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Masaccio (UK: / m æ ˈ s æ tʃ i oʊ /, US: / m ə ˈ s ɑː tʃ i oʊ, m ə ˈ z ɑː tʃ (i) oʊ /; [1] [2] [3] Italian: [maˈzattʃo]; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance.
The Tribute Money is a fresco by the Italian Early Renaissance painter Masaccio, located in the Brancacci Chapel of the basilica of Santa Maria del Carmine, Florence.Painted in the 1420s, it is widely considered among Masaccio's best work, and a vital part of the development of Renaissance art.
Masaccio is often compared to contemporaries like Donatello and Brunelleschi as a pioneer of the Renaissance, particularly for his use of single-point perspective. One technique that was unique to Masaccio, however, was the use of atmospheric, or aerial perspective. Both the mountains in the background, and the figure of Peter on the left are ...
Masaccio's fresco is a sacra conversazione, a popular type of Renaissance religious imagery that portrayed contemporary people in scenes with holy or sacred figures. Most scholars have seen it as a traditional kind of image, intended for personal devotions and commemorations of the dead, although explanations of how the painting reflects these ...
The Expulsion from the Garden of Eden (Italian: Cacciata dei progenitori dall'Eden) is a fresco by the Italian Early Renaissance artist Masaccio. The fresco is a single scene from the cycle painted around 1425 by Masaccio, Masolino and others on the walls of the Brancacci Chapel in the church of Santa Maria del Carmine in Florence.
The Virgin and Child, with its powerful volume and solid possession of space by means of an assured perspectival structure, is one of the earliest works credited to Masaccio. Except for one, the angels, very delicate in their tender forms and pale, gentle colouring, are from the more Gothic brush of Masolino; the angel in the upper right hand ...
The Crucifixion was placed above the central panel of the altarpiece, underlining the sacrificial (Eucharistic) nature of the central panel. [6] Although the panel unnaturalistically represents the narrative against a gold background (a medieval formula for representing sacred scenes), Masaccio creates an effect of reality by depicting the event from below, as the viewer standing before the ...
Masaccio had fully grasped the implications of the art of Giotto. Few painters in Florence saw his sturdy, lifelike and emotional figures and were not affected by them. His work partner was an older painter, Masolino, of the same generation as Fra Angelico. Masaccio died at 27, leaving the work unfinished. [13]