Masaccio, The Tribute Money in the Brancacci Chapel.

Masaccio was the first painter in the Renaissance to incorporate Brunelleschi’s discovery, linear perspective, in his art. He did this in his fresco the Holy Trinity, in Santa Maria Novella, in Florence. Have a close look at the painting and at this perspective diagram.

The Brancacci Chapel or Cappella dei Brancacci is a chapel in the Church of Santa Maria del Carmine in Florence. It is sometimes called the Sistine Chapel of the early Renaissance for its painting cycle, among the most famous and influential of the period. Construction of the chapel was commissioned by Pietro Brancacci and begun in 1386. Little.

How was the Brancacci Chapel originally seen? Florence’s early Renaissance showpiece revolutionised painting—but how was it seen, and used, at the time?

The intimate Brancacci Chapel has limited capacity (just six people a day), but this ticket gets you skip the line access, plus a video guide, so you can admire the magnificent frescoes up close. Through the short (but impactful) visit, you'll enjoy the info and insights from your included video guide.

The Brancacci Chapel became a training ground for later painters, including Michelangelo, who copied Masaccio's figures. In the Trinity fresco (Santa Maria Novella, Florence), Masaccio, by employing Brunelleschi's methods using linear perspective, created for the first time a convincing illusionist space depicting a chapel.

As well as an introductory essay by the editor, Nicholas Eckstein, it contains nine contributions, more-or-less equally divided between art historians and historians, each of whom brings his or her particular expertise to bear on the interpretation of the Brancacci chapel.

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Any new book on a work of art as celebrated as the Brancacci Chapel mural painting cycle, especially one that proposes to advance new interpretations rather than reprise old ones, will surely prompt the question whether such a project can be sustained. Even if no new archival evidence directly relating to the commission for the paintings has.

Masolino had begun working on the Brancacci Chapel two or three years before Masaccio did and it is still difficult to determine which frescoes were painted by Masaccio and not Masolino. In the Brancacci Chapel we see the combination of perspective mixed with humanism in the depictions of characters.

The chapel in the right-hand arm of the transpt in the church of Santa Maria del Carmine is consacrated to the Madonna del Popolo, and a painting of the Virgin stands on the altar. The patrons of the chapel was the Brancacci family, from the second half of the 14th century until 1780. Felice Brancacci was the patron of the chapel from 1422 till.

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