Linear perspective was one of the major breakthroughs of the Renaissance. It was discovered by Brunelleschi, and later codified by the architect Alberti in his treatise On Painting, published in 1435; but it was first applied by Masaccio in his Trinity Altarpiece. In a linear perspective system, parallel lines are made to converge on a single vanishing point (like the parallel lines of a railroad track). Vertical elements diminish in size as they recede into depth, while the spacing between horizontal lines also gets smaller as they move further back in space.
Linear perspective was important because it gave artists the tools to create a convincing illusion of three-dimensional space on a flat surface. If Renaissance art strove to “bring the divine down to earth,” linear perspective made it possible to create a fully rational space for figures to inhabit. How One Point Linear Perspective Works (Smarthistory) http://smarthistory.khanacademy.org/how-one-point-linear-perspective-works.html Masaccio’s Trinity Altarpiece was commissioned by the Lenzi family, who are seen kneeling on a ledge below the crucifixion. Mr Lenzi is dressed in the red robes of a galfoniere, the elected leader of the Florentine Republic. He and his wife pray piously towards a vision of the Holy Trinity. The Lord stands behind his crucified son, while the Dove of the Holy Spirit hovers between their heads. The Virgin Mary and Saint John the Evangelist flank the crucifixion, as was customary in Medieval art. Below, a painted image of a skeleton lies within a coffin with the inscription “I was once what you are, and what I am you will become.” The Trinity Altarpiece is very Medieval in its subject matter: the skeleton functions as a momento mori (“reminder of death”), and the necessity of prayer as a path to salvation is clearly spelled out. What is revolutionary about the picture is the way that Masaccio painted it. Using Brunelleschi’s linear perspective for the first time, Masaccio placed his figures in an illusionary architectural niche that is so precise it can be measured. The barrel-vaulted niche, with its coffers and classical detail, was no doubt a tribute to Brunelleschi’s classically-inspired architecture. To fully appreciate the implications of Masaccio’s breakthrough, we must recall how God was represented in Medieval art. Untouchable and remote, God was meant to be understood as beyond human comprehension. Masaccio, on the other hand, has brought God into our world (much like his son entered our world by becoming flesh and blood), and placed him in a space that can be measured and understood. The mysteries of God are no longer inaccessible to us, but literally within our reach. As the Renaissance Connection website sums up:
Masaccio, Holy Trinity, c. 1427, Fresco, 667 x 317 cm, Santa Maria Novella, Florence http://smarthistory.khanacademy.org/holy-trinity-santa-maria-novella-florence.html Masaccio’s Tribute Money was part of a larger cycle of frescos completed for the Brancacci Chapel in Santa Maria del Carmine in Florence. The patron was Felice Brancacci, a wealthy silk merchant and diplomat. The frescos in the chapel all focus on the life of Saint Peter, and revolve around the theme of charity and civic duty. Like Giotto, Masaccio used modeling with light and shade to give his figures volume and weight. But Masaccio took Giotto’s innovations even further. For the first time, Masaccio used a single light source (corresponding to an actual window in the chapel), so that the lighting on the figures comes from a consistent direction, and the cast shadows correspond logically to the direction of the light. Masaccio also expanded upon Giotto’s accomplishments by his treatment of space. While Giotto had placed his figures on a shallow stage, Masaccio creates the illusion of a landscape setting that recedes far into the distance. To create this illusion, Masaccio used several techniques:
A predecessor of the modern income tax, the catasto would have placed a heavy burden on men like Felice Brancacci. Nonetheless, the frescos in his chapel all center on the theme of the civic duty of charity, so it is possible that the patron chose this story to advertise his support for the tax! Masaccio, The Tribute Money, 1427, fresco (Brancacci Chapel, Santa Maria del Carmine, Florence) Speakers: Dr. Steven Zucker and Dr. Beth Harris http://smarthistory.khanacademy.org/Masaccio.html Listen to one more Smarthistory conversation about Masaccio that sums up his achievement: Masaccio (Tommaso di Ser Giovanni di Simone), Virgin and Child Enthroned, 1426, tempera on panel (National Gallery, London). Speakers: Dr. Beth Harris and Dr. Steven Zucker http://smarthistory.khanacademy.org/masaccio-virgin-and-child-enthroned.html Other Artists Using Linear Perspective Uffizi Gallery Everybody started using perspective! This painting by Domenico da Venziano (a Venetian painter working in Florence) is a large altarpiece depicting the Virgin enthroned with the Christ Child on her lap, surrounded by Saints (Saint Francis and Saint John the Baptist on the left, and Saint Zenobius and Saint Lucy on the right). The image is of a type known as a sacra conversazione, or “sacred conversation,” where Saints are brought together in one space, as if they are having a holy conversation:
Departing from the traditional convention of representing the Saints in separate panels (as in the example above), Venziano creates the illusion that the figures are inhabiting the same room. Using the new science of linear perspective, he is able to create a space that is so logical and coherent, we feel as if we could step right into the painting and join the conversation! Domenico Veneziano, Saint Lucy Altarpiece, 1445-47, tempera on wood panel, 82 1/4 x 85″ or 209 x 216 cm (Galleria degli Uffizi, Florence) Speakers: Dr. Steven Zucker and Dr. Beth Harris http://smarthistory.khanacademy.org/venezianos-st.-lucy-altarpiece Humanism and religion were not mutually exclusive in 15th century Florence. This can be seen particularly well in the work of Fra Angelico, a Dominican monk who became prior of the monastery of San Marco in Florence. In spite of his position within the church, Fra Angelico was a pioneer in the new style of painting, and his work was widely sought by patrons:
This fresco is one of series commissioned by Cosimo de Medici to decorate the Monastery of San Marco (Cosimo sponsored the building of the monastery, and had his own cell where he could retire for prayer and meditation). Fra Angelico used the new science of perspective in his image of the Annunciation, but this hardly diminishes the pious atmosphere of the work. Set in a plain loggia, furnished only with a rough wooden bench, the Virgin Mary receives the miraculous news with a serene gesture that indicates her willing submission to God. Despite the naturalism of the scene, the figures have a spiritual quality that recalls the ethereal angels of the Italo-Byzantine style. Here, we see Humanism co-existing with a deeply spiritual commitment. Fra Angelico, The Annunciation, c. 1438-47, fresco, 230 x 321 cm (Convent of San Marco, Florence). Speakers: Dr Beth Harris and Dr. Steven Zucker https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/painting-in-Florence/v/fra-angelico-the-annunciation-c-1438-47 Fra Filippo Lippi was also a monk, but his personality was very different from Fra Angelico. Orphaned as a child, he was placed in a monastery for upbringing and soon discovered that he was not suited for monastic life! Known for his “lusty” behavior, he ran off with a pretty young nun named Lucretia, and he was eventually de-frocked (i.e. he was kicked out of the monastery). Lippi’s early work was influenced by Masaccio, but he developed a unique linear style that endowed his figures with a delicate grace and sense of movement. His fluid use of line would have a deep influence on his pupil, Sandro Botticelli. Lippi’s Madonna is fashionably dressed (it is said that Lippi used Lucretia as his model), and is seated at a window with a landscape view behind her. Her halo has been reduced to just the faintest circle, while her fine clothes and aristocratic setting (the window suggests the view from a country villa) seem to emphasize her beauty and wealth, rather than her spiritual purity. The baby Jesus also seems much more “down to earth.” He has the true proportions of a toddler, with a large head, rosy cheeks, and chubby limbs. The angel supporting him glances at the viewer with the mischievous expression of a naughty child. This “worldly” and seemingly profane image of the Virgin represents an increasing humanization of religious themes, as Renaissance artists re-envisioned the spiritual in terms of the sensual beauty of their own physical world.
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