Masolino da Panicale

from Wikipedia, the free encyclopedia
Image of Masolino da Panicale in the Vite dei più eccellenti pittori, scultori e architetti by Vasari

Masolino da Panicale (* 1383 in Panicale in Valdarno, † after 1447 in Florence ; actually Tommaso di Cristoforo Fini ) was an Italian painter in the transition period between the late Gothic and Renaissance .

Life

Tommaso (with the nickname Masolino ) came from the same area in Tuscany as his younger contemporary Masaccio , who, according to Vasari, was his pupil, was probably trained by Gherardo Starnina and was an assistant to Lorenzo Ghiberti from 1403 to 1407 . It was documented for the first time in Florence in September 1422 and was accepted into the Florence painters' guild in 1423. In 1425/26 he worked at the Hungarian court for the royal military leader Pippo Spano ( Filippo Scolari ), who came from Florence, and then worked again in Italy, where he restored the frescoes in San Clemente in Rome that his friend Masaccio had begun. He died in Florence in 1440.

plant

St. Anna herself third
Madonna and Child (1430–35), Uffizi

Masolino is named as Masaccio's teacher, but soon he had a decisive influence on the 20-year-old senior. One of Masolino's earliest works is Anna herself, painted on wood from around 1420 (1425?) (Florence, Uffizi ); it clearly shows the fundamental difference between the international style of the late Gothic and that of the early Renaissance and is seen as a joint work of Masolino and Masaccio. Also earlier works are the Madonna in Munich (Alte Pinakothek) and the Madonna with Child in Bremen (both around 1423/24).

Vasari discusses the question of the extent to which Masolino painted with Masaccio in the Brancacci Chapel of the Church of Santa Maria del Carmine in Florence (before 1925); he ascribes scenes to him (in addition to frescoes that are no longer preserved) which reveal differences in style in the spatial conception, namely:

  • the fall of man
  • the scenes with the sermon of Peter
  • the double representation of the awakening of the Tabea and the healing of the lame person.

The majority of researchers today agree with Vasari. The influence of his friend Masaccio, whose participation in the Brancacci frescoes is documented, was just as noticeable in the much more massive figures as in perspective. This development towards a realistic representation is also visible in a cycle of frescoes from the legend of St. Catherine in a chapel of the Basilica of San Clemente in Rome (from 1427).

After Masaccio's death, Masolino turned back to home; but also artistically he returned - albeit slowly - to the roots. The only certified work are two fresco cycles from the life of Mary (around 1430) in the collegiate church and in the baptistery of Castiglione Olona (Lombardy); they are signed Masolinus de Florentia pinsit . Again they show a rather ancient character, soft clothing, little individual heads. In 1432 he stayed in Todi to paint the fresco Madonna col Bambino in trono e due angeli in the church of the city patron San Fortunato . Masolino is also said to have painted the frescoes from the legend of Saints Stephen and Laurentius in the choir, dated 1435, and the frescoes from the life of John the Baptist in the Baptistery of the same church.

Other important works are in:

  • Castiglione Olona
    • Baptistery: Sinopia of the frescoes with scenes from the life of John the Baptist
    • Collegiata, choir: Sinopias of the frescoes with scenes from the life of Mary;
  • Empoli
    • Museo della Collegiata di Sant'Andrea: Fresco of the Pietà
    • Santo Stefano degli Agostiniani: Sinopias of the frescoes depicting the legend of the true cross;
  • Naples
    • Museo Nazionale die Capodimonte: The foundation of Santa Maria Maggiore, so-called snow miracle (middle panel of the Colonna altar, together with Masaccio);
    • Assumption of Mary (as above);
  • Rome
    • San Clemente: frescoes with scenes from the life of Saint Catherine and Saint Ambrose.

literature

Web links

Commons : Masolino da Panicale  - Collection of images, videos and audio files

Individual evidence

  1. ↑ birth ambiguous, can also be according to Vasari Panicale (in Valdelsa) in Val d'Elsa ( arte.it ), rather Panicale ai Renacci near San Giovanni Valdarno ( Masolino da Panicale . In: Hans Vollmer (ed). General Encyclopedia of Artists from antiquity to the present day . founded by Ulrich Thieme and Felix Becker . band 24 : Mandere – Möhl . EA Seemann, Leipzig 1930, p. 210 . ; National Gallery of Art: Biography and zeno.org ).
  2. ↑ Masolino da Panicale . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 24 : Mandere – Möhl . EA Seemann, Leipzig 1930, p. 210-211 .
  3. ↑ Luca Bortolotti:  MASOLINO da Panicale (Tommaso di Cristofano di Fino). In: Mario Caravale (ed.): Dizionario Biografico degli Italiani (DBI). Volume 71:  Marsilli – Massimino da Salerno. Istituto della Enciclopedia Italiana, Rome 2008, pp. 647-655.
  4. ^ Corrado Ricci: History of Art in Northern Italy . J. Hoffmann, Stuttgart 1911, XII. Lombard painting in the 15th century and the school of Leonardo, p. 179–180 , Figures 333 and 334 ( Textarchiv - Internet Archive ).
personal data
SURNAME Masolino da Panicale
ALTERNATIVE NAMES Tommaso di Cristofano Fini; Tommaso di Cristofano di Fino; Fini, Tommaso di Cristoforo; Tommaso di Cristofano
BRIEF DESCRIPTION Italian painter
DATE OF BIRTH 1383
PLACE OF BIRTH Panicale
DATE OF DEATH after 1447
Place of death Florence