Masaccio, The Tribute Money in the Brancacci Chapel발음듣기
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Masaccio, The Tribute Money in the Brancacci Chapel
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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
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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
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One is the "Expulsion from Eden" and to its right, is a much larger painting, "The Tribute Money"발음듣기
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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
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It's a story from the New Testament that tells of Christ being confronted by a tax collector who works for Rome.발음듣기
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The problem is Christ has renounced all worldly possessions; he doesn't have any money to pay.발음듣기
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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
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And Christ and the apostles have helos, and we can identify the tax collector because he doesn't have a halo.발음듣기
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And some art historians have suggested that they may have been painted from a Roman sculpture.발음듣기
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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
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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
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In the New Testament, Christ says: "Render unto Caesar what is Caesar's, render unto God what is God's."발음듣기
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In a sense saying, Caesar minted this money - we can give it back to him - it's not important.발음듣기
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The Florentine government had just initiated a new tax called the 'Catasto' which was an income tax.발음듣기
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I think this was seen by the Florentines as an idea that Christ was condoning that kind if civic responsibility.발음듣기
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I'm really interested in how complicated that story is, and yet how clearly Masaccio was able to convey it.발음듣기
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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
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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
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This is lovely atmospheric perspective that allows us to move back from mountain to mountain as the sky gets lighter.발음듣기
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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
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This is one of the first surviving examples of employment of linear perspective in a painting.발음듣기
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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
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And then you see this circular gathering of the apostels around them and you start to register their reactions.발음듣기
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But in all of that, Christ remains central and calm in this moment when he performs a miracle.발음듣기
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And is not sure if he is not sure if he should actually be protecting Christ from the tax collector or not.발음듣기
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I can't help but think Masaccio put those faces together in order to achieve the greatest contrast.발음듣기
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The use of light and shadow really picking up on Giotto's achievement of the previous century.발음듣기
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The light hitting them from the right, which is by the way, the same direction as the real light in the chapel.발음듣기
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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
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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
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And look at those foreshortened halos that Masaccio puts in place so that they're not those flat gold circles that...발음듣기
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So in a sense, taking this symbol of spirituality and treating it as if it were a solid in the world.발음듣기
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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
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So Masaccio really is giving us a masterpiece of illusionism, of the illusion of space, of the illusion of volume.발음듣기
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To me, the figures are just fully human in the way I think about Donatello's figures or, and San Michele.발음듣기
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What is it about Florentine culture that is allowing for this kind of fully human expression?발음듣기
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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
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