Masolino da Panicale

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Masolino da Panicale

(mäzōlē`nō dä pänēkä`lā), 1383–c.1447, Florentine painter of the early Renaissance, whose real name was Tommaso di Cristoforo Fini. His versatile painting incorporated his feeling for decorative color with strong modeling and spatial organization. He was admitted (1423) to the apothecaries' guild in Florence, in which painters were enrolled, and was soon commissioned to paint the frescoes in the Brancacci Chapel in Florence. These were continued by his pupil Masaccio upon Masolino's departure (1427) for Hungary and were completed by Filippino Lippi, thus greatly complicating the question of authorship; currently scholars attribute to Masolino St. Peter Preaching, St. Peter Healing the Cripple, The Raising of Tabitha, and The Fall of Adam and Eve. Upon his return to Florence, Masolino found painters occupied with problems of perspective, light and shade, and classical architecture and decoration, ideas that he utilized while retaining much of the old Giottesque tradition. He went to Rome where he painted frescoes in the Church of San Clemente for the Cardinal Branda Castiglione. For the same patron he decorated the church of Castiglione di Olona in the province of Como, Italy. There he represented scenes from the life of the Virgin and of St. John the Baptist. Attributed to Masolino are The Foundation of Santa Maria Maggiore and a Madonna and Christ in Glory (Naples); Madonna with Angels (Church of San Fortunato, Todi); two Annunciations (National Gall. of Art, Washington, D.C.); and Saints (Philadelphia Museum).


See B. Berenson, The Italian Painters of the Renaissance (3 vol., 1930, repr. 1968).

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During the 1420s Fra Antonino's own parent convent of San Domenico at Fiesole had become involved with another prominent Florentine patron, Felice Brancacci, who was quickly selling off his family assets in order to fulfil the obligation entered into, entered into by a previous generation, to decorate in the appropriate manner the chapel in the Church of Santa Maria del Carmine (the result being the frescoes of Masaccio and Masolino in the Brancacci Chapel).
A silk-screened design in Untitled (Garden State), 1988, derives from the fifteenth-century Italian painter Masolino da Panicale, who reveled in the ornamentation on rich brocades.
There have been Gentile in Fabriano, Masaccio in S Giovanni Valdarno, Sodoma is coming to Vercelli and we await Masolino in Panicale, Michelangelo in Caprese and Titian in Cadore (or at least the ambition to put on these local ventures, all of which have been attempted in the past).
When Maitland Griggs purchased it back in 1925, Masaccio's elder and somewhat hapless assistant Masolino seemed a fair bet as an attribution, even though it was a bit like squeezing a square peg into a round hole.
The Panel Paintings of Masolino and Masaccio: The Role of Technique (2002).
If you wish to venture away a little from the bustling centre of the city, a hidden gem lies in the delightful, unassuming little church of Santa Maria del Carmine, with the Brancacci Chapel, where Masolino, his young protege Masaccio and Filippino Lippi painted the Life of Saint Peter, combining Gothic, Humanist and Renaissance influences to produce perhaps the most beautiful fresco in the city.
Una documentazione soprattutto affidata a fonti orali (interviste sul set con Antonioni; colloqui con Francesco Maselli, Massimo Girotti, Lucia Bose), e alla valutazione del testo da parte di Masolino d'Amico, Callisto Cosulich, Laura Laurenzi e Carlo di Carlo.
This is perhaps the most beautiful Madonna Masolino ever painted,' declared Perkins in an undertone as we faced a panel which, in the gloaming, looked remarkably unlike Masolino to me.
One can identify at least three recurrent themes and preoccupations among the eleven contributors: the fundamental question of Masaccio's training and formation, the artistic collaboration between Masaccio and Masolino, and the reassessment of early fifteenth-century Florentine culture within which Masaccio's achievements must be contextualised.
Rich, beautifully painted and ultimately totally exotic is how I have always viewed the Virgins and female saints painted by the great Italian master Masaccio and his contemporary Masolino.
While masters like Masolino, Fra Angelico, and Domenico Ghirlandaio garner much attention, those engaging with Northern models outside Florence's orbit--Piero della Francesca, Pisanello, and Antonello da Messina chief among them--are neglected by comparison.
Yet it is especially the earliest scenes, in the two lowest registers on the left half of the retablo, that offer a formal vocabulary that teems with beautiful and knowledgeable citations from a variety of works, not only by the great trecento Sienese painters, such as Ambrogio Lorenzetti, but also by the great artists who were active in Florence and the north during the 1420s and 1430s, Lorenzo Ghiberti, Masolino, Paolo Uccello, Fra Angelico, the young Domenico Veneziano, Gentile da Fabriano, Pisanello, and Jacopo Bellini.