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The Italian painter Masaccio was the first great exponent of Renaissance painting.
In his brief life he produced four major works utilizing the new discipline of space defined in perspective. Thomas, for whom he was named. Masaccio went to Florence when he was about 20 and very soon joined the most modern and prominent artist group there, headed by the sculptor-architect Filippo Brunelleschi and the sculptor Donatello.
Claiming as their own the heritage of Roman antiquity and of Giotto, the great Florentine master of the 14th century, they developed a new art of space and form. It utilized exact perspective invented by Brunelleschi and anatomical realism and applied these skills to narratives depicting critical moments in human relationships.
Brunelleschi and Donatello found in the young Masaccio someone who could transfer these concerns into the medium of painting, using as well realistic contrasts of light and shade and the startling novelty of continuous luminous color areas that built forms and almost eliminated drawn edges.
All of these innovations were recorded in the handbook on painting written in by Leon Battista Alberti, which was dedicated to Brunelleschi and alluded to Masaccio. The Sagra del Carmine, a fresco that was in the cloister of S. The Sagra represents the consecration of the church, which took place inand the painting was executed by Such a monumental representation of a local current event was apparently an innovation.
Some 16th-century drawings have been called copies of it, but this is an error. In Masolino, a leading painter of the late Gothic style, left for Hungary, and he seems to have bequeathed some work in progress to Masaccio, who came from the same region.
This may account for their collaboration on the small altarpiece Madonna and Child with St. It reveals a powerful vitality evoked by glowing light and a convincing solidity of forms.
A new approach to its remarkable use of perspective, often cited as typical of the time but actually more complex by far than any other cases, has been stimulated by recent study of the circumstances of its commission, involving the learned prior of the Dominican convent of S.
Probably much helped by Brunelleschi in rendering the perspective, Masaccio used it to support the theological theme, the relation of the Trinity and Crucifixion, where one figure, Christ, participates in both themes and thus illustrates the dual nature of Christ as immortal God and suffering man, a doctrine, "Corpus Domini," of special concern to Dominicans.
The realistic perspective spaces are cut into compartments that underline this presentation. Inas an unusually full set of documents reveals, Masaccio painted a polyptych for S. Maria del Carmine in Pisa, Donatello apparently being his sponsor.
It was later disassembled, and only some parts survive: Andrew; the pinnacle with the Crucifixion; and the predella and framing columns. While the central panel recalls the thickset bodies and glowing vigor of the earlier Madonna and Child with St.Masaccio's earliest known surviving painting, an altarpiece of the Madanna and Child with Two Angels and Four Saints (; from S.
Giovenale di Cascia, near S. Giovanni; now in the Uffizi, Florence) does give us some idea of what his training as a painter must have been. Masaccio is one of the first to use perspective to suggest depth in a flat surface. He has an eye for the use of light, a talent for expressing moods and he is a true master at forming groups.
The majority of his work has been destroyed. Masaccio: Masaccio, important Florentine painter of the early Renaissance whose frescoes in the Brancacci Chapel of the Church of Santa Maria del Carmine in Florence (c.
) remained influential throughout the Renaissance. In the span of only six years, . Masaccio >The Italian painter Masaccio () was the first great exponent of >Renaissance painting. In his brief life he produced four major works >utilizing . Biography. Masaccio is an Italian painter of the Florentine school.
He is considered as one of the founders of the Renaissance. He contributed through his art to the transition from Gothic to new art, which glorified the greatness of humanity and his world. Biography Masaccio (?), the first great painter of the Italian Renaissance, whose innovations in the use of scientific perspective inaugurated the modern era in painting.
Masaccio, originally named Tommaso Cassai, was born in San Giovanni Valdarno, near Florence, on December 21,