From Masolino to Fra Angelico.

The artists most influenced by Masaccio was Masolino di Panicale who was eighteen years older the former with whom he decorated the Brancacci Chapel in Santa Maria del Carmine in the 1420s. Masolino’s origins seem to be in Lorenzo Monaco, who was twelve years older than Masolino. His Pieta at Empoli seems to be derived from Monaco’s versions of the Man of Sorrows, a common theme in Florentine art. Although Masolino learned much from Masaccio’s “progressive” style, he still lapsed into the Gothic, taking his cue from such artists as Gentile whose decorative, heraldic style influenced his Washington Annunciation. After Masolino, we can consider a group of painters including the following: Niccolo di Pietro Gerini, Marioto di Nardi (active 1394-1420s), a pupil in Gerini’s workshop, Lorenzo di Niccolo, most of whom draw on the style of the workshop of Jacopo di Cione, Orcagna’s brother. Additional to this group is Lorenzo di Bicci (1373-1452), his father, Lorenzo di Bicci, Rossello di Jacopo Franchi (c. 1376-1457) and Giovanni dal Ponte. Bicci was seduced by Gentile’s Gothic style when the painter arrived in Florence in 1422.

Masolino di Panicale, Pietà, 1424, Fresco, 280 x 118 cm, Museo della Collegiata, Empoli.

 Lorenzo Monaco, Christ as the Man of Sorrows, 1415-17, Tempera on panel, 62 x 33 cm, Private collection.

Masolino di Panicale, The Annunciation, 1425-30, Tempera on panel, 148 x 115 cm, National Gallery of Art, Washington.

 Giovanni dal Ponte, Coronation of the Virgin with Saints, 1400-10, Panel, Galleria dell'Accademia, Florence.

 Lorenzo di Bicci, Crucifixion, Tempera on panel, 47 x 48 cm, Private collection.

Niccolo di Pietro Gerini, Virgin and Child Enthroned, 1404, Tempera on panel, 146 x 71 cm, Museum of Fine Arts, Boston.

Maretto di Nardo, The Virgin Annunciate, 1400s, Tempera on panel, 47 x 36 cm, The Hermitage, St. Petersburg,

Att. to Jacopo di Cione, Madonna, Child, Saint and Donor, Art Market, Christie’s, New York.

Attributed to Fra Angelico, prev. attributed to Giovanni di Toscani and “The Master of the Griggs Crucifixion”, , The Crucifixion,  Tempera on wood, gold ground, 63.8 x 48.3 cm, Metropolitan Museum of Art, New York.