Given that there is speculation over the exact identification of the apostles shown beside Peter, it is argued that the figure on the far right of the crowd is a self-portrait of Masaccio himself. In which case, Masaccio strays from the biblical accuracy of the text to provide his own sense of self-expression and personalization of the narrative. Masaccio's decision aligns with the individualized faces of the rest of the figures in the piece, which represents the individualism of the Renaissance. The self-portrait provides the audience with the idea that the artist is not just a passive recorder of religious stories but an active participant in the intellectual and cultural movements of the time.
Vasari's argument that the apostle standing at the end is a self-portrait
Mathew 17:24-27 The Temple Tax 24After Jesus and his disciples arrived in Capernaum, the collectors of the two-drachma temple tax came to Peter and asked, “Doesn’t your teacher pay the temple tax?” 25“Yes, he does,” he replied. When Peter came into the house, Jesus was the first to speak. “What do you think, Simon?” he asked. “From whom do the kings of the earth collect duty and taxes—from their own children or from others?” 26“From others,” Peter answered. “Then the children are exempt,” Jesus said to him. 27“But so that we may not cause offense, go to the lake and throw out your line. Take the first fish you catch; open its mouth and you will find a four-drachma coin. Take it and give it to them for my tax and yours.”
In the bible passage within the source text from Matthew 17:24-27, the plural "collectors" is used, suggesting multiple tax collectors were involved in requesting for a temple tax; however, Masaccio only represents one tax collector in the scene. Masaccio likely included this biblical deviation as a way for narrative clarity, especially given the scene's continuous narrative, in which the Peter appears three times and the tax collector appears twice. To avoid confusion or crowdedness from multiple tax collectors being present, Masaccio includes a singular tax collector, allowing the viewer to focus more on the theological story and the dynamic between the characters instead of an overemphasis on the logistics of the text.
When contrasted with the emotions displayed by the apostles, Christ’s expression is noticeably calm and composed, making Masaccio's portrayal of Christ biblically accurate in accordance with his instructions given in Matthew 17:25-27. This tranquility reflects his biblical role as a miracle worker, who, in this moment, is about to nonchalantly have the coin to appear in the fish’s mouth as described in Matthew 17:27. While the apostles reveal a range of emotions—confusion, concern, or astonishment—Christ’s serene demeanor at the center of the crowd underscores his divine authority and assertiveness. This calmness not only highlights his leadership but also ensures the audience immediately recognizes his role as the central figure orchestrating the miracle.
Masaccio's depiction of Peter retrieving the coin from the fish's mouth directly correlates with Matthew 17:27, in which Christ instructs him to "Take the first fish you catch; open its mouth and you will find a four-drachma coin.” Masaccio wanted to remain exactly in line with the biblical text, emphasizing how he is actively taking the coin out of the fish's mouth to later bring to the tax colector. To the religious auideince who is familiar with the biblical story, this specific scene is crucial to the entire dynamic, as it displays Christ performing a miracle, so Masaccio would have wanted to stick with the exact words of the bible in order for the auidence to be entirely clear on the biblical narrative he is representing.
Peter handing the coin to the tax collector would be considered biblically accurate according to Christ's instructions in Matthew 17:27, "Take it and give it to them for my tax and yours." Masaccio's inclusion of the transaction aligns with the narrative's intent, representing the fulfillment of Christ's instructions and the temple tax being settled. With the entire story culminating in this moment, Masaccio would have felt he had to include this scene to provide a resolution to the narrative. This depiction would also have been important for the sake of the audience, in which the final sequence of events was made clear in emphasizing Peter's role in carrying out Christ's command.
Masaccio’s The Tribute Money demonstrates both an adherence to biblical texts and the use of the artist's own creative license, reflecting both reverence for scripture and awareness of the artistic and cultural trends of the Renaissance. In aspects such as Peter retrieving the coin from the fish’s mouth, Christ’s calm and authoritative expression, and Peter handing the coin to the tax collector, Masaccio closely follows the account in Matthew 17:24–27, allowing the narrative to remain clear and recognizable to a religious audience within the Branacci Chapel. These decisions emphasize Christ’s authority and Peter’s faithful obedience, which would have resonated with the spiritual expectations of his contemporaries. Masaccio also deviates from strict biblical accuracy, as seen in the inclusion of a singular tax collector for narrative clarity and his speculative self-portrait as an apostle, which aligns with the values of the Renaissance such as individual expression and creative liberty. These decisions reflect an effort to engage an artistically inclined audience. By balancing the devotional needs of a religious society with the intellectual and artistic ambitions of the era, Masaccio conveys the theological significance of the scene while simultaneously showcasing the evolving cultural priorities of the Renaissance, appealing to both a religious and artistically inclined audience of the time.
Andrew Obara Genially Assignment 2
Andrew Obara
Created on November 15, 2024
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Source Text
Given that there is speculation over the exact identification of the apostles shown beside Peter, it is argued that the figure on the far right of the crowd is a self-portrait of Masaccio himself. In which case, Masaccio strays from the biblical accuracy of the text to provide his own sense of self-expression and personalization of the narrative. Masaccio's decision aligns with the individualized faces of the rest of the figures in the piece, which represents the individualism of the Renaissance. The self-portrait provides the audience with the idea that the artist is not just a passive recorder of religious stories but an active participant in the intellectual and cultural movements of the time.
Vasari's argument that the apostle standing at the end is a self-portrait
Mathew 17:24-27 The Temple Tax 24After Jesus and his disciples arrived in Capernaum, the collectors of the two-drachma temple tax came to Peter and asked, “Doesn’t your teacher pay the temple tax?” 25“Yes, he does,” he replied. When Peter came into the house, Jesus was the first to speak. “What do you think, Simon?” he asked. “From whom do the kings of the earth collect duty and taxes—from their own children or from others?” 26“From others,” Peter answered. “Then the children are exempt,” Jesus said to him. 27“But so that we may not cause offense, go to the lake and throw out your line. Take the first fish you catch; open its mouth and you will find a four-drachma coin. Take it and give it to them for my tax and yours.”
In the bible passage within the source text from Matthew 17:24-27, the plural "collectors" is used, suggesting multiple tax collectors were involved in requesting for a temple tax; however, Masaccio only represents one tax collector in the scene. Masaccio likely included this biblical deviation as a way for narrative clarity, especially given the scene's continuous narrative, in which the Peter appears three times and the tax collector appears twice. To avoid confusion or crowdedness from multiple tax collectors being present, Masaccio includes a singular tax collector, allowing the viewer to focus more on the theological story and the dynamic between the characters instead of an overemphasis on the logistics of the text.
When contrasted with the emotions displayed by the apostles, Christ’s expression is noticeably calm and composed, making Masaccio's portrayal of Christ biblically accurate in accordance with his instructions given in Matthew 17:25-27. This tranquility reflects his biblical role as a miracle worker, who, in this moment, is about to nonchalantly have the coin to appear in the fish’s mouth as described in Matthew 17:27. While the apostles reveal a range of emotions—confusion, concern, or astonishment—Christ’s serene demeanor at the center of the crowd underscores his divine authority and assertiveness. This calmness not only highlights his leadership but also ensures the audience immediately recognizes his role as the central figure orchestrating the miracle.
Masaccio's depiction of Peter retrieving the coin from the fish's mouth directly correlates with Matthew 17:27, in which Christ instructs him to "Take the first fish you catch; open its mouth and you will find a four-drachma coin.” Masaccio wanted to remain exactly in line with the biblical text, emphasizing how he is actively taking the coin out of the fish's mouth to later bring to the tax colector. To the religious auideince who is familiar with the biblical story, this specific scene is crucial to the entire dynamic, as it displays Christ performing a miracle, so Masaccio would have wanted to stick with the exact words of the bible in order for the auidence to be entirely clear on the biblical narrative he is representing.
Peter handing the coin to the tax collector would be considered biblically accurate according to Christ's instructions in Matthew 17:27, "Take it and give it to them for my tax and yours." Masaccio's inclusion of the transaction aligns with the narrative's intent, representing the fulfillment of Christ's instructions and the temple tax being settled. With the entire story culminating in this moment, Masaccio would have felt he had to include this scene to provide a resolution to the narrative. This depiction would also have been important for the sake of the audience, in which the final sequence of events was made clear in emphasizing Peter's role in carrying out Christ's command.
Masaccio’s The Tribute Money demonstrates both an adherence to biblical texts and the use of the artist's own creative license, reflecting both reverence for scripture and awareness of the artistic and cultural trends of the Renaissance. In aspects such as Peter retrieving the coin from the fish’s mouth, Christ’s calm and authoritative expression, and Peter handing the coin to the tax collector, Masaccio closely follows the account in Matthew 17:24–27, allowing the narrative to remain clear and recognizable to a religious audience within the Branacci Chapel. These decisions emphasize Christ’s authority and Peter’s faithful obedience, which would have resonated with the spiritual expectations of his contemporaries. Masaccio also deviates from strict biblical accuracy, as seen in the inclusion of a singular tax collector for narrative clarity and his speculative self-portrait as an apostle, which aligns with the values of the Renaissance such as individual expression and creative liberty. These decisions reflect an effort to engage an artistically inclined audience. By balancing the devotional needs of a religious society with the intellectual and artistic ambitions of the era, Masaccio conveys the theological significance of the scene while simultaneously showcasing the evolving cultural priorities of the Renaissance, appealing to both a religious and artistically inclined audience of the time.