Some female groups, however, remain, which yield to nothing that Masaccio has left for the plaudits of posterity.
The picture was for a long time attributed to Masaccio's master, Masolino.
They offer a most striking contrast to the sedate Florentine crowds painted in the Brancacci chapel by Masaccio.
He may be regarded as the last direct inheritor of the traditions of Masaccio.
Nevertheless, Masolino's grave and dignified figures introduced the type that Masaccio was soon to render perfect.
Just so compare those by Masaccio and Ghirlandajo with what was done before.
In painting, Masaccio (1401-28) stands conspicuous, even among many painters of rare gifts.
Masaccio painted his portrait in the Carmine, but it is lost.
These are massed together and robed in the style of Masaccio, and have his virile dignity of form and action.
Masaccio can by no means be taken as a fair instance of the painters of his age.