Holy Trinity by Masaccio

Holy Trinity by Masaccio

A special place in the artistic heritage and the history of painting Masaccio Early Renaissance takes his last finished work – the fresco “The Trinity”. This painting was commissioned by the noble Florentine Masaccio Lorenzo Lenzi, who held high political office Gonfaloniere of Justice.

Featuring Trinity, Masaccio be a medieval canon, according to which the planar shape of God the Father also fit flat figure of God the Son with outstretched wings of a dove on it – the Holy Spirit. Here, the figure acquired the same value, became voluminous, therefore required the creation of depth media. Before the chapel is written

the general level and there are two kneeling figures customers murals in traditional poses with folded hands.

Apparently, this song embodies some fairly complex theological program – evidenced by writing on the wall socket and is included in the composition of the fresco image sarcophagus with the lid open, which is the skeleton; according to some researchers, it is the symbol of the “old Adam”, the transience of humanity.

Masaccio created a standard of perfect composition. This suggests that he was not alien to the problems of a theoretical nature, I was already interested in at this time of artistic environment. Composition frescoes knelt at the entrance to the chapel of Lorenzo Lenzi and his wife, Christ crucified, and standing at the foot of the Crucifixion Mary and John, like a step pyramid inscribed in a double – arched and rectangular – framing; seen from the perspective of the bottom body of the chapel is depicted in perfect perspective reduction.

The first two parts of the frescoes were executed with precise mathematical calculations in a single run, the horizon line which corresponds to the level of the viewer, creating a hitherto unknown painting depicted the illusion of reality, space, architecture, backgrounds. Advance construction of the frescoes was a means of exposure of the plan.

Centric Orientation perspectives emphasized the importance of the main figures. Being on the other side of the picture plane, as if Chapel belonged to another world, and the donor of the image, and the sarcophagus itself spectators were treated to this, the earthly world. Innovation differs laconic composition, sculptural relief forms, expressive faces, visual characteristics portrait customers.

Painting comes into competition with a sculpture in the art of transmission volume, its existence in real space. The head of God the Father is the epitome of greatness and power, in the person of Christ dominates mind with suffering shadow.

It is possible that in the development of architectural motifs and future construction of space, took part architect Brunelleschi. Anyway, this mural, which completed a short course of life of Masaccio, became a kind of manifesto of the new Renaissance art, magnificent demonstration of his aesthetic principles and possibilities.

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