Masaccio's father died inwhen he was only five; later that same year a brother was born, named Giovanni — after his father.
It is here, on one of the walls inside the church, that Masaccio painted his fresco of the Holy Trinity in The title of the painting comes from the three key figures: Unlike the biblical and divine figures, the donors are meant to appear to be in our space the space of the viewerand not in the recessed space in which the cross is located.
If we look at the composition of the figures, we see that they are in a kind of pyramidal shape. The architecture in which the Crucifixion takes place is also significant. We see what looks like a Roman triumphal arch, with a coffered ceiling, barrel vault, pilasters, and columns.
This type of structure hearkens back to Roman architecture, and indicates the type of interest that Masaccio and others at this time had in antique buildings.
Perhaps the most significant aspect of this fresco is the way Masaccio makes use of one-point linear perspective to convey the sense that the images recedes back in space. The coffers on the ceiling create the orthogonal lines, and the vanishing point is at base of cross, which happens to be at the eye level of the viewer.
This creates the sense that the space we are looking at in the fresco is actually a continuation of the chapel space in which the fresco is painted. Masaccio paid extremely close attention to the dimensions of the objects and spaces that he painted, so much so that you can actually determine the dimensions of the room we are looking at in the fresco.
Moving our eyes down the fresco, we see a skeleton in a tomb at the bottom. This part of the fresco had been covered over for many years, and it was not until recently that it was uncovered.
The tomb is meant to appear as an outward projection, but it also has its own recess near the area where the skeleton lay. In the end, we will end up like the skeleton as well.
Note how the vanishing point, at a level between the tomb below and the cross above, unites the two different spaces. Masaccio approached this fresco in a very rational way to masterfully create a convincing illusion of space, and he has done so in a way which elevates the important Christian meaning at the core of the scene.Holy Trinity, in full: "Trinity with the Virgin, Saint John the Evangelist, and Donors" (c.
) - Fresco, Santa Maria Novella, Florence Around Masaccio won a prestigious commission to produce a Holy Trinity for the Dominican church of Santa Maria Novella in . The Holy Trinity, with the Virgin and Saint John and donors is a fresco by the Early Italian Renaissance painter Masaccio. It is located in the Dominican church of Santa Maria Novella, in Florence.
Architectural features. In his Holy Trinity, Masaccio was the first individual of the Florentine Renaissance to properly explore the illusionistic potential of this new technique. The painting depicts a chapel, whose cavernous interior seems to open up before the viewer.
Masaccio’s Holy Trinity Masaccio, Holy Trinity, , fresco In the church of Santa Maria Novella in Florence is one of the best examples of the early Renaissance scientific approach to creating the convincing illusion of space within a painting. In his Holy Trinity, Masaccio was the first individual of the Florentine Renaissance to properly explore the illusionistic potential of this new technique.
The painting depicts a chapel, whose cavernous interior seems to open up before the viewer. Left: Masaccio, Holy Trinity, c.
|Painting in central and northern Italy||Masaccio, Holy Trinity, c. Masaccio's Holy Trinity with the figures labeled Left:|
|Masaccio's Holy Trinity – lausannecongress2018.com||How to Appreciate Art.|
|History[ edit ] The Trinity is thought to have been created by Masaccio sometime between|
, fresco, x cm, Santa Maria Novella, Florence; right: Masaccio's Holy Trinity with the figures labeled Masaccio was the first painter in the Renaissance to incorporate Brunelleschi's discovery in his art.