Bibliografie

Deze bibliografie heeft vooral betrekking op de vroeg-renaissance. Publicaties in de Italiaanse taal zijn i.h.a. buiten beschouwing gelaten.

Alberti, L.B., On painting. New York, 1991.

Alberti, L.B., On painting and on sculpture. London, 1972.

Antal, F., Florentine painting and its social background. Cambridge, Mass., 1986.

Baldini, U., Masaccio. Florence, 1990.

Baldini, U. & O. Casazza, La Cappella Brancacci. Milan, 1990.

Baldini, U. & O. Casazza, The Crucifix by Cimabue, Milan, 1983.

Baron, H., The crisis of the early Italian renaissance. Princeton, NJ, 1966.

Basile, G., Giotto. La Capella degli Scrovegni. Florence, 1992.

Baskovits, M., ‘Giotto born again’. Beitrage zu den Quellen Masaccios, in: Zeitschrift für Kunstgeschichte 29, 1966, p. 51-66.

Baxandall, M., Giotto and the orators. Humanist observers of painting in Italy and the discovery of pictorial composition. 1350-1450. Oxford, 1971.

Baxandall, M., Painting and experience in fifteenth-century Italy. Oxford, 1972.

Beck, J.H., ‘Masaccio’s early career as a sculptor’, in: Art Bulletin 1971, p. 177-195.

Beck, J.H., ‘Fatti di Masaccio …’, in: Essays in archeology and the humanities in memoriam Otto J. Brendel. Mainz, 1976, p. 211-214.

Beck, J.H., Masaccio. The documents. New York, 1978.

Beck, J.H., ‘Masaccio’s Madonnas’, in: Masaccio 1422/1989: atti del convegno del 22 april 1989. Pieve di San Pietro a Cascia, Regello, Florence, 1990, p. 48-53.

Beck, J.H., Italiaanse renaissanceschilderkunst. Keulen, 1999.

Bellosi, L., Giotto. Firenze, 1981.

Bennett, B.A. & D.G. Wilkins, Donatello. Oxford, 1984.

Berenson, B., ‘A new Masaccio’, in: Art in America 1930, p. 45-53.

Berenson, B., Florentine painters of the renaissance. New York/London, 1896.

Berenson, B., Homeless paintings of the renaissance. London, 1969.

Berenson, B., The Italian painters of the renaissance (1894-1907). Oxford, 1980.

Berenson, B., The Italian pictures of the renaissance. The Florentine school (2 vol.), London/New York, 1963.

Berenson, B., The study and criticism of Italian art. London, 1902-1916.

Bering, K., Fra Angelico. Mittelalterlicher Mystiker oder Maler der renaissance? Essen, 1984.

Berti, L., Masaccio. University Park, Pennsylvania, 1967.

Berti, L., Masaccio. Florence, 1988 (with contributions by U. Baldini and R. Foggi).

Berti, L. & A. Paolucci, L’eta di Masaccio. Il primo quattrocento a Firenze. Florence: Palazzo Vecchio, 1990.

Berti, L. & R. Foggi, Masaccio. Catalogo completo dei dipinti. Florence, 1989.

Black, C. et al., Atlas of the renaissance. London, 1993.

Bober, P. & R. Rubenstein, Renaissance artists and antique sculpture. A handbook of sources. New York, 2d ed., 1986.

Boeck, W., ‘Die “Erfinder” der Perspektive’, in: Repertorium für Kunstwissenschaft 1931, p. 249-275.

Bomfort, D. et al., Art in the making. Italian painting before 1400. London, 1989.

Borsi, S., Masaccio. Firenze, 1998.

Borsook, E., ‘A note on Masaccio in Pisa’, in: The Burlington Magazine CIII, 710, 1961, p. 212-215.

Borsook, E., The mural painters of Tuscany from Cimabue to Andrea del Sarto [2nd. rev. ed.]. Oxford, 1980.

Boskovits, M., ‘Giotto born again. Beitragen in der Quellen Masaccios’, in: Zeitschrift für Kunstgeschichte XXIX, 1966, p. 51-66.

Boskovits, M., The origins of florentine painting (1100-1270). Florence, 1992.

Bréton, E., Notice sur Tommaso Guidi dit Masaccio. Saint-Germain-en Laye, 1850.

Brockhaus, H., ‘Die Brancacci-Kapelle in Florenz’, in: Mitteilungen des Kunsthistorisches Instituts in Florenz III, 4, 1930, p. 160-182.

Brown, J., The renaissance. London/New York, 1988.

Brucker, G., Renaissance Florence. New York, 1975.

Burckhardt, J.C., The civilisation of the renaissance in Italy (1860). London, 1995. [Nederlandse editie: De cultuur der renaissance in Italië. Utrecht, 1980.]

Burke, P., The renaissance. Basingstoke, 1997.

Burke, P., The Italian renaissance. Culture and society in Italy. Cambridge (herz. dr.), 1987. [Nederlandse editie: De Italiaanse renaissance. 1984]

Carman, C., ‘Masaccio’s “Tribute Money”. An early reflection of the dignity of man’, in: Source VIII, 1, 1988, p. 7-12.

Camille, M., Gothic art, London?New York, 1996.

Casazza, O., Masaccio and the Brancacci chapel. Firenze, 1990.

Castelfranchi Vegas, L., International gothic art in Italy. London, 1968.

Castelfranchi Vegas, L., Vlaanderen en Italië. Vlaamse primitieven en Italiaanse renaissance. Amsterdam, 1984.

Castelnuovo-Tedesco, The Brancacci chapel in Florence (diss.). UCLA, 1971.

Cavallero, A., ‘The Colonna altarpiece’, in: Roma 1300-1875, l’arte deglianni santi (exhibition catalogue). Rome, 1984, p. 334-346.

Cavazzini, L., Giotto. Firenze, 1998.

Christiansen, K., Gentile da Fabriano. London, 1982.

Christiansen, K., ‘Some observations on the Brancacci chapel frescoes after their cleaning’, in: The Burlington Magazine CXXXIII, 1054, 1991, p. 5-20.

Clark, K., ‘An early quattrocentro triptych from Santa Maria Maggiore, in: The Burlington Magazine, XVIII, 584, 1951, p. 339-346.

Cocke, R., ‘Masaccio and the Spinario, Piero and the Pothos. Observations on the reception of the antique in renaissance painting’, in: Zeitschrift für Kunstgeschichte XLIII, 1, 1980, p. 21-32.

Cocke, R., ‘Planning of the Brancacci fresco cycle. The role of Masaccio’, in: Bulletin of the Society for Renaissance Studies VIII, 1, 1990, p. 12-19.

Cole, B., Agnolo Gaddi. Oxford, 1977.

Cole, B., Giotto and Florentine painting 1280-1375. New York, 1976.

Cole, B., Masaccio and the art of early renaissance Florence. Bloomington, Ind., 1980.

Cole, B., The renaissance artist at work. From Pisano to Titian. New York, 1983.

Cole Ahl, D. (ed.), The Cambridge companion to Masaccio. Cambridge, z.j.

Coolidge, J., ‘Further observations on Masaccio’s “Trinity”’, in: Art Bulletin XLVIII, 3, 1966, p. 382-384.

Covi, D.A., The inscription in fifteenth century Florentine painting. New York, 1986.

Dal Poggetto, P., U. Baldini & U. Procacci, The great age of fresco. Giotto to Pontormo. New York, 1965.

Davies, M., The earlier Italian school (2d ed.). London, 1961.

Debold von Kritter, A., Studien zum Petruszyklus in der Brancaccikapelle (diss.). Berlin, 1975.

Delaborde, M., ‘Des oeuvres et de la manière de Masaccio’, in: Gazette des Beaux-Arts XVIII, 14, 1876, p. 369-384.

Dempsey, C., ‘Masaccio’s Trinity altarpiece or tomb?’, in: Art Bulletin LIV, 3, 1972, p. 279-281.

Edgerton jr., S.H., The renaissance rediscovery of linear perspective. New York, 1975.

Einem, H. von, ‘Zur Deutung von Masaccios Zinsgroschen’, in: Acta Historiae Artium XIII, 1/3, 1967, p. 187-190.

Elkins, J., The poetics of perspective. Ithaca/London, 1994.

Field, J.V., R. Lunardi & T.B. Settle, ‘The perspective scheme of Masaccio’s “Trinity”’, in: Nuncius, Annali di Storia della Scienza IV, 2, 1989, p. 31-114.

Freemantle, R., Florentine gothic painters. From Giotto to Masaccio. London, 1975.

Freemantle, R., ‘Masaccio and the antique’, in: Critica d’Arte 16/103, 1969, p. 39-56.

Freemantle, R., ‘Restoration at Arezzo’, in: The Burlington Magazine CXVII, 865, 1975, p. 265-266.

Freemantle, R., ‘Some documents concerning Masaccio and his mother’s second family’, in: The Burlington Magazine CXV, 845, 1973, p. 516-519.

Freemantle, R., ‘Some new Masolino documents’, in: The Burlington Magazine, CXVII, 1975, p. 658-659.

Gardner von Teuffel, C., ‘Masaccio and the Pisa altarpiece. A new approach’, in: Jahrbuch der Berliner Museen XIX, 1977, p. 23-68.

Gilbert, C.E., History of renaissance art. New York, 1973.

Gilbert, C.E., Italian art: 1400-1500. Sources and documents in the history of art. Engelwood Cliffs, NJ, 1980.

Gilbert, C.E., ‘The drawings now associated with Masaccio’s Sagra’, in: Storia dell’ Arte 3, 1969, p. 260-278.

Goffen, R. Spirituality in conflict. Saint Francis and Giotto’s Bardi chapel. London, 1988.

Goffen, R., ‘Masaccio’s Trinity’, in: Masterpieces of Western painting. New York/London, 1998.

Goffen, R., ‘Masaccio’s Trinity and the Letter to the Hebrews’, in: Memorie dominicane, II, 1980, p. 489-504.

Goldscheider, L., Lorenzo Ghiberti. London, 1949.

Gombrich, E.H., Die Geschichte der Kunst. Stuttgart, 1987, hfdst. 12-18.

Gombrich, E.H., Norm and form. Studies in the art of the renaissance (1966). London, 1985.

Gould, C., ‘On the direction of light in Italian renaissance frescoes and altarpieces’, in: Gazette des Beaux Arts VI période, XCVII, 1344, 1981, p. 20-25.

Graham-Dixon, A., Renaissance. Utrecht/Antwerpen: 2002.

Guillaud, M., Les fresques de Masaccio à la chapelle Brancacci avec les fresques de Masolino et de Filippino Lippi. Paris/New York, 1991.

Hadeln, D.F. von, ‘Andrea di Giusto und das dritte predellenstück vom pisanischen altarwerk des Masaccio’, in: Monatshefte für Kunstwissenschaft 1908, p. 784-789.

Hale, J.R., The civilisation of Europe in the renaissance. London, 1993.

Hartt, F., A history of Italian renaissance art. Painting, sculpture, architecture (1970), herz. D. Wilkins. New York/London, 1994.

Hartt, F. & D. Finn, Donatello. Prophet of modern vision. New York/London, 1973.

Hatfield, R., ‘Five early renaissance portraits’, in: Art Bulletin, XLVII, 1965, p. 315-334.

Hay, D., The age of the renaissance. London, 1986.

Hay, D., The Italian renaissance in its historical background (1961). Cambridge, 1977.

Helton, T. (red.), The renaissance. A reconsideration of the theories and interpretations of the age (1961). Madison, 1964.

Hertlein, E., Masaccios Trinität. Kunst, Geschichte und Politik der Frührenaissance in Florenz. Florence, 1979.

Hills, P., The light of early Italian painting. London, 1987.

Holmes, G., Renaissance. London, 1996.

Holmes, G., The Florentine enlightenment: 1400-1450. New York, 1969.

Honour, H. & J. Fleming, Algemene kunstgeschiedenis. Amsterdam, 2013.

Huber, F., Das Trinitatfresko von Masaccio and Filippo Brunelleschi in Santa Maria Novella zu Florenz. München, 1990.

Huizinga, J., Das Problem der renaissance (1920). Renaissance und realismus (1929). Berlin, 1991.

Huizinga, J., Herfsttij der middeleeuwen. Studie over levens- en gedachtenvormen der veertiende en vijftiende eeuw in Frankrijk en de Nederlanden (1919). Leiden, 2018.

Italiaanse schilderkunst. Meesters en meesterwerken door de eeuwen heen. Keulen: 1998.

Jacobsen, W., ‘Die Konstruktion der Perspektive bei Masaccio und Masolino in der Brancaccikapelle’, in: Marburger Jahrbuch für Kunstwissenschaft 21, 1986, p. 73- 92.

Janson, H.W., ‘Ground plan and elevation in Masaccio’s Trinity fresco’, in: Essays in the history of art presented to Rudolf Wittkower, p. 83-88. London, 1967.

Joannides, P., ‘A Masolino partially reconstructed’, in: Source IV, 4 (1985 [1986]), p. 1-5.

Joannides, P., Masaccio and Masolino. A complete catalogue. New York/London, 1993.

Joannides, P., ‘Masaccio, Masolino and “minor sculpture”’, in: Paragone XXXVIII, 451, 1987, p. 3-24.

Joannides, P., ‘Masaccio. A lost painting and a drawing’, in: Arte Christiana LXXVIII, 741, 1990, p. 435-436.

Joannides, P., ‘Masaccio’s Brancacci chapel’, in: Apollo CXXXIII, 347, 1991, p. 26-32.

Joannides, P., ‘The Colonna triptych by Masaccio and Masolino. Chronology and collaboration’, in: Arte Christiana LXXVI, 728, 1988, p. 339-346.

Johansen, P., ‘Masolino, Masaccio und Tabitha’, in: Archaeologish-kunsthistoriske Meddelelsen del Kgl. Danske Videnskabernes selskab I, 4, 1935, p. 3-7.

Jones, R., ‘Masolino at the Colosseum’, in: The Burlington Magazine, CXXII, 923, 1980, p. 121-122.

Kanter, L. et al., Painting and illumination in early renaissance Florence: 1300- 1450. New York, 1994.

Kemp, M., Behind the picture. Art and architecture in the Italian renaissance. New Haven/London, 1997.

Kemp, M., The science of art. Optical themes in western art from Brunelleschi to Seurat. New Haven/London, 1990.

Kemp, W., ‘Masaccio’s Trinità in Kontext’, in: Marburger Jahrbuch für Kunstwissenschaft 21, 1986, p. 45-72.

Krämer, Th., Florenz und die Geburt der Individualität. Stuttgart, 1992.

Kreytenberg, G., ‘Masaccio und die Skulptur Donatellos und Nanni di Bancos’, in: Hesse, M. & M. Imdahl (ed.), Studien zu Renaissance und Barock. Manfred Wundram zum 60 Geburtstag, p. 11-19. Frankfurt, 1986.

Kunst in context. Wereldgeschiedenis van stromingen en bewegingen. z.j.

Ladis, A., The Brancacci chapel, Florence. New York, 1993.

Lavin, I. & J. Plummer (ed.), ‘Discoveries and rediscoveries of early Italian painting’, in: Arte Christiana LXXI, 695, 1981, p. 69-80.

Lavin, I. & J. Plummer (ed.), Studies in late medieval and renaissance painting in honour of Millard Meiss. New York, 1977, p. 445-454.

Levey, M., The early renaissance. Harmondsworth, 1967.

Lieberman, R., ‘Brunelleschi e Masaccio in Santa Maria Novella’, in: Memorie Dominicane XII, 1981, p. 127-139.

Lindberg, H., To the problem of Masolino and Masaccio (2 vol.). Stockholm, 1931.

Longhi, R., ‘Fatti di Masolino e di Masaccio’, in: Critica d’arte XXV/XXVI, 1940, p. 145-191.

Longhi, R., ‘Masolino and Masaccio’ [vertaling van ‘Fatti di Masolino e di Masaccio’ van D. Tabbat en D. Jacobson] in: Roberto Longhi. Three studies. New York, 1995, p. 1-92.

Longhi, R., Piero della Francesca. Roma, z.j.

Lübke, W., ‘Masolino und Masaccio’, in: Jahrbücher für Kunstwissenschaft III, 1870, p. 280-286.

Lunghi, E., The basilica of St. Francis of Assisi. The frescoes by Giotto, his precursors and followers. London, 1996.

Mallory, M., ‘An early quattrocentro Trinity’, in: Art Bulletin XCVIII, 1, 1966, p. 85-89.

Manetti, A., The life of Brunelleschi. University Park/London, 1970.

Maurer, E., ‘Masaccio “vom Himmel gefallen”’, in: Neue Zürcher Zeitung, 6 april 1969, p. 51-52.

Meiss, M., ‘London’s new Masaccio’, in: Artnews LI, 1952, p. 24-25 en 50-51.

Meiss, M., ‘Masaccio and the early renaissance. The circular plan’, in: The renaissance and mannerism. Studies in Western art (Acts of the 20th International Congress of the History of Art). Princeton, NJ, 1963, II, p. 123-145. [herdrukt in: M. Meiss, The painter’s choice. New York, 1976.]

Meiss, M., Painting in Florence and Siena after the Black Death. Princeton, NJ, 1973 (2d ed. 1978).

Meiss, M., ‘The altered program of the Santa Maria Maggiore altarpiece’, in: Studien zur toskanischen Kunst. Festschrift für Ludwig Heinrich Heydenreich, zum 23. März 1963. Munich, 1964, p. 169-190.

Meiss, M., The great age of fresco. Discoveries, recoveries and survivals. New York/London, 1970.

Meiss, M., ‘The Madonna of Humility’, in: Art Bulletin XVIII, p. 435.

Meiss, M., The painter’s choice. Problems in the interpretation of renaissance art. New York, 1976.

Mesnil, J., Die Kunstlehre der Frührenaissance im Werke Masaccios’, in: Vorträge der Bibliothek Warburg 5, 1925-1926 (1928), p. 122-146.

Mesnil, J., ‘La data della morte di Masaccio’, in: Rivista d’Arte, VIII, 1909 [1912], p. 31-34.

Mesnil, J., ‘Le fresque de la Trinité a Santa Maria Novella’, in: Bulletin de l’Art ancien et moderne 1913, p. 223-224.

Mesnil, J., ‘Masaccio and the antique’, in: The Burlington Magazine XlVIII, 1926, p. 91-98.

Mesnil, J., ‘Masaccio et la théorie de la perspective’, in: Revue de l’art ancien et moderne XXXV, 1914, p. 145-146.

Mesnil, J., Masaccio et les débuts de la renaissance. The Hague, 1927.

Mesnil, J., ‘Masolino ou Masaccio’, in: Gazette des Beaux-Arts 1929, p. 206-209.

Mesnil, J., ‘Vues nouvelles sur l’art de Masaccio’, in: Revue de l’art ancien et moderne, LXII, 1932, p. 145-162.

Middeldorf, U. & B. Cole, ‘Masaccio, Lippi or Hugford’, in: The Burlington Magazine CXIII, 1971, p. 500-507.

Mode, R.C., ‘Masolino, Uccello, and the Orsini “Huomini Famosi”’, in: The Burlington Magazine CXIV, 1972, p. 369-378.

Mohlo, A., ‘The Brancacci chapel. Studies in its iconography and history’, in: Journal of the Warburg and Courtauld Institutes 40, 1977, p. 50-98.

Neilson, K.B., Filippino Lippi. A critical study. Cambridge, Massachusetts, 1938.

Norman, D., Siena, Florence and Padua. Art, society and religion. 1280-1400. New Haven/London, 1995.

Oertel, R., ‘Die Frühwerke des Masaccio’, in: Marburger Jahrbuch für Kunstwissenschaft VII, 1933, p. 191-289.

Oertel, R., Fra Filippo Lippi. Wien, 1942.

Oertel, R., ‘Masaccio und die Geschichte der Freskotechnik’, in: Jahrbuch der Königlich Preussischen Kunstsammlungen LV, 1934, p. 229-240.

Oertel, R., ‘Perspective and imagination’, in: Studies in western art. Acts of the 20th International Congress of History of Art. Princeton, NJ, 1962, II, p. 146-159.

Offner, R., ‘Light on Masaccio’s classicism’, in: Studies in the History of Art. Dedicated to William E. Suida. London, 1959, p. 66-73.

Offner, R. & K. Steinweg, A critical and historical corpus of Florentine painting. Florence, 1984.

Paatz, W. & H. Schulte Nordholt, De kunst der renaissance in Italië. Utrecht, 1953.

Panofsky, E., Die Renaissancen der europäischen Kunst. Frankfurt, 1979.

Panofsky, E., Renaissance and renascences in western art (1960). New York, 1972.

Panofsky, E., Studies in iconology. Humanistic thems in the art of the renaissance. Oxford, 1939.

Patch, T., The life of Masaccio. Florence, 1770.

Perrig, A., ‘Masaccio’s “Trinità” und der Sinn der Zentralperspektive’, in: Marburger Jahrbuch für Kunstwissenschaft 21, 1986, p. 11-14.

Poeschke, J., Die Kirche San Francesco in Assisi und ihre Wandmalereien. München, 1985.

Polzer, J., ‘Masaccio and the late antique’, in: Art Bulletin LIII, 1, 1971, p. 36-40.

Polzer, J., ‘The anatomy of Masaccio’s Holy Trinity’, in: Jahrbuch der Berliner Museen XIII, 1971, p. 18-59.

Pope-Hennessy, J., Donatello. sculptor. New York, 1993.

Pope-Hennessy, J., Fra Angelico. London, 1952 [2nd ed. London, 1974].

Pope-Hennessy, J., Luca della Robbia. Oxford, 1980.

Pope-Hennessy, J., ‘The Colonna altarpiece in Sta. Maria Maggiore’, in: The Burlington Magazine XCIV, 586, 1952, p. 31-32.

Pope-Hennessy, J., ‘The interaction of painting and sculpture in Florence in the fifteenth-century’, in: Journal of the Royal Society of Arts CXVII, 1969, p. 406-424.

Pope-Hennessy, J., The portrait in the renaissance. London, 1966.

Pope-Hennessy, J., Uccello. London, 1950 [2nd ed. London, 1969].

Pope-Hennessy, J. & K. Christiansen, ‘Secular painting in fifteenth-century Tuscany, in: The Metropolitan Museum of Art Bulletin 38, no. 1, 1980.

Procacci, U., ‘Le Castato florentin de 1427’, in: Revue de l’Art 54, 1981, p. 7-22.

Procacci, U., Tutta la pittura di Masaccio. [Engelse vertaling: All the paintings of Masaccio. London, 1962.]

Roberts, P.L., Masolino da Panicale, New York/Oxford, 1993.

Roeck, B., Der Morgen der Welt. Geschichte der Renaissance. C.H. Beck, 2018.

Roettgen, S., Italian frescos. The early renaissance, 1400-1470. New York/London/ Paris, 1996.

Schlegel, U., ‘Observations on Masaccio’s Trinity fresco in S. Maria Novella’, in: Art Bulletin XLV, 1, 1963, p. 19-33.

Schmarsow, A., Masaccio Studien (5 vol.). Kassel, 1895-1899.

Schmarsow, A., Masolino und Masaccio. Leipzig, 1928.

Schmarsow, A., ‘Neue Beitrage zu Masolino und Masaccio’, in: Belvedere VII, 1925, p. 145-157.

Schmarsow, A., ‘Zur Masolino-Masaccio Forschung’, in: Zeitschrift für bildende Kunst, Kunstchronik & Kunstliteratur 1930, p. 1-3.

Schmidt, A., ‘Zur Wiederbelebung der Antike in Trecento’, in: Mitteilungen des Kunsthistorischen Instituts in Florenz XVIII, 1974, p. 167-218.

Shearman, J., ‘Masaccio’s Pisa altarpiece. An alternative reconstruction’, in: The Burlington Magazine CVIII, 762, 1966, p. 449-455.

Shearman, J., Only connect … Art and the spectator in the Italian renaissance. Princeton, NJ, 1992.

Shell, C., ‘Francesco d’Antonio and Masaccio’, Art Bulletin XLIII, 1965, p. 465-469.

Shulman, K., Anatomy of a restoration. The Brancacci chapel. New York, 1991.

Simpson, C., The partnership. London, 1987.

Simson, O. von, ‘Über die Bedeutung von Masaccios Trinitätsfresko in S. Maria Novella’, in: Jahrbuch der Berliner Museen VIII, 1966, p. 119-159.

Smart, A., The Assisi problem and the art of Giotto. New York, 1983.

Spike, J.T., Fra Angelico. New York, 1996.

Spike, J.T., Masaccio. New York/London/Paris: 1995.

Strehlke, C.B. & C. Frosinini, The panel paintings of Masolino and Masaccio. The role of technique. Milan, 2002.

Strehlke, C.B. & M. Tucker, ‘The Santa Maria Maggiore altarpiece. New observations’, in: Arte Christiana LXXV, 719, 1987, p. 105-124.

Stubblebine, J. et al., ‘Early Masaccio. A hypothetical lost Madonna and a disattribution’, in: Art Bulletin LXII, 1980, p. 217-225.

Takcas, J., Masaccio. Berlin/Budapest/Warsaw, 1979.

Tartuferi, A., I giotteschi. Firenze/Milaan, 2011.

Thausing, M., ‘Masaccio und Masolino in der Brancacci Kapelle’, in: Zeitschrift für Bildende Kunst 1876, p. 225-238.

Tolnay, C. de, ‘Note sur l’iconographie des fresques de la chapelle Brancacci’, in: Arte Lombarda X, Studi in onore di Giusta Nicco Fasola, 1965, p. 69-74.

Tolnay, C. de, ‘Renaissance d’une fresque’, in: l’Oeil 37, 1958, p. 30-41.

Toman, R., De kunst van de gotiek. Architectuur, beeldhouwkunst, schilderkunst. Keulen, 1998.

Toman, R., De kunst uit de Italiaanse renaissance. Architectuur, beeldhouwkunst, schilderkunst, tekenkunst. Keulen, 1994.

Turner, A.R., The renaissance in Florence. The birth of a new art. London, 1997. [Amerikaanse editie: Renaissance Florence. The invention of a new art. New York, 1997.]

Vasari, G., De levens van de grootste schilders, beeldhouwers en architecten. Amsterdam/Antwerpen, 6e druk, 2017.

Vayer, L., ‘Porträtproblem in Masaccios Kunst’, in: Jahrbuch des Kunsthistorisches Institutes der Universität, Graz VII, 1972, p. 29-49.

Venturi, L., ‘A Madonna by Masaccio’, in: The Burlington Magazine LVII, 328, 1930, p. 21-27.

Verdon, T. & J. Henderson (ed.), Christianity and the renaissance. Image and religious imagination in the quattrocentro. Syracuse/New York, 1990.

Voragine, Jacopo de, Legenda aurea. Legendatio delle vite de´Santi (ca. 1280). [Engelse vertaling: The golden legend. Reading on the saints, Princeton, 1993]

Vries, A. de, Schilderkunst in Florence tussen 1400 en 1430 (diss.). Universiteit Leiden, 2004.

Wackernagel, M. (ed.), The world of the Florentine renaissance artists. Princeton, 1981.

Wassermann, G., Masaccio und Masolino. Probleme eine Zeitenwende und ihre schöpferische Gestaltung. Strasbourg, 1935.

Watkins, L.B., ‘Technical observations on the Brancacci chapel frescoes’, in: Mitteilungen des Kunsthistorischen Instituts in Florenz XVII, 1973, p. 65-74.

Watkins, L.B., The Brancacci chapel frescoes. Meaning and use (diss.). Ann Arbor, University of Michigan, 1970.

Weiss, R., The renaissance discovery of classical antiquity. New York, 1973.

Welch, E.S., Art and society in Italy 1350-1500. Oxford/New York, 1997.

Welliver, W., ‘Narrative method and narrative form in Masaccio’s Tribute Money’, in: Art Quarterly XXXVI, 1, 1973, p. 40-58.

Westfall, C.W., In this most perfect paradise. University Park/London, 1974.

White, J., Art and architecture in Italy 1250-1400. New Haven/London, 1993.

White, J., The birth and rebirth of pictorial space. London, 1957.

Wixom, N.C., ‘Master of 1419, Madonna & Child Enthroned’, in: European painting before 1500 in the Cleveland Museum of Art, p. 89-91. Cleveland, 1974.

Wohl, H., ‘“Puro senza ornato”: Masaccio, Christoforo Landino and Leonardo da Vinci’, in: Journal of the Warburg and Courtauld Institutes 1993, p. 256-260.

Wohl, H., The paintings of Domenico Veneziano, c. 1410-1461. Oxford/New York, 1980.

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