تحديث أكتوبر 2026 · مُرتبة حسب مؤشر شعبيتنا (عمليات البحث، والزيارات، والطلبات لكل عمل فني) · 97 أعمال لـ مازاتشو في كتالوجنا
ملخص
The Trinity (1428) is recorded as the most famous painting of مازاتشو. The Tribute Money (1425) and The Expulsion from the Garden of Eden (1426) occupy the second and third entries. Of the 97 works by مازاتشو recorded in the catalogue, the 97 best known are listed below, each entry with its date, the holding museum and a note on the work.
The Trinity by Masaccio is a fresco painting that marked the beginning of the Renaissance in Italy. Created in 1425, it is considered one of the most important works of the early Renaissance period. The painting is housed in the Santa Maria Novella church in Florence, Italy. Artistic Innovations The Trinity by Masaccio was a groundbreaking work that introduced several artistic innovations. It is one of the first monumental Renaissance…
The scene unfolds within the Brancacci Chapel of the basilica of Santa Maria del Carmine in Florence. Here, the fresco titled The Tribute Money by Masaccio brings a biblical narrative to life upon the chapel walls. Commissioned by Felice Brancacci, this work forms a significant part of a larger cycle dedicated to the life of Saint Peter. The air in the chapel seems to hold the weight of this sacred…
The heavy silence of the Brancacci Chapel in the church of Santa Maria del Carmine in Florence, Italy, holds the weight of a profound tragedy. Here, the walls breathe with the story of The Expulsion from the Garden of Eden, a fresco painted by Masaccio around 1425. The air seems to thicken around the figures as they face their sudden, irreversible departure from paradise. This scene marks the beginning of…
نغوص في أعماق تحفة فنان عصر النهضة، تفصيلة من لوحة "مُدَّيَنَة الرِّباً" الشهيرة التي رسمها ماسيسيو في كنيسة برانكاوسي في فلورنسا حوالي عام 1426. هذه اللوحة ليست مجرد عمل فني؛ بل هي نقطة تحول حاسمة في تاريخ الفن الغربي، حيث شهدت تحولاً جذرياً من الأساليب القوطية المشوهة إلى واقعية جديدة ومُبتكرة، تعكس إحياءً للقيم الإنسانية والجمال الأرضي.
To stand before this Predella panel from the Pisa Altar is to encounter a moment frozen in time, yet vibrating with raw, undeniable human drama. Dating to 1426, this work captures Masaccio at the zenith of his revolutionary power. It is not merely a depiction of the Crucifixion; it is a profound meditation on sacrifice, community, and the weight of divine narrative rendered with startling immediacy. The composition draws the…
In the quiet, profound stillness of Masaccio’s The Madonna of Humility, we encounter one of the most moving snapshots of the Early Italian Renaissance. Created around 1424, this masterpiece transcends mere religious iconography to offer a window into a moment of raw, maternal intimacy. The scene is set not upon a celestial throne, but on the earth itself, where the Virgin Mary sits upon a blue patterned cushion. This choice…
The image presents a detail from a fresco painting created in 1425 by Masaccio. Within this specific view, a figure is depicted that appears to be Mary Magdalene, identified by the traditional iconography of her long hair and a head covering. She possesses a contemplative expression, directing her gaze slightly downwards toward an object held in her right hand, which may be interpreted as a symbol of faith or devotion.
In the quiet, hallowed halls of art history, few works capture the dawn of a new era as poignantly as Masaccio’s Two Panels from the Pisa Altarpiece. Completed in 1426, these panels are far more than mere fragments of a lost polyptych; they are windows into a transformative moment when the rigid conventions of the Gothic period began to dissolve, giving way to the profound humanism of the Early Italian…
To step before Masaccio’s Holy Trinity is to witness the exact moment when the flattened, symbolic world of the Middle Ages dissolved into the profound, breathing reality of the Renaissance. Painted between 1425 and 1427 within the hallowed walls of Santa Maria Novella in Florence, this fresco does not merely depict a religious scene; it carves a hole in the very wall of the chapel, inviting the viewer to step…
Masaccio’s “Trinity (detail),” housed within the magnificent Santa Maria Novella in Florence, isn't merely a fresco; it’s a pivotal moment in art history – a visual manifesto declaring the arrival of the High Renaissance. Painted between 1425 and 1427, this intimate section captures the essence of Masaccio’s revolutionary approach to depicting reality, a departure from the stylized elegance of the preceding Gothic era and a profound influence on generations of…
View of the Cappella Brancacci (before restoration)1426 · سانتا ماريا ديل كارميني
12
Trinity (scheme of the perspective)1425 · Santa Maria Novella
13
Raising of the Son of Theophilus and St Peter Enthroned (detail)1426
14
St Peter Healing the Sick with his Shadow (detail)1426
15
Frescoes in the Cappella Brancacci (right view)1426 · سانتا ماريا ديل كارميني
16
Madonna Casini1426
17
Adam and Eve banished from Paradise1427
18
The Distribution of Alms and the Death of Ananias (detail)1426
19
Frescoes in the Cappella Brancacci (left view)1426 · سانتا ماريا ديل كارميني
20
Baptism of the Neophytes1427
21
Christ in the Garden of Gethsemane (detail)1424 · Lindenau-Museum
22
Crucifixion1426 · متحف كابوديمونتي
23
Tribute Money (detail)1426
24
The Agony in the Garden1426
25
St Peter Healing the Sick with his Shadow (detail)1426
26
St. Juvenal Triptych1422
27
Maria and Child1426
28
Tribute Money (detail)1426
29
The Expulsion from the Garden of Eden (detail)1426
30
Birth tray1428
31
The Baptism of the Neophytes1426
32
Raising of the Son of Theophilus and St Peter Enthroned1426
33
The Distribution of Alms and the Death of Ananias (detail)1426
34
Adoration of the Knigs1428
35
Tribute Money (detail)1426
36
Tribute Money1426
37
The Expulsion from the Garden of Eden1426
38
Tribute Money (detail)1426
39
Raising of the Son of Theophilus and St Peter Enthroned (detail) (9)1426
40
San Giovenale Triptych. Right panel.1422
41
Crucifixion1426
42
Raising of the Son of Theophilus and St Peter Enthroned (detail)1426
43
Raising of the Son of Theophilus and St Peter Enthroned (detail)1426
44
The Raising of the Son of Theophilus and St Peter Enthroned (detail)1426
45
Raising of the Son of Theophilus and St Peter Enthroned (detail)1426
46
Christ in the Garden of Gethsemane (detail)1424 · Lindenau-Museum
47
San Giovenale Triptych. Central panel1423
48
Distribution of Alms and Death of Ananias1425
49
Profile Portrait of a Young Man
50
Profile Portrait of a Young Man1425 · المعرض الوطني للفنون
51
Rendering of the Tribute Money
52
Distribution of the Goods of the Community and the Death of Ananias (detail)
53
St. Giovenale Triptych
54
The Expulsion from Paradise
55
The Adoration of the Magi
56
St. Peter Baptizing the Neophytes
57
Birth Salver
58
Medallion
59
Madonna and Child
60
Madonna Enthroned
61
St Jerome and St John the Baptist
62
Christ in the Garden of Gethsemane1424 · Lindenau-Museum
63
San Giovenale Triptych. Left panel1422
64
Portrait of a Young Woman1425
65
Distribution of the Goods of the Community and the Death of Ananias
66
The Holy Trinity with the Virgin, St. John and Two Donors
67
The Cricifixion of St. Peter. The Beheading of St. John the Baptist
68
La Consagración
69
Crucifixion
70
St Jerome and St John the Baptist 1
71
The Madonna and Child with Saint Anne
72
Two panels from the Pisa Altarpiece
73
Portrait of a young manمتحف إيزابيلا ستيوارت غاردنر
74
View of the Cappella Brancacci (after restoration)
75
Putto and a Small Dog (back side of the Berlin Tondo)
76
The Madonna and Child with st.Anna.1424
77
Plate of Nativity (Berlin Tondo)1427 · Staatliche Museen zu Berlin
78
Madonna with Child and Angels1426 · المعرض الوطني
79
The Distribution of Alms and the Death of Ananias1426 · سانتا ماريا ديل كارميني
80
St Peter Healing the Sick with his Shadow1426 · سانتا ماريا ديل كارميني
81
San Giovenale Triptych1422
82
Raising of the Son of Teophilus and St.Peter Enthroned1427 · سانتا ماريا ديل كارميني
83
St Paul1426 · Museo Nazionale di San Matteo
84
Carnesecchi Triptych1423
85
Adoration of the Magi1426 · Staatliche Museen zu Berlin
86
Martyrdom of San Giovanni Battista1426 · Gemäldegalerie
87
Predella panel from the Pisa Altar1426 · Staatliche Museen zu Berlin
88
A Bearded Carmelite Saint1426 · Gemäldegalerie
89
Madonna Casini1426
90
Madonna of Humility1420 · المعرض الوطني للفنون
91
Repentance of Saint Peter1425 · سانتا ماريا ديل كارميني
92
San AgustínGemäldegalerie
93
St. Andrew1426 · متحف ج. بول غيتي
94
CarmelitaGemäldegalerie
95
St. JeromeGemäldegalerie
96
St.Girolamo end Giovanni Battista1428 · المعرض الوطني
97
Crucifixion of St Peter1426 · Staatliche Museen zu Berlin
The four subjects most frequently represented among these works, each with its best-known example.
المتاحف الـ 8 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال مازاتشو | لوحات من هذه القائمة |
|---|---|---|---|
 سانتا ماريا ديل كارميني |
فلورنسا | 7 | View of the Cappella Brancacci (before restoration), Frescoes in the Cappella Brancacci (right view), Frescoes in the Cappella Brancacci (left view) |
 Staatliche Museen zu Berlin |
برلين | 6 | Predella panel from the Pisa Altar, Two panels from the Pisa Altarpiece, Plate of Nativity (Berlin Tondo) |
 Gemäldegalerie |
برلين | 5 | Martyrdom of San Giovanni Battista, A Bearded Carmelite Saint, San Agustín |
 Santa Maria Novella |
فلورنسا | 4 | Trinity (detail), Trinity, Trinity (detail) |
 Lindenau-Museum |
ألتنغاو | 3 | Christ in the Garden of Gethsemane (detail), Christ in the Garden of Gethsemane (detail), Christ in the Garden of Gethsemane |
 المعرض الوطني للفنون |
واشنطن | 2 | Profile Portrait of a Young Man, Madonna of Humility |
 المعرض الوطني |
لندن | 2 | Madonna with Child and Angels, St.Girolamo end Giovanni Battista |
 متحف كابوديمونتي |
نابولي | 1 | Crucifixion |
From 1420 to 1428, 9 years, the dated works of مازاتشو are indexed below year by year with their principal paintings.
Select a year to display its principal paintings.
In the quiet, profound stillness of Masaccio’s The Madonna of Humility, we encounter one of the most moving snapshots of the Early Italian Renaissance. Created around 1424, this masterpiece transcends mere religious iconography to offer a window into a moment of raw, maternal intimacy. The scene is set not upon a celestial throne, but on the earth itself, where the Virgin Mary sits upon a blue patterned cushion. This choice…
Other works from 1424
The scene unfolds within the Brancacci Chapel of the basilica of Santa Maria del Carmine in Florence. Here, the fresco titled The Tribute Money by Masaccio brings a biblical narrative to life upon the chapel walls. Commissioned by Felice Brancacci, this work forms a significant part of a larger cycle dedicated to the life of Saint Peter. The air in the chapel seems to hold the weight of this sacred…
Other works from 1425
The heavy silence of the Brancacci Chapel in the church of Santa Maria del Carmine in Florence, Italy, holds the weight of a profound tragedy. Here, the walls breathe with the story of The Expulsion from the Garden of Eden, a fresco painted by Masaccio around 1425. The air seems to thicken around the figures as they face their sudden, irreversible departure from paradise. This scene marks the beginning of…
Other works from 1426
The Trinity by Masaccio is a fresco painting that marked the beginning of the Renaissance in Italy. Created in 1425, it is considered one of the most important works of the early Renaissance period. The painting is housed in the Santa Maria Novella church in Florence, Italy. Artistic Innovations The Trinity by Masaccio was a groundbreaking work that introduced several artistic innovations. It is one of the first monumental Renaissance…
Other works from 1428
The Trinity (1428). The following entries are The Tribute Money (1425) and The Expulsion from the Garden of Eden (1426).
27 years: مازاتشو was born in 1401 and The Trinity is dated 1428.
The Trinity, The Tribute Money, The Expulsion from the Garden of Eden, تصوير "مُكْرَزة المال" (تفصيل), Predella panel from the Pisa Altar, The Madonna of Humility, Trinity (detail), Two panels from the Pisa Altarpiece, Trinity و Trinity (detail). The list above records the date and holding museum of each.
The catalogue records 97 works by مازاتشو, dated between 1420 and 1428.
Principally in سانتا ماريا ديل كارميني (فلورنسا), Staatliche Museen zu Berlin (برلين) و Gemäldegalerie (برلين). The museum table above gives the full distribution.
In 1426: 41 of the 97 works listed on this page are dated to that period, including The Expulsion from the Garden of Eden.
The earliest dated work listed here is Madonna of Humility (1420); the latest is The Trinity (1428).
Saints (32), Religious (25) و Renaissance (14), out of the 97 works listed on this page.
Acrylic On Canvas, in 9 of the 97 works listed on this page.
عصر النهضة المبكر, as documented by the works on this page.
View of the Cappella Brancacci (before restoration), Frescoes in the Cappella Brancacci (right view) و Frescoes in the Cappella Brancacci (left view) are among the 7 works on this page in the collection of the سانتا ماريا ديل كارميني, فلورنسا.
Yes. Each work listed on this page can be ordered from its own entry as a hand-painted oil reproduction or a fine art print, in a size of your choice.
تُعدّ شخصية ماساتشو، واسمه الحقيقي توماسو دي سير جيوفاني دي سيموني، نقطة تحول حاسمة في تاريخ فن عصر النهضة المبكر. وُلد في 21 ديسمبر عام 1401 في سان جيوفاني فالدارنو بإيطاليا، ورحل عن عالمنا بشكل مأساوي في سن مبكرة عام 1428. على الرغم من قصر حياته المهنية، إلا أن ماساتشو أحدث ثورة في عالم الرسم بفضل تقنياته الرائدة في مجال الواقعية والمنظور والضوء والظل (الكياروسكورو). وعلى الرغم من حياته القصيرة، كان تأثير ماساتشو عميقًا على الأجيال اللاحقة من الفنانين، حيث وضع معيارًا جديدًا للطبيعية وأثر بشكل كبير على مسار الفن الغربي.
وُلد ماساتشو لعائلة مرموقة؛ فوالده جيوفاني دي سيموني كاساي كان كاتب عدل، بينما يعود اسم العائلة "كاساي" إلى مهنة جده الأب في صناعة الخزائن. توفي والده عندما كان ماساتشو في الخامسة من عمره، تاركًا إياه وشقيقه جيوفاني (المعروف بـ "لو شيجيا") الذي أصبح رسامًا أيضًا. تظل تفاصيل تدريبه الفني غير معروفة إلى حد كبير، وهو أمر غير معتاد بالنسبة لفناني عصر النهضة. يُعتقد أنه بدأ التدريب في سن الثانية عشر تقريبًا، ولكن لم يتم تحديد معلم محدد له. يضيف هذا الغموض حول تدريبه إلى الإثارة المحيطة بتطوره السريع وتقنياته المبتكرة.
بدأ ماساتشو حياته الفنية متأثرًا بجيوتو دي بوندوني، وهو رائد سابق في مجال الطبيعية. لكن سرعان ما تفوق عليه في فهمه للمنظور والتشريح. كما استلهم الإلهام من الابتكارات المعمارية لفيلبو برونيلسكي، وخاصة اكتشاف المنظور الخطي. لم يكتفِ ماساتشو بالتقليد، بل سعى إلى تطوير تقنيات جديدة تمامًا.
من بين أعماله الهامة:
إن تأثير ماساتشو على مسار الفن الغربي لا يقدر بثمن، على الرغم من حياته المهنية القصيرة بشكل مأساوي. لقد غيرت ابتكاراته في المنظور والضوء والظل والطبيعية الطريقة التي صور بها الفنانون العالم. لقد جسر بفعالية الفجوة بين الاتفاقيات الفنية في العصور الوسطى والمثل العليا الناشئة لعصر النهضة.
يستمر إرث ماساتشو كواحد من أهم وأكثر الفنانين تأثيرًا في التاريخ. إنه يقف كشخصية محورية في الانتقال من فن العصور الوسطى إلى فن عصر النهضة، مما يغير إلى الأبد الطريقة التي ندرك بها ونمثل العالم من خلال الرسم. تعتبر حياته المهنية القصيرة ولكن اللامعة بمثابة شهادة على قوة الابتكار والتأثير الدائم للعبقرية الفنية.
