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	Masaccio
		Masaccio, then, like Giotto a century earlier - himself the Giotto of an artistically more propitious world - was, as an artist, a great master of the significant, and, as a painter, endowed to the highest degree with a sense of tactile values, and with a skill in rendering them.
		Masaccio and the Brancacci Chapel, by Ornella Casazza.
		The Panel Paintings of Masolino and Masaccio: The Role of Technique, by Carl Brandon Strehlke.
	www.artchive.com /artchive/M/masaccio.html (614 words)

	Masaccio - LoveToKnow 1911
		After returning to Florence, Masaccio was chiefly occupied in painting in the church of the Carmine, and especially in that "Brancacci Chapel" which he has rendered famous almost beyond rivalry in the annals of painting.
		In the cloister of the Carmine was discovered in recent years d portion of a fresco by Masaccio representing a procession; but this, being in colours and not in monochrome, does not appear to be the Brancacci procession.
		The so-called portrait of Masaccio in the Uffizi Gallery is more probably Filippino Lippi; and Filippino, or Botticelli, may be the real author of the head, at first termed a Masaccio, in the National Gallery, London.
	www.1911encyclopedia.org /Masaccio (1101 words)

	Masaccio and his frescoes in Florence
		Masaccio, nickname of the painter Tommaso di Ser Giovanni.(San Giovanni Valdarno 1401- Roma 1428).
		Masaccio went to Florence when he was very young and we do not know huch of his formation apart from the fact that he followed the teaching of Masolino da Panicale.
		Masaccio became immediately inserted in the new Florentine Renaissance and one of his first works was the Church of S.Anna Matterza (1424-25, Florence,Uffizi).
	en.firenze-online.com /tuscany-artists/masaccio.php (263 words)

	Masaccio
		Masaccio was very precocious: we find him at the age of nineteen already enrolled among the Speziali (Grocers, or Spicers), one of the "arts", or guilds.
		While Masaccio worked at the paintings in the Brancacci chapel, the church of which it was a part was consecrated: he "represents this ceremony in chiaroscuro over the door leading from the church to the cloister" (Vasari) and introduces a great many portraits of important persons in the group of citizens who follow the procession.
		Masaccio is preached as a "Messias without a Precursor", an "autodidact", a self-teacher, without an ancestor in the past.
	www.catholicity.com /encyclopedia/m/masaccio.html (910 words)

	Alberti and Masaccio
		Masaccio placed more specificity in the background, used classical framing columns, painted a three quarter view of the face and had the motion of his work flow back to front.
		Masaccio also placed the viewer in a place where he or she was cut off from the Trinity.
		Masaccio advanced the idea that Christ was both human and divine and that by living through Christ, humans could achieve salvation.
	www.evergreen.loyola.edu /~brnygren/Honors/alberti.htm (1392 words)

	Masaccio
		Masaccio was considered one of the first artists of the Renaissance movement, and his work and style served as inspiration and guidance to many of the later painters including Donatello and Raphael, but he had great influence on the details of paintings by Michelangelo.
		Masaccio was famous for his brand new techniques of perspective, being one of the first artists to show realistic foregrounds and backgrounds to emphasize importance of certain figures in his paintings.
		Masaccio used this concept to illuminate not only in the sense of illuminating the most important religious figures in his works, but also as a means of contrast, a technique that Michelangelo obviously subscribed to.
	www.wfu.edu /~liebsg5/FYS100/masaccio.htm (649 words)

	Masaccio Giovanni - Biography and Gallery of Art
		Masaccio was a native of Castello S. Giorgio of Valdarno, and it is said that some figures made by him in his early childhood may be seen there.
		While he was engaged upon this work, the consecration of the Carmine church took place; 7 and as a memorial of this Masaccio painted the scene as it occurred, in verdeterra and chiaroscuro, in the cloister over 1the door leading to the convent.
		He has Masaccio's reputation has always stood, it is nevertheless the firm conviction of many that he would have produced even better work if death, which carried him off at the age of twenty-six, had not cut short his time.
	www.artist-biography.info /artist/masaccio_giovanni (2085 words)

	MyStudios- Masaccio
		Masaccio's lasting effect on the history of Italian painting was enormous.
		Masaccio painted man the spectator-that is, the man outside the picture-into the picture.
		Masaccio seems to have copied classical architecture and classical sculpture: the heads of the apostles in the Tribute Money, clad in their classical togas, may well have been copied from Roman busts.
	www.mystudios.com /art/italian/masaccio/masaccio.html (438 words)

	ARTINVEST2000® MASACCIO - TOMMASO DI SER GIOVANNI CASSAI
		Masaccio was born of parents Giovanni di Mone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno in the Tuscan province of Arezzo.
		On February 19, 1426 Masaccio was commissioned by Giuliano di Colino degli Scarsi, for the sum of 80 florins, a major altarpiece for his chapel in the church of Santa Maria del Carmine in Pisa.
		Masaccio probably worked at it entirely in Pisa, voyaging back and thro to Florence where he was still working to the Histories of St. Peter.
	www.artinvest2000.com /masaccio_english.htm (1098 words)

	Masaccio: 1401-1428
		Masaccio was born Tommaso di Giovanni di Simone Guidi on December 21, 1401.
		Masaccio studied art in Florence and gained recognition as a master painter by the time he was twenty-one.
		Masaccio was considered a genius and is best known for the fresco of The Holy Trinity with the Virgin and St. John, the first successful depiction in painting of the new concept of Renaissance space.
	www.thenagain.info /WebChron/WestCiv/Masaccio.html (398 words)

	The Expulsion from the Garden of Eden by MASACCIO
		Masaccio's concrete and dramatic portrayal of the figures, his truly innovative Renaissance spirit, stand in striking contrast to Masolino's late Gothic scene, lacking in psychological depth.
		In Masaccio's painting man, although a sinner, has not lost his dignity: he appears neither debased nor degraded, and the beauty of his body is a blend of classical archetypes and innovative forms of expression.
		But Masaccio's Eve is only similar to them in her gesture, because her body expresses dramaticaly all the suffering in the world.
	www.kfki.hu /~/arthp/html/m/masaccio/brancacc/expulsio/expuls.html (248 words)

	Highbeam Encyclopedia - Search Results for Masaccio
		He came from the same district in Tuscany as his younger contemporary Masaccio, with whom his career is closely linked.
		The Arts: The pieces in a puzzle; In 1426, Masaccio painted an altarpiece for a church in Pisa.
		Fragments of Masaccio's great altarpiece of 1426 are to be pieced back together in an exhibition to mark the 600th anniversary of the artist's birth.(Brief Article)
	www.encyclopedia.com /SearchResults.aspx?Q=Masaccio (710 words)

	Crucifixion by MASACCIO
		On February 19th 1426 Masaccio agreed to paint an altarpiece for a chapel in the church of the Carmine in Pisa for the sum of 80 florins.
		To counter the vertical trust imposed by the arch, Masaccio creates a strong horizontal effect with the rather exaggerated extension of the arms of Christ on the cross.
		Although Masaccio still uses the gilt background for his representation, the atmospheric effects remain hauntingly convincing.
	www.wga.hu /html/m/masaccio/crucifix.html (194 words)

	Welcome to masaccio.it (Site not responding. Last check: )
		hese words 600 years after the birth of Masaccio (Tommaso was born on 21 December 1401) remember the importance of his genius and its fundamental role in the millenarian history of art.
		Masaccio was modelled on the masters, Giotto, Brunelleschi and Donatello, and was deeply aware of the value of the "New Man" and his existence in society, the meaning of Brunelleschian perspective and Donatello's sense of intense humanity.
		Masaccio was the first Renaissance artist to have grasped and interpreted man's deepest and most mundane reality.
	www.masaccio.it /html_eng/home.htm (373 words)

	Biography (Site not responding. Last check: )
		Masaccio (1401-1427?), the first great painter of the Italian Renaissance, whose innovations in the use of scientific perspective inaugurated the modern era in painting.
		Masaccio, originally named Tommaso Cassai, was born in San Giovanni Valdarno, near Florence, on December 21, 1401.
		Masaccio's work exerted a strong influence on the course of later Florentine art and particularly on the work of Michelangelo.
	gallery.euroweb.hu /bio/m/masaccio/biograph.html (470 words)

	Masaccio Online
		Masaccio at the National Gallery of Art, Washington D.C. The Madonna of Humility, ca.1423/24
		Masaccio at the National Gallery, London, UK Saints Jerome and John the Baptist
		All images and text on this Masaccio page are copyright 2007 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/masaccio.html (322 words)

	Florence Art Guide
		He was extremely young when he came to Florence and was to form part of the circle around Masolino da Panicale, also from his home town and twenty years his senior, though apparently their relationship was not that of teacher and pupil.
		Rather, it seems that the presence of the already brilliant Masaccio, with the introduction of the new rules of perspective and naturalism, was to give new impulse to Masolino's work, which had hitherto tended to keep to late Gothic models.
		He was admitted, like most of the other artists, to the Guild of Doctors and Herbalists in 1422: his first work, carried out with Masolino, was the Madonna and Child and St. Anne (Sant'Anna Metterza, 1424-25), previously in the church of Sant'Ambrogio and now in the Uffizi.
	www.mega.it /eng/egui/pers/masac.htm (357 words)

	Masaccio
		Along with the sculptor Donatello and the architect Brunelleschi, Mascaccio was the founder of the Italian Renaissance, whose innovations in the use of scientific perspective initiated the modern era of painting..
		Masaccio was the first artist to use full perspective in Western art when he completed the fresco “Trinity” in 1425.
		In 1427, Masaccio completed six frescos in the Brancacci chapel include two scenes considered his masterpieces: “Tribute Money” and “Expulsion from Paradise.” These works illustrate another of his innovations: the use of light as if from a single source instead of painting sceens in a flat uniform light.
	library.thinkquest.org /C005662/Thinkquest/Masaccio.htm (654 words)

	Masaccio. The Columbia Encyclopedia, Sixth Edition. 2001-05
		Masaccio’s independent works in the chapel include Expulsion from Eden, Peter and John Healing the Sick, Peter and John Distributing Alms, Peter Baptizing, The Raising of the King’s Son, and The Tribute Money.
		Masaccio imparted a new sense of grandeur and austerity to the human figure.
		Masaccio is remembered primarily for his innovative use of perspective.
	www.bartleby.com /65/ma/Masaccio.html (246 words)

	Masaccio - Search Results - MSN Encarta
		Masaccio (1401-1428?), the first great painter of the Italian Renaissance, whose application of scientific perspective and depiction of natural...
		In only a few years, from his start as a painter in 1422 until his death in about 1428 at the age of 26, the Italian master Masaccio was known as a...
		The first painter to employ the new techniques was Masaccio.
	encarta.msn.com /Masaccio.html (109 words)

	Masaccio (Site not responding. Last check: )
		After returning to Florence, Masaccio was chiefly occupied in painting in the church of the Carmine, and especially in that "Brancacci Chapel" which he has rendered famous almost beyond rivalry in the annals of painting.
		In 1427 Masaccio was living in Florence with his mother, then for the second time a widow, and with his younger brother Giovanni, a painter of no distinction; he possessed nothing but debts.
		It has been said that Masaccio introduced into painting the plastic boldness of Donatello, and carried out the linear perspective of Paolo Uccello and Brunelleschi (who had given him practical instruction), and he was also the first painter who made some considerable advance in atmospheric perspective.
	www.nndb.com /people/879/000084627 (988 words)

	Masaccio - Biography (Site not responding. Last check: )
		Masaccio was born in Castel San Giovanni (now called San Giovanni Valdarno, province of Arezzo) on 21 December 1401.
		This work, which came to be known as the "Sagra," was destroyed in the sixteenth century, but Masaccio was praised for it in early sources (such as Vasari) for his originality in rendering figures as fully three-dimensional solids and for the realism of his portraits.
		After Masaccio's death this unfinished painting and the remaining panels of the altarpiece were entrusted to Masolino for completion.
	www.bonus.com /contour/national_gallery/http@@/www.nga.gov/cgi-bin/pbio?20250 (758 words)

	Masaccio's Trinity
		“Masaccio’s Trinity” is a painting that was drawn to honor the Holy Trinity by Masaccio (born Thomaso Guidi, 1401-1428) between the years (approximately) 1426-1428.
		However, Masaccio made the bold move to not only depict him as a man like Jesus, but to show him supporting Jesus, as if he is holding the weight of the cross.
		Masaccio was truly interested in linear perspective and the mathematical aspects of the painting.
	www.angelfire.com /oh5/regoitalia/masaccio.html (887 words)

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