'Trinity': art history object analysis

"Trinity" painted by the Italian Renaissance painter Masaccio shows the depth of space. From the light-colored pillars that are very close to us to the ceilings with different colors inside to deeper places, the arched chapel looks very deep. The linear perspective used in this painting also deepens this sense of spatial depth. The diagonal line from the building and the steps on the ground pointed to the vanishing point, which is in the middle of the altar. This is a very classic vanishing point, which makes the picture look very balanced and harmonious conveys a sense of solemnity. It allows many different spatial levels to be presented in the same picture, such as the background of the church, Jesus and the Father, the Virgin Mary, and St. John the Baptist, and two donors. They are all standing at different heights, yet they are presented together. This makes the content and structure of the painting look richer and more three-dimensional. The porch is very bright with white and light red, and the building space behind the Holy Father is relatively dark, revealing a sense of seriousness and solemnity. The entire painting is rectangular, and the use of linear perspective allows this painting to be seen as an infinitely extending space, which has a visual abundance. 

The Holy Father stood behind the suffering Jesus and opened his arms. His facial expression was not sad, but solemn. His son Jesus is suffering for mankind, and the Holy Father is just standing behind Jesus lovingly because of his majestic love for the world. He does not feel distressed for Jesus but just watches it happening without judgment. It shows that the love of the Father for the world is deep, like the deep space behind it, and at the same time this love is also solemn, eternal, and as deep as the sea. In contrast to the Holy Father, the look of the Virgin Mary reveals a trace of distress. Her gesture is towards Jesus and her facial expression seems like she is feeling sad for the suffering of Jesus, and as if telling the human being: My son is suffering for you. She was wearing clothes in deep color and conveyed this heavy mood. The half-red and half-blue clothes of God express love and peace, a vast and deep love, and tolerance for all what human being did. He does not seem to blame people for the crimes committed. Jesus himself was nailed to the cross, and his ketone body was pale, showing fragility and loss of life. With his head drooping, there was no annoyance or pain on his face, and he didn't show much resistance to torture for human beings. One of his legs is straight and the other is curved, with a compassionate background. It seems that he is expressing 'although I have endured great pain for humans, I don’t hate them.’ Opposite Maria is St. John the Baptist. He showed a side of his face, looking up at Jesus intently. His hands' clenched posture made him look pious. He might be praying or admiring. His red clothes formed some contrast with the black and heaviness of the Virgin Mary. The red color made the incident look less painful and reduced the sense of tragedy. The two donors below also wear red and dark clothes, which correspond to the half-red and half-blue clothes worn by God. This combination of red and deep is a kind of contrast and harmony. It not only expresses the heaviness of Jesus' suffering but also expresses a kind of God's love for mankind.

Jesus is in the center of the picture. In addition, God is behind him and is also in the highest position of the picture compared with others, showing a divinity based on human nature and higher than humanity. Below Jesus, four people stood. The positions of the four people are very symmetrical, showing the balance of the picture. This balanced standing spreads out with Jesus and God as the center point, so that the visual center of the picture is still on Jesus and God. Such beholders set off the sad and sacred atmosphere of the crucifixion of Jesus. The crucifixion of Jesus was for the liberation of mankind, so it was sacred.

The entire painting uses the infinitely extending sense of space and the expressions of people to convey the infinite love and tolerance of the Father for mankind, even though his son Jesus is suffering. A lot of red is used in the painting, including the chapel, the clothes of the Father, and the clothes of two beholders. Red symbolizes strength, enthusiasm, and love, and the extensive use of red emphasizes the love of the Trinity the Father, Jesus, and the Holy Spirit for humans. The large area of white on the building and the white cover of Jesus symbolizes purity, indicating that God's love is pure, purposeless, and unconditional. The contrast between red and dark colors, appearing on the Father's clothes and the four beholders, shows a kind of contradiction and balance, the balance of suffering and love, heaviness and divinity. The abyss of space also reveals unconditional love. In contrast, God stands in the front and is very close to the viewer. This closeness shows God’s kindness to humans without a sense of distance. The painting reveals solemnity from the rectangular buildings and a sense of balance, while the use of colors and the expression on the Father's face reveal love and calmness. What the painting wants to convey his love and infinite peace.

Candice Li, University of Sydney

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