Masaccio, who painted this fresco, was born into a family of cabinetmakers in a small town in Arezzo in 1401 and was accepted into the Florentine master painters' guild as an independent master in 1422 - he obviously had already a unique talent. He joined forces with Masolino, who took him to Rome where they became known as a "duo preciso e noto" and were hired by Felice Brancacci to paint scenes from the life of St. Peter in his chapel. Masolino left for Hungary in 1425 and Masaccio was given the commission.
Masaccio began this fresco, "Raising of the Son of Theophilus," in 1427, in the Brancacci chapel of Santa Maria del Carmine. For whatever reason, he left it unfinished and went to Rome where he died the following year at age 27. "Finished" by Filippino Lippi, this section shows no sign of Lippi's style. The solidly modeled, realistic figures were a strong influence on Michelangelo, who copied these works as part of his training. But the gift for incisive portraiture is Masaccio's own - the gallery of personalities here, who react (or not!) to a miraculous healing, is unforgettable. Masaccio's Brancacci Chapel is the oft-forgotten link between Giotto and the high Renaissance of the Sistine Chapel.
Critiques | Translate
batalay (32858) 2012-02-28 6:48
Complemented by an informative note, this again becomes a first rate addition to Trekearth and a smaller subculture, Pictures at an Exhibition. (Indeed, I just imported this shot into as the newest member of the group theme. If you have any others, please feel free to upload them there.)
In Chapter One of one of my books on Leonardo, Math and the Mona Lisa, I mentioned Masaccio as one of the most significant painters of the Renaissance:
"[Florence']s preeminence was displayed in literature—with Petrarch, Dante, and Boccaccio—but most prominently in painting, sculpture, and architecture. The brilliant painter Giotto appeared early in this remarkable period. The next hundred years gave rise to the artist and architects Masaccio, Alberti and Brunelleschi; then, toward the end of the fifteenth century, the matchless trio of Leonardo, Michelangelo, and Raphael burst onto the scene."
Masaccio was a very good mathematician, as was his contemporary Brunelleschi. Of course, the latter formalized linear perspective. In this spectacular fresco the principle is evident. I see that you recently visited Florence. Take a look at From Ponte Vechhio to the Santa Croce, including THE LARGE VERSION
nobuikehonda (3846) 2012-03-02 7:48
Hello Dear Sara,
The colours of the period strike me with one of the most distant memories of my visit to Rome. The very informative note explains well of the short-lived talented artist. The faces represented in the photo bridge the time-gap that exists in between now and then. I always like to listen to a story told well. All the faces in the fresco bring me back to the period and it helps me to recall all what I have learned about Renaissance period. The intimate physical size of the presentation reflects your most modest personality. I am very happy to find that you enjoyed a brief moment of conversation with the subject in the fresco. Your visit to Rome this time may have been very short, but I see that you had an experience filled with very memorable moments.
With my very best and kindest regards,
Have a very pleasant and a happy weekend, Sara
diomed (13926) 2012-03-07 6:02
To Show to the world such masterpieces is in itself a great achievement.
Beautiful close up on the serene faces of the characters of the Italian Renaissance.
Excellent color rendition, perfect and complete the note.
Have a nice day
- Copyright: Sara Hopkins (chanteuse) (202)
- Genre: People
- Medium: Color
- Date Taken: 2012-01-26
- Categories: Artwork
- Camera: Panasonic Lumix FZ35
- Photo Version: Original Version
- Theme(s): PICTURES AT AN EXHIBITION [view contributor(s)]
- Date Submitted: 2012-02-28 6:02