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Updated: June 8, 2025
In this Carmine fresco are many portraits of Filippino's contemporaries, including Botticelli, just as in the scene of the consecration of the Carmine which Masaccio painted in the cloisters, but which has almost perished, he introduced Brancacci, his employer, Brunelleschi, Donatello, some of whose innovating work in stone he was doing in paint, Giovanni de' Medici and Masolino.
In the generations which supervene, artists with less fervor of spirit but with growing skill of hand, increased with each inheritance, turn their efforts to the development of their means. The names of this period of experiment and research are Masaccio, Uccello, Pollaiuolo, Verrocchio. At length, when the fullness of time is come, emerges the master-mind, of original insight and creative power.
In comparing Masaccio with Giotto we must admit that, with so much gained, something has been sacrificed. Giotto succeeded in presenting the idea, the feeling, the pith of the event, and pierced at once to the very ground-root of imagination. Masaccio thinks over-much, perhaps, of external form, and is intent on air-effects and colouring.
There was a pause in which the three gazed idly at the fire's reflection in the brass of the superb old andirons Then, "Haven't you something new to show us?" asked the woman. "Some genuine Masaccio, picked up in a hill-town monastery a real Ribera?" The small old Jew drew a long breath. "Yes, I have something new."
Upon it lay the letter that had come an hour before, and the Signorina now and then feasted her eyes upon it. Just outside the door was a bust of Masaccio, set on a tall pedestal, grass growing on the rough hair and heavy eyelids.
She had a dim notion, caught from stray indications in the magazines, that writers were considering such questions in books other than novels, but she had no idea how to search them out. The woman's club to which she belonged was occupied with the art of Masaccio, who was, so a visitor from Chicago's æsthetic circles informed them, the "latest thing" in art interests.
It remained for the men of the fifteenth century, Donatello, Ghiberti, Masaccio, and their illustrious followers, to become familiar with the human body.
After this, and especially to be compared with the frescoes of Masaccio and Ghirlandaio of the same subject, comes the Baptism of Christ. The old details of figures dressing and undressing, which gave so much pleasure to earlier painters, for instance, Piero della Francesca, in the National Gallery, are entirely omitted, as the nose-holding in the Raising of Lazarus, is omitted by Rembrandt.
We feel towards a picture by Cézanne or Masaccio or Giotto as we feel towards a Romanesque church; the design seems to spring upwards, mass piles itself on mass, forms balance each other masonrywise: there is a sense of strain, and of strength to meet it. Turn to a Chinese picture; the forms seem to be pinned to the silk or to be hung from above.
There is a further tradition not very probable under the circumstances that Masaccio is buried, without name or stone, under the Brancacci Chapel.
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