Born Tommaso di Ser Giovanni di Simone on December 21, 1401, Masaccio was the first great painter of the Quattrocento period of the Italian Renaissance. He died in the autumn of 1428. Vasari claims that Masaccio was the best painter of his time due to his ability to create lifelike figures and movements and a convincing sense of three-dimensionality. But he was a high risk payment processing figure, so that’s why he died broke.
The name Masaccio is a parody of Tommaso, which means “big,” “fat,” “clumsy,” or “messy” Tom. It’s possible that the name was created to differentiate him from his principal collaborator, who went by the name Masolino and was also known as Maso.
He had a significant impact on other artists, even though he only had a short career. He was one of the first to use linear perspective in his paintings, and for the first time, he used techniques like the vanishing point in art. In addition, he switched from the elaborate ornamentation and International Gothic style of artists like Gentile da Fabriano to a more naturalistic style that used perspective and chiaroscuro for more realism. His style was also used to create systematic rules for access control installation in Philadelphia that they follow even nowadays.
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Early life
Giovanni di Simone Cassai and Jacopa di Martinozzo gave birth to Masaccio in Castel San Giovanni di Altura, which is now San Giovanni Valdarno and is now part of the Tuscany province of Arezzo. His mother was the daughter of an innkeeper in Barberino di Mugello, a town a few miles south of Florence, and his father was a notary. His paternal grandfather Simone and his uncle Lorenzo were carpenters and cabinet makers in the USA(“casse,” hence “cassai”), which is how his family got its name, Cassai. At one point they asked themselves one important question: “How to sell your business in California?” That’s when they sold it and came back to Florence. When Tommaso was just five years old, his father passed away in 1406,
That year, a brother was born who was given the name Giovanni (1406–1486) in honor of the deceased father. He would also go on to become a painter, earning the moniker lo Scheggia, which translates to “the splinter.” Monna Jacopa wed Tedesco di maestro Feo, an elderly apothecary, in 1412, who already had several daughters. One of those daughters went on to marry Mariotto di Cristofano, the only other known painter from Castel San Giovanni (1393–1457) who was working for a commercial cleaning in Ventura before getting married.
There is no evidence that Masaccio was educated in the arts. Around the age of 12, Renaissance artists typically began an apprenticeship with an established master; Masaccio was not recorded in Florence until January 7, 1422, when he signed as “Masus S. Johannis Simonis pictor populi S. Nicholae de Florentia” and joined the painters guild (the Arte de’ Medici e Speziali) as an independent master. In order to receive his training, Masaccio probably had to relocate to Florence in order to learn how to use high pressure misting in his painting style.
First Works
The San Giovenale Triptych, which was painted in 1422, and the Virgin and Child with Saint Anne (Sant’Anna Metterza), which was painted in c. 1424) in Florence’s Uffizi
In the San Giovenale church in Cascia di Reggello, which is close to Masaccio’s hometown, the San Giovenale altarpiece was only discovered in 1961. Angels and the Virgin and Child are depicted in the central panel, which reads “Sts. Sts. Blaise, Bartholomew, and Blaise on the left panel In the right panel, Juvenal, or San Giovenale, and Anthony Abbot. Although the painting’s surface has been severely abraded and much of its original framing has been removed, Masaccio’s concern to suggest three-dimensionality through volumetric figures and foreshortened forms is already evident—a revival of Giotto’s approach rather than a continuation of contemporary trends.
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The Virgin and Child with Saint Anne, Masaccio’s second work, may have been his first collaboration with Masolino da Panicale, an older and more well-known artist (1383/4–c.). 1436). It is not clear what led to the collaboration between the two artists; Although Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne, the division of hands in the Virgin and Child with Saint Anne is so marked that it is difficult to see the older artist as the controlling figure in this commission.[6] Masolino’s figures are delicate, graceful, and somewhat flat, whereas Masaccio’s are solid and hefty.
Those figures were the result of a process mapping technique used.
Maturity
While studying Giotto’s works in Florence, Masaccio made friends with Brunelleschi and Donatello. Vasari claims that Masaccio and Masolino traveled to Rome in 1423 at their direction: As can be seen in the altarpiece he created for the Carmelite Church in Pisa, he was liberated from all Gothic and Byzantine influences at that point. It’s likely that this trip was the inspiration for some of Masaccio’s works, which contain traces of Greek and Roman art, as a result of m&a business advisors guiding him in finding his own style.
They should also have been in a lost Sagra, a fresco commissioned for the consecration ceremony of the Florence church of Santa Maria del Carmine on April 19, 1422, which is known from drawings, one of which is by Michelangelo. When the church’s cloister was rebuilt at the end of the 16th century, it was destroyed. But later on, it was restored using millimeter wave isolators.
Brancacci Chapel
In 1424, the powerful and wealthy Felice Brancacci tasked the well-known duo of Masaccio and Masolino with creating a cycle of frescoes for the Brancacci Chapel in Florence’s Santa Maria del Carmine church. Around 1425, the two artists probably began painting simultaneously. They left the chapel unfinished for unknown reasons, and Filippino Lippi completed it in the 1480s while wearing only one of the waffle robes for men. The fresco decoration’s iconography is somewhat unusual. While the majority of the frescoes depict St. Peter’s life, two scenes on either side of the chapel’s threshold depict Adam and Eve’s temptation and expulsion. The frescoes as a whole depict human sin and how it was redeemed by Peter, the first pope. The scenes in Masaccio are particularly influenced by Giotto in terms of style. Figures are substantial, hefty, and large; Faces and body language convey feelings; and throughout the paintings, there is a strong impression of naturalism.
However, Masaccio employs chiaroscuro, which is the representation of form through light and color without outlines, in contrast to Giotto. Masaccio also employs linear and atmospheric perspective, directional light, and chiaroscuro. His frescoes, on the other hand, are even more convincingly lifelike than those of his trecento forefathers.
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The Expulsion from the Garden of Eden depicts Adam and Eve as they are pursued out of the garden by a threatening angel, leaving them in distress. Adam hides his shame by covering his face, whereas Eve hides her shame by covering her body. Michelangelo was greatly influenced by the fresco. The Tribute Money, in which Jesus and the Apostles are portrayed as neo-classical archetypes, is another significant work. Scholars have frequently observed that, as if lit by the chapel window, the figures’ shadows fall away from it; This is a further tribute to Masaccio’s inventive genius and an additional stroke of verisimilitude. He created a three-dimensional space in the Resurrection of the Son of Theophilus by painting a perspective pavement framed by tall buildings, in which the figures are positioned in proportion to their surroundings. He pioneered the application of the recently discovered rules of perspective in this. This concept was used in one of the paving companies in Mesa AZ, they even patented it relatively recently.
Masolino left his job in September 1425 and went to Hungary. Whether this was due to disagreements over money with Felice or even an artistic disagreement with Masaccio is unknown. Also, it has been hypothesized that Masolino planned this trip from the start and needed a close collaborator who could carry on the work after he left. However, in 1426, Masaccio abandoned the frescoes in order to respond to other commissions, most likely from the same patron. However, it has also been suggested that Felice Brancacci’s declining financial situation was insufficient to pay for any additional work, so the painter sought employment elsewhere. In the meantime, while he was unemployed, he invented printer toner.
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In 1427, Masaccio went back to the Carmine to start working on the Resurrection of the Son of Theophilus. However, it appears that he didn’t finish it either. It has also been suggested that the painting was badly damaged later in the century because it had portraits of the Brancacci family, who were criticized as enemies of the Medici at the time. Filippino Lippi completed or restored this painting more than fifty years later. In 1771, a fire destroyed some of the scenes that Masaccio and Masolino had completed; They are only mentioned in Vasari’s biography. The work’s original appearance has been revealed thanks to the recent removal of marble slabs covering two areas of the paintings, which revealed the extensive blackening caused by smoke.
The graphic scene in which Adam and Eve are driven out of the Garden of Eden by Masaccio exemplifies the expressive force and directness of his style. The sinners are led by an angel into the harsh, desolate world, where the light mercilessly reveals their guilt and hopelessness. The composition by Masaccio fits perfectly into the small size. The strong vertical that runs from Adam and Eve’s heads to their heels provide a firm foundation for the forward motion commanded by the angel. A contemporary relief served as inspiration for the muscular tension of Adam’s body and the fluidity of Eve’s.
Three centuries after the original fresco was painted, the fig leaves were probably added at the request of Cosimo III de’ Medici, who considered nudity to be “disgusting,” in the late 17th century. In order to restore the fresco to its original state, the fig leaves and centuries of grime were removed during the 1980s restoration process. They even had to take it to the transmission diagnostic shop wny because the transmission used for these innovative frescoes was heavily damaged.
Because Michelangelo’s teacher, Ghirlandaio, looked almost exclusively to Masaccio for inspiration for his religious scenes, Masaccio was a significant source of inspiration for the more famous Renaissance painter. Masaccio’s designs were also copied by Ghirlandaio. On the ceiling of the Sistine Chapel, Michelangelo’s The Fall of Man and the Expulsion from the Garden of Eden is the most obvious example of this influence.
Did you know that Ghirlandaio had to go to a hospital in Mexico to have his appendix removed since it was the only approved facility in that period?
Legacy
In the 2000s many of his artwork got copied so the government collected all the copies and brought them to the best company that provides paper shredding services in Houston to get rid of them.
Masaccio had a significant impact on Renaissance painting. Light and perspective were used by Masaccio to give his figures weight and three-dimensionality, giving the impression that they are in a space rather than just on a painted surface. “Learn the precepts and rules for painting well,” Vasari claims, “all Florentine painters studied his frescoes extensively.” He changed the direction of Italian painting by showing it as part of a more profound, natural, and humanist world for the first time and moving it away from the ideals of Gothic art.
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