Masaccio, The Tribute Money in the Brancacci Chapel발음듣기
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Masaccio, The Tribute Money in the Brancacci Chapel
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Masaccio, The Tribute Money in the Brancacci Chapel
We're in the church of Santa Maria del Carmine in a chapel within the church which is called the Brancacci chapel.
it is completely filled with fresco and also tempa painting and on the left in the upper register, is a painting by Masaccio It's actually two paintings.
One is the "Expulsion from Eden" and to its right, is a much larger painting, "The Tribute Money"
And the chapel is filled with people here to see Masaccio's great masterpiece.
Masaccio painted a few of the scenes here of the life of Saint Peter, but the rest of the chapel was largely painted by one of his contemporaries, Masculine.
But it's Masaccio that we are here to see.
So let's talk about the "Tribute Money" first It's a pretty complicated scene.
It's a story from the New Testament that tells of Christ being confronted by a tax collector who works for Rome.
The problem is Christ has renounced all worldly possessions; he doesn't have any money to pay.
Right, Christ and the apostles have no money to pay the tax collector who we see here in the center in orange with his back to us.
And with a short skirt, unlike the other figures which are more fully clothed.
And Christ and the apostles have helos, and we can identify the tax collector because he doesn't have a halo.
And he's making gestures demanding money.
The tax collector is standing in the lovely contrapposto.
And some art historians have suggested that they may have been painted from a Roman sculpture.
The contrapposto could have also have come from Donatello.
Absolutely.
Christ directs Saint Peter to go get money to pay the tax collector from the Sea of Galilee, from the mouth of a fish.
So Christ performs a miracle, the apostles will indeed be able to pay the tax collector because the money will appear in the mouth of a fish, that we see Saint Peter getting on the far left, and then on the far right,
we see Saint Peter paying the tax collector.
So we have three difference moments of time.
In the New Testament, Christ says: "Render unto Caesar what is Caesar's, render unto God what is God's."
In a sense saying, Caesar minted this money - we can give it back to him - it's not important.
What's important is the soul.
There's a really specific Florentine context for this.
The Florentine government had just initiated a new tax called the 'Catasto' which was an income tax.
I think this was seen by the Florentines as an idea that Christ was condoning that kind if civic responsibility.
I'm really interested in how complicated that story is, and yet how clearly Masaccio was able to convey it.
Our eye goes not to the left of the scene first, which presumably would be where we would start - we read from left to right.
But instead goes to Christ in the center.
All of the apostles attention and the tax collector's attention is on Christ.
And so our eyes go to Christ as well.
Christ points to Peter who in turn points, almost incredulously, to the Sea of Galilee Right, you want me to go to get the money from where?
And that of course moves our eye left, over to where we see Peter again.
We can recognize it's Peter, even though his face is so foreshortened.
He has taken off the red garb, presumably not to get it dirty or wet as he kneels.
You can see him just opening up the mouth of the fish.
I love it. It's so literal.
It's very sweet.
Masaccio is also separating that scene on the left, so we read it as a separate scene.
Because he has put Saint Peter way into the background.
And there really is a background.
And it's been accomplished in a number of different ways.
This is lovely atmospheric perspective that allows us to move back from mountain to mountain as the sky gets lighter.
Masaccio has created a deep illusion of space here.
So the figures are really in a very believable landscape.
Not only the atmospheric perspective, but linear perspective is employed on the right.
We can see the orthogonals in the rather classical looking building on the right.
In fact, sometimes I've suspected the only reason that there's a building in this painting at all, is because Masaccio is so interested in linear perspective.
This is one of the first surviving examples of employment of linear perspective in a painting.
And we have the "Holy Trinity" just a year or so earlier.
Christ's head is the vanishing point in his use of linear perspective so not only is all of the attention paid to Christ by his apostles, but the very structure of the painting brings our eye there.
So you look as Christ - he looks very calm.
You follow his gesture over to Saint Peter and Saint Peter looking agitated and annoyed.
He does look grumpy, doesn't he?
And in disbelief.
And then you see this circular gathering of the apostels around them and you start to register their reactions.
Some of them looking "Oh, what's going to happen next?"
Apprehensive. Some of them looking a little bit more calm.
But in all of that, Christ remains central and calm in this moment when he performs a miracle.
It really is a kind of conversation.
It's all this gesturing to tell the story.
Really activating the story. Absolutely.
I really love also, the contrast between certain apostles.
For instance, you're absolutely right.
Peter looks like he's angry.
And is not sure if he is not sure if he should actually be protecting Christ from the tax collector or not.
Whereas John, next to him with blonde hair, is such a passive face.
Very calm. So calm.
I can't help but think Masaccio put those faces together in order to achieve the greatest contrast.
I think there is no question.
I mean Masaccio is thinking about every possible way he can make this image seem real.
And I think that the space, to a 15th century viewer, looked incredibly realistic.
The use of light and shadow really picking up on Giotto's achievement of the previous century.
And pushing it forward dramatically.
To me, the element that adds the greatest realism are those cast shadows on the ground.
Yes, they're amazing. They're so believable.
I mean you really get a sense of these figures standing in a landscape.
The light hitting them from the right, which is by the way, the same direction as the real light in the chapel.
There's a window over to the right.
Just over the alter.
If you follow those shadows back, if you look down at the ground, they give you an alternation of light and dark that helps establish a foreground and background.
I have to say I'm really taken with the representation of the feet.
We talked about the sense of mass and volume in the figures.
All of these figures seem so planted.
Oh, I love their feet.
There're so grounded.
If you, look for example at the left of the tax collector, you'll see that the left side of his ankle is in shadow, but the front part of his left foot is in the sunlight.
So, Masaccio is paying such careful attention to light and shadow.
And look at those foreshortened halos that Masaccio puts in place so that they're not those flat gold circles that...
Well, they're foreshortened, just like Peter's face on the left of the painting.
Right, except a halo isn't a real thing.
So in a sense, taking this symbol of spirituality and treating it as if it were a solid in the world.
It is this funny moment in the 15th century when the symbolic traditions of representation that have been handed down from the Medieval, are coming into contact with a kind of naturalistic facility, and an interest in naturalism.
And so you get these very funny relationships.
So Masaccio really is giving us a masterpiece of illusionism, of the illusion of space, of the illusion of volume.
To me, the figures are just fully human in the way I think about Donatello's figures or, and San Michele.
They have psychological depth.
What is it about Florentine culture that is allowing for this kind of fully human expression?
And this is one of the great centers of humanism, that's looking back to classicism and certainly we see that in a number of direct ways.
But more than that, it's this ennobling of the human experience that I think is so central to the license that Masaccio was taking here.
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We're in the church of Santa Maria del Carmine in a chapel within the church which is called the Brancacci chapel.발음듣기
대기중
it is completely filled with fresco and also tempa painting and on the left in the upper register, is a painting by Masaccio It's actually two paintings.발음듣기
대기중
One is the "Expulsion from Eden" and to its right, is a much larger painting, "The Tribute Money"발음듣기
대기중
Masaccio painted a few of the scenes here of the life of Saint Peter, but the rest of the chapel was largely painted by one of his contemporaries, Masculine.발음듣기
대기중
It's a story from the New Testament that tells of Christ being confronted by a tax collector who works for Rome.발음듣기
대기중
The problem is Christ has renounced all worldly possessions; he doesn't have any money to pay.발음듣기
대기중
Right, Christ and the apostles have no money to pay the tax collector who we see here in the center in orange with his back to us.발음듣기
대기중
And Christ and the apostles have helos, and we can identify the tax collector because he doesn't have a halo.발음듣기
대기중
And some art historians have suggested that they may have been painted from a Roman sculpture.발음듣기
대기중
Christ directs Saint Peter to go get money to pay the tax collector from the Sea of Galilee, from the mouth of a fish.발음듣기
대기중
So Christ performs a miracle, the apostles will indeed be able to pay the tax collector because the money will appear in the mouth of a fish, that we see Saint Peter getting on the far left, and then on the far right,발음듣기
대기중
In the New Testament, Christ says: "Render unto Caesar what is Caesar's, render unto God what is God's."발음듣기
대기중
In a sense saying, Caesar minted this money - we can give it back to him - it's not important.발음듣기
대기중
The Florentine government had just initiated a new tax called the 'Catasto' which was an income tax.발음듣기
대기중
I think this was seen by the Florentines as an idea that Christ was condoning that kind if civic responsibility.발음듣기
대기중
I'm really interested in how complicated that story is, and yet how clearly Masaccio was able to convey it.발음듣기
대기중
Our eye goes not to the left of the scene first, which presumably would be where we would start - we read from left to right.발음듣기
대기중
Christ points to Peter who in turn points, almost incredulously, to the Sea of Galilee Right, you want me to go to get the money from where?발음듣기
대기중
This is lovely atmospheric perspective that allows us to move back from mountain to mountain as the sky gets lighter.발음듣기
대기중
In fact, sometimes I've suspected the only reason that there's a building in this painting at all, is because Masaccio is so interested in linear perspective.발음듣기
대기중
This is one of the first surviving examples of employment of linear perspective in a painting.발음듣기
대기중
Christ's head is the vanishing point in his use of linear perspective so not only is all of the attention paid to Christ by his apostles, but the very structure of the painting brings our eye there.발음듣기
대기중
And then you see this circular gathering of the apostels around them and you start to register their reactions.발음듣기
대기중
But in all of that, Christ remains central and calm in this moment when he performs a miracle.발음듣기
대기중
And is not sure if he is not sure if he should actually be protecting Christ from the tax collector or not.발음듣기
대기중
I can't help but think Masaccio put those faces together in order to achieve the greatest contrast.발음듣기
대기중
The use of light and shadow really picking up on Giotto's achievement of the previous century.발음듣기
대기중
The light hitting them from the right, which is by the way, the same direction as the real light in the chapel.발음듣기
대기중
If you follow those shadows back, if you look down at the ground, they give you an alternation of light and dark that helps establish a foreground and background.발음듣기
대기중
If you, look for example at the left of the tax collector, you'll see that the left side of his ankle is in shadow, but the front part of his left foot is in the sunlight.발음듣기
대기중
And look at those foreshortened halos that Masaccio puts in place so that they're not those flat gold circles that...발음듣기
대기중
So in a sense, taking this symbol of spirituality and treating it as if it were a solid in the world.발음듣기
대기중
It is this funny moment in the 15th century when the symbolic traditions of representation that have been handed down from the Medieval, are coming into contact with a kind of naturalistic facility, and an interest in naturalism.발음듣기
대기중
So Masaccio really is giving us a masterpiece of illusionism, of the illusion of space, of the illusion of volume.발음듣기
대기중
To me, the figures are just fully human in the way I think about Donatello's figures or, and San Michele.발음듣기
대기중
What is it about Florentine culture that is allowing for this kind of fully human expression?발음듣기
대기중
And this is one of the great centers of humanism, that's looking back to classicism and certainly we see that in a number of direct ways.발음듣기
대기중
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