orig. Tommaso di Cristoforo Finiborn 1383, Panicale, Romagnadied probably 1440–47, Florence, Republic of FlorenceItalian painter.He came from the same district in Tuscany as his younger contemporary Masaccio, with whom his career is closely linked. The two worked together on frescoes for the Brancacci Chapel in Florence's Santa Maria del Carmine. Masaccio's influence is evident in Masolino's contributions, but upon Masaccio's death Masolino returned to the more decorative Gothic style of his earlier years.
* * *▪ Italian painteralso called Masolino da Panicale , original name Tommaso di Cristoforo Finiborn 1383, Panicale, near Perugia, Romagnadied probably 1440–47, Florencepainter who achieved a compromise between the International Gothic manner and the advanced early Renaissance style of his own day and who owes his prominence in the history of Florentine art not to his innovations but to his lyrical style and his unfailing artistry.Masolino came from the same district of Tuscany as his younger contemporary Masaccio, with whom his career was closely linked. Trained in a Florentine studio, possibly that of Gherardo Starnina, he appears before 1407 to have been a member of the workshop of Lorenzo Ghiberti. His earliest works include the “Madonna of Humility” (Alte Pinakothek, Munich), probably painted c. 1424, and a “Virgin and Child” (Kunsthalle, Bremen), dated 1423. In 1424 he received payment for frescoes in S. Stefano at Empoli (in large part destroyed).The first known work to display the fundamental antithesis between the decorative late Gothic style of Masolino and the more progressive early Renaissance style of Masaccio is a “Virgin and Child with St. Anne” (c. 1420; Uffizi, Florence). It is thought that this work may be the result of a collaboration of the two artists.The influence on Masolino of the stronger and more decisive personality of Masaccio reached its climax in the frescoes of scenes from the life of St. Peter in the Brancacci Chapel in the Church of the Carmine in Florence. There have been many opinions about the respective shares of the two artists in this important cycle. It is likely that the frescoes were commissioned from Masolino about 1425 and that at this time he painted some lost scenes in the upper register of the chapel walls. Thereafter he worked in Hungary, from which he returned in 1427 to undertake, jointly with Masaccio, the remaining frescoes in the chapel. By this time the balance of emphasis within the studio had shifted toward Masaccio, and Masolino was responsible for only one fresco, that of “St. Peter Preaching,” on the altar wall, and three scenes on the right wall, the “Fall of Adam and Eve,” the “Healing of the Lame Man,” and the “Raising of Tabitha,” where the perspective scheme seems to have been worked out and in part realized by Masaccio.Work on the Brancacci frescoes was abandoned in 1428, and probably at this time Masolino received the commission for a fresco cycle in the Chapel of St. Catherine in S. Clemente in Rome and possibly executed his double-sided triptych for Sta. Maria Maggiore in Rome. The two central panels of this altarpiece, representing the foundation of Sta. Maria Maggiore and the Assumption of the Virgin (Museo e Gallerie Nazionali di Capodimonte, Naples), are among Masolino's most distinguished panel paintings. The death of Masaccio in Rome in the autumn of 1428 marks a turning point in Masolino's career, and the story of his later development is that of a progressive return to the International Gothic idiom of his youth. This is evident initially in the S. Clemente frescoes (where the space construction is once more decorative and systematized) and subsequently in a frescoed “Virgin and Child” in S. Fortunato at Todi (1432) and in fresco cycles in the Baptistery (completed 1435) and Collegiata at Castiglione Olona. The extensive panoramas in the backgrounds of the “Crucifixion” on the altar wall in S. Clemente and the “Baptism of Christ” at Castiglione Olona are milestones in the history of landscape painting. With their light tonality and elegant, rhythmical figures, the scenes by Masolino in the Baptistery and Collegiata form two of the most fascinating fresco cycles of the 15th century.Additional ReadingPerri Lee Roberts, Masolino da Panicale (1993).
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Masolino — da Panicale (* um 1383/84 in Panicale di Valdarno; † nach 1440 in Florenz; eigentlich Tommaso di Cristoforo Fini) war ein italienischer Maler in der Übergangszeit zwischen Spätgotik und Renaissance. Leben Tommaso (mit dem Rufnamen Masolino) kam… … Deutsch Wikipedia
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Masolino — orig. Tommaso di Cristoforo Fini (1383, Panicale, Romagna probablemente 1440–47, Florencia, República de Florencia). Pintor italiano. Provenía del mismo distrito en la Toscana que su contemporáneo más joven Masaccio, con quien su quehacer… … Enciclopedia Universal
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Masolino da Panicale — • Son of Cristoforo Fini; b. in the subrub of Panicale di Valdese, near Florence, 1383; d, c. 1440 Catholic Encyclopedia. Kevin Knight. 2006. Masolino Da Panicale Masolino da Panicale … Catholic encyclopedia
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Masolino da Panicale — (* um 1383/84 in Panicale; † nach 1440 in Florenz; eigentlich Tommaso di Cristoforo Fini) war ein italienischer Maler in der Übergangszeit zwischen Spätgotik und Renaissance. Leben Tommaso (mit dem Rufnamen Masolino) kam aus derselben Gegend in… … Deutsch Wikipedia
Masolino Da Panicale — Saint Jérôme et saint Jean Baptiste … Wikipédia en Français
Masolīno da Panicale — Masolīno da Panicale, ital. Maler, so genannt nach seinem Geburtsort im Arnotal, geb. 1383 oder 1384, gest. um 1447 in Florenz, ließ sich 1423 in die Malergilde zu Florenz aufnehmen, ging um 1427 auf einige Zeit nach Ungarn und war dann… … Meyers Großes Konversations-Lexikon
Masolino da Panicale — (Tommaso di Cristoforo Fini, dit) (1383 av. 1447) peintre italien; il travailla avec Masaccio aux fresques de l égl. Santa Maria del Carmine de Florence … Encyclopédie Universelle