historyВЕСТНИК РГГУ. Серия «Литературоведение. Языкознание. Культурология»RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series2073-6355RSUH10.28995/2686-7249-2022-1-124-133history-1087Research ArticleДаниловские чтения Античность – Средневековье – Ренессанс. Искусство и культура. Сборник 5Деревянное «Распятие» работы Филиппо Брунеллески и фреска Мазаччо «Троица»Wooden “Crucifixion” by Filippo Brunelleschi and Masaccio’s fresco “Trinity”ТаракановаЕ. И.TarakanovaE. I.

Екатерина И. Тараканова

 119034, Москва, ул. Пречистенка, д. 21

 

Ekaterina I. Tarakanova

bld. 21, Prechistenka St., Moscow, 119034

ektar@yandex.ruНаучно-исследовательский институт теории и истории изобразительных искусств Российской академии художествРоссияResearch Institute of Theory and History of Fine Arts of the Russian Academy of ArtsRussian Federation20222502202211124133Copyright © Тараканова Е.И., 20222022Тараканова Е.И.Tarakanova E.I.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://history.rsuh.ru/jour/article/view/1087

The connections of the perspective construction and inter- pretation of architecture in Masaccio’s fresco “Trinity” with the work of Brunelleschi is covered extensively in the literature. At the same time, it is surprising that the striking similarity of the figure of Christ on the cross in this monumental painting panel with a wooden crucifix carved by Filippo Brunelleschi is mentioned only in a few foreign studies in the mode of state- ment. This paper analyzes the reasons for this similarity and traces the role of Brunelleschi’s “Crucifixion” in the development of Italian art of the Quat- trocento era. The hypothesis is put forward that the image of Christ in the Masaccio’s fresco is not just a technical repetition, but a kind of “homage” to an older friend and consultant.

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The authors declare that there are no conflicts of interest present.