The Life of Masaccio (Art History)
'...It was Masaccio, the youngest of all painters who were young before during and after him who, in his few youthful years, worked the miracle of awakening in painting, breathing life into it at last real and earthy, an urgency it had never had before." Libero de Liberi. Masaccio, originally named Tommaso Giovanni di Mone, was born in San Giovanni Valdarno, near Florence on December 21,1401 and died in Rome in 1428. He was the first great painter of the Italian Renaissance, whose innovations in the use of scientific perspective introduced the modern style in painting. Masaccio joined the Florentine painters' guild in 1422.His remarkably individual style was unique and owed little to other painters, although Giotto influenced him along with the stronger influences of the architect Brunelleschi, and the sculptor Donatello, who were both his contemporaries in Florence. From Brunelleschi Masaccio acquired the knowledge of mathematical proportion that was necessary to his revival of the principals of scientific perspective which is evident in one of his most acclaimed frescoes The Trinity which is housed in the Santa Maria Novella in Florence.Masaccio painted The Trinity or The Holy Tr
The Trinity was also the first time that full perspective had been used in Western art. Thus, all others Buonarotti taught; he learnt from me. Rather than the scenes being bathed in flat uniform light, Masaccio painted them as if they were lit by the actual light source in the Brancacci Chapel, the Chapel window, which created a natural, more realistic effect because of his use of chiaroscuro. Masaccio has revised this and the tax-gatherer comes directly before Christ and the Apostles. Masaccio managed to dissolve the impenetrable wall that other artists/painters had painted and was able to produce a background that disappeared into the distance, using accurate perspective. The chamber turns the background into a continuation of the real world because it looks so realistic. Pg 206], that when it was first done, Brunelleschi was held responsible for the actual painting which shows us what a powerful influence he had on Masaccio. All his works, Church frescoes and altarpieces are of a religious nature. As he said himself "I painted, and my picture was like life; I gave my figures movement, passion, soul: They breathed.
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