Masaccio Trinity Analysis

Masaccio’s trinity uses techniques of multiple artists whom emerged during the renaissance period. Masaccio used Brunelleschi’s approach of single-point perspective, a scientific discovery that artists perfected during the awakening of the renaissance. The invention of single point perspective is a critical point in history that is seen as a part of a whole development; also as one of a number of pictorial devices that artists may or may not in depicting their subjects. The development of this linear system for the representation of space emerged in the fifteenth century. With the increase of realism in the detail of figures, their surroundings demanded the same progress. ( footnote book 233) During this era the goal was to achieve renaissance

It is believed that Brunelleschi and Masaccio were friends and that Brunelleschi assisted Masaccio with the trinity in sharing his technique of single-point perspective. A decade later Alberti describes a simplified explanation of Brunelleschi’s technique and a direct correlation is evident to Masaccio’s painting of the Trinity. The painting was commissioned by a member of the Lenzi family for the Lenzi chapel in Santa Maria Novella Florence. The Trinity was commissioned during the fifteenth century in c.1426 and was devotional art to God the father, the son and the Holy Spirit. Masaccio’s Trinity was used during mass, rituals like communion and celebrated during the Eucharist and is considered a funerary moment. Masaccio’s Painting of the Trinity functioned as a devotional art piece to the funerary moment of Christ and was used for many religious rituals; it is also known for the mode of pictorial representation and use of Brunelleschi’s single point perspective which contributed to realism that dominated the Europe during the

( footnote book ). This painting had multiple purposes, it was used in religious rituals and commemorated as a funerary moment of Christ. In the painting there are three fictional spaces one which holds the chapel with the trinity, Christ the son on the crucifix, we see the dove, the Holy Spirit, looks like gods collar, and above we see god. He’s demonstrating the sacrifice of his son which redeems human’s sins. A second space where we see young St. John the evangelist and on the other side there is the Virgin Mary presenting the second space. The virgin’s stoic impression; penetrating the audience, saying that it’s a reminder of what Christ was sacrificed for and the constant reminder if redemption. She’s not the fallen virgin, she is very somber and serious. This is why this is considered a devotional piece and also what Alberti would call a ‘historia’. Mary is the one is the historia depicting what is going on, as Alberti states, she is the character that beckons the audience with her hand, holding a ferocious expression and forbidding glance, this is the gesture that invites you to laugh or weep with her.(footnote course) In this instance it is to remember and be thankful to Christ and how his sacrifice redeemed mankind from their sins.