Free «A Glimpse in Mossacio's Works» Essay Sample
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Many famous artists of today and those of the past are very much intrigued in the success behind the “Tribute Money”. The “Tribute Money” is a fresco and it is the masterpiece of the Renaissance artist, Mossacio. This paper review examines the different techniques which Mossacio used in creating the illusion of three-dimensionality in the painting. These techniques are the linearand aerial or atmospheric perspective. This paper review also points out how the artist used and applied the two techniques, so that perfection in the “Tribute Money” is achieved. The review further examines the style used by the artist in creating space and how he made people appear in three-dimensional rather that in flat shapes.
A Glimpse in Mossacio's Works
The Secrets behind the “Tribute Money”
The “Tribute Money” is the name of the fresco which is in the Bracncacci Chapel in Florence, Italy. It was created by the first great master of Italian Renaissance, Mossacio. The “Tribute Money” is an example of the painting that emphasizes three-dimensional space and solid, realistic human forms. The fresco is set at Capernaum where Jesus and his disciples are demanded to pay taxes. The fresco features Jesus, his disciples, the publican or tax collector. The fresco is considered as a highlight in Massacio's work and many artists regarded it as a milestone in the art development. This is because Massacio used different art techniques in creating this masterpiece. To achieve the three-dimensionality of the space and solid realistic human forms of the “Tribute Money”, Mosscaio used two techniques, the linear perspective and the atmospheric oraerial perspective. The lines in the building, the several lines pointing Jesus's head or better known as vanishing pointare products of linear perspective and by using lighter colors, the image of St. Peter and the mountains are put in the virtual background and this is the product of the atmospheric perspective. Lastly, Mossacio used a light single source in his frescoand this gives the other wise three dimensions of flat figures.
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