Masaccio

Masaccio The success of an artist is many times measured over a lifetime. From birth until death, each aspect of the artist’s life is examined and success shines in every way. In the case of Tommaso di Ser Giovanni di Mone, more commonly known as Masaccio, not much is known of his early life. There are very few traces as to how he came to be the magnificent artist that he was. His artwork, mostly focused around religion, was revolutionary and brilliant; influencing the world of art forever. Masaccio was born December 21, 1401. His birth name, Tommaso di Ser Giovanni di Mone, was replaced with Masaccio (meaning “clumsy Tom”), in order to distinguish him from his partner Masolino (meaning “delicate Tom”). The mystery of Masaccio revolves around his apprenticeship. Nothing is known about Masaccio from the time of his birth until January 7, 1422. On this date, Masaccio entered Arte dei Medici e Speziali, the Painters’ Guild of Florence. However, at this time he exhibited the traits of a skilled painter. He was at the stage where he could have his own workshop. There are no traces of where he had been or what he had been doing for those first 21 years of his life, but one must assume he had been painting as an apprentice somewhere in order to come to possess the brilliant skills he had. (Wikipedia) One of Masaccio’s earliest works is Virgin and Child with St. Anne. This work showed the influence of sculptor Donatello (with whom he was a contemporary in Florence) on Masaccio. Donatello gave Masaccio knowledge in the classical art category; in essence leading him away from the Gothic style (Artists…). The influence is displayed in the “realistic flesh textures and solidly round forms” (Biography). It was skills such as these (and of course, many more) that led Masaccio to the opportunities that would eventually lead to his most famous works. In 1424, Masaccio, along with his contemporary Masolino, was hired by Felice Brancacci in order to create frescoes for the Brancacci Chapel in the Santa Maria del Carmine church. Masaccio was almost 20 years younger than Masolino, however in no way was Masaccio an apprentice to him. In fact, some believe that Masaccio had entered the Painters’ Guild prior to Masolino, and his talent was already superior to that of Masolino’s (Wikipedia). Masolino was called to Hungary to paint for the king, and when he returned it was Masaccio doing all of the teaching to his older contemporary. Masaccio’s genius is clearly displayed in all of his frescoes of the Brancacci Chapel. In the Resurrection of the Son of Theophilus, Masaccio displayed his understanding in the rules of perspective. The figures in this painting are all placed within proportion to their surroundings. Also within the Brancacci Chapel is Masaccio’s Expulsion from the Garden of Eden.¬ This fresco shows nude Adam and Eve being driven out of the Garden of Eden, both with distressed looks on their faces. The design of Adam and Eve in this painting is sensational; they are not constructed with lines per-say, but with areas with deep contrasts in light and dark. This gives the people a sense of being three-dimensional. This, along with the expressions of Adam and Eve and the presence of natural light, gives this work of art a true sense of realism. Expulsion is one of Masaccio’s many works that cast away Byzantine influences, in which people and figures possess cardboard-like dimensions, and moves toward a newer, more naturalistic style of three-dimension and depth. (Masaccio; Britannica) The most important of Masaccio’s works in the Brancacci Chapel is Tribute Money. It depicts the arrival of Jesus and His Apostles, as well as Peter collecting coin from the fish and then giving it to the tax collector. Many aspects of this painting were revolutionary for this time during the Renaissance. First of all, the realistic details have always been a topic of discussion. One can notice the fish and Peter reaching into its mouth, as well with (perhaps more notably important) the ripples of the lake coming toward the banks (Biography). Masaccio also can once again be compared to Donatello (as well as Brunelleschi) for his use of single point perspective in this painting. Masaccio used a technique that was solely his, aerial perspective. This is the shown as the distance between an object a viewer increases, a noticeable difference in detail occurs. One can see detail in the face of Jesus in Tribute Money as well as his followers, but detail fades as one glances further in the picture toward Peter fishing (Artists…). One also notices the shift from lighter to darker going from the foreground of people moving back towards the lake, where it appears darker and dimmer. This creates depth within a two dimensional painting. Masaccio does a fabulous job using light in the picture, revolutionizing the use of light and contrasting works of artists such as Giotto (Wikipedia). The light in Tribute Money comes from a location set outside of the painting itself and this puts an effect of light and shadow on the figures inside of the painting. All of the shadows are cast to the left (when one looks at the painting), even the shadows of those in dimmer areas. This use of contrast between light and dark is known as “chiaroscuro” and it was during this time period, and perhaps from Masaccio’s paintings, that this effect first came into play (Wikipedia). Tribute Money in itself proves the revolutionary impacts Masaccio had on the world of art. Masaccio had a number of other works before he suffered an early death. He was commissioned by Giuliano di Colino degli Scarsi to create an altarpiece called Pisa Polyptych for the Santa Maria del Carmine church. This altarpiece consisted of approximately twenty panels, however only eleven remain, the main one being the Madonna with baby Jesus accompanied by four angels. The other panels have disappeared, possibly during Masaccio’s journeys between Florence and Pisa. One of the most famous works by Masaccio that was not a part of the Brancacci Chapel is his Holy Trinity. Masaccio was commissioned to paint Trinity for Santa Maria Novella church in Florence. This work of art marks the first use of systematic linear perspective in painting. It is possible that Masaccio himself devised this system, perhaps with assistance from Brunelleschi. There is extremely strict adherence to this perspective, whereas a vanishing point exists, appearing to lead to a “barrel vault” (an architectural element formed by a curve along a distance, making it seem as if there is a hole in the wall behind Christ). Antiquity is also notable in Trinity and inspiration for this was clearly drawn from ancient Roman triumphal arches. These can be seen in the roof above the cross. The figure of Christ within the painting can be attributed to Donatello; for once again the figure is rounded and seems to possess a three-dimensional sensation. Naturalism is another element of Trinity. Masaccio again casts away any previous Byzantine and Gothic influences and uses a classical, naturalistic style. The Trinity is considered to be Masaccio’s true masterpiece (outside of the works in the Brancacci Chapel). At the present time, only four original works of Masaccio still exist today. Many others have either disappeared, been destroyed (whether intentionally or naturally by fires), and some are under debate as to whether or not they are entirely works of Masaccio’s. (Wikipedia and Biography) Masaccio’s works were profound influences in the times of the Renaissance. His revolutionary style of paintings would inspire other legends such as Leonardo da Vinci, Michelangelo, and Raphael (Artists…). Future Italian painter Giorgio Vasari claims that many artists would extensively study Masaccio’s paintings in order to “learn the precepts and rules for painting well” (Wikipedia). His works completely transformed the direction of Italian painting. Gothic and Byzantine influence would continue to decrease, and Masaccio’s styles presented Italian painting in a natural and humanistic way. His implementations of perspective and the use of light were unique to him, for he was the first painter to use these styles (Artists…). In Trinity, perspective is used as everything seems to be drawn to the barrel vault. Also noteworthy is the aerial or atmospheric perspective in Tribute Money where the detail fades as the figures get further from view. These were some of the most important steps toward the development of modern painting. Masaccio painted all of his people in such a way that they possess proportionality, detail, and a sense of identity. This was much different from previous Byzantine styles, whereas figures appeared flat (Artists…). It is clear in many of his works such as Trinity, Tribute Money, and Expulsion that his figures are done with great detail and have distinct shapes. Through the style and detail of his works, Masaccio truly became a legend and an icon of Italian painting during the Renaissance. Masaccio met an early death when he was only about twenty-seven years old. There are several suggestions of the elements of the death of this profound artist. Some feel as if it was the Plague that cut Masaccio’s life so short; however others believe that he was poisoned by another jealous artist (Masaccio). One can only begin to imagine what else this magnificent artist would have been able to accomplish if it weren’t for such an early death. One thing is for sure: regardless of how early his death, Masaccio was a true icon of the Renaissance. His principles and styles marked the true beginning of a new era in Italian painting, and they would forever impact the world of art. "Artists of the Renaissance: Masaccio." ThinkQuest. 1998. Web. . "Masaccio." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. "Masaccio, Florence's Sloppy Genius." In Italy Online. Web. "Masaccio: Biography." Web Gallery of Art. Emily Kren and Daniel Marx. Web. "Masaccio." Wikipedia. Web. < http://en.wikipedia.org/wiki/Masaccio> Pictures http://www.christusrex.org/www2/art/tributo.htm - Tribute Money Detail http://paradoxplace.com/Perspectives/Italian%20Images/Montages/Art/Masaccio%20Exhib.htm – Masaccio Self Portrait http://www.christusrex.org/www2/art/tributo.htm - Tribute Money Large http://www.wga.hu/frames-e.html'/html/m/masaccio/brancacc/expulsio/old_expu.html - Expulsion en.wikipedia.org/wiki/File:Trinity_Masaccio.jpg – Trinity sandstead.com/italy/carmine/ - Brancacci Chapel view www.initaly.com/regions/tuscany/masaccioalbm.htm - Brancacci wall view http://en.wikipedia.org/wiki/File:Masolino_008.jpg – Virgin and Child http://en.wikipedia.org/wiki/File:Masaccio_011.jpg – Jesus Tribute Money