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MASACCIO
The cijnspenning
MK169
ca. 1427 Fresco 254x590cm
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MASACCIO
The Saint Three-unity
MK169
1425 Fresco 667x317cm
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MASACCIO
Verdrijving from the paradise
MK169
ca. 1427 Fresco Brancacci-chapel
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MASACCIO
The Virgin and Child with Angels
mk170
1426
Tempera on poplar
135.5x73cm
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MASACCIO
Saints Jerome and john the Baptist
mk170
1428
Tempera on poplar
114x55cm
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MASACCIO
The Tribute Money
mk176
c.1425
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MASACCIO
Profile Portrait of a Young Man
1425 Wood National Gallery of Art
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MASACCIO
Madonna and child
mk234
1426
135x75cm
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MASACCIO
Utdrivelsen from paradise
mk234
about 1427
205x90cm
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MASACCIO
Petrus botar de sjuka med sin skugga
mk234
1425
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MASACCIO
Tribute money
mk247
c.1426,fresco,100x234 in,255x598cm,brancacci chapel,santa maria del carmine,florence,ltaly
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MASACCIO
Virgin and Child
mk247
1426,egg tempera on wood 53.125x29 in,135x73.5cm,national gallery.london,uk
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MASACCIO
The Trinity
mk247
1428,fresco,262.5x124.875 in,667x317 cm,santa maria novella,florence,ltaly
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MASACCIO
Holy Trinity
mk250 Florence, Italy, and Maria church, about the year 1428. Frescoes, 640.1 x 317.5 cm.
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MASACCIO
Mary exciting
mk261 Florence in 1426 egg tempera of wood 24.5 x 18 cm
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MASACCIO
Holy Trinity,
Holy Trinity, in full: "Trinity with the Virgin, Saint John the Evangelist, and Donors" (1425-27/28) - Fresco, Santa Maria Novella, Florence
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MASACCIO
The Tribute Money, fresco in the Brancacci Chapel in Santa Maria del Carmine, Florence
The Tribute Money, fresco in the Brancacci Chapel in Santa Maria del Carmine, Florence
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MASACCIO
When it was cleaned
When it was cleaned, Tommaso Masaccio's fresco of The Expulsion (1426?C1427) lost the added fig leaves.
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MASACCIO
Resurrection of the Son of Theophilus
Resurrection of the Son of Theophilus
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MASACCIO
Fresco in the Brancacci Chapel in Santa Maria del Carmine, Florence
Fresco in the Brancacci Chapel in Santa Maria del Carmine, Florence
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| MASACCIO
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Italian Early Renaissance Painter, 1401-1428
was the first great painter of the Quattrocento period of the Italian Renaissance. His frescoes are the earliest monuments of Humanism, and introduce a plasticity previously unseen in figure painting. The name Masaccio is a humorous version of Tommaso, meaning "big", "fat", "clumsy" or "messy" Tom. The name was created to distinguish him from his principal collaborator, also called Tommaso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists. He was one of the first to use scientific perspective in his painting, employing techniques such as vanishing point in art for the first time. He also moved away from the Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more natural mode that employed perspective for greater realism. Masaccio was born to Giovanni di Mone Cassa??i and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno (now part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles south of Florence. His family name, Cassai, comes from the trade of his grandfather Simone and granduncle Lorenzo, who were carpenters - cabinet makers ("casse", hence "cassai"). His father died in 1406, when Tommaso was only five; in that year another brother was born, called Giovanni after the dead father. He also was to become a painter, with the nickname of "Scheggia" meaning "splinter". The mother was remarried to an elderly apothecary, Tedesco, who guaranteed Masaccio and his family a comfortable childhood.
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