All that comes before informs us
I have always loved art history. When I was younger, my tutors always included an art history component to my studio lessons. My first books were pictorial surveys from prehistoric to contemporary art. I poured over my Time Life Library of Art flipping through the 28-book set constantly. I always learned something new.
When I taught art appreciation and history, I would talk about the art from an artist’s view. And sometimes, I would get an epiphany, and goosebumps would cover my arms as I pursued a visual ambush.
This is what I saw when I was reviewing the Tribute Money:
When I taught art appreciation and history, I would talk about the art from an artist’s view. And sometimes, I would get an epiphany, and goosebumps would cover my arms as I pursued a visual ambush.
This is what I saw when I was reviewing the Tribute Money:
I knew that Masaccio was a pioneer in Renaissance painting and that he was aware of Brunelleschi’s early 15th century rediscovery of perspective, but that Masaccio would also be aware of mathematical developments at the same time, and apply them, was a revelation.
In The Holy Trinity, he used the Fibonacci Sequence as well as linear perspective for the barrel vault to focus the viewer on the cross.
Masaccio • The Holy Trinity, with the Virgin and Saint John and donors Fresco • Santa Maria Novella, Florence, ca. 1425-‘27
However, in The Tribute Money the Sequence also is implied (loosely) when, imagined by the viewers, the figures were seen from above.
Rough placement of Tribute Money figures from above with Fibonacci Sequence overlay.
Knowing art history as an artist has been a central part of my artistic life. As I mentioned before on this blog, I may begin facing a blank piece of paper alone, but when I’m finishing, I’m having a party with all the artists that have informed my drawing.