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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Trecca, Simone, "Strategie di mediazione del testo drammatico: Divinas palabras tra la quarta parete e lo schermo", en Masolino D'Amico (ed.), Oltre la pagina: il testo letterario e le sue metamorfosi, Roma, Edizioni di Storia e Letteratura, 2013, pp.
After an introduction to situate the reader in early 15th-century Rome, the first chapter examines how Pope Martin V interpreted Rome, with particular emphasis on Niccolo Signorili's Descriptio urbis Romae and Masolino's triptych the 'Miracle of the Snow.' McCahill argues that Martin V worked with the new nobility in Rome to promote their and the city's interests.
"Nel 1985--afferma Masolino d'Amico nel suo articolo Ionesco, l'immortale nell'olimpo--erano stati autorizzati nel mondo 110 allestimenti della Cantatrice calva, 104 della Lezioe, 72 delle Sedie, 71 del Re muore, 41 di Amedeo, ecc., fino ai 37 del Rinoceronte e ai 30 di Assassino senza movente: di solito, certo, per piccoli spazi e non per grandi compagnie, ma lo stesso si puo dire per i surricordati Beckett e Genet, cui si posssono aggiungere Pinter e altri illustri sperimentalisti contemporanei, [...]." (10)
(To my eyes, at least, Baldini's mature and wimpled Erythraean Sibyl could just as easily owe something to Masaccio and Masolino's Madonna and Child with St Anne (1424), now in the Uffizi.) Occasional repetitions and opacities render Dempsey's thesis less convincing in this final section, but the crux is the extent to which artists working across various genres and media were influenced by both classical sources (e.g., comedies by Plautus) and vernacular modes.
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.
Screenplay, Suso Cecchi D'Amico, Masolino D'Amico, Luigi Bazzoni, freely inspired by Dostoyevsky's novel "Crime and Punishment." Camera (color/B&W, widescreen), Daniele Nannuzzi; editor, Alessandro Lucidi; music, Andrea Morricene; production designer, Virginia Vianello; costume designer, Alberto Verso; sound (Dolby Digital), Roberto Petrozzi; assistant directoL Roberto Leoni.
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.