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The Annunciation (Merode Altarpiece) by Robert Campin (15th Century Northern) and Holy

Trinity by Masaccio (Early Italian Renaissance)

The Annunciation by Robert Campin and the “Holy Trinity” by Masaccio are two

fascinating pieces of art from the medieval times, each representing a significant achievement in

the field of art during its time. Both works of art represent religious ideologies or depictions of

things from the Bible. They are representative of the significant role played by religion during

medieval times. The "Holy Trinity" fresco is one of the most admired and traveled paintings

from the renaissance era, having survived some of the most perilous times for artwork in history

(Polzer 18). An analysis of its stylistic characteristics and cultural significance could be critical

in understanding the history of the painting and the society during its creation. The Annunciation

was created during the Nothern Renaissance in the late 15th Century and depicts the miraculous

announcement of the birth of Jesus (Azzopardi, Hums and Vella). This paper explores the

similarities and contrasts between these paintings based on their styles, cultural significance, and

their impact on modern art.

Holy Trinity by Masaccio (Early Italian Renaissance)

An in-depth analysis of the stylistic approaches used in the creation of the two pieces of

art reveals the growth of early renaissance art and the influence of culture on this growth. The
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style used in both paintings is very similar and is representative of the most commonly used style

during the early and middle renaissance periods. The Holy Trinity was the first painting to

portray the illusion of a three-dimensional space on a two-dimensional surface, sparking a new

interest from other artists all over Europe. This painting, created in 1427, introduced the world to

three-dimensional illustrations on two-dimensional planes. Masaccio used linear perspective

techniques to portray the three-dimensional space, leaving only the image of God, the Father, in

its dimension (Zucker and Harris). This new method of painting revolutionized the world of art

and still forms the basis of modern painting theory.

The realism portrayed in the painting was "palpable" (Zucker and Harris). The painter

used the arches depicted in the art radiating from the center of the image and vanishing elegantly

into the background. These styles were based on canonical, orthographic and stereographic styles

of the late medieval period learned by Masaccio in his early years (Aiken 173). The depiction

utilizes this style to portray an illusion that the wall has a hole. The entire mural is planned in a

mathematical configuration and each element placed precisely to bring out the illusion (Aiken

172). This style, combined with the architecture borrowed from ancient Rome and Greece, made

the fresco utterly realistic an artistic marvel at the time. The mural is located in Santa Maria

Novella and has remained a historical monument for centuries. It is, therefore, critical to evaluate

and analyze these early pieces of revolutionary artworks to understand the relationship between

art, culture, and religion.

The cultural significance of the Holy Trinity is enormous. As mentioned above, this

painting revolutionized how painters portrayed three-dimensional space in their paintings.

Although the art has a religious backdrop for the patrons, the commercial value of the artwork is

also a significant factor. The writer, Giorgio Vasari, writing about the painting years after its
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creation, believed that there was a hole in the wall that allowed for the realistic depiction of

space (Art Encyclopedia). The positioning of the painting in the temple served as a constant

reminder of the People's devotion to God. The inscription on the Momento Mori below the art

reminded them of their mortality. This painting, therefore, played a very critical role in the

development of the Christian Religion in the early renaissance days and revolutionized the views

on worship, devotion, and art in Europe. The private and public acts of devotion to God during

the first renaissance period seemed to rely significantly on depictions portrayed in revolutionary

works of art such as the Holy Trinity and other religious works of art visually depicting Biblical

message.

The Annunciation (Merode Altarpiece) by Robert Campin (15th Century Northern)

The Annunciation by Campin, painted around 1430, also employed a similar technique of

linear perspective, although its central significance lay in its cultural significance. During the

Northern Renaissance, artists were experimenting with various canvases and oil paints to create

quality pieces of art. This piece of art relied on the linear perspective to represent three-

dimensional space, just like most other paintings at the time. The painter, however, incorporated

contemporary architecture in a setting that was supposed to have happened centuries earlier

when architecture would have been less sophisticated. Scholars, however, argue that the painter

used this style deliberately to shift the views on religion (Azzopardi, Hums and Vella). The

Annunciation was a small piece of art that could be mounted in a private alter in the house for

worship and devotion.

The most significant impact of the paintings created during the Northern Renaissance in

the 15th Century was the shift in the view of devotion and worship through art. Art was a critical

part of prayer and dedication, as wealthy merchants commissioned religious paintings to

illustrate their commitment to God. The artwork, which depicted the "Annunciation of Jesus" in

a contemporary setting, empowered the practice of private devotion easing the pressure on

wealthy merchants and patrons (Zucker and Harris). The significance of paintings arose from

their significant placement in places of worship. Ownership of a piece of religious art such as the

Annunciation meant that the patrons could place it in a private altar for prayer. Campin’s

Annunciation, therefore, distinguished itself through the superficial differences in costume,

setting, and figures that set it apart from other paintings depicting the same event during the

renaissance period (Azzopardi, Hums and Vella).

As trade between cities increased, the loyalties of the merchants shifted from kings and

emperors to their cities and religions, since trade deals seemed to favor merchants along those

lines. Religious devotion, therefore, became a necessary part of living during these trading years.

Since paintings were used in altars and temples to show the magnificence of God, wealthy

traders started commissioning lavish paintings for private worship. Arts had risen in popularity,

especially after the advent of linear perspective earlier in the Century, making them preferred

worship tokens for wealthy people to show their devotion. The Annunciation hailed from this

period when King Phillip the God was encouraging the spread of the arts throughout Northern

Europe. Campin’s painting, supported by subsequent artworks, created a concept later referred to

as humanism, that changed the devotion practices of the wealthy and the middle class during the

early renaissance (Read). The warmness and relaxed atmosphere depicted in the Merode

Altarpiece made it more relatable during the era than other paintings depicting the same event

that lacked similar warmth, such as Bout’s Annunciation.

Thematic Connection
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From the review of the two paintings, it is evident that the renaissance period boasted a

rich culture of art bolstered by innovations in the field of linear perspective and other sciences

related to art such as oil paints and canvases. Both paintings utilized the linear perspective

theories and techniques to portray a religious event in a manner to which most illiterate people at

the time could relate. Masaccio’s Holy Trinity introduced the first application of linear

perspectives in painting to portray a three-dimensional illusion on a flat surface (Art

Encyclopedia). This technique was borrowed widely all over Europe, creating a wave of new

paintings that visually depicted religious events.

Another similarity between the two paintings was their cultural impact on the religious

beliefs and practices of the people at the time. The Holy Trinity served as a reminder of God's

presence and human mortality to the wealthy and middle-class population of Florence. Each of

these paintings revolutionized the views of the locals on religion, art, and devotion, with each

work of art highlighting a significant domain of human existence. Masaccio emphasized on

mortality and divinity, while Campin illuminated the need for humanism and religious devotion

in private life. Although the two views touch on religion, their main foci diverge significantly as

each painter focuses on a different phenomenon in the Bible describing the salvation of the

human soul.

Conclusion

The early renaissance was a period of artistic growth and innovation that saw the creation

of some of the most famous works of art in the world. Among these were Masaccio’s Holy

Trinity mural and Robert Campin’s Annunciation. Each of these paintings employs an array of

stylistic approaches to portray a certain religious phenomenon. The Holy Trinity uses precise

geometric and stereographic techniques to bring out the illusion of a third dimension on a two
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dimensional surface. This technique was the first of its kind to be employed in fine arts and

marked the beginning of the renaissance. The Annunciation, also painted in the same era,

employed similar stylistic approaches as the Holy Trinity, but used a contemporary setting to

offset the morbid atmosphere often associated with religious artistry. This deviation from

traditional religious style of art marks the most significant difference between the two paintings

that represent the most influential period in human art and culture. The effect of the two works of

art on the culture of European merchants and traders also had a significant influence on the

spread of religion during the early renaissance period.

Works Cited

Aiken, Jane Andrews. "The Perspective Construction of Masaccio's" Trinity" Fresco and

Medieval Astronomical Graphics." Artibus et historiae (1995): 171-187.

Art Encyclopedia. "Holy Trinity, Masaccio: Interpretation, Analysis". [Link],

[Link] Accessed

21 Dec 2019.

Azzopardi, Isaac, B. Hums, and Charlene Vella. "Discuss how and why the development of

Northern Renaissance art in the 15th century was different to that of Italy." (2016).

Polzer, Joseph. "The Anatomy of Masaccio's Holy Trinity." Jahrbuch der Berliner

Museen (1971): 18-59.

Read, Long. "Contextualising Religion and Society: The Continuities and Changes in the

Representation of the Annunciation in Northern Renaissance Art Before and After the

Reformation (1517)."

Zucker, DR. STEVEN, and DR. BETH Harris. "Masaccio, Holy Trinity –

Smarthistory". [Link], 2019, [Link]

Accessed 21 Dec 2019.