TOMMASO MASACCIO 1401(?)-1428(?) Italian School of Florence
ANDREA MANTEGNA 1431-1506 Italian School of Padua
SINCE the death of Giotto nearly a hundred years have elapsed, during which his followers in Florence and certain painters in Siena, notably the brothers Lorenzetti, have been continuing the effort to emancipate painting from the flat formalism of Byzantine art. But, although they have learned something more about expressing the roundness of form, have studied more closely the action of light upon objects and the expression and character of faces, and have begun to acquire some insight into the principles of foreshortening and perspective, they are inferior to Giotto in originality of feeling and grandeur of design. He had been a solitary genius.
However, at the beginning of the fifteenth century, there arose in Florence a new genius, who became to this century what Giotto had been to the fourteenth. At a bound he leaped above all competitors, set painting free from its shackles, and continued to be a stimulus to hosts of other painters, including Michelangelo and Raphael. This new genius was Masaccio; and he, after his short life of twenty-seven years, was followed by the Paduan