* December 21 – Tommaso Masaccio, Italian painter ( d. 1428 )

* Autumn – Masaccio, Italian painter ( b. 1401 )

* 1401 in art-Birth of Masaccio

* Masaccio ( Italian, 1401 – 1428 ) Important early Florentine painter

When it was cleaned in the 1980s, Masaccio's fresco of The Expulsion from the Garden of Eden ( Masaccio ) | The Expulsion ( 1426 – 1427 ) lost the added fig leaves.

* Masaccio, ( – 1428 ), Italian painter.

The unveiling of Gentile da Fabriano's Adoration of the Magi ( below ) in Florence in 1423, " the culminating work of International Gothic painting ", was almost immediately followed by the painting of the Brancacci Chapel by Masolino and Masaccio ( 1424 – 26 ), which was recognised as a breakthrough to a new style.

Andrea del Castagno ( or Andrea di Bartolo di Bargilla ) ( c. 1421 – 19 August 1457 ) was an Italian painter from Florence, influenced chiefly by Tommaso Masaccio and Giotto di Bondone.

His best known works are probably his collaborations with Masaccio: Madonna with Child and St. Anne ( 1424 ) and the frescoes in the Brancacci Chapel ( 1424 – 1428 ).

Masaccio died at the end of 1428.

* 1428 in art-Death of Masaccio

The name Masaccio is a humorous version of Maso ( short for Tommaso ), meaning " clumsy " or " messy " Tom.

In Pérez Galdós's Our Friend Manso ( 1882 ), the narrator describes two paintings by Theodore Gericault to point to the shipwreck of ideals ; while in La incógnita ( 1889 ), there are many allusions and descriptions of Italian art, including references to Botticelli, Mantegna, Masaccio, Raphael, Titian, etc.

Masaccio was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno ( today part of the province of Arezzo, Tuscany ).

id: Tommaso Masaccio

nl: Tommaso Masaccio

On February 19, 1426 Masaccio was commissioned by Giuliano di Colino degli Scarsi da San Giusto, for the sum of 80 florins, to paint a major altarpiece, the Pisa Altarpiece, for his chapel in the church of Santa Maria del Carmine in Pisa.

Masaccio produced two other works, a Nativity and an Annunciation, now lost, before leaving for Rome, where his companion Masolino was frescoing a chapel with scenes from the life of St. Catherine in the Basilica di San Clemente.

In 1440-1441 he executed the fresco of Crucifixion and Saints in the Ospedale di Santa Maria Nuova, whose perspective-oriented construction and figures shows the influence of Masaccio.

Italian Renaissance painting exercised a dominant influence on subsequent European painting ( see Western painting ) for centuries afterwards, with artists such as Giotto di Bondone, Masaccio, Piero della Francesca, Domenico Ghirlandaio, Perugino, Michelangelo, Raphael, Botticelli, Leonardo da Vinci, and Titian.

According to Vasari, Masaccio was the best painter of his generation because of his skill at recreating lifelike figures and movements as well as a convincing sense of three-dimensionality.

Renaissance painters traditionally began an apprenticeship with an established master at about the age of 12 ; Masaccio would likely have had to move to Florence to receive his training, but he was not documented in the city until he joined the painters guild ( the Arte de ' Medici e Speziali ) as an independent master on January 7, 1422, signing as " Masus S. Johannis Simonis pictor populi S. Nicholae de Florentia.

alt = Masolino & Masaccio, Virgin & Child with St. Anne, Uffizi The second work was perhaps Masaccio's first collaboration with the older and already-renowned artist, Masolino da Panicale ( 1383 / 4-c. 1436 ).

The circumstances of the 2 artists ' collaboration are unclear ; since Masolino was considerably older, it seems likely that he brought Masaccio under his wing, but the division of hands in the Virgin and Child with Saint Anne is so marked-Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne-that it is hard to see the older artist as the controlling figure in this commission.

According to Vasari, at their prompting in 1423 Masaccio travelled to Rome with Masolino: from that point he was freed of all Gothic and Byzantine influence, as may be seen in his altarpiece for the Carmelite Church in Pisa.

In 1424 the " duo preciso e noto " (" well and known duo ") of Masaccio and Masolino was commissioned by the powerful and rich Felice Brancacci to execute a cycle of frescoes for the Brancacci Chapel in the church of Santa Maria del Carmine in Florence.

It is not known if this was because of money quarrels with Felice or even if there was an artistic divergence with Masaccio.

Masaccio returned in 1427 to work again in the Carmine, beginning the Resurrection of the Son of Theophilus, but apparently left it, too, unfinished, though it has also been suggested that the painting was severely damaged later in the century because it contained portraits of the Brancacci family, at that time excoriated as enemies of the Medici.

Masaccio probably worked on it entirely in Pisa, shuttling back and forth to Florence, where he was still working on the Brancacci Chapel.

In 1423 Bellini was in Florence, where he knew the new works by Brunelleschi, Donatello, Masolino da Panicale and Masaccio.

Della Robbia was praised by his compatriot Leon Battista Alberti for genius comparable to that of the sculptors Donatello and Lorenzo Ghiberti, the architect Filippo Brunelleschi, and the painter Masaccio.

The contemporary of Donatello, Masaccio, was the painterly descendant of Giotto, furthering the trend towards solidity of form and naturalism of face and gesture that he had begun a century earlier.

Vasari's account was confirmed and amplified in the next century by Baldinucci, who says that he has seen many drawings by Finiguerra in the manner of Masaccio ; adding that Maso was beaten by Pollaiuolo in competition for the reliefs of the great silver altar-table commission by the merchants guild for the baptistery of St. John ( this famous work is now preserved in the Opera del Duomo ).

The first works attributed to Masaccio are the San Giovenale Triptych ( 1422 ) and the Virgin and Child with Saint Anne ( Sant ' Anna Metterza ) ( c. 1424 ) at the Uffizi.

* The serendipitous presence within the region of Florence in the early 15th century of certain individuals of artistic genius, most notably Masaccio, Brunelleschi, Ghiberti, Piero della Francesca, Donatello and Michelozzo formed an ethos out of which sprang the great masters of the High Renaissance, as well as supporting and encouraging many lesser artists to achieve work of extraordinary quality.

His studies of perspective are thought to have influenced the painter Masaccio.

They included the painter Masaccio, the sculptor Donatello, and the architect Filippo Brunelleschi.

He drew on his contacts with early Quattrocento artists such as Brunelleschi and Masaccio to provide a practical handbook for the renaissance artist.

Masaccio profoundly influenced the art of painting in the Renaissance.

In the late part of his life, Lorenzo did not accept the early Renaissance innovations introduced by artists such as Masaccio and Brunelleschi.

However, the fully three-dimensional rendering of the figure, inspired by Masaccio, and the perspective study, inspired by Brunelleschi, are plainly of the Renaissance.