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Where was masaccio born

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Masaccio’s Four Paintings Analysis Essay

The Holy Trinity is lauded for its avant-garde implementation of the linear perspective projection, marking the repudiation of the medieval two-dimensionality towards the possibilities of three-dimensional realism through atmospheric and linear perspective. This facilitated the formation of the Renaissance style characterized by a greater sense of depth and naturalism. Inspired by Brunelleschi’s new architectural principles of linear perspective, Masaccio portrays the Holy Trinity within a compositional framework of the extruded barrel-vaulted ceiling, “expertly creating an illusion of depth” (Auffenberg 5). Masaccio’s technique was sophisticated and innovative, as, from the right angle, the fresco worked as a trompe l’oeil, creating an illusion that the depicted objects/subjects existed in three dimensions.

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Below the Trinity, Masaccio depicts the figures of Mary and John, as well as the full-size portraits of the two donors, likely of th

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Italian Renaissance: Masaccio

  • 1. The Italian Renaissance Masaccio and the Re-discovery of Linear Perspective

  • 2. Niklaus Manuel, St. Luke Painting the Madonna (detail), Museum of Fine Arts, Bern How do you create an illusion of a three dimensional world on a flat surface?

  • 3. Niklaus Manuel, St. Luke Painting the Madonna (detail), Museum of Fine Arts, Bern Two components to making a flat picture seem 3D: •Volume •Space

  • 4. Giotto got the ball rolling by using gradations of light and shade to make his figures seem three dimensional

  • 5. But his backgrounds are shallow and unrealistic – they are like stage sets, rather than being convincingly three dimensional

  • 6. Flemish painters made great advances with the discovery of oil, but their rendering of space is unconvincing

  • 7. The figures are too big for the room they occupy, and there are inconsistencies in the space

  • 8. Linear perspective was one of the most significant breakthroughs of the Renaissance

  • 9. Seated woman playing a Kithara, fresco from the Villa of P. Fannius Synistor, Boscoreale, 4-30 CE Class
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    Masaccio

    15th-century Italian Renaissance painter

    Masaccio (, ;[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. According to Vasari, Masaccio was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality.[4] He employed nudes and foreshortenings in his figures. This had seldom been done before him.[5]

    The name Masaccio is a humorous version of Maso (short for Tommaso), meaning "clumsy" or "messy" Tom. The name may have been created to distinguish him from his principal collaborator, also called Maso, who came to be known as Masolino ("little/delicate Tom").

    Despite his brief career, he had a profound influence on other artists and is considered to have started the Early Italian Renaissance in painting with his wor

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