven panels are known as of 2010, and they are insufficient to reconstruct the whole work with certainty. In particular four standing figures of saints flanking the central panel are missing. Vasari says these were the saints shown in the
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Eleven surviving panels of the altarpiece, which is the only documented work by
Masaccio, are in various museums. Scholars hypothesize the reconstruction of the altarpiece based on a very complete description by
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Masaccio has also used the overlapping of figures and objects to create pictorial space, like the two angels in the foreground overlapping the throne and the throne overlapping the two angels in the background.
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reality by depicting the event from below, as the viewer standing before the altar truly saw it. In this way, he attempts to tie the viewer to the scene, to make the sacred accessible to the ordinary
Christian.
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and wood panel. It originally had at least five compartments organised in two registers, making ten main panels, of which only four are known to have survived. Another four side panels and three
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311:. It was painted in 1426. The panel is in a very damaged state and smaller than its original size; it has lost perhaps as much as 8 cm. at the bottom and 2-2.5 cm. at each side.
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An attempt at creating depth has been attempted by
Masaccio's placement of the two background angels and through the use of linear perspective in the throne.
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other ways, however, the painting is a step away from
International Gothic in the sense that Masaccio has created a more realistic approach to the subject:
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These are four panels all now in the Gemäldegalerie, Berlin, all 38 cm × 12 cm (15.0 in × 4.7 in). They show
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The
Madonna is a bulky figure, deriving from classical models, and her drapery has larger and more naturalistic folds that shape her body.
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are imagined to be kneeling in front of Mary, and could easily lean forward to kiss the foot of Jesus.
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569:"Altarpredella / Die Kreuzigung des Apostels Petrus und Die Enthauptung Johannes des Täufers"
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kills his parents, after having been misinformed by the devil, shown in the centre. At right
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Modeling is clearly visible as the light source is coming from the left of the painting.
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is secretly pushing gold through the bedroom window of two poor girls, to provide a
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The Panel Paintings of Masolino and Masaccio: The Role of Technique,
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Giotto to DĂĽrer: Early Renaissance Painting in the National Gallery,
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is the only portion of the commissioned work which remains in
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Le vite de' piĂą eccellenti pittori, scultori ed architettori,
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Le vite de' piĂą eccellenti pittori, scultori ed architettori,
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and two unknown Carmelite saints, one bearded and the other
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The baby Jesus is less of a small man and more childlike.
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panels (two of which had a double scene) are now in the
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possible due to a detailed description of the work by
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Scenes from the legends of St Julian and St Nicholas
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167:(Naples); Saint Paul (Pisa); Saint Andrew (Malibu)
42:Conjectural arrangement of the surviving panels.
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555:ed. Gaetano Milanesi, Florence, 1906, II, 292.;
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335:The faces are more realistic and not idealised.
619:ed. Gaetano Milanesi, Florence, 1906, II, 292.
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490:Martyrdoms of St Peter and John the Baptist
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892:Paintings in the National Gallery, London
606:Locust Valley, NY, 1978, Appendix, 31–50.
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897:Paintings in the Gemäldegalerie, Berlin
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912:Paintings of the Crucifixion of Jesus
907:Paintings in the J. Paul Getty Museum
902:Paintings in the Museo di Capodimonte
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112:. The altarpiece's central panel was
844:List of major paintings by Masaccio
602:Documents published in James Beck,
534:List of major paintings by Masaccio
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16:Dismembered altarpiece by Masaccio
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352:the magi kisses Jesus' foot.
301:Madonna and Child with Angels
293:Madonna and Child with Angels
283:Madonna and Child with Angels
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115:Madonna and Child with Angels
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44:Another possible arrangement
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685:Virgin and Child Enthroned
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632:New Haven, 1991, 248–251.
238:Getty Museum, Los Angeles
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604:Masaccio: The Documents,
128:National Gallery, London
786:Portrait of a Young Man
628:Jill Dunkerton et al.,
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453:Crucifixion of St Peter
434:Carmelite saint, Berlin
218:Museo Nazionale di Pisa
183:Crucifixion of St Peter
177:Predella (all Berlin):
78:Santa Maria del Carmine
746:San Giovenale Triptych
646:"The Virgin and Child"
467:Julian the Hospitaller
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110:Gemäldegalerie, Berlin
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877:Paintings by Masaccio
505:Adoration of the Magi
448:Adoration of the Magi
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179:Adoration of the Magi
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855:Masolino da Panicale
789:(c. 1425) (disputed)
754:Carnesecchi Triptych
181:; two scenes of the
670:Milan, 2002, 91–93.
662:Jill Dunkerton and
325:Gentile da Fabriano
557:online translation
370:Augustine of Hippo
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236:and is now in the
72:for the chapel of
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68:produced by
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882:Altarpieces
317:Last Supper
234:Crucifixion
230:Crucifixion
216:Now in the
205:Crucifixion
199:Crucifixion
165:Crucifixion
102:gold ground
24:Crucifixion
871:Categories
683:Masaccio,
578:2024-04-19
540:References
477:for them.
66:altarpiece
781:(c. 1425)
773:(c. 1425)
738:Paintings
408:St Jerome
307:and with
122:and with
96:It was a
93:in 1568.
26:from the
731:Masaccio
528:See also
522:, Berlin
507:, Berlin
492:, Berlin
440:Predella
410:, Berlin
395:, Berlin
378:tonsured
305:Giovanni
136:predella
120:Giovanni
106:predella
70:Masaccio
30:, 1426,
837:Related
821:Chapels
98:tempera
55:Italian
797:(1426)
749:(1422)
374:Jerome
269:Malibu
212:Saints
154:Vasari
91:Vasari
86:notary
475:dowry
455:and
254:Pisa
226:Pisa
203:The
185:and
82:Pisa
49:The
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323:or
139:by
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