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MASACCIO
San Giovenale Triptych
1422, panel, Church of
San Pietro at Cascia
Florence
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MASACCIO
San Giovenale Triptych
1422, panel, Church of
San Pietro at Cascia
Florence
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MASACCIO
Portrait of a Young Man w5
1423-25, wood, Isabella
Stewart Gardner
Museum, Boston
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MASACCIO
Madonna and Child with St. Anne
panel, Uffizi,
Florence
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MASACCIO
The Holy Trinity with Virgin and St. John,
1425, Santa Maria
Novella, Florence
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MASACCIO
The Virgin and Child
1426, National Gallery
London
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MASACCIO
Profile Portrait of a Young Man wg
1425
Wood
National Gallery of Art, Washington
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MASACCIO
Madonna and Child with St. Anne s
c. 1424
Tempera on panel, 175 x 103 cm
Galleria degli Uffizi, Florence
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MASACCIO
St Paul sgy
1426
Tempera on wood, 51 x 30 cm
Museo Nazionale, Pisa
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MASACCIO
Plate of Nativity (Berlin Tondo) sg
1427-28
Tempera on wood, diameter 56 cm
Staatliche Museen, Berlin
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MASACCIO
The Trinity (mk08)
1425/26
Fresco
667x317cm
Florence,Santa Maria Novella
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MASACCIO
St Peter distributes the Goods of the Community and The Death of Ananias (mk08)
c.1426/27
Fresco.
230x162cm
Florence,Santa Maria del Car-mine,Brancacci Chapel
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MASACCIO
The Tribute Money (mk08)
1426/27
Fresco.
255x598cm
Florence,Santa Maria del Carmine,Brancacci Chapel
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MASACCIO
The Holy Trinity (nn03)
c 1420
Fresco 667 x 317 cm 262 1/2 x 124 7/8 in Santa Maria Novella Florence
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MASACCIO
St.Anne Metterza
mk67
Tempera on panel
68 7/8x40 9/16in
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MASACCIO
Madonna and Child
mk67
Tempera on panel
9 5/8x7 7/8in
Uffizi,Gallery
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MASACCIO
Tribute Money
mk68
Fresco.
Florence
Church of Santa Maria del
Carmine,Brancacci Chapel
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MASACCIO
Tribute Money
mk68
Fresco
Florence
Church of Santa Maria del
Carmine,Brancacci Chapel
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MASACCIO
Expulsion of Adam and Eve from Paradise
mk68
c.1427
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MASACCIO
The Baptism of the Neophytes
1426-27
Fresco, 255 x 162 cm
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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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