File:Masaccio trinity.jpg
![File:Masaccio trinity.jpg](https://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Masaccio_trinity.jpg/296px-Masaccio_trinity.jpg?20090901162817)
原始文件 (531 × 1,073像素,文件大小:121 KB,MIME类型:image/jpeg)
说明
说明
摘要
[编辑]马萨乔:聖三位一體
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艺术家 | ||||||||||||||||||||||||
标题 |
聖三位一體 |
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物体类型 |
fresco ![]() |
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藝術類型 |
宗教藝術 ![]() |
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描述 |
The "Trinity" was one of the first painting to show a greater understanding of one point perspective in an interior space. The barrel vault shows the grandeur of Rome. Figures shown are Mary, Saint John and the petitioners on the lower step. |
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描绘人物 |
耶稣 ![]() |
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日期 |
在1425年到1428年之间 date QS:P571,+1425-00-00T00:00:00Z/8,P1319,+1425-00-00T00:00:00Z/9,P1326,+1428-00-00T00:00:00Z/9 |
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表现形式 |
湿壁画 medium QS:P186,Q25631150 |
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尺寸 |
高度:667厘米;宽度:317厘米 dimensions QS:P2048,667U174728 dimensions QS:P2049,317U174728 |
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藏于 |
institution QS:P195,Q51175
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物体位置 |
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参考 |
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權威控制 | ||||||||||||||||||||||||
来源/摄影师 |
Web Gallery of Art: ![]() ![]() reference_wga QS:P973,"http://www.wga.hu/html/m/masaccio/trinity/trinity.html" |
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授权 (二次使用本文件) |
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其他版本 | See Category:Trinity_(Masaccio) |
许可协议
[编辑]
这是一个平面公有领域艺术品的忠实摄影副本。原艺术品本身因为下列原因属于公有领域:
维基媒体基金会的官方立场认为:“对平面公有领域艺术品的忠实再制作品也属于公有领域。”
因此,可以认为此摄影副本在美国也属于公有领域。在其他司法管辖区,再利用此内容可能存在限制;参见再利用PD-Art照片了解详细信息。 |
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日期/时间 | 缩略图 | 大小 | 用户 | 备注 | |
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当前 | 2009年9月1日 (二) 16:28 | ![]() | 531 × 1,073(121 KB) | Flekstro(留言 | 贡献) | A higher resolution was available from the same source ( http://www.wga.hu/html/m/masaccio/trinity/trinity.html ) |
2005年11月13日 (日) 09:36 | ![]() | 380 × 767(152 KB) | JoJan(留言 | 贡献) | edited image from en.wikpedia Image:Masaccio trinity.jpg |
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JPEG文件备注 | MASACCIO
(b. 1401, San Giovanni Valdarno, d. 1428, Roma) Trinity 1425-28 Fresco, 667 x 317 cm Santa Maria Novella, Florence This is the most famous work of Masaccio beside the frescoes in the Cappelle Brancacci. There are various opinions as to exactly when this fresco was painted between 1425 and 1428. It was described in detail by Vasari in 1568, who emphasized the virtuosity of the "trompe l'oeil" in the architectural structure of the painting: "a barrel vault drawn in perspective, and divided into squares with rosettes which diminish and are foreshortened so well that there seems to be a hole in the wall." Only two years after Vasari's book was published, the erection of a stone altar caused the fresco to be covered up by a panel of the Madonna of the Rosary painted by Vasari himself. Thus the fresco remained unknown for further generations from 1570 to 1861 when owing to the removal of the 16th century altar it was again uncovered. After being removed and placed on the internal facade of the church between the left and the central doors, it was put back in its original position in 1952, as a result of the discovery, beneath the 19th century neo-Gothic altar, of the lower section of the fresco with Adam's skeleton and the painted altar table, once part of the whole work. The reconstructed work was taken up by critics as the symbol and revelation of Brunelleschi's principles in architecture and the use of perspective, to the point that some believed Brunelleschi to have had a direct hand in the work. The most likely interpretation of the Trinity is that the painting alludes to the traditional medieval double chapel of Golgotha, with Adam's tomb in the lower part (the skeleton) and the Crucifixion in the upper part. But it can also assume the significance of the journey the human spirit must undertake to reach salvation, rising from the earthly life (the corruptible body) through prayer (the two petitioners) and the intercession of the Virgin and saints (John the Evangelist) to the Trinity. A close-up view of the skeleton in the sarcophagus also revealed the ancient warning, in clear letters: I WAS WHAT YOU ARE AND WHAT I AM YOU SHALL BE.
Author: MASACCIO Title: Trinity Time-line: 1401-1450 School: Italian Form: painting Type: religious |
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