Masaccio short biography
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Masaccio
15th-century Italian Renaissance painter
Masaccio (, ;[1][2][3]Italian:[maˈzattʃo]; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance. According to Vasari, Masaccio was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality.[4] He employed nudes and foreshortenings in his figures. This had seldom been done before him.[5]
The name Masaccio is a humorous version of Maso (short for Tommaso), meaning "clumsy" or "messy" Tom. The name may have been created to distinguish him from his principal collaborator, also called Maso, who came to be known as Masolino ("little/delicate Tom").
Despite his brief career, he had a profound influence on other artists and is considered to have started the Early Italian Renaissance in painting with his works in the mid- and late-1420s. He was one of the first to use linear perspective in his painting, employing techniques such as vanishing point in art for the first time. He moved away from the Interna
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Masaccio
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Biography
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Masaccio
The Italian painter Masaccio (1401-1428) was the first great exponent of Renaissance painting. In his brief life he produced four major works utilizing the new discipline of space defined in perspective.
Tommaso di Giovanni, called Masaccio, was born in San Giovanni Valdarno on the day of St. Thomas, for whom he was named. His father, Giovanni Cassai, died when Masaccio was 5; his mother remarried, and a stepsister's husband, the only local painter, Mariotto di Cristofano, in all likelihood took Masaccio on as an apprentice. He probably received the nickname Masaccio (Terrible Tom) to distinguish him from his collaborator Masolino (Little Tom).
Masaccio went to Florence when he was about 20 and very soon joined the most modern and prominent artist group there, headed by the sculptor-architect Filippo Brunelleschi and the sculptor Donatello. Claiming as their own the heritage of Roman antiquity and of Giotto, the great Florentine master of the 14th century, they developed a new art of space and form. It utilized exact perspective invented by Brunelleschi and anatomical realism and applied these skills to narratives depicting critical moments in human relationships. Brunelleschi and Donatello found in the young Masaccio someone who could transfer these concerns