Heilige dreifaltigkeit masaccio biography

In other projects. Wikimedia Commons Wikidata item. Fresco painting by Masaccio. History [ edit ]. Location [ edit ]. Commissioners and donors [ edit ]. Giorgio Vasari and Cosimo I [ edit ]. Rediscovery and subsequent history [ edit ]. Description [ edit ]. Dimensions [ edit ]. Altar [ edit ]. Figures [ edit ]. Damaging and restoring [ edit ]. Lower section [ edit ].

Notable characteristics [ edit ]. Interpretation [ edit ]. See also [ edit ]. Notes [ edit ]. Images and Identity in Fifteenth-century Florence. Yale University Press. ISBN Retrieved Smarthistory at Khan Academy. Archived from the original on October 10, Retrieved March 20, National Gallery of Art Washington. She is yet to complete her Masters in Art History she would like to do this abroad in Europe having given it some time to first develop more professional experience with the interest to one day lecture it too.

Alicia has been working for artincontext. She has specialized in painting analysis and is covering most of our painting analysis. November 28, Art in Context. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Discover the most famous artists, paintings, sculptors…in all of history!

Discover the most famous artists, paintings, sculptors!

Heilige dreifaltigkeit masaccio biography

Skip to content. Table of Contents Toggle. Similar Posts. Leave a Reply Cancel reply Your email address will not be published. The Most Famous Artists and Artworks Discover the most famous artists, paintings, sculptors…in all of history! Home Art History Toggle child menu Expand. Artworks Toggle child menu Expand. Architecture Toggle child menu Expand.

Literature Toggle child menu Expand. Poetry Toggle child menu Expand. Photography Toggle child menu Expand. Painting Toggle child menu Expand. Drawing Toggle child menu Expand. Other Art Forms Toggle child menu Expand. The dove of the Holy Spirit flies from God to the halo of Christ. Beneath the cross are t he figures of Our Lady and John.

The former turns her gaze towards the faithful and points to Christ with her right hand, the latter is wrapped in a long red cloak, clasping his hands in prayer and contemplating Christ. Outside the space of this imaginary chapel are portraits of the two patrons in prayera man and a woman whose identification is not certain. Zucker: [] Although this motif was common, almost anybody looking at this painting in the early 15th century would have recognized the changes that Masaccio has brought to this heilige dreifaltigkeit masaccio biography, principally the classicism of the architecture and the naturalism of the figures.

Harris: [] In most representations of this, Christ and God are placed in a mandorla — that is, a kind of enormous halo that encompassed both figures — and in that way situated them in an otherworldly heavenly space, but here Masaccio has given us what looks like ancient Roman architecture, and in fact, Brunelleschi, the great early Renaissance architect, likely helped design the architectural framework that we see here.

Zucker: [] Above that is an entablature and a cornice with dentils, another ancient Roman motif. Harris: [] The figures of the Trinity are framed by a round arch, which is a classical arch, not a pointed, medieval Gothic arch, and that arch is carried by two attached columns with Ionic capitals. So we have a very rational space, a measurable space, a space that makes sense.

Harris: [] And it makes sense precisely because Masaccio is using linear perspective. This is one of the earliest uses of linear perspective, rediscovered by Brunelleschi less than a decade before, and Masaccio is using linear perspective to create a convincing illusion that this is not a wall, but in fact the space of a chapel. They are the agent that create the illusion of depth on a flat surface.

Then the third piece is the horizon line, defined by that bottom step. Harris: [] Masaccio exploits chiaroscuro, that movement from light to dark, to create a sense of volume. And so we see the rib cage lifted up. We see the muscles in the abdomen, the muscles in the arms. This interest in naturalistic human anatomy is a key feature of the early Renaissance.

Here we see perhaps one of the first artists to begin to think about the representation of the human body using light and shadow to define its forms, to begin to pay attention to the anatomy of the body, to render Christ as physical. There we have a perfectly foreshortened foot, and therefore, a sense that God is standing. To me, that epitomizes what the Renaissance is about, this interpretation of divine figures as having all of the qualities that human beings have.