Innovators can be found in all fields of work, whether it is Albert Einstein in physics, Isaac Newton in mathematics, or Masaccio in early Renaissance painting. Even though these individuals labored in different fields, the influences of their work on later generations were equally great. Masaccio was able to build upon the works of proto-Renaissance painters such as Giotto, to further develop the mathematical technique of linear perspective to open a window into the world for his viewers. His innovative style can be found in most of his work, such as “The Tribute Money” found inside the Brancacci chapel, but the best example of his style is found not far from the Brancacci chapel in Florence. Found inside the Dominican church of Santa Maria Novella is “The Holy Trinity.” As innovative as this painting is to the development of art, there are more intriguing aspects to study than just what techniques he used to create this master piece. Today we consider and brand Masaccio as a master, but this was not always the case.
Very little information is known about Masaccio before his famous work turn up inside the churches in Florence. Historians know however, that he was born at a time and place ideal for the development of his talents. Born just outside Florence, the center of Renaissance art, in 1401 he was primed to be the influence of generations of painters after him. Only living twenty-seven years Masaccio was able to leave a legacy. It is logical to believe that Masaccio studied as an apprentice, but his master is not known. This can be assumed because “for Masaccio to have joined the painters’ guild in Florence indicates that several years of apprenticeship (at least three years, according to Florentine law) must have taken pla...
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...rspective, Masaccio incorporated in his fictitious architecture Roman and Greek concepts such as barrel vaults, coffers, ionic and Corinthian orders. The Trinity is a great example of the innovative talent that would help influence and change the artists that followed Masaccio. His work performed on the wall of the Santa Maria Novella was one of his greatest contributions to art.
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...is the focal point with the orthogonal of the gestures of the apostles lining up towards it. Masaccio makes good use of chiaroscuro, since his figures have soft, round edges and their bodies are apparent under their drapery. The drapery shows creases and edges which allow for that to happen. Masaccio also employs directed lighting in which the sun comes from the right and all the figures’ shadows are to the left, which is what would happen in real life. Furthermore, Masaccio uses soft, subdued colors, such as green, blue, and pink. The mood of Massacio’s painting is static with all the figures standing in contrapposto with their one knee sticking out and the individuals in Classical and naturalistic proportions. Masaccio placed his scene in the recognizable Arno Valley. Also, Masaccio’s story has no disguised symbolism and rather depicts a straightforward story.
The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
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Titian’s style of art, and his masterful techniques with religious art, mythical compositions, and successive glazes have never been surpassed. They influence generations of artists to come, and will continue to do so as long as his work is studied. His place in the Italian High Renaissance will never be overlooked.
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