Introduction
Artists have been employing artwork since the past and have generated better works, encouraged by different aspects with nature as the best motivation for various artists. Countless Italian artists like Masaccio, Filipino Lippy, and Del Castagno developed images with an inner religious meaning. Renaissance artists considered nature’s artificial as their main goal and the initial step to great art pieces. They would, consequently, hunt for nature to influence spectators of the realism of the entity or an occasion they envisioned to depict.
Renaissance artists made a clear difference in graphic arts by producing various works motivated by different nature aspects. After the detection of perception, new equipment for expressing particular opinions emerged. The artwork developed by Andrea del Castagno, Filipino Lippi, and Masaccio seems distinct due to the famous Christianity thread as the sole element that links them. An analysis of the religious artwork they employed in representing their ideas depicts the pictures as “Madonna and the Child, The Virgin and the Child and The Last Supper,” whereby the three share common links.
Masaccio’s The Virgin and the Child
The Sanctified Trinity evolved Masaccio to the first Florentine Renaissance artist to explore the illusionistic probable of the novel technique. Masaccio’s “The Virgin and the Child” is the most known and discussed artwork concerning early Renaissance pictures. Besides being creative in various ways, such as space, styles, and the general picture, geometry delivers a message that developed the foundation for Christianity in unique ways (The National Gallery, 2021). Masaccio aims to utilize the viewpoint as the major technique of appearance and structuring the image and its meaning.
Masaccio employs Brunelleschi’s ways and assumes viewers hold an upward look, as shown in “The Virgin and the Child.” Virgin Mary guises downwards like a person attempting to access the people beneath; the general appearance of the picture is massive and does not generate impressions depicting the presence of connections between viewers and the picture. The utilization of equivalent verticals effectively interprets orderliness concepts, which offers the base for the Christian religion.
Lippi’s Madonna and the Child
The link between Masaccio’s “The Virgin and the Child” and Lippi’s “Madonna and the Child” is distressingly clear since Masaccio’s artworks have had direct impacts on Lippi’s art even though Madonna’s visions are quite predictable. Lippi’s choice of stylistic expression means defines the unique artistic style of portraying Madonna, permitting intact storage of the original message. Lippi’s color cast of Madonna’s picture varies with Masaccio’s artwork. The soothing mixture of different yellow and brown shades creates a surrounding of sacredness and love, making the scene humble.
The option of the mood and tone for Lippi’s picture of a Christian female as feeble and almost sexless contrasts Masaccio’s work since Masaccio wrapped the Holy Virgin in long clothes covering her nearly totally (Lippi et al., 2021). Nevertheless, Lippi seemed anxious to extract the loving mother’s image rather than the Immaculate Conception image, which had previously been worn out, an element used mostly by religious artworks of the period. Masaccio uses a wide palette from varying brown and yellow shades to Persian blue, developing a festivity environment and making the painting appear solemn.
Besides the mentioned solemnity air and the fact that Lippi stresses maternity issues, Lippi also experiments with impressive gesture elements of individuals he portrays in his painting. In contrast to Masaccio, Lippi fails to portray the characters with empty appearances on their aspects. Lippi depicts the Virgin Mary with folded arms like praying, hence intimating her piousness (Singer, 2021). Lippi ion turn portrays Jesus watching at His Mother; hence, the relationship between the Mother and His son is shown transparently, distinct from what artists used to do at that period. Lippi was making attempts to help audiences to Christianity religion postulates.
Del Castagno’s Last Supper
Last, however not least, this representation can be seen as out of place in Masaccio and Lippi’s works. Apart from the Christianity context, events like the Immaculate Conception and the Last Supper seem to be similar in some manner. When looking at the message, it is evident that similar perspective principles and careful selection of color have been used to put across the idea of humbleness and piety (Sancarlo et al., 2020). However, Castagno employs the approaches to pass the important messages across when examining the history of painting.
Del Castagno meant to stress the significance of empathy for the Christian faith.
A different emotion the artist was targeting at showing the audience is the anticipation of the trouble that is almost about to break out can be noted easily. Castagno prompts the audience about the crucial idea Christianity is based on, that is., the philosophy of redemption (Cody, 2020). Thus, the Last Supper seems to yield different emotions, yet the same notion of expressing the primary principles of the Christian philosophy to the audience by the characters displayed in the pictures.
The National Gallery explores Masaccio’s “The Virgin and the Child” and displays the image of a woman holding a child. The source organizes the image to depict the woman is much worried and holding baby Jesus. A clear indication that the woman is worried because her son will be crucified on the cross. I think the link is not successful since the author has not given more information concerning the image’s meaning.
The source, Lippi et al., 2019, is about Filipino Lippi who made a bold decision to focus on the attributes associated with maternity. The source is organized so that from the facial expression and clothing, Lippi’s element in the “Madonna and the Child” image depicts her virtue, righteousness, and purity. I think the link is not successful since it only contains shallow information about Filipino Lippi’s artwork.
The source, Sancarlo et al., 2020 is about Del Catasgno’s Last Supper; the source explores humbleness as the primary principle of the Christian faith. Individuals must note that several other qualities are viewed as the source of huge importance in the picture. I think the source is successful since it has explicitly explained more concerning the Last Supper artwork.
Conclusion
When viewing how and when the artworks of Masaccio, Filipino Lippi, and Andrea del Castagno were made, it is important to assume that might be some particular similarities between three random pieces of art created by Filipino, del Castagno, and Masaccio. Nevertheless, it is weird that the three authors developed similar stylistic approaches to put across their different ideas of Christianity. These pictures have remained a symbol of the Renaissance because they have unique characteristics and share several similarities.
References
Cody, S. J. (2020). Andrea del Sarto: Splendor and Renewal in the Renaissance Altarpiece. Brill.
Lippi, D., Masieri, L., Perciaccante, A., Charlier, P., Asensi, V., Appenzeller, O., & Bianucci, R. (2019). Unilateral cryptorchidism in a 16th Florentine painting. The Journal of Maternal-Fetal & Neonatal Medicine, 1-3. Web.
Sancarlo, R., Dare, Z., Arato, J., & Rosenberg, R. (2020). Does pictorial composition guide the eye? Investigating four centuries of last supper pictures. Journal of Eye Movement Research, 12(2). Web.
Singer, J. (2021). Painting of the Week: Fra Filippo Lippi, Madonna and Child with Two Angels. Daily Art Magazine. Web.
The National Gallery, L. (2021). Masaccio The Virgin and Child NG3046 National Gallery, London. Nationalgallery.org.uk. Web.