Updated oktoober 2026 · ranked by our popularity score (searches, visits and orders for each work) · 97 works by Masaccio in our catalogue
In short
Kolmainsus (1428) is the Masaccio painting that draws the most eyes. After it, the eye goes to Üleandmise raha (1425) and Eedeni aiast välja tõstmine (1426). Among the 97 works of Masaccio in our catalog, these 97 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
Masaccio'i "Kolmainsus" oli murghangust teos, mis tõi kaasa mitmeid kunstilisi uuendusi. See on üks esimesi monumentaalseid renessanssi maale, mis kasutas lineaarset perspektiivi, luues sügavuse ja ruumi tunde. Chiaroscuro ja sfumato tehnikate kasutamine lisab figureeridele volüümi ja tekstuuru, muudes need erakordselt realistiliseks.
Soodne stseen avaneb Firences, Santa Maria del Carmine basilika Brancacci kapellis. Siin toob fresco pealkirjaga Üleandmise raha, mille on loonud Masaccio, piiratud piirdedega bibliseel stori kapelli seintel ellu. Felice Brancacci tellimul loodud teos on oluline osa suuremast tsüklist, mis on pühendatud püha Peetru elule. Kapellis liigub figuurid läbi sügava tähendusega hetkest ning atmosfäär on täis selle pühima ajalooa rasket ja väärtuslikku tähendust.
Itaalia Firenzes asuvas Santa Maria del Carmine kirikus asuv Brancaccii kapell on täis rasket vaikust, mis kannab endas sügava tragedy kaalu. Siin hingavad seinad lugudest, mis räägivad Eedeni aiast välja tõstmisest – freskoga, mille Masaccio onประมาณ 1425. aastal maalinud. Õhk tundub paksunemane uinemise ümber, kui figuurid seisvad silmitsi oma ägelise ja korduvaga paradiusest lahkumisega. See stseen tähistab suurema narratiivi algust, toimides esimese freskona sarjas, mis on pühendatud Püha Peetru elule.
Masatsoo, kes töötas 1426–1428 Brancacci kiriku fressise, "Tulus Rahast" detailis, on üks renessansiaegse kunsti kõige tähtsamatest saavutustest. See ei ole lihtsalt religioonilist kujundust; see on revolutsiooni algus, mis muudab kunagi varem nähtava maailma. Masatsoo oskus luua illusiooni ruumist ja valguse mängu oli enne seda immatu, ja ta mõjutas järgida kunstnike põlvedele.
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 · Santa Maria del Carmine
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 · Santa Maria del Carmine
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 · Santa Maria del Carmine
20
Baptism of the Neophytes1427
21
Christ in the Garden of Gethsemane (detail)1424 · Lindenau-Museum
22
Crucifixion1426 · Museo di Capodimonte
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 · National Gallery of Art
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 manIsabella Stewart Gardneri muuseum
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 · Berliini Riigimuseumid
78
Madonna with Child and Angels1426 · National Gallery
79
The Distribution of Alms and the Death of Ananias1426 · Santa Maria del Carmine
80
St Peter Healing the Sick with his Shadow1426 · Santa Maria del Carmine
81
San Giovenale Triptych1422
82
Raising of the Son of Teophilus and St.Peter Enthroned1427 · Santa Maria del Carmine
83
St Paul1426 · Museo Nazionale di San Matteo
84
Carnesecchi Triptych1423
85
Adoration of the Magi1426 · Berliini Riigimuseumid
86
Martyrdom of San Giovanni Battista1426 · Gemäldegalerie
87
Predella panel from the Pisa Altar1426 · Berliini Riigimuseumid
88
A Bearded Carmelite Saint1426 · Gemäldegalerie
89
Madonna Casini1426
90
Madonna of Humility1420 · National Gallery of Art
91
Repentance of Saint Peter1425 · Santa Maria del Carmine
92
San AgustínGemäldegalerie
93
St. Andrew1426 · J. Paul Getty muuseum
94
CarmelitaGemäldegalerie
95
St. JeromeGemäldegalerie
96
St.Girolamo end Giovanni Battista1428 · National Gallery
97
Crucifixion of St Peter1426 · Berliini Riigimuseumid
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Masaccio | Paintings from this list |
|---|---|---|---|
 Santa Maria del Carmine |
Firenze | 7 | View of the Cappella Brancacci (before restoration), Frescoes in the Cappella Brancacci (right view), Frescoes in the Cappella Brancacci (left view) |
 Berliini Riigimuseumid |
Berliin | 6 | Predella panel from the Pisa Altar, Two panels from the Pisa Altarpiece, Plate of Nativity (Berlin Tondo) |
 Gemäldegalerie |
Berliin | 5 | Martyrdom of San Giovanni Battista, A Bearded Carmelite Saint, San Agustín |
 Santa Maria Novella |
Firenze | 4 | Trinity (detail), Trinity, Trinity (detail) |
 Lindenau-Museum |
Altengau | 3 | Christ in the Garden of Gethsemane (detail), Christ in the Garden of Gethsemane (detail), Christ in the Garden of Gethsemane |
 National Gallery of Art |
Washington | 2 | Profile Portrait of a Young Man, Madonna of Humility |
 National Gallery |
London | 2 | Madonna with Child and Angels, St.Girolamo end Giovanni Battista |
 Museo di Capodimonte |
Neapel | 1 | Crucifixion |
Masaccio's dated originals shown here fit into about ten years, 1420 to 1428: the eye follows them year by year.
Pick a year to see its originals.
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…
More from 1424
Soodne stseen avaneb Firences, Santa Maria del Carmine basilika Brancacci kapellis. Siin toob fresco pealkirjaga Üleandmise raha, mille on loonud Masaccio, piiratud piirdedega bibliseel stori kapelli seintel ellu. Felice Brancacci tellimul loodud teos on oluline osa suuremast tsüklist, mis on pühendatud püha Peetru elule. Kapellis liigub figuurid läbi sügava tähendusega hetkest ning atmosfäär on täis selle pühima ajalooa rasket ja väärtuslikku tähendust.
More from 1425
Itaalia Firenzes asuvas Santa Maria del Carmine kirikus asuv Brancaccii kapell on täis rasket vaikust, mis kannab endas sügava tragedy kaalu. Siin hingavad seinad lugudest, mis räägivad Eedeni aiast välja tõstmisest – freskoga, mille Masaccio onประมาณ 1425. aastal maalinud. Õhk tundub paksunemane uinemise ümber, kui figuurid seisvad silmitsi oma ägelise ja korduvaga paradiusest lahkumisega. See stseen tähistab suurema narratiivi algust, toimides esimese freskona sarjas, mis on pühendatud Püha Peetru elule.
More from 1426
Masaccio'i "Kolmainsus" oli murghangust teos, mis tõi kaasa mitmeid kunstilisi uuendusi. See on üks esimesi monumentaalseid renessanssi maale, mis kasutas lineaarset perspektiivi, luues sügavuse ja ruumi tunde. Chiaroscuro ja sfumato tehnikate kasutamine lisab figureeridele volüümi ja tekstuuru, muudes need erakordselt realistiliseks.
More from 1428
Kolmainsus (1428). Üleandmise raha (1425) and Eedeni aiast välja tõstmine (1426) come next.
27 years old: Kolmainsus dates from 1428, and Masaccio was born in 1401.
Kolmainsus, Üleandmise raha, Eedeni aiast välja tõstmine, Tulus Maksumuse Detail, Predella panel from the Pisa Altar, The Madonna of Humility, Trinity (detail), Two panels from the Pisa Altarpiece, Trinity and Trinity (detail). The ranking above gives each one's year and museum.
Our catalog holds 97 works by Masaccio, dated from 1420 to 1428.
Mostly in Santa Maria del Carmine (Firenze), Berliini Riigimuseumid (Berliin) and Gemäldegalerie (Berliin). The museum table above lists them all.
In 1426: 41 of the 97 works on this page were made then, Eedeni aiast välja tõstmine among them.
On this page, the earliest is Madonna of Humility (1420) and the latest Kolmainsus (1428).
Saints (30), Religious (25) and Renaissance (14), across the 97 works on this page.
Acrylic On Canvas, for 9 of the 97 works on this page.
Vararenessanss, judging by the originals on this page.
View of the Cappella Brancacci (before restoration), Frescoes in the Cappella Brancacci (right view) and Frescoes in the Cappella Brancacci (left view): the Santa Maria del Carmine, Firenze holds 7 of the works on this page.
Yes, as a reproduction: the original stays in its museum, but any painting on this page can be painted by hand for you, made to order one at a time, from the painting's own page.
Tommaso di Ser Giovanni di Simone, paremini tuntud kui Masaccio (tähendab 'kohmakas Tom'), oli varase Itaalia renessansi võtmeisik. Ta sündis 21. detsembril 1401. aastal San Giovanni Valdarnos, Itaalias ja suri traagiliselt noorelt 1428. aastal. Tema lühike karjäär revolutsioneeris maalikunsti murrangulise realismiga, perspektiiviga ja chiaroscuroga (tugevate valgus-varju kontrastidega kasutamine). Vaatamata oma lühikesele elule oli Masaccio mõju järgnevatele kunstnike põlvedele sügav, luues uue naturalismi standardi ja mõjutades Lääne kunsti kulgu.
Masaccio mõju Lääne kunsti kulule on hindamatu, vaatamata tema traagiliselt lühikesele karjäärile. Tema uuendused perspektiivis, chiaroscuros ja naturalismis muutsid fundamentaalselt viisi, kuidas kunstnikud maailma kujutasid. Ta sillutas tõhusalt tee keskaegsete kunstikonventsioonide ja renessansi tekkivate ideaalide vahel.
Masaccio pärand kestab kui üks ajaloo olulisemaid ja mõjukamaid kunstnikke. Ta on võtmeisik üleminekul keskaegsest renessansi kunsti, muutes igaveseks viisi, kuidas me maailma kujutame ja maalime. Tema lühike, kuid särav karjäär on tunnistuseks uuenduste jõust ja kunstilise geeniuse püsivast mõjust.
