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2. Masaccio - Wikipedia

   en.wikipedia.org/wiki/Masaccio

   Masaccio (UK: / m æ ˈ s æ tʃ i oʊ /, US: / m ə ˈ s ɑː tʃ i oʊ, m ə ˈ z ɑː tʃ (i) oʊ /; [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.

3. List of major paintings by Masaccio - Wikipedia

   en.wikipedia.org/wiki/List_of_major_paintings_by...

   Masaccio did not complete the decoration of the chapel. In 1428 he left for Rome, and was reported dead soon afterwards. [1] What follows is an incomplete list of Masaccio's main paintings in chronological sequence. [2] The arrangement is ordered by year and title, with brief comments and showing the artistic development of the artist.

4. The Tribute Money (Masaccio) - Wikipedia

   en.wikipedia.org/wiki/The_Tribute_Money_(Masaccio)

   The Tribute Money is a fresco by the Italian Early Renaissance painter Masaccio, located in the Brancacci Chapel of the basilica of Santa Maria del Carmine, Florence.Painted in the 1420s, it is widely considered among Masaccio's best work, and a vital part of the development of Renaissance art.

5. Category:Paintings by Masaccio - Wikipedia

   en.wikipedia.org/wiki/Category:Paintings_by_Masaccio

   Paintings by Masaccio. Pages in category "Paintings by Masaccio" The following 16 pages are in this category, out of 16 total. This list may not reflect recent ...

6. Brancacci Chapel - Wikipedia

   en.wikipedia.org/wiki/Brancacci_Chapel

   The most famous painting in the chapel is Tribute Money, on the upper left wall, with figures of Jesus and Peter shown in a three part narrative. The painting, largely attributed to Masaccio, represents the story of Peter and the tax collector from Matthew 17:24–27. The left side shows Peter getting a coin from the mouth of a fish and the ...

7. Holy Trinity (Masaccio) - Wikipedia

   en.wikipedia.org/wiki/Holy_Trinity_(Masaccio)

   The fresco is located along the middle of the basilica's left aisle. Although the configuration of this space has changed since the artwork was created, there are clear indications that the fresco was aligned very precisely in relationship with the sight-lines and perspective arrangement of the room at the time; particularly a former entrance-way facing the painting; in order to enhance the ...