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It has been hypothesized that Fra' Alessio Strozzi and/or Filippo Brunelleschi may have been involved, or at least consulted, in the creation of the Trinity. Brunelleschi's experiments in linear perspective likely were the inspiration for the perspectival construction of the painting. [4]
The painting The Holy Trinity by Masaccio (1425–1427) in the Santa Maria Novella, Florence, is a renowned example of the new technique, which accurately created the illusion of a three-dimensional representation and also recreated, in painting, Brunelleschi's architectural style. This development established the standard method of painting ...
The Holy Trinity by Masaccio. The Holy Trinity, situated almost halfway along the left aisle, is a pioneering early Renaissance work of Masaccio, showing his new ideas about perspective and mathematical proportions. Its meaning for the art of painting can easily be compared to the importance of Brunelleschi for architecture and Donatello for ...
Pages in category "Paintings of the Holy Trinity" The following 29 pages are in this category, out of 29 total. ... Holy Trinity (Masaccio) Mystical Nativity (Filippo ...
The paintings were executed over the years 1425 to 1427. Public access is currently gained via the neighbouring convent, designed by Brunelleschi. The church and the chapel are treated as separate places to visit and as such have different opening times and it is quite difficult to see the rest of the church from the chapel.
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.
This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary. The works encompassed are from Giotto in the early 14th century to Michelangelo 's Last Judgement of the 1530s.
The iconography of the Trinity, flanked by Mary and John or including donors, is not uncommon in Italian art of the late 14th and early 15th centuries, and the association of the Trinity with a tomb also has precedents. No precedent for the exact iconography of Masaccio's fresco, combining all these elements, has been discovered, however.