Masaccio: The Polyptych of the Carmine of Pisa - The Maestà

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Raffaella Arpiani - Arte essenziale

Published on Feb 28, 2021
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Let's start to get to know the man who renewed the language of Early Renaissance painting in Florence, by reasoning about altarpieces, diptychs, triptychs, polyptychs and iconography. What are the innovations proposed by Masaccio? Let's learn to recognize them by analyzing the Madonna and Child Enthroned by the Carmine of Pisa, now at the National Gallery in London. We will be able to observe the naturalness of the body shapes and proportions of Baby Jesus, as well as the maternal gesture with which Mary welcomes him into her lap. Or again the use of light and the creation of evident shadows (finally!) and a chiaroscuro that allow us to conceive the characters represented in a real and plausible space, perspective, Brunelleschi-like, truly, for the first time, very similar to our own. 00:00 Introduction to Masaccio 03:32 Vasari's description 07:30 Altarpieces (diptychs, triptychs, polyptychs) 13:01 The iconography of Mary 13:54 Data from the Polyptych of Carmine in Pisa 15:00 The Maestà by Cimabue, Giotto, Masaccio 16:38 Baby Jesus by Masaccio 18:55 The iconology of red fruits 20:38 The use of light and earthly space (the body) 22:34 The gold background 24:16 Classical architecture 25:05 Strigilated decoration 26:07 The illusion of perspective space 27:34 Deterioration from restorations and cuts 28:30 The influence of goldsmiths 29:38 A single composition for the entire polyptych? 30:22 The halo in perspective

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