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The painting The Holy Trinity by Masaccio (1425–1427) in the Santa Maria Novella, Florence, is a renowned example of the new technique, which accurately created the illusion of a three-dimensional representation and also recreated, in painting, Brunelleschi's architectural style. This development established the standard method of painting ...
Brunelleschi Crucifix, Gondi Chapel, Santa Maria Novella, Florence. The Brunelleschi Crucifix is a polychrome painted wooden sculpture by the Italian artist Filippo Brunelleschi, made from pearwood around 1410-1415, and displayed since 1572 in the Gondi Chapel at the church of Santa Maria Novella in Florence.
The painting is considered the first known example of a squared altarpiece, without any traditional gothic decoration like pinnacles or cusps, in order to better match the simple architecture of the church, by Brunelleschi. The panel is divided in two by a central column.
Antonio del Pollaiuolo, Portrait of a Young Woman (1470–1472), Museo Poldi Pezzoli, Milan. Facade of Santa Maria Novella (1456) Michelangelo, Doni Tondo (1503–1504). The Florentine Renaissance in art is the new approach to art and culture in Florence during the period from approximately the beginning of the 15th century to the end of the 16th.
The paintings were executed over the years 1425 to 1427. Public access is currently gained via the neighbouring convent, designed by Brunelleschi. The church and the chapel are treated as separate places to visit and as such have different opening times and it is quite difficult to see the rest of the church from the chapel.
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 ...
Brunelleschi also returned several times to find inspiration for what was the Renaissance art. [7] While in Florence, Masaccio , first great Italian painter of the Quattrocento , became friends with Brunelleschi and Donatello, and at their prompting in 1423 travelled to Rome, along with his mentor Masolino .
Saint Peter of Orsanmichele is one of the more-discussed statues of the complex, although the documentation for its provenance and dating are lost. The traditional attribution was to Donatello, as reported by Giorgio Vasari in his Le Vite, where he wrote that the work as commissioned from Brunelleschi and Donatello but that only the second performed the work and brought it "to perfection."
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