Masaccio, Holy Trinity발음듣기
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Masaccio, Holy Trinity
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[music playing] We're in Santa Maria Novella, and we're looking at the left wall of the nave, inside the left aisle.발음듣기
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This is a painting that is often credited as being the earliest known example of true, scientific, one-point linear perspective.발음듣기
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And these days instead of entering from the front door of the church, you enter through the cloister, and this fresco is directly opposite the entrance.발음듣기
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Down the center of the fresco we see the Holy Trinity, and by "Holy Trinity" we mean the three-part nature of God.발음듣기
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But if you look very closely you do see there are two wings, a tail, and the head of a bird.발음듣기
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Now this is an extraordinary rendering of the human body pulled and tortured and really effected by gravity.발음듣기
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It's hard to imagine Masaccio could have painted this without actually stringing someone up on a cross so he could observe what happened to the muscles of the body and the way that they would be pulled in this position.발음듣기
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It creates such a great sense of sympathy, at least in me, and I think in many viewers, to see the hollow of the abdomen.발음듣기
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And it is such a great illustration of the way in which the early Renaissance is able to marry deep faithfulness with scientific observation.발음듣기
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So the other figures in the sacred space within the room that is depicted are Mary in the dark cloak.발음듣기
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She's presenting her Son to us, and I'm not sure that I can remember a more mournful Virgin Mary.발음듣기
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This isn't a narrative of the story of the Crucifixion, but rather a devotional image, an image that would be an aid to prayer.발음듣기
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So the figures on the outside of the sacred space in a peripheral position kneeling, looking in and witnessing, as we're looking in and witnessing, are the donors.발음듣기
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But there's even more to this painting because below those steps is a representation of a tomb that's been exposed, that's been opened for us.발음듣기
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And in rough translation would read: So the message is that death is inevitable, that the skeleton is what we all will be, and what the skeleton was, was us alive.발음듣기
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Even though we walk in our day-to-day lives taking for granted our ability to wake up the next morning.발음듣기
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I think there's a tendency in our modern era to think about this as a reminder of death and therefore to live life to its fullest.발음듣기
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It was a reminder of death; therefore, prepare now for your salvation so that you can have eternity in Heaven.발음듣기
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And the way to an eternal life in Heaven is indicated up above through Mary's gestures, through Christ's sacrifice on the cross for the sins of mankind.발음듣기
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Let's go back to the point that we made at the very beginning, which is the innovation of linear perspective here.발음듣기
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Well, the whole architecture that Masaccio created here is based on the architecture of ancient Greece and Rome.발음듣기
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If you were thinking that you were just going to be tentatively exploiting this new technique of linear perspective, you might want to do something straightforward like a nice tiled floor.발음듣기
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He's showing off with the figures, embracing Humanism that's happening in Florence in the early 15th century.발음듣기
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The figures looked incredibly believable because Masaccio is using modeling to make the figures appear round and three dimensional.발음듣기
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And we can really see it in the drapery of the figures, and in the body of Christ, articulating his muscles.발음듣기
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So the figures looked I think radically new and real, and the space looked radically new and real.발음듣기
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So he's creating this emphasis on the humanity of this experience, on the emotion of this experience, on the lifelikeness and proportional accuracy of the bodies themselves.발음듣기
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And then, of course, he needs to have an accurate space within which to place those human figures.발음듣기
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And so he's giving us both... this very convincing sense of mass, volume, proportion, and anatomy, as well as emotion, and then he's placing those figures in a space that makes sense to us.발음듣기
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And one of the things that art historians have sometimes asked is why is linear perspective developing here in Florence in the 15th century?발음듣기
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And there is so many answers to this, but one of the ways you might begin to sort of think about this is that here we have a culture of trade where there really is a kind of mathematics that underlies the economy of the city.발음듣기
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And so this is a very analytic and a very rational culture, and in a sense art had to respond to that.발음듣기
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To follow that thought forward, what Masaccio has done is given us an interior that is rational, that we could enter it, and from the information he's given us, even from this limited view, we could do a very accurate drawing and really determine its depth, its width, and its internal decoration.발음듣기
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Masaccio is doing in painting what Donatello has already done in sculptures, create figures who are deeply human and real.발음듣기
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The humanism that inspires this is something here in Florence that sculptors were able to respond to earlier because they had the example of the ancient Greek and Roman sculpture.발음듣기
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So Donatello in sculpture is responding to this revival of interest in classical Greece and Rome.발음듣기
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And then we have Masaccio following not long after with a kind of illusionism that allows for the same sets of issues.발음듣기
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The architecture that Masaccio represented here would have looked startingly modern, I think, to anyone looking at it in the early 15th century.발음듣기
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It would have looked very different for example, than the architecture we see around us in this church.발음듣기
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So in Florence, in the 15th century, you have sculpture, you have architecture, you have painting, all responding to this revival of interest in humanism, this notion that man can observe, understand, and to some extent control his world, and that this is and can be in the service of God. [music playing]발음듣기
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