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.

Holy Trinity ( Masaccio ) | Holy Trinity, in full: " Trinity with the Virgin, Saint John the Evangelist, and Donors " ( c. 1427 )-Fresco, Santa Maria Novella, FlorenceAround 1427 Masaccio won a prestigious commission to produce a Holy Trinity for the Dominican church of Santa Maria Novella in Florence.

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 ).

It has never been confirmed that Masaccio collaborated on that work, even though it is possible that he contributed to Masolino's polyptych for the altar of Santa Maria Maggiore with his panel portraying St. Jerome and St. John the Baptist, now in the National Gallery of London.

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.

The Holy Trinity, situated almost halfway in the left aisle, is a pioneering early renaissance work of Masaccio, showing his new ideas about perspective and mathematical proportions.

* 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.

Rembrandt and Caravaggio were primary influences on Nerdrum's work, while secondary influences include Masaccio, Leonardo da Vinci, Michelangelo, Titian, and the less obvious influences, according to Vine and either mentioned by Nerdrum himself or other critics, that include Brueghel, Goya, Chardin, Millet, as well the even less apparent Henry Fuseli, Caspar David Friedrich, Ferdinand Hodler, Edvard Munch, Käthe Kollwitz, Salvador Dalí, Chaim Soutine and Lars Hertervig.

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 ).

* Masaccio, Brancacci Chapel, Santa Maria del Carmine, Florence

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.

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.

But Masaccio left the frescoes unfinished in 1426 in order to respond to other commissions, probably coming from the same patron.

His figure Prudence in the pulpit may have been an inspiration for the Eve in the painting The Expulsion from the Garden of Eden by Masaccio.

He seems to have been captivated by the " new wave " approaches being put into practice by Brunelleschi, Donatello, Ghiberti, and Masaccio.

The fresco, considered by many to be Masaccio's masterwork, is the earliest surviving painting to use systematic linear perspective, possibly devised by Masaccio with the assistance of Brunelleschi himself.

Masaccio profoundly influenced the art of painting in the Renaissance.

The revival of a style of architecture based on classical precedents inspired a corresponding classicism in painting and sculpture, which manifested itself as early as the 1420s in the paintings of Masaccio and Uccello.

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.

Masaccio (; December 21, 1401 – autumn 1428 ), born Tommaso di Ser Giovanni di Simone, was the first great 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 recreating lifelike figures and movements as well as a convincing sense of three-dimensionality.

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 ).

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.

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.

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

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

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 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.

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.

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.

Masaccio completed several panel paintings but is best known for the fresco cycle that he began in the Brancacci Chapel with the older artist Masolino and which had profound influence on later painters, including Michelangelo.

Baptism of Neophytes by Masaccio, 15th century, Brancacci Chapel, Florence.

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 ).

* Cappella Brancacci: cycle of frescoes in collaboration with Masaccio, 1424.

Masaccio perfected elements like composition, individual expression, and human form to paint frescoes, especially those in the Brancacci Chapel, of surprising elegance, drama, and emotion.

Masaccio died at twenty-six and little is known about the exact circumstances of his death.

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.

Masaccio died at the end of 1428.

* Masaccio at Panopticon Virtual Art Gallery