Avec sa mère et son frère (qui vivront avec lui jusqu'à sa mort), il s'installe à Florence en 1417. Il est mort à Rome à une date qui est certainement antérieure de peu à novembre 1429. Masaccio meurt en 1428 au cours d'un voyage à Rome avec Masolino da Panicale, dont le but était de réaliser un polyptyque pour l'église Santa Maria Maggiore. Il meurt alors que Tommaso a 5 ans, en 1406, l'année où naît son jeune frère, Giovanni (qui deviendra peintre lui aussi). Masaccio, peintre florentin, mort à 27 ans en 1428, a eu une carrière qui a duré six ans seulement. His influence is particularly notable in the works of Florentine minor masters, such as Vasari, Giorgio, "The Lives of the Artists" Translated by Julia Conaway Bondanella and Peter Bondanella, Oxford World Classics.On Giovanni's career, see Luciano Bellosi and Margaret Haines, Vasari (II, 295) implies that Masolino was Masaccio's teacher, but the earliest known work by Masaccio (the Roberto Bellucci and Cecilia Frosinini, "The San Giovenale Altarpiece," in Roberto Longhi, "Fatti di Masolino e di Masaccio," Jill Dunkerton and Dillian Gordon, "The Pisa Altarpiece", in Rita Maria Comanducci, "'L'altare Nostro de la Trinità': Masaccio's Trinity and the Berti Family," B. Deimling, Early Renaissance Art in Florence and Central Italy, in R. Tolman (ed. The painting has lost much of its original framing, and its surface is badly abraded. Il entre dans l'atelier de Daniel Arasse fait remarquer le geste du Christ, redoublé par celui de saint Pierre, dans Le Tribut de saint Pierre.

The second work was perhaps Masaccio's first collaboration with the older and already-renowned artist, In 1424, the "duo preciso e noto" ("well and known duo") of Masaccio and Masolino was commissioned by the powerful and wealthy Felice Brancacci to execute a cycle of frescoes for the In September 1425 Masolino left the work and went to Masaccio returned in 1427 to work again in the Carmine, beginning the On February 19, 1426, Masaccio was commissioned by Giuliano di Colino degli Scarsi da San Giusto, for the sum of 80 florins, to paint a major altarpiece, the Around 1427 Masaccio won a prestigious commission to produce a The sacred figures and the donors are represented above an image of a skeleton lying on a sarcophagus.

Moreover, Masaccio influenced a great many artists both while he was alive and posthumously.

The name may have been created to distinguish him from his principal collaborator, also called Maso, who came to be known as Despite his brief career, he had a profound influence on other artists and is considered to have started the Early Italian Renaissance in painting with his works in the mid- and late-1420s.
Tommaso di Giovanni Cassai (ou Tommaso di Ser Giovanni di Mone Cassai)La maturité, la « voûte qui s'enfonce dans le mur »La maturité, la « voûte qui s'enfonce dans le mur »

Pendant cette période il a renouvelé l’art occidental en suivant les préceptes de ses maîtres Donatello et Brunelleschi en introduisant la notion de vérité optique, de perspective et de volume. San Giovenale) and Anthony Abbot in the right panel. Son père, Giovanni di Mone Cassai, est un artisan devenu notaire. Masaccio was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno (today part of the province of Arezzo, Tuscany). According to Vasari, all "most celebrated" Florentine "sculptors and painters" studied his frescoes extensively in order to "learn the precepts and rules for painting well." Others are believed to have been destroyed. On ignore la cause de sa mort. Juvenal (i.e. Sa mère, Monna Jacopa di Martinozzo, se remarie à Tedesco del Maestro Feo, un marchand d'épices, veuf et bien plus âgé, qui garantit à la famille un niveau de vie confortable. This skeleton is at once a reference to Adam, whose sin brought humans to death and a reminder to viewers that their time on earth is transitory. Réplique de La Mort de Masaccio conservée au musée de l'Ermitage Une réplique de taille réduite (45 × 38 cm), provenant de la collection des ducs de Leuchtenberg, est conservée depuis 1931 au musée de l'Ermitage, à Saint-Pétersbourg en Russie. « Le monde s'ouvre à l'action des hommes », juge-t-il bon d'affirmerAu cours de l'année 1426, pendant les périodes d'interruption de son travail dans la chapelle Brancacci, Masaccio réalise le Masaccio meurt à l'âge de 27 ans dans des conditions mystérieuses lors d'un voyage à Rome avec Masolino da Panicale.

It is only through faith in the Trinity, the fresco suggests, that one overcomes this death.Only four frescoes undoubtedly from Masaccio's hand still exist today, although many other works have been at least partially attributed to him. Biographie de Masaccio.
An inscription seemingly carved into the wall above the skeleton reads: "Io fui gia quel che voi siete e quel ch'io sono voi anco sarete" (I once was what now you are and what I am, you shall yet be).

Il était distrait et absent d'esprit, tel une personne dont l'esprit et la volonté sont entièrement et uniquement tournées vers l'art, peu préoccupé par sa propre personne, encore moins par celle d'autrui.

Son père, Giovanni di Mone Cassai, est un artisan devenu notaire.

), He transformed the direction of Italian painting, moving it away from the idealizations of Gothic art, and, for the first time, presenting it as part of a more profound, natural, and humanist world. He was one of the first to use linear Masaccio died at the age of twenty-six and little is known about the exact circumstances of his death.Masaccio was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now The San Giovenale altarpiece was discovered in 1961 in the church of San Giovenale at Cascia di Reggello, very close to Masaccio's hometown. Citons à nouveau Vasari :

Masaccio profoundly influenced the art of painting and is considered to have begun the Early Italian Renaissance in painting.