1252:
398:– see below, fig. 18); this Wise Man is also kneeling and his crown is held by a servant behind him. The third Magus is standing, his servant removing the crown while another nearby bears the gift. Behind the Magi are two emblematic figures, not taken from the traditional iconography, wearing fashionable headdress and long gray cloaks which leave uncovered their legs in red tights; probably they are representations of Masaccio's clients: the notary Ser Giuliano of Collino, taller and behind the first personage, likely his nephew, shorter and in the foreground, standing on a small mound. Finally, at right are the horses and servants. The artist's style is soft and mellow in the background, and strong and incisive elsewhere, as for instance in the capes of the two clients. The light and the rich colours unify the whole representation, without imbalances.
439:) while undergoing the nailing of hands; behind are two characters and a number of guards lined up, slightly smaller than the figures in the foreground. All lines (legs, looks) align the viewer's attention on the figure of Peter. In the Baptist's scene (right), the prophet is resigned, ready to accept his martyrdom by kneeling and offering his neck to the blade while praying in silent grief. In front of him, a basket is ready to receive his severed head. The scene is completed by two young guards who look on behind their long shields (originally friezed with ornaments, but now almost completely erased). Masaccio in both scenes tried to represent the executioners' violence by not showing their faces and thus their human side. The work is also notable for the architectural setting, the scene framed by two side
787:
154:
480:
1147:
769:: it tells the story of Saint Julian who, following Satan's prophecy, unknowingly kills his mother and father. In the first scene (left) Julian, while hunting, is in conversation with the devil in human form who prophesies him murdering his parents. Julian runs away from home and, after a long pilgrimage, marries a princess. In the central scene Masaccio depicts the moment in which the parents, in the course of searching for Julian, arrive by chance at his castle and spend the night in the master bedroom. Returning from a trip, Julian mistakes his parents for his wife in bed with a lover, and kills them. In the right pane Julian in horror discovers his mistake by meeting his wife; his face is contorted in pain, with a style reminding of
474:
408:
1176:: one is kneeling in the river and receives his baptism with joined hands; another one already stripped is waiting with crossed arms, trembling from the cold (great realism, the only figure praised by Vasari in the chapel); a third is taking his clothes off. Still another, barefoot and his head clearly wet, is dressing himself and buttoning his blue tunic. Extraordinary is the sense of the water and the wet effect in the kneeling man's hair. Peter's gesture is energetic and eloquent (note the rotation of the bowl). A crowd stands nearby, among which there are some characters who may be portraits of contemporaries. All figures glide naturally in depth, through the perfect relationship of light and shadow, which anticipate the
855:
259:
505:. The two scenes are inextricably combined, and the artist used a single point of perspective as if the two dwellings, open on a side to show the interior, were opposite on the same street. These two scenes are painted in a similar palette of colours like the scenes would require for domestic environments dominated by sleep, and are indeed worthy of a great master's hand. To the left is Julian the Hospitaller carrying out the killing of his parents while asleep, tricked by the devil into believing them to be his wife with her lover. In the adjacent alley Julian, recognizable by the red robe, regrets the act with his wife, covering his face in despair, a gesture reminiscent of Adam in
1587:
1204:
1349:). Where the scene of the healing (fig. 18) reminded one of the Roman Church founded by Peter and caring for the sick, this fresco personifies the Church as a distributor of goods and punisher of the wicked. The scene is characterised by a stylistic maturity, which makes the figures' expression most vigorous, besides composing the background in a more articulate manner, with architectural volumes less stereotyped. The group's arrangement, however, is more static than that of fig. 18, with the flight into perspective blocked by the circle of those present and from the white building in the background.
1313:
1472:
129:
750:
90:
664:
1388:
414:
670:
1531:, set in Masaccio's Florence: on the left the trumpeters, with the easily recognizable Florentine banners, arrive and play their trumpets (note the swollen cheeks of the trumpeter in the foreground) to announce the presentation of official gifts, such as this very tray held by the man on the far left. Some women and two nuns are entering the house. The latter appear to be bothered by the music, especially the nun at the center who glares at the trumpeters. They all walk through a Renaissance
929:) that only increase the expressive immediacy of the whole. Adam is curved, his head bent forward anxiously, walking in the barren desert of the world. The gestures of the two are essential and contained, yet full of expression, where references to the old and the real are intertwined with a deep psychological analysis of man. Masaccio's painting is sober and realistic, with a powerful use of chiaroscuro which models and describes with simplicity the essential elements of the figures.
521:
607:
821:
231:. In many ways the style of the painting is traditional; the expensive gold background and ultramarine draperies of the Virgin, her enlarged scale, and her hierarchical presentation (ceremoniously enthroned) all fit within the late-medieval formulas for the representation of Mary and Jesus in glory. In other ways, however, the painting is a step away from International Gothic in the sense that Masaccio has created a more realistic approach to the subject:
1359:
1410:
1397:
1009:
864:
511:(see below, fig. 14). The scene at right shows St Nicholas, also dressed in red, looking into the house of a poor man with three daughters, who are asleep. The saint gives them the gift of three golden balls (one of which he's holding in his hand), which will allow them to marry. The rigidity of the symmetrical layout of the two rooms is resolved by slightly turning the second room, in order to avoid repetition.
115:. It represents the Virgin and Child with angels in the central panel, Saints Bartholomew and Blaise on the left panel, and Saints Juvenal (i.e. San Giovenale) and Anthony Abbot in the right panel. The painting has lost much of its original framing, and its surface is badly abraded. Nevertheless, Masaccio's concern to suggest three-dimensionality through volumetric figures and foreshortened forms (a revival of
965:
634:, wrapped in a large green mantle modeled by large fields of color lighted up wisely. The bearded face is reminiscent of ancient philosophers, and the gaze is steady and looking in the distance. Some details, like the perspective of the cross and the saint's solid posture, suggest the artist's intention to optimise these shapes for a view from below, as did Donatello, friend of Masaccio and staying in
1466:
324:
1198:
330:
190:
971:
1672:: Jerome appears stern and grim, while John looks scruffy and also slightly sad. It is the wealth of observations taken from the ordinary that reveals Masaccio's hand, such as John's bony foot so firmly planted on the ground and shortened to perfection. These details he shared with his friend Donatello, and it was Vasari who pointed out how Masaccio put an end to the "barbarian" habit of the
1000:
959:
1677:
contrast, the distance between him and Jerome, who stands before John; half of Jerome's face is in the shadow, as a result of the large hat; part of John's left leg is exposed and beautifully lit up; and light draws the shadows on the carpet of wild flowers. The roundness of John's sculptoreal limbs achieves a realistic peak previously unknown in painting.
887:, chased from the garden by a threatening angel. Adam covers his entire face to express his shame, while Eve's shame requires her to cover parts of her body. The fresco had a huge influence on Michelangelo: Masaccio provided a large inspiration to the more famous Renaissance painter, due to the fact that Michelangelo's teacher,
1278:, walking on the street and on passing his shadow heals a group of sick people: two are already up to thank him (one has stick, the other a bandaged ankle), one is rising and fourth, with bent deformed legs, still crouched on the ground, looks at the saint. The figure with the red cap has been recognized as a portrait of
1429:, flanked by Mary and John or including donors, is not uncommon in Italian art of the late 14th and early 15th centuries, and the association of the Trinity with a tomb also has precedents. No precedent for the exact iconography of Masaccio's fresco, combining all these elements, has been discovered, however.
1560:
It might even be that
Masaccio painted on a drawing by his sculptor friend. Watching the scene the viewer has a feeling of having peeked into an episode of family life, as suggested by the seemingly casual architecture, slightly asymmetric, or the sidelong glances between the various characters, such
1332:
events are described immediately before those of the fresco on the left (fig. 18): the first
Christian believers helped each other, and those who had lands or houses sold them, putting the money in a common fund available to all through the apostles, who collected and distributed it as needed. In the
730:
The light is natural, in the traditional style, but brightens some parts while leaving others in the shadow. Typical of
Masaccio's style is also the Virgin's left hand, rough-hewn but extremely expressive, which securely holds the weight of the child. The two halos are still represented flat, not in
288:
commissioned this altarpiece from
Masaccio on 19 February 1426 for the sum of 80 florins. Payment for the work was recorded on 26 December of that year. The altarpiece was dismantled and dispersed in the 18th century, but an attempted reconstruction was made possible due to a detailed description of
1848:. Typically there would be three to five small scenes, in a horizontal format. They are significant in art history, as the artist had more freedom from iconographic conventions than in the main panel; they could only be seen from close up. As the main panels themselves became more dramatic, during
1127:
effect, sculpting the bodies into three-dimensional shapes. Masaccio is often justly praised for the variety of his facial depictions. In the case of this painting the accolade is somewhat diminished, however, by the fact that the work was unfinished at the time of his death, and the heads of Jesus
1067:
of the painting, drawing the eyes of the spectator there. Both Christ and Peter then point to the left hand part of the painting, where the next scene takes place in the middle background: Peter taking the money out of the mouth of the fish. The final scene – where Peter pays the tax collector – is
727:
heritage, the
Madonna and Child ensemble is presented in an innovative way, turned three-quarters and decentralised, so as to suggest the idea of movement. The Madonna's posture is unique for this time, as no previous work exists where the shoulders assume such a rotation, giving the composition a
1095:
This work maintains a heavy importance in the art history world, as it is widely believed to be the first painting, since the fall of Rome (ca. 476 A.D.), to use scientific linear one point perspective: All the orthogonals point to one vanishing point, in this case, Christ. Also, it is one of the
1676:
to put its figures as on tiptoes. There are some errors, such as Jerome's arm being too short, or at least badly foreshortened. Remarkable are the studies in realistic light, which affects the figures from the top-left corner: it hits the
Baptist on the shoulder, amplifying, due to the chromatic
1431:
The figures of the two patrons have most often been identified as members of the Lenzi family or, more recently, a member of the Berti family of the Santa Maria
Novella quarter of Florence. They serve as models of religious devotion for viewers but, because they are located closer to the sacred
23:
is important for developing naturalistic depiction of 3D space containing figures conceived as accurate plastic objects. In his paintings the newly discovered laws of perspective were applied, the drawing of foreshortened parts was correct, and the anatomy of the human body was well understood.
1446:
underlines that the painting was intended to serve as a lesson to the viewers. At the simplest level the imagery must have suggested to the 15th-century faithful that, since they all would die, only their faith in the
Trinity and Christ's sacrifice would allow them to overcome their transitory
709:, which makes the baby laugh and grasp his mother's wrist. The background is a layer of gold, on which the halos are finely engraved. Mary's face is serious, as required by the period's pictorial tradition, as it implicitly showed awareness of her son's tragic fate. A particular feature is the
179:
is so marked – Masolino is believed to have painted the figure of St Anne and the angels that hold the cloth of honour behind her, while
Masaccio painted the more important Virgin and Child on their throne – that it is hard to see the older artist as the controlling figure in this commission.
1292:
The realistic urban landscape is very rare for the period, even more so the movement toward the viewer suggested by the scene, obtained through the use of perspective. The lines of this scene and its symmetry converged at the center of the wall where, under the primitive window, Masaccio's
924:
The strong plasticity of the bodies, especially that of Adam, gives a consistence never seen before, with shadows projected by the violent light that strikes from the upper right. Their figures show a thorough knowledge of anatomy (as detailed by Adam's contracted belly); the bodies are so
1576:) who warns a pet, maybe a small dog. The scene, which was to allude to the client or his family, has not yet been identified. It is assumed that it is inspired by an antique putto and, being of lower quality, could have been painted by an assistant of Masaccio, perhaps Andrea di Giusto.
1424:
Diverse interpretations of the fresco have been proposed. Most scholars have seen it as a traditional image intended for personal devotions and commemorations of the dead, although explanations of how the painting reflects these functions differ in their details. The iconography of the
310:(a medieval formula for representing sacred scenes), Masaccio creates an effect of reality by depicting the event from below, as the viewer standing before the altar truly saw it. In this way, he attempts to tie the viewer to the scene, to make the sacred accessible to the ordinary
1063:, and the entire scene takes place outdoors. The story is told in three parts that do not occur sequentially, but the narrative logic is still maintained, through compositional devises. The central scene is that of the tax collector demanding the tribute. The head of Christ is the
891:, looked almost exclusively to him for inspiration for his religious scenes. Ghirlandaio also imitated various designs done by Masaccio. This influence is most visible in Michelangelo's "The Fall of Man and the Expulsion from the Garden of Eden" on the ceiling of the
32:, but Masaccio, although he died 20 years before his master, carried the advance in naturalism further. Much of his work has been destroyed, and what remains is often in poor condition, but undergoing some restoration. The largest remaining collection of work is the
457:: the two buildings were traditionally linked to Peter's martyrdom. The work is a complete example of space painted illusionistically, where all elements are arranged rationally by following a unifying principle, bound by a rigorous mathematical construction of the
461:. Space is quickened by the light, which gives substance and volume to every element, from the body of the saints to the stones of the pavement. U. Procacci: 'Documenti e ricerche sopra Masaccio e la sua famiglia', Rivista d’arte, xiv (1932), pp. 489–
1535:
delimited by a courtyard and a room where, on the right, the mother lies surrounded by the midwives. Cradled by a woman in the foreground is the baby, fully wrapped according to the custom of the time. Around his neck is a red coral chain, ancient
650:
1172:, Peter began to preach exhorting the people to be baptised in the name of Jesus Christ: in this scene he begins to baptise with a bowl. The story, set in a valley between steep hills, shows some young people who are preparing to receive the
48:. Here Masolino da Panicale had left unfinished a series of frescoes which Masaccio was asked to continue: his six paintings there created a sensation and became the training school of Florentine painters of the succeeding generations, of
1439:
consists of a sarcophagus on which lies a skeleton. "Carved" in the wall above the skeleton is an inscription: "IO FU GA QUEL CHE VOI SETE E QUEL CH I SONO VO AC SARETE" (I once was what you are and what I am you also will be). This
1835:
altarpieces, where the main panel consisted of a scene with large static figures, it was normal to include a predella below with a number of small-scale narrative paintings depicting events from the life of the dedicatee, whether the
223:, with the Virgin seated on a throne with a lowered point of view, in order to take into account the viewer's real perspective; she bends down, as if to form a protective cocoon around the Child eating a grape, a symbol of his future
305:
was placed above the central panel of the altarpiece, which represented the Virgin enthroned with the baby Jesus on her lap, flanked by two pairs of angels. Although the panel unnaturalistically represents the narrative against a
1225:, but apparently left it unfinished, though it has also been suggested that the painting was severely damaged later in the century because it contained portraits of the Brancacci family, at that time excoriated as enemies of the
648:, Masaccio's treatment of flesh and drapes has a more vigorous and sculptural approach, with varying colours, thick and sharp folds making the robe vaporous and heavy. Andrew's fingers are solid and squarish, like those of the
562:. The saint is noticeably hirsute, with long hair and a beard (like a philosopher of old), and stands with firm gaze and looks far away; he is dressed in a red cloak modeled by large fields of colour ably illumined. Unlike the
566:, the artist's treatment of flesh and drapes has a more delicately nuanced approach, whereas the other work has more contrast and looks sculptural. Paul's fingers are solid and square and, according to the traditional
144:: the portrait shows an accurate sense of facial detail and general physical appearance. The lines are strong and well marked, the expression serious and pensive. The attribution to Masaccio, however, is disputed.
2535:
1511:, were very common scenes in religious art, and often used contemporary settings and costumes, actual depictions of a contemporary childbirth were very rare. This specific work attest to a rich client, perhaps a
175:(1383/4-c. 1436). The circumstances of the two artists' collaboration are unclear; since Masolino was considerably older, it seems likely that he brought Masaccio under his wing, but the division of hands in the
1251:
786:
59:
What follows is an incomplete list of
Masaccio's main paintings in chronological sequence. The arrangement is ordered by year and title, with brief comments and showing the artistic development of the artist.
731:
perspective, but the fact that they fit into one another suggests the idea of different spatial planes. The Virgin's mantle has a particular thickness, achieved by emphasizing the golden rim (with pseudo-
1297:
was located (fig. 5). The figures are identified specifically with a few but sufficient individual traits, which avoid the generic characterization of Masolino. The sense of human dignity typical of the
1274:
brought their sick into the streets, putting them on pallets and stretchers in a position to be touched by Peter's shadow, and all were cured. The composition is very eloquent: St Peter, followed by
1211:
153:
1241:
biography. The surviving parts were extensively blackened by smoke, and the recent removal of marble slabs covering two areas of the paintings has revealed the original appearance of the work.
1123:
had applied a flat, neutral light from an unidentifiable source, Masaccio's light emanated from a specific location outside the picture, casting the figures in light and shadow. This created a
473:
2480:
1115:. Both the mountains in the background, and the figure of Peter on the left are dimmer and paler than the objects in the foreground, creating an illusion of depth. This technique was known in
2490:
3265:
388:
already kneeling and without crown (placed on the ground); his gift is already in St Joseph's hands. Behind him is a second Magus with pink tunic (much like the character in the fresco of
1454:
The fresco, with its terrible logic, is like a proof in philosophy or mathematics, God the Father, with His unrelenting eyes, being the axiom from which everything else irrevocably flows.
3185:
2550:
2530:
2791:
2545:
1184:(chaperon). Their highly individualised faces suggest two portraits of notables. In this scene Peter is depicted alone, whereas in the Gospel he was in the company of the other
3365:
2465:
1146:
1320:
1561:
as the severe nun at the center. Here too, as in fig. 18 above, the artist used a perspective construction in order to give his figures a sense of motion towards the viewer.
1586:
829:
1852:, predellas were no longer painted, and they are rare by the middle of the 16th century. Predella scenes are now often separated from the rest of the altarpiece in museums.
2941:
2505:
479:
407:
1111:
as a pioneer of the Renaissance, particularly for his use of single-point perspective. One technique that was unique to Masaccio, however, was the use of atmospheric, or
1260:
2470:
879:
161:
3311:
3291:
2901:
2525:
2025:
933:
1068:
at the right, set apart by the framework of an architectural structure. Only two of the disciples can be identified with any degree of certainty: Peter with his
2916:
2691:
1104:. If a viewer were to walk into the painting, she or he could walk around Jesus Christ in the semicircle created, and back out of the painting again with ease.
3240:
2971:
2495:
2442:
240:
An attempt at creating depth has been attempted by Massacio's placement of the two background angels and through the use of linear perspective in the throne.
258:
3160:
3145:
2906:
2315:
2616:
3351:
3306:
3130:
2746:
2586:
1714:
This listing is by no means complete, and is given as a figurative timeline of Masaccio's artistic output. For locations, refer to individual entries on
3046:
2831:
2676:
2611:
2591:
2555:
2520:
2510:
1203:
669:
1312:
689:, the "Casini" title comes from Cardinal Casini's emblem painted on its back, which indicates a possible commission to Masaccio by Antonio Casini, a
2786:
2706:
2581:
2571:
2485:
1645:
is also shown with some typical attributes, such as the fur vest, the stick with the cross and a scroll with the words "Ecce Agnus Dei" (Behold the
1503:, or birthing-tray painted around 1427–1428, though the work is regarded as from his workshop or by a "follower" by many recent scholars. While the
854:
3175:
3245:
3155:
3090:
2836:
2696:
2976:
1326:(Fresco: 230 cm × 162 cm) Brancacci Chapel – The scene is located in the lower register on the wall behind the altar, on the right. In
112:
3255:
3205:
2956:
2856:
2806:
2781:
2736:
2646:
1471:
1302:
also permeates ugliness, poverty and physical illness, subliming their representation and thus avoiding any complacency towards the grotesque.
697:. The iconography is unusual, certainly linked to the private client's suggestions and therefore less exposed to criticism and objections. The
705:
in swaddling clothes and with her right hand blesses him by raising two fingers, but the gesture transforms into a more familiar one, perhaps
3230:
3100:
3095:
3080:
3021:
3006:
3001:
2931:
2811:
2771:
2681:
2671:
2656:
2631:
2540:
528:
487:
421:
337:
267:
197:
3220:
3215:
3180:
3170:
3110:
2936:
2921:
2626:
2726:
2666:
897:
There are many possible sources of inspiration Masaccio may have drawn from. For Adam, possible references include numerous sculptures of
246:
The Madonna is a bulky figure, deriving from classical models, and her drapery has larger and more naturalistic folds that shape her body.
1479:
3225:
3140:
3041:
2991:
2981:
2946:
2851:
2761:
2756:
550:
413:
3358:
3200:
3195:
3165:
3085:
3036:
2986:
2871:
2661:
2596:
2339:
2275:
2248:
1270:— The scene is located in the lower register of the wall behind the altar, on the left. The Gospel text recalls how some citizens of
1154:
614:
493:(Pisa Altarpiece – poplar, 21 cm × 61 cm) — The work was part of the predella, on the right side, below the lost panels of
89:
3260:
3070:
3051:
2966:
2876:
2846:
2841:
2741:
2651:
2641:
2636:
2621:
2576:
2323:
2234:
1197:
739:, is related to the small size of the painting and its private destination, to be enjoyed with a slow contemplation at close range.
41:
3150:
2776:
1119:, but was considered lost until reinvented by Masaccio. Masaccio's use of light was also revolutionary. While earlier artists like
1080:, and it is reflected in the very similar face of another disciple on the right. The person next to this disciple is assumed to be
1096:
first paintings that does away with the use of a head-cluster, a technique employed by earlier Proto-Renaissance artists, such as
3316:
3301:
2951:
2911:
2821:
2751:
2731:
2435:
1601:
1054:
749:
663:
97:
810:), the work is disputed, as it seems to be by an artist who attempted to imitate but did not fully understand Masaccio's style.
3235:
3105:
3065:
3026:
2896:
2881:
2866:
2796:
2716:
2701:
1878:
427:(Pisa Altarpiece – Predella panel, poplar 21 cm × 61 cm) — The first scene (left) shows a close up of the cross with
1059:
The painting diverges somewhat from the biblical story, in that the tax collector confronts the whole group of Christ and the
735:
ornament) which, on bending, adheres to the volume of her body. The wealth of detail, so different from the simplicity of the
3392:
3250:
3120:
3016:
2926:
2891:
2861:
2816:
2801:
2766:
2601:
2402:
1283:
584:
128:
3135:
3031:
2996:
2826:
2721:
1373:
1185:
820:
281:
2033:
1413:
1366:
964:
3281:
3115:
2331:
1020:
432:
356:
298:
978:
3387:
3125:
3056:
2428:
2003:
1400:
1752:
1032:
2961:
2711:
2500:
323:
1827:
It. = kneeling stool). In painting, the predella is the painting or sculpture along the frame at the bottom of an
773:, also present in some Donatello sculptures. The shapes, as per fig. 8, are in scaled perspective and modelled by
293:. Eleven pieces have been found as of 2010, and they are insufficient to reliably reconstruct the whole work. The
171:
on panel, 175 cm × 103 cm) — Masaccio's first collaboration with the older and already-renowned artist,
3286:
3075:
2886:
2686:
2363:
2106:
329:
606:
219:: the painting is badly damaged, the altarpiece having been cut up and sold in pieces long ago. The panel has a
189:
140:(Wood, 42 cm × 32 cm) — An unknown wealthy young man with fashionable clothes and headgear, wearing a
3321:
3190:
1504:
970:
948:
of the figures. These were eventually removed in the 1980s when the painting was fully restored and cleaned.
520:
354:
21 cm × 61 cm, tempera) — The painting formed part of the predella in the centre section, below the
1594:
3210:
2606:
2475:
2355:
2058:
45 (1963) 19–34; Otto von Simson, "Uber die Bedeutung von Masaccios Trinitätfresko in Santa Maria Novella,"
2029:
1637:"), while at his feet is a very small lion, from whose paw he would have removed a thorn (according to some
1512:
1417:
1060:
1044:
458:
436:
1337:
are in fact distributing money to the poor, including a woman with a child in her arms, the very emblem of
2299:
2268:
1465:
1334:
1275:
690:
495:
1053:. It suffered great damage in the centuries after its creation, until the chapel went through a thorough
3326:
1837:
1345:, was punished because he had retained for himself a portion of the proceeds from the sale of his land (
723:
of ancient origin and still popular as a good-luck gift to babies. Despite the flat gold background, of
535:
1358:
1387:
2408:
2307:
2153:
1715:
1669:
1634:
1516:
1342:
1129:
1108:
888:
770:
29:
1490:– Tempera on wood, diameter 56 cm) – "Visit to the nursery". This painting, also known as the
1188:: this choice strongly emphasizes Peter's leadership and his personification with the whole Church.
1084:, whose dark and sinister face mirrors that of the tax collector. It has been speculated – first by
3343:
2091:
Rita Maria Comanducci, "'L'altare Nostro de la Trinità': Masaccio's Trinity and the Berti Family,"
1642:
1508:
180:
Masolino's figures are delicate, graceful and somewhat flat, while Masaccio's are solid and hefty.
141:
2515:
1889:
1841:
1338:
1112:
1089:
444:
1931:
958:
867:
368:. At left the viewer sees the hut, the ox and the donkey from the back, next to a mount for the
364:. The scene, as is customary, is presented in a profile perspective and is quite static, like a
2261:
2244:
2230:
1650:
1164:— The scene is located in the middle register, on the wall behind the altar on the right. The
1120:
1024:
224:
1180:. The two men behind Peter are two Florentine witnesses, wearing the typical headgear called
1040:
2381:
1605:
1287:
1267:
1218:
1161:
1133:
1073:
985:
840:
736:
682:
395:
361:
104:
37:
52:
with the rest. Masaccio did not complete the decoration of the chapel. In 1428 he left for
2347:
1893:
1882:
1629:
1230:
1221:— Masaccio returned in 1427 to work again in Santa Maria del Carmine, Pisa, beginning the
1077:
1064:
918:
902:
799:
384:
with the imperial lion heads), and holds in her arms the Child blessing the first of the
1346:
243:
Modeling is clearly visible as the light source is coming from the left of the painting.
3296:
2209:
1732:
1698:
1654:
1528:
1499:
1238:
1085:
1081:
892:
548:. He is shown from the waist up, just like another Masaccio panel of similar make, the
290:
25:
1875:
453:, a pyramidal mausoleum still in existence in the 15th century in the vicinity of the
3381:
2054:
Ursula Schlegel, "Observations on Masaccio's Trinity Fresco in Santa Maria Novella,"
1960:
1658:
1638:
1012:
762:
581:
208:
119:'s approach, rather than a continuation of contemporary trends) is already apparent.
1132:, (who painted the corresponding perspective work on the other side of the chapel, "
1939:
1935:
1876:
Biographical Dictionary: "The Cardinals of the Holy Roman Church – Casini, Antonio"
1442:
1436:
910:
884:
871:
621:
555:
454:
107:
altarpiece was only discovered in 1961 in the church of San Giovenale at Cascia di
49:
761:(Tempera on panel) – A much damaged panel, sole survival of a predella now at the
1076:; the young beardless man standing next to Christ. John's head is reminiscent of
376:, with halos in foreshortened perspective. Mary is seated on a golden stool with
1832:
1665:
1646:
1487:
1299:
1229:. This painting was either restored or completed more than fifty years later by
1177:
1069:
1049:
909:
done by Donatello. For Eve, art analysts usually point to different versions of
774:
698:
567:
559:
501:
449:
428:
373:
307:
228:
220:
204:
111:, which is very close to Masaccio's hometown. Now it's on display at the nearby
999:
2222:
2145:
1905:
1828:
1673:
1537:
1023:
is part of a cycle on the life of Saint Peter, and describes a scene from the
941:
906:
717:
541:
347:
311:
277:
1727:
Roberto Bellucci & Cecilia Frosinini, "The San Giovenale Altarpiece," in
1043:. The painting owes its importance in particular to its revolutionary use of
1849:
1618:
1613:
1600:(Tempera on poplar, 114 cm × 55 cm) — Originally destined for the
1282:, while St John could represent a portrait of Masaccio's brother, known as "
1271:
1169:
1116:
1088:– that the face on the far right is a self-portrait of Masaccio himself, as
803:
710:
594:
440:
381:
644:(fig. 5 above), with Christ's head tucked into his collar bone. Unlike his
443:
recalling Rome, the city where the martyrdom took place, in particular the
431:
in the inverted position with legs apart. The saint is impassive (with his
638:
during this very period of 1426; Masaccio created this same effect in his
67:
2284:
1609:
1279:
1234:
945:
798:(Tempera on wood, 62 cm × 44 cm with frame) — Currently at the
766:
724:
706:
628:
s panel above (fig. 9). The saint is portrayed holding the cross and the
589:
172:
108:
45:
20:
2070:
n.s/ 11 (1980) 489–504; Alessandro Cortesi, "Una lettura teologica," in
925:
deliberately massive, ugly, realistic, with some errors (such as Adam's
2074:
ed. Cristina Danti, Florence, 2002, 49–56; Timothy Verdon, "Masaccio's
1623:
1532:
1426:
1173:
937:
898:
807:
713:
377:
351:
168:
716:
at the child's neck, turned to the side in the play: it represents an
2420:
1804:
Giotto to Dürer: Early Renaissance Painting in the National Gallery,
1547:
the organisation of regular space receding in depth at set intervals,
1515:, judging by the presence in the scene of official trumpeters of the
1492:
1432:
figures than the viewers are, they also lay claim to special status.
1226:
1165:
1101:
1097:
836:
720:
369:
365:
116:
33:
620:(Pisa Altarpiece – Tempera and gold leaf on panel, 524mm × 321mm) —
2178:
Cf. M. L. Testi Cristiani, "Masaccio: Prospettiva, luce, colore",
1845:
1820:
1572:
1566:
1523:
1028:
926:
732:
702:
694:
571:
544:
that remains in Pisa, possibly positioned above the lost panel of
216:
212:
1328:
1107:
Masaccio is often compared to contemporaries like Donatello and
635:
630:
576:
385:
344:
285:
274:
53:
2424:
2257:
534:(Pisa Altarpiece – Tempera on wood, 51 cm × 30 cm) —
2219:
Divo Savelli, "La Sagra di Masaccio", Florence: Pagnini, 1998
1787:
Le vite de' più eccellenti pittori, scultori ed architettori,
1649:). To a careful observer, the stick is revealed as a slender
1237:
were lost in a fire in 1771; we know about them only through
422:
Crucifixion of St Peter and Martyrdom of St John the Baptist
2253:
1621:
is represented in a cardinal's attire, holding a book (his
237:
The baby Jesus is less of a small man and more childlike.
203:(Wood, 136 cm × 73 cm) — Representation of the
2072:
La Trinità di Masaccio: il restauro dell'anno duemila,
1772:
Cf. Roberto Longhi, "Fatti di Masolino e di Masaccio,"
1961:"Masaccio's The Tribute Money in the Brancacci Chapel"
1886:
1212:
Raising of the Son of Teophilus and St Peter Enthroned
2026:"The Magic of Illusion: The Trinity-Masaccio, Part 2"
1543:
The design closely recalls the works by Donatello in
1128:
and St Peter were painted by his senior collaborator
1072:
grey hair and beard, and blue and yellow attire, and
3366:
Still life paintings from the Netherlands, 1550-1720
1013:
Masaccio's The Tribute Money in the Brancacci Chapel
681:(Tempera and gold leaf on panel,245mm × 182mm) – In
3335:
3274:
2564:
2456:
2390:
2374:
2291:
1731:ed. Carl Brandon Strehlke, Milan, 2002, pp. 69–79;
1450:According to American art historian Mary McCarthy:
1414:
The Magic of Illusion: The Trinity-Masaccio, Part 2
1380:
992:
847:
1570:of the birthing-tray depicts a chubby male child (
587:(1993) has connected this work with the statue of
297:is one of the surviving panels connected with the
103:(Panel, 110 cm × 65 cm – central) — The
1739:ed. Diane Cole Ahl, Cambridge, 2002, pp. 124–126.
1668:, far from the traditional "soft" expressions of
1932:"Masaccio's Expulsion of Adam and Eve from Eden"
1452:
1233:. Some of the scenes completed by Masaccio and
234:The faces are more realistic and not idealised.
1789:ed. Gaetano Milanesi, Florence, 1906, II, 292.
1633:) and the model of a church (he is in fact a "
1550:the characters moving in and out of the frame,
932:Three centuries after the fresco was painted,
868:Masaccio's Expulsion of Adam and Eve from Eden
794:Agony in the Garden and Communion of St Jerome
2436:
2269:
2082:ed. Diane Cole Ahl, Cambridge, 2002, 158–176.
1729:The Panel Paintings of Masolino and Masaccio,
1608:of London. It was Masaccio's contribution to
1321:The Distribution of Alms and Death of Ananias
1134:Healing of the Cripple and Raising of Tabitha
8:
2062:8 (1966) 119–159; Rona Goffen, "Masaccio's
1286:", followed by an old bearded man (perhaps
3352:100 great paintings from Duccio to Picasso
2443:
2429:
2421:
2276:
2262:
2254:
28:, Masaccio owed his artistic education to
2491:Galleria Nazionale di Capodimonte, Naples
2229:, Milan: Rizzoli libri illustrati, 2002.
1926:
1924:
1922:
1759:, ch. I, 4: "Disputed attributions", and
1261:St Peter Healing the Sick with His Shadow
391:St Peter Healing the Sick with His Shadow
280:– 83 cm × 63 cm) — A chapel in
56:, and was reported dead soon afterwards.
2526:National Gallery of Art, Washington D.C.
1556:the numerous details from everyday life.
624:is depicted from the waist up, like the
1690:
1980:
1978:
1747:
1745:
1553:the anecdotal liveliness of figurines,
1377:
989:
844:
654:in a smaller panel of the altarpiece.
2182:, n . s. 8, lxv/13 (2002), pp. 51–66.
936:, in line with contemporary ideas of
880:The Expulsion from the Garden of Eden
227:; the imposing figures are shaped by
7:
2080:The Cambridge Companion to Masaccio,
1819:is the platform or step on which an
1737:The Cambridge Companion to Masaccio,
1735:, "The Altarpieces of Masaccio," in
1664:Both figures have a very expressive
1372:(Fresco, 667 cm × 317 cm)
1266:(Fresco: 230 cm × 162 cm)
1217:(Fresco: 230 cm × 598 cm)
1160:(Fresco: 255 cm × 162 cm)
984:(Fresco: 255 cm × 598 cm)
488:Stories of St Julian and St Nicholas
2398:List of major paintings by Masaccio
3359:120 Paintings from the Rijksmuseum
1595:Saints Jerome and John the Baptist
540:is the only portion of Masaccio's
463:503; xvii (1935), pp. 91–111
198:Madonna with Child and Four Angels
14:
3266:Erotic works by Thomas Rowlandson
2324:Expulsion from the Garden of Eden
2105:McCarthy, Mary (22 August 1959).
1035:in order to pay the temple tax —
570:, he holds with his right hand a
2536:Los Angeles County Museum of Art
2316:Virgin and Child with Saint Anne
2066:and the Letter to the Hebrews,"
1616:for the altar of that Basilica.
1602:Basilica di Santa Maria Maggiore
1585:
1470:
1464:
1408:
1395:
1386:
1357:
1311:
1250:
1202:
1196:
1145:
1007:
998:
969:
963:
957:
862:
853:
819:
785:
748:
668:
662:
605:
519:
478:
472:
412:
406:
328:
322:
257:
188:
177:Virgin and Child with Saint Anne
152:
127:
88:
64:Gallery of paintings by Masaccio
3312:On United States postage stamps
1223:Raising of the Son of Teophilus
69:
2521:Museum of Modern Art, New York
2403:Giovanni di ser Giovanni Guidi
2006:. Smarthistory at Khan Academy
1963:. Smarthistory at Khan Academy
1341:. The dead man on the ground,
1168:text narrates that, after the
1:
2942:Jean-Auguste-Dominique Ingres
2060:Jahrbuch der Berliner Museen,
1806:New Haven, 1991, pp. 248–251.
1716:Wikimedia Commons: "Masaccio"
1604:, the painting is now at the
1374:Santa Maria Novella, Florence
113:Masaccio Museum of Sacred Art
2556:Web Gallery of Art, Internet
2496:Hampton Court Palace, London
2214:Fatti di Masolino e Masaccio
2204:L'opera completa di Masaccio
1703:Fatti di Masolino e Masaccio
1155:The Baptism of the Neophytes
839:, 208 cm × 88 cm)
3292:National Treasures of Japan
1033:coin in the mouth of a fish
3409:
2902:Bartholomeus van der Helst
2541:Palatine Gallery, Florence
2506:Indianapolis Museum of Art
2501:Museum of Fine Arts, Ghent
2486:Frick Collection, New York
2481:Frans Hals Museum, Haarlem
2466:Accademia Carrara, Bergamo
2405:(brother and collaborator)
2243:, Florence: Giunti, 2003.
2587:Sophie Gengembre Anderson
2004:"Masaccio's Holy Trinity"
1407:
1394:
1385:
1039:is drawn from the Gospel
1006:
997:
861:
852:
830:Expulsion of Adam and Eve
3317:Pre-Raphaelite paintings
3307:On Soviet postage stamps
2917:Hans Holbein the Younger
2692:Pieter Bruegel the Elder
2531:National Gallery, London
2471:Art Institute of Chicago
2093:The Burlington Magazine,
1831:. In later medieval and
1776:25-6 (1940) pp. 145–191.
1333:fresco, Saint Peter and
1031:directs Peter to find a
944:be added to conceal the
640:
507:
390:
3241:John William Waterhouse
2572:Pieter Coecke van Aelst
2476:El Greco Museum, Toledo
2340:Portrait of a Young Man
2131:Cf. Cecilia Frosinini,
2030:National Gallery of Art
1513:Gonfaloniere of Justice
1418:National Gallery of Art
1401:Masaccio's Holy Trinity
883:, depicts a distressed
508:Expulsion from Paradise
282:Santa Maria del Carmine
136:Portrait of a young man
42:Santa Maria del Carmine
3161:Charles Marion Russell
3146:Dante Gabriel Rossetti
3091:Robert Antoine Pinchon
2907:Catharina van Hemessen
2837:Caspar David Friedrich
2546:Rijksmuseum, Amsterdam
2300:San Giovenale Triptych
2216:, Milan: Sansoni, 1975
2206:, Milan: Rizzoli, 1968
2113:. New York. p. 48
1865:, Phaidon Press, 1993.
1456:
701:holds in her arms the
574:and with the left the
98:San Giovenale Triptych
3393:Paintings by Masaccio
3256:Rogier van der Weyden
3131:Pierre-Auguste Renoir
2857:Artemisia Gentileschi
2832:Jean-Honoré Fragonard
2782:Edward Thomas Daniell
2747:Frederic Edwin Church
2737:William Merritt Chase
1914:Galleria degli Uffizi
1892:19 April 2012 at the
1881:30 March 2013 at the
1863:Masaccio and Masolino
1661:of Masaccio's times.
934:Cosimo III de' Medici
728:very natural effect.
338:Adoration of the Magi
215:, surrounded by four
3282:Gold-glass portraits
3101:Giambattista Pittoni
3047:John Everett Millais
2972:Peder Severin Krøyer
2932:Edward Robert Hughes
2677:Valentin de Boulogne
2632:Gian Lorenzo Bernini
2612:Jean-Michel Basquiat
2592:Sofonisba Anguissola
2511:Louvre Museum, Paris
2409:Masolino da Panicale
2343:(c. 1425) (disputed)
2308:Carnesecchi Triptych
1861:Cf. Paul Joannides,
1670:International Gothic
1653:, the emblem of the
1635:Father of the Church
1517:Signoria of Florence
1130:Masolino da Panicale
889:Domenico Ghirlandaio
757:Stories of St Julian
687:The Tickling Madonna
173:Masolino da Panicale
30:Masolino da Panicale
3344:100 Great Paintings
3327:Stone Age paintings
3181:De Es Schwertberger
3171:John Singer Sargent
2787:Jacques-Louis David
2707:Gustave Caillebotte
2627:Frank Weston Benson
2239:Cecilia Frosinini,
2068:Memorie domenicane,
1798:Cf. Jill Dunkerton
1643:St John the Baptist
651:Beardless Carmelite
380:and lion paws (the
372:. Then follows the
350:– Predella panel,
3388:Lists of paintings
3246:Michaelina Wautier
3156:Jacob van Ruisdael
2852:Orazio Gentileschi
2772:John Steuart Curry
2697:Edward Burne-Jones
2582:Albrecht Altdorfer
2451:Lists of paintings
2195:Miklos Boskovits,
1657:, from which came
1509:that of his mother
1113:aerial perspective
554:below, now at the
445:Pyramid of Cestius
209:pseudo-Arabic halo
162:Sant'Anna Metterza
36:decoration of the
3375:
3374:
3347:(1980 BBC series)
3287:Haunted paintings
3206:August Strindberg
3176:Thérèse Schwartze
2987:Leonardo da Vinci
2957:Wassily Kandinsky
2872:Hugo van der Goes
2662:Sandro Botticelli
2551:Ukrainian Museums
2418:
2417:
2332:The Tribute Money
2197:Giotto born again
2152:, also listed on
2107:"A City of Stone"
2095:145 (2003) 14–21.
1753:Oxford Art Online
1682:
1681:
1651:Corinthian column
1423:
1422:
1037:The Tribute Money
1025:Gospel of Matthew
1019:
1018:
979:The Tribute Money
877:
876:
435:foreshortened in
357:Madonna and Child
40:in the Church of
3400:
3322:Stolen paintings
3261:Eugenio Zampighi
3231:Johannes Vermeer
3096:Camille Pissarro
3081:Mikhail Nesterov
3076:Elizabeth Murray
3022:Victor Meirelles
2977:Philip de László
2877:Vincent van Gogh
2842:Fujishima Takeji
2812:Anthony van Dyck
2742:Gaetano Chierici
2682:Ford Madox Brown
2667:François Boucher
2657:Hieronymus Bosch
2652:Giovanni Boldini
2642:Joseph Blackburn
2637:Albert Bierstadt
2622:Giovanni Bellini
2617:Frédéric Bazille
2445:
2438:
2431:
2422:
2382:Brancacci Chapel
2278:
2271:
2264:
2255:
2183:
2176:
2170:
2163:
2157:
2142:
2136:
2133:Masaccio, passim
2129:
2123:
2122:
2120:
2118:
2102:
2096:
2089:
2083:
2052:
2046:
2045:
2043:
2041:
2032:. Archived from
2022:
2016:
2015:
2013:
2011:
2000:
1994:
1991:
1985:
1982:
1973:
1972:
1970:
1968:
1957:
1951:
1950:
1948:
1946:
1928:
1917:
1902:
1896:
1872:
1866:
1859:
1853:
1813:
1807:
1796:
1790:
1785:Giorgio Vasari,
1783:
1777:
1770:
1764:
1749:
1740:
1725:
1719:
1712:
1706:
1705:, Sansoni, 1975.
1695:
1606:National Gallery
1589:
1474:
1468:
1412:
1411:
1399:
1398:
1390:
1378:
1361:
1315:
1288:Bicci di Lorenzo
1268:Brancacci Chapel
1255:
1254:
1219:Brancacci Chapel
1206:
1200:
1162:Brancacci Chapel
1149:
1078:Roman sculptures
1041:Matthew 17:24–27
1011:
1010:
1002:
990:
986:Brancacci Chapel
973:
967:
961:
866:
865:
857:
845:
841:Brancacci Chapel
824:
823:
789:
752:
737:Brancacci Chapel
672:
666:
609:
523:
482:
476:
416:
410:
396:Brancacci Chapel
362:National Gallery
332:
326:
262:
261:
192:
156:
131:
92:
77:Year & Title
68:
38:Brancacci Chapel
3408:
3407:
3403:
3402:
3401:
3399:
3398:
3397:
3378:
3377:
3376:
3371:
3331:
3270:
3226:Diego Velázquez
3221:Suzanne Valadon
3216:J. M. W. Turner
3111:Nicolas Poussin
2922:Pieter de Hooch
2912:William Hogarth
2560:
2458:
2452:
2449:
2419:
2414:
2386:
2370:
2348:Pisa Altarpiece
2287:
2282:
2202:Luciano Berti,
2192:
2187:
2186:
2177:
2173:
2164:
2160:
2143:
2139:
2130:
2126:
2116:
2114:
2104:
2103:
2099:
2090:
2086:
2053:
2049:
2039:
2037:
2024:
2023:
2019:
2009:
2007:
2002:
2001:
1997:
1992:
1988:
1983:
1976:
1966:
1964:
1959:
1958:
1954:
1944:
1942:
1930:
1929:
1920:
1912:; also AA.VV.,
1903:
1899:
1894:Wayback Machine
1883:Wayback Machine
1873:
1869:
1860:
1856:
1814:
1810:
1797:
1793:
1784:
1780:
1771:
1767:
1761:passim, s.s.vv.
1750:
1743:
1726:
1722:
1713:
1709:
1696:
1692:
1687:
1541:
1520:
1483:(birthing-tray)
1409:
1396:
1381:External videos
1249:
1231:Filippino Lippi
1065:vanishing point
1008:
993:External videos
940:, ordered that
919:Giovanni Pisano
903:Greek Mythology
863:
848:External videos
818:
800:Lindenau-Museum
299:Pisa Altarpiece
256:
66:
12:
11:
5:
3406:
3404:
3396:
3395:
3390:
3380:
3379:
3373:
3372:
3370:
3369:
3362:
3355:
3348:
3339:
3337:
3333:
3332:
3330:
3329:
3324:
3319:
3314:
3309:
3304:
3302:Most expensive
3299:
3294:
3289:
3284:
3278:
3276:
3272:
3271:
3269:
3268:
3263:
3258:
3253:
3248:
3243:
3238:
3236:George Vincent
3233:
3228:
3223:
3218:
3213:
3208:
3203:
3198:
3193:
3188:
3186:Georges Seurat
3183:
3178:
3173:
3168:
3163:
3158:
3153:
3148:
3143:
3141:Suze Robertson
3138:
3133:
3128:
3123:
3118:
3113:
3108:
3103:
3098:
3093:
3088:
3083:
3078:
3073:
3068:
3066:Alphonse Mucha
3063:
3062:
3061:
3049:
3044:
3042:Pierre Mignard
3039:
3037:John Middleton
3034:
3029:
3027:Jean Metzinger
3024:
3019:
3014:
3009:
3004:
2999:
2994:
2992:Judith Leyster
2989:
2984:
2982:Georges Lebacq
2979:
2974:
2969:
2964:
2959:
2954:
2949:
2947:Johan Jongkind
2944:
2939:
2934:
2929:
2924:
2919:
2914:
2909:
2904:
2899:
2894:
2889:
2884:
2882:Francisco Goya
2879:
2874:
2869:
2867:Albert Gleizes
2864:
2859:
2854:
2849:
2844:
2839:
2834:
2829:
2824:
2819:
2814:
2809:
2807:Albrecht Dürer
2804:
2799:
2797:Marcel Duchamp
2794:
2789:
2784:
2779:
2774:
2769:
2764:
2762:Adriaen Coorte
2759:
2757:John Constable
2754:
2749:
2744:
2739:
2734:
2729:
2724:
2719:
2714:
2709:
2704:
2702:Guido Cagnacci
2699:
2694:
2689:
2684:
2679:
2674:
2669:
2664:
2659:
2654:
2649:
2647:Arnold Böcklin
2644:
2639:
2634:
2629:
2624:
2619:
2614:
2609:
2604:
2599:
2594:
2589:
2584:
2579:
2574:
2568:
2566:
2562:
2561:
2559:
2558:
2553:
2548:
2543:
2538:
2533:
2528:
2523:
2518:
2513:
2508:
2503:
2498:
2493:
2488:
2483:
2478:
2473:
2468:
2462:
2460:
2454:
2453:
2450:
2448:
2447:
2440:
2433:
2425:
2416:
2415:
2413:
2412:
2411:(collaborator)
2406:
2400:
2394:
2392:
2388:
2387:
2385:
2384:
2378:
2376:
2372:
2371:
2369:
2368:
2367:(c. 1427–1428)
2364:Desco da parto
2360:
2359:(c. 1426–1428)
2352:
2344:
2336:
2328:
2320:
2319:(c. 1424–1425)
2312:
2311:(c. 1423–1425)
2304:
2295:
2293:
2289:
2288:
2283:
2281:
2280:
2273:
2266:
2258:
2252:
2251:
2249:978-8809030534
2237:
2220:
2217:
2210:Roberto Longhi
2207:
2200:
2191:
2188:
2185:
2184:
2171:
2158:
2150:Masaccio, cit.
2137:
2124:
2111:The New Yorker
2097:
2084:
2047:
2017:
1995:
1986:
1974:
1952:
1918:
1910:Masaccio, cit.
1897:
1867:
1854:
1838:Life of Christ
1808:
1791:
1778:
1774:Critica d'arte
1765:
1741:
1733:Dillian Gordon
1720:
1707:
1699:Roberto Longhi
1689:
1688:
1686:
1683:
1680:
1679:
1655:Colonna family
1598:
1590:
1583:
1579:
1578:
1558:
1557:
1554:
1551:
1548:
1529:nativity scene
1505:birth of Jesus
1500:desco da parto
1484:
1480:Desco da parto
1475:
1462:
1458:
1457:
1421:
1420:
1405:
1404:
1403:, Smarthistory
1392:
1391:
1383:
1382:
1370:
1362:
1355:
1351:
1350:
1324:
1316:
1309:
1305:
1304:
1264:
1256:
1247:
1243:
1242:
1215:
1207:
1194:
1190:
1189:
1158:
1150:
1143:
1139:
1138:
1057:in the 1980s.
1017:
1016:
1015:, Smarthistory
1004:
1003:
995:
994:
982:
974:
955:
951:
950:
905:) and certain
893:Sistine Chapel
875:
874:
859:
858:
850:
849:
833:
825:
816:
812:
811:
796:
790:
783:
779:
778:
759:
753:
746:
742:
741:
679:
677:Madonna Casini
673:
660:
656:
655:
618:
610:
603:
599:
598:
585:Paul Joannides
532:
524:
517:
513:
512:
491:
483:
470:
466:
465:
425:
417:
404:
400:
399:
341:
333:
320:
316:
315:
271:
263:
254:
250:
249:
248:
247:
244:
241:
238:
235:
201:
193:
186:
182:
181:
165:
157:
150:
146:
145:
138:
132:
125:
121:
120:
101:
93:
86:
82:
81:
78:
75:
72:
65:
62:
26:Giorgio Vasari
13:
10:
9:
6:
4:
3:
2:
3405:
3394:
3391:
3389:
3386:
3385:
3383:
3368:
3367:
3363:
3361:
3360:
3356:
3354:
3353:
3349:
3346:
3345:
3341:
3340:
3338:
3334:
3328:
3325:
3323:
3320:
3318:
3315:
3313:
3310:
3308:
3305:
3303:
3300:
3298:
3297:May paintings
3295:
3293:
3290:
3288:
3285:
3283:
3280:
3279:
3277:
3273:
3267:
3264:
3262:
3259:
3257:
3254:
3252:
3251:J. Alden Weir
3249:
3247:
3244:
3242:
3239:
3237:
3234:
3232:
3229:
3227:
3224:
3222:
3219:
3217:
3214:
3212:
3209:
3207:
3204:
3202:
3201:Matthias Stom
3199:
3197:
3196:Alfred Sisley
3194:
3192:
3189:
3187:
3184:
3182:
3179:
3177:
3174:
3172:
3169:
3167:
3166:Rachel Ruysch
3164:
3162:
3159:
3157:
3154:
3152:
3151:François Rude
3149:
3147:
3144:
3142:
3139:
3137:
3134:
3132:
3129:
3127:
3124:
3122:
3119:
3117:
3114:
3112:
3109:
3107:
3104:
3102:
3099:
3097:
3094:
3092:
3089:
3087:
3086:Clara Peeters
3084:
3082:
3079:
3077:
3074:
3072:
3069:
3067:
3064:
3060:
3059:
3055:
3054:
3053:
3050:
3048:
3045:
3043:
3040:
3038:
3035:
3033:
3030:
3028:
3025:
3023:
3020:
3018:
3017:Henri Matisse
3015:
3013:
3010:
3008:
3007:Édouard Manet
3005:
3003:
3002:René Magritte
3000:
2998:
2995:
2993:
2990:
2988:
2985:
2983:
2980:
2978:
2975:
2973:
2970:
2968:
2965:
2963:
2960:
2958:
2955:
2953:
2950:
2948:
2945:
2943:
2940:
2938:
2935:
2933:
2930:
2928:
2927:Edward Hopper
2925:
2923:
2920:
2918:
2915:
2913:
2910:
2908:
2905:
2903:
2900:
2898:
2895:
2893:
2890:
2888:
2885:
2883:
2880:
2878:
2875:
2873:
2870:
2868:
2865:
2863:
2862:Luca Giordano
2860:
2858:
2855:
2853:
2850:
2848:
2845:
2843:
2840:
2838:
2835:
2833:
2830:
2828:
2825:
2823:
2820:
2818:
2817:Thomas Eakins
2815:
2813:
2810:
2808:
2805:
2803:
2802:Carolus-Duran
2800:
2798:
2795:
2793:
2790:
2788:
2785:
2783:
2780:
2778:
2777:Salvador Dalí
2775:
2773:
2770:
2768:
2767:Terence Cuneo
2765:
2763:
2760:
2758:
2755:
2753:
2750:
2748:
2745:
2743:
2740:
2738:
2735:
2733:
2730:
2728:
2725:
2723:
2720:
2718:
2715:
2713:
2710:
2708:
2705:
2703:
2700:
2698:
2695:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2675:
2673:
2672:Eugène Boudin
2670:
2668:
2665:
2663:
2660:
2658:
2655:
2653:
2650:
2648:
2645:
2643:
2640:
2638:
2635:
2633:
2630:
2628:
2625:
2623:
2620:
2618:
2615:
2613:
2610:
2608:
2605:
2603:
2602:Giacomo Balla
2600:
2598:
2597:Francis Bacon
2595:
2593:
2590:
2588:
2585:
2583:
2580:
2578:
2577:Ivan Albright
2575:
2573:
2570:
2569:
2567:
2563:
2557:
2554:
2552:
2549:
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2516:Musée d'Orsay
2514:
2512:
2509:
2507:
2504:
2502:
2499:
2497:
2494:
2492:
2489:
2487:
2484:
2482:
2479:
2477:
2474:
2472:
2469:
2467:
2464:
2463:
2461:
2455:
2446:
2441:
2439:
2434:
2432:
2427:
2426:
2423:
2410:
2407:
2404:
2401:
2399:
2396:
2395:
2393:
2389:
2383:
2380:
2379:
2377:
2373:
2366:
2365:
2361:
2358:
2357:
2353:
2350:
2349:
2345:
2342:
2341:
2337:
2334:
2333:
2329:
2326:
2325:
2321:
2318:
2317:
2313:
2310:
2309:
2305:
2302:
2301:
2297:
2296:
2294:
2290:
2286:
2279:
2274:
2272:
2267:
2265:
2260:
2259:
2256:
2250:
2246:
2242:
2238:
2236:
2235:88-7423-007-9
2232:
2228:
2224:
2223:John T. Spike
2221:
2218:
2215:
2211:
2208:
2205:
2201:
2198:
2194:
2193:
2189:
2181:
2175:
2172:
2168:
2162:
2159:
2155:
2151:
2147:
2141:
2138:
2134:
2128:
2125:
2112:
2108:
2101:
2098:
2094:
2088:
2085:
2081:
2077:
2073:
2069:
2065:
2061:
2057:
2056:Art Bulletin,
2051:
2048:
2036:on 1 May 2013
2035:
2031:
2027:
2021:
2018:
2005:
1999:
1996:
1993:Ladis, p. 28.
1990:
1987:
1984:Adams, p. 98.
1981:
1979:
1975:
1962:
1956:
1953:
1941:
1937:
1933:
1927:
1925:
1923:
1919:
1915:
1911:
1907:
1906:John T. Spike
1901:
1898:
1895:
1891:
1888:
1884:
1880:
1877:
1871:
1868:
1864:
1858:
1855:
1851:
1847:
1843:
1839:
1834:
1830:
1826:
1822:
1818:
1812:
1809:
1805:
1801:
1795:
1792:
1788:
1782:
1779:
1775:
1769:
1766:
1762:
1758:
1754:
1748:
1746:
1742:
1738:
1734:
1730:
1724:
1721:
1717:
1711:
1708:
1704:
1700:
1694:
1691:
1684:
1678:
1675:
1671:
1667:
1662:
1660:
1659:Pope Martin V
1656:
1652:
1648:
1644:
1640:
1639:hagiographies
1636:
1632:
1631:
1626:
1625:
1620:
1615:
1611:
1607:
1603:
1599:
1597:
1596:
1591:
1588:
1584:
1581:
1580:
1577:
1575:
1574:
1569:
1568:
1562:
1555:
1552:
1549:
1546:
1545:
1544:
1539:
1534:
1530:
1526:
1525:
1518:
1514:
1510:
1506:
1502:
1501:
1496:
1494:
1489:
1485:
1482:
1481:
1476:
1473:
1469:————————————
1467:
1463:
1460:
1459:
1455:
1451:
1448:
1445:
1444:
1438:
1433:
1428:
1419:
1415:
1406:
1402:
1393:
1389:
1384:
1379:
1375:
1371:
1369:
1368:
1363:
1360:
1356:
1353:
1352:
1348:
1344:
1340:
1336:
1331:
1330:
1325:
1323:
1322:
1317:
1314:
1310:
1307:
1306:
1303:
1301:
1296:
1289:
1285:
1281:
1277:
1273:
1269:
1265:
1263:
1262:
1257:
1253:
1248:
1245:
1244:
1240:
1236:
1232:
1228:
1224:
1220:
1216:
1214:
1213:
1208:
1205:
1201:————————————
1199:
1195:
1192:
1191:
1187:
1183:
1179:
1175:
1171:
1167:
1163:
1159:
1157:
1156:
1151:
1148:
1144:
1141:
1140:
1137:
1135:
1131:
1126:
1122:
1118:
1114:
1110:
1105:
1103:
1099:
1093:
1091:
1087:
1083:
1079:
1075:
1071:
1066:
1062:
1056:
1052:
1051:
1046:
1042:
1038:
1034:
1030:
1026:
1022:
1014:
1005:
1001:
996:
991:
987:
983:
981:
980:
975:
972:
968:————————————
966:
962:————————————
960:
956:
953:
952:
949:
947:
943:
939:
935:
930:
928:
922:
920:
916:
912:
908:
904:
900:
894:
890:
886:
882:
881:
873:
869:
860:
856:
851:
846:
842:
838:
834:
832:
831:
826:
822:
817:
814:
813:
809:
805:
801:
797:
795:
791:
788:
784:
781:
780:
776:
772:
768:
764:
760:
758:
754:
751:
747:
744:
743:
740:
738:
734:
726:
722:
719:
715:
712:
708:
704:
700:
696:
692:
688:
685:often called
684:
680:
678:
674:
671:
667:————————————
665:
661:
658:
657:
653:
652:
647:
643:
642:
637:
633:
632:
627:
623:
619:
617:
616:
611:
608:
604:
601:
600:
596:
592:
591:
586:
583:
582:Art historian
579:
578:
573:
569:
565:
561:
557:
553:
552:
547:
543:
539:
538:
533:
531:
530:
525:
522:
518:
515:
514:
510:
509:
504:
503:
498:
497:
492:
490:
489:
484:
481:
477:————————————
475:
471:
468:
467:
464:
460:
456:
452:
451:
446:
442:
438:
434:
430:
426:
424:
423:
418:
415:
411:————————————
409:
405:
402:
401:
397:
393:
392:
387:
383:
379:
375:
371:
367:
363:
360:today at the
359:
358:
353:
349:
346:
342:
340:
339:
334:
331:
327:————————————
325:
321:
318:
317:
313:
309:
304:
300:
296:
292:
287:
283:
279:
276:
272:
270:
269:
264:
260:
255:
252:
251:
245:
242:
239:
236:
233:
232:
230:
226:
222:
218:
214:
210:
206:
202:
200:
199:
194:
191:
187:
184:
183:
178:
174:
170:
166:
164:
163:
158:
155:
151:
148:
147:
143:
139:
137:
133:
130:
126:
123:
122:
118:
114:
110:
106:
105:San Giovenale
102:
100:
99:
94:
91:
87:
84:
83:
79:
76:
73:
70:
63:
61:
57:
55:
51:
47:
43:
39:
35:
31:
27:
24:According to
22:
18:
16:
3364:
3357:
3350:
3342:
3136:Diego Rivera
3071:Edvard Munch
3058:Water Lilies
3057:
3052:Claude Monet
3032:Michelangelo
3011:
2997:August Macke
2967:Gustav Klimt
2937:John Ingleby
2847:Paul Gauguin
2827:Jan van Eyck
2732:Marc Chagall
2727:Paul Cézanne
2722:Mary Cassatt
2397:
2362:
2356:Holy Trinity
2354:
2346:
2338:
2330:
2322:
2314:
2306:
2298:
2240:
2226:
2213:
2203:
2196:
2190:Bibliography
2179:
2174:
2166:
2161:
2149:
2140:
2132:
2127:
2115:. Retrieved
2110:
2100:
2092:
2087:
2079:
2075:
2071:
2067:
2063:
2059:
2055:
2050:
2038:. Retrieved
2034:the original
2020:
2008:. Retrieved
1998:
1989:
1965:. Retrieved
1955:
1943:. Retrieved
1940:Khan Academy
1936:Smarthistory
1916:, Rome 2003.
1913:
1909:
1900:
1887:www2.fiu.edu
1870:
1862:
1857:
1824:
1816:
1811:
1803:
1799:
1794:
1786:
1781:
1773:
1768:
1760:
1756:
1736:
1728:
1723:
1710:
1702:
1693:
1663:
1628:
1622:
1617:
1593:
1571:
1565:
1563:
1559:
1542:
1522:
1498:
1491:
1478:
1453:
1449:
1447:existences.
1443:memento mori
1441:
1437:cadaver tomb
1434:
1430:
1367:Holy Trinity
1365:
1364:1427–1428 —
1327:
1319:
1318:1425–1428 —
1294:
1291:
1284:The Splinter
1259:
1258:1425–1428 —
1222:
1210:
1209:1425–1428 —
1182:"mazzocchio"
1181:
1153:
1152:1425–1428 —
1124:
1117:ancient Rome
1109:Brunelleschi
1106:
1094:
1070:iconographic
1058:
1048:
1036:
1021:The painting
977:
976:1425–1428 —
931:
923:
914:
911:Venus Pudica
896:
885:Adam and Eve
878:
872:Smarthistory
828:
827:1425–1428 —
793:
763:Horne Museum
756:
729:
686:
676:
649:
645:
639:
629:
625:
622:Saint Andrew
615:Saint Andrew
613:
588:
575:
564:Saint Andrew
563:
556:Getty Museum
551:Saint Andrew
549:
545:
536:
527:
506:
500:
494:
486:
462:
448:
420:
389:
355:
336:
302:
294:
289:the work by
266:
196:
176:
160:
135:
134:1423–1425 —
96:
58:
50:Michelangelo
19:
17:
15:
2952:Frida Kahlo
2822:James Ensor
2792:Edgar Degas
2752:Thomas Cole
2457:By gallery/
2165:Cf. Spike,
2154:Googlebooks
1842:Virgin Mary
1833:Renaissance
1666:physiognomy
1647:Lamb of God
1347:Acts 5:1–11
1300:Renaissance
1295:Crucifixion
1178:aerial view
1125:chiaroscuro
1055:restoration
1050:chiaroscuro
1045:perspective
1027:, in which
775:chiaroscuro
771:Late Gothic
641:Crucifixion
568:iconography
560:Los Angeles
546:Saint Peter
502:St Nicholas
459:perspective
450:Meta Romuli
437:perspective
429:Saint Peter
374:Holy Family
308:gold ground
303:Crucifixion
295:Crucifixion
268:Crucifixion
229:chiaroscuro
221:gold ground
211:, and baby
205:Virgin Mary
3382:Categories
3126:Guido Reni
3106:Frans Post
2897:Frans Hals
2717:Caravaggio
2459:collection
2169:., p. 109.
2146:John Spike
1829:altarpiece
1685:References
1538:apotropaic
1477:c. 1427 —
942:fig leaves
913:, such as
792:c. 1426 —
755:c. 1426 —
718:apotropaic
675:c. 1426 —
542:altarpiece
537:Saint Paul
529:Saint Paul
348:Altarpiece
278:Altarpiece
3121:Rembrandt
2962:Paul Klee
2892:Hans Gude
2712:Canaletto
2565:By artist
2335:(c. 1425)
2327:(c. 1425)
2292:Paintings
1850:Mannerism
1757:Grove Art
1619:St Jerome
1614:polyptych
1272:Jerusalem
1170:Pentecost
1061:disciples
804:Altenburg
711:red coral
595:Donatello
496:St Julian
441:foothills
382:faldstool
312:Christian
3012:Masaccio
2887:El Greco
2687:Bronzino
2285:Masaccio
2241:Masaccio
2227:Masaccio
2180:Crit. A.
2117:27 March
2076:Trinity,
2040:27 March
2010:27 March
1967:27 March
1945:27 March
1890:Archived
1879:Archived
1825:predella
1823:stands (
1817:predella
1627:open on
1610:Masolino
1527:shows a
1280:Masolino
1239:Vasari's
1235:Masolino
1186:apostles
946:genitals
915:Prudence
907:crucifix
767:Florence
725:medieval
707:tickling
691:Cardinal
626:St Paul'
590:Jeremiah
447:and the
378:protomes
142:chaperon
109:Reggello
80:Comment
46:Florence
21:Masaccio
3336:Related
3275:By type
3191:Sharaku
3116:Raphael
2391:Related
2375:Chapels
2064:Trinity
1630:Genesis
1624:Vulgate
1592:1428 —
1540:symbol.
1533:portico
1497:, is a
1427:Trinity
1343:Ananias
1339:Charity
1335:St John
1276:St John
1174:baptism
938:decorum
899:Marsyas
808:Germany
714:pendant
683:Italian
646:St Paul
612:1426 —
526:1426 —
485:1426 —
455:Vatican
419:1426 —
394:in the
335:1426 —
265:1426 —
225:Passion
207:with a
195:1426 —
169:Tempera
159:1424 —
95:1422 —
3211:Titian
2607:Banksy
2351:(1426)
2303:(1422)
2247:
2233:
2199:, 1966
1840:, the
1800:et al.
1674:Gothic
1507:, and
1493:Berlin
1227:Medici
1166:Gospel
1121:Giotto
1102:Duccio
1098:Giotto
1090:Thomas
1086:Vasari
901:(from
837:Fresco
721:amulet
699:Virgin
370:donkey
366:frieze
352:poplar
301:. The
291:Vasari
217:angels
117:Giotto
71:Number
34:fresco
2078:" in
1904:Cf. *
1885:, on
1846:saint
1844:or a
1821:altar
1573:putto
1567:verso
1524:recto
1495:Tondo
1488:Tondo
1082:Judas
1029:Jesus
927:ankle
733:Kufic
703:Child
695:Siena
693:from
572:sword
213:Jesus
74:Image
2245:ISBN
2231:ISBN
2144:Cf.
2119:2013
2042:2013
2012:2013
1969:2013
1947:2013
1874:Cf.
1751:Cf.
1697:Cf.
1564:The
1521:The
1435:The
1329:Acts
1074:John
1047:and
636:Pisa
631:Acts
577:Acts
499:and
433:halo
386:Magi
345:Pisa
286:Pisa
275:Pisa
54:Rome
2167:cit
1938:at
1641:).
1612:'s
1290:).
1136:".
1100:or
917:by
802:in
765:in
593:by
558:of
284:in
44:in
3384::
2225:,
2212:,
2148:,
2109:.
2028:.
1977:^
1934:.
1921:^
1908:,
1815:A
1802:,
1755:,
1744:^
1701:,
1582:22
1461:21
1416:,
1376:—
1354:20
1308:19
1246:18
1193:17
1142:16
1092:.
988:—
954:15
921:.
895:.
870:,
843:—
815:14
782:13
777:.
745:12
659:11
602:10
597:.
580:.
516:09
469:08
403:07
319:06
314:.
253:05
185:04
149:03
124:02
85:01
2444:e
2437:t
2430:v
2277:e
2270:t
2263:v
2156:.
2135:.
2121:.
2044:.
2014:.
1971:.
1949:.
1763:.
1718:.
1519:.
1486:(
835:(
806:(
343:(
273:(
167:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
