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St Peter Healing the Sick with His Shadow, by Masaccio. Lower centre wall, left side, by Masaccio. The episode depicts Acts 5:12–16. The picture's attribution to Masaccio is based in on the perspective structure used to create the street setting and the craggy naturalism of the physiognomies of the old man and the cripple.
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.
The Expulsion from the Garden of Eden (Italian: Cacciata dei progenitori dall'Eden) is a fresco by the Italian Early Renaissance artist Masaccio. The fresco is a single scene from the cycle painted around 1425 by Masaccio, Masolino and others on the walls of the Brancacci Chapel in the church of Santa Maria del Carmine in Florence.
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The Virgin and Child, with its powerful volume and solid possession of space by means of an assured perspectival structure, is one of the earliest works credited to Masaccio. Except for one, the angels, very delicate in their tender forms and pale, gentle colouring, are from the more Gothic brush of Masolino; the angel in the upper right hand ...
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.
Nicolae: The Rise of Antichrist is the third book in the Left Behind series. It was written by Tim LaHaye and Jerry B. Jenkins in 1997 and was published on Wednesday, October 1, of that year. It takes place 18–21 months into the Great Tribulation.
The artwork was painted for the altar of the Guardini chapel on the left wall of the Chiesa di San Niccolò Oltrarno [] in Florence. [1] It is not known whether the work was painted before or after the Brancacci Chapel (where Masolino worked from 1424 to 1425).