Masaccio, Holy Trinity발음듣기
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Masaccio, Holy Trinity
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출처 : 칸아카데미
Masaccio, Holy Trinity
[music playing] We're in Santa Maria Novella, and we're looking at the left wall of the nave, inside the left aisle.
About midway down is Masaccio's "The Holy Trinity."
This is a painting that is often credited as being the earliest known example of true, scientific, one-point linear perspective.
Right. Which had only been discovered by Brunelleschi a few years earlier.
So it's really exciting to see it.
It is.
And it is an incredibly realistic illusion of space.
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.
It really looks as though this is an actual space and not just an illusion.
It's funny to think that many wealthy families commissioned an actual chapel.
In this case, it is a more modest commission, which is the illusion of a chapel.
Let's talk a little bit about what's being represented, what's actually going on here.
Down the center of the fresco we see the Holy Trinity, and by "Holy Trinity" we mean the three-part nature of God.
As understood in the Catholic tradition.
At the top we have God the Father, Below in the form of a dove we have the Holy Spirit.
Now that's a little hard to see.
And I think that sometimes people mistake that white as a kind of collar.
Yeah, it looks a little like God's collar.
But if you look very closely you do see there are two wings, a tail, and the head of a bird.
And the head of the bird is actually looking down towards Christ.
And also has a halo.
That's right.
It has little radiating gold.
And so below the dove, which is the Holy Spirit, we see Christ on the cross.
We have the Father, the Son, and the Holy Spirit.
Now this is an extraordinary rendering of the human body pulled and tortured and really effected by gravity.
This is so far from the medieval treatment of the human body.
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.
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.
Christ is bleeding.
His pain feels real and emotional in a way that feels very direct.
And it is such a great illustration of the way in which the early Renaissance is able to marry deep faithfulness with scientific observation.
So the other figures in the sacred space within the room that is depicted are Mary in the dark cloak.
She's presenting her Son to us, and I'm not sure that I can remember a more mournful Virgin Mary.
She's pointing up at Christ, showing us that Christ is the path to salvation.
And on the opposite side we see St. John.
Mary and St. John are the two figures that we often see in images of the Crucifixion.
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.
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.
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.
And on that sarcophagus we see a skeleton, and an inscription in Latin.
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.
It's a memento mori.
It's a reminder of the imminence of our death.
Even though we walk in our day-to-day lives taking for granted our ability to wake up the next morning.
And at a time when we can't predict… we will look like the skeleton.
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.
But I think in the 15th century the meaning was different.
It was a reminder of death; therefore, prepare now for your salvation so that you can have eternity in Heaven.
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.
Let's go back to the point that we made at the very beginning, which is the innovation of linear perspective here.
Because what Masaccio has done is create an incredibly convincing deep space.
Masaccio has created a very specific viewpoint for the viewer.
As we stand in front of the painting, we look up at the barrel vault.
It's a wonderful classical ceiling, isn't it?
It is.
Well, the whole architecture that Masaccio created here is based on the architecture of ancient Greece and Rome.
We have a barrel vault with coffers.
It's so interesting.
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.
But he's really showing off here.
He's really showing off.
He's showing off the architecture with the linear perspective.
He's showing off with the figures, embracing Humanism that's happening in Florence in the early 15th century.
So the architecture looked modern.
The figures looked incredibly believable because Masaccio is using modeling to make the figures appear round and three dimensional.
And we can really see it in the drapery of the figures, and in the body of Christ, articulating his muscles.
So the figures looked I think radically new and real, and the space looked radically new and real.
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.
And then, of course, he needs to have an accurate space within which to place those human figures.
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.
And one of the things that art historians have sometimes asked is why is linear perspective developing here in Florence in the 15th century?
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.
People are trained to be able to buy and sell.
They think about fractions.
They think about space and volumes.
They think about commodities.
And so this is a very analytic and a very rational culture, and in a sense art had to respond to that.
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.
Masaccio is doing in painting what Donatello has already done in sculptures, create figures who are deeply human and real.
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.
So Donatello in sculpture is responding to this revival of interest in classical Greece and Rome.
And then we have Masaccio following not long after with a kind of illusionism that allows for the same sets of issues.
It's to a large extent Brunelleschi as well.
Some people suggested that Brunelleschi worked with Masaccio on the architectural setting.
We have Corinthian pilasters, attached columns with Ionic capitals.
There's the coffered vaulting, The round arch.
The architecture that Masaccio represented here would have looked startingly modern, I think, to anyone looking at it in the early 15th century.
It would have looked very different for example, than the architecture we see around us in this church.
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]
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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
대기중
This is a painting that is often credited as being the earliest known example of true, scientific, one-point linear perspective.발음듣기
대기중
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
대기중
Down the center of the fresco we see the Holy Trinity, and by "Holy Trinity" we mean the three-part nature of God.발음듣기
대기중
But if you look very closely you do see there are two wings, a tail, and the head of a bird.발음듣기
대기중
Now this is an extraordinary rendering of the human body pulled and tortured and really effected by gravity.발음듣기
대기중
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
대기중
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
대기중
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
대기중
So the other figures in the sacred space within the room that is depicted are Mary in the dark cloak.발음듣기
대기중
She's presenting her Son to us, and I'm not sure that I can remember a more mournful Virgin Mary.발음듣기
대기중
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
대기중
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
대기중
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
대기중
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
대기중
Even though we walk in our day-to-day lives taking for granted our ability to wake up the next morning.발음듣기
대기중
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
대기중
It was a reminder of death; therefore, prepare now for your salvation so that you can have eternity in Heaven.발음듣기
대기중
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
대기중
Let's go back to the point that we made at the very beginning, which is the innovation of linear perspective here.발음듣기
대기중
Well, the whole architecture that Masaccio created here is based on the architecture of ancient Greece and Rome.발음듣기
대기중
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
대기중
He's showing off with the figures, embracing Humanism that's happening in Florence in the early 15th century.발음듣기
대기중
The figures looked incredibly believable because Masaccio is using modeling to make the figures appear round and three dimensional.발음듣기
대기중
And we can really see it in the drapery of the figures, and in the body of Christ, articulating his muscles.발음듣기
대기중
So the figures looked I think radically new and real, and the space looked radically new and real.발음듣기
대기중
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
대기중
And then, of course, he needs to have an accurate space within which to place those human figures.발음듣기
대기중
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
대기중
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
대기중
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
대기중
And so this is a very analytic and a very rational culture, and in a sense art had to respond to that.발음듣기
대기중
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
대기중
Masaccio is doing in painting what Donatello has already done in sculptures, create figures who are deeply human and real.발음듣기
대기중
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
대기중
So Donatello in sculpture is responding to this revival of interest in classical Greece and Rome.발음듣기
대기중
And then we have Masaccio following not long after with a kind of illusionism that allows for the same sets of issues.발음듣기
대기중
The architecture that Masaccio represented here would have looked startingly modern, I think, to anyone looking at it in the early 15th century.발음듣기
대기중
It would have looked very different for example, than the architecture we see around us in this church.발음듣기
대기중
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
대기중
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