The figurative style of the Renaissance was produced first in sculpture and only later in painting, heralded by the work of the extraordinary Gentile Fabriano (c. 1385–1427). He was one of those artists who was not sufficiently appreciated, according to Hartt, who writes, "Gentile abandons, for the first time as far as we know in Italian painting, the flat gold or undifferentiated blue background in favor of representing a sky of atmospheric and luminary effects" (p. 226). Fabriano also seems to have been the first Italian painter to depict shadows cast consistently by light from an identifiable source. This new concentration on background landscape was brought to its fullest development by the famous Masaccio, a young genius who died a tragically early death. Hartt cleverly juxtaposes the Temptation fresco by Masolino in the Brancacci chapel that was painted in 6 days with the Masaccio Expulsion in the same chapel, painted in 4 days (p. 234). The latter, my very favorite Early Renaissance painting, shows the emotionally explosive genius of Masaccio, and Hartt compares this with the work of Masolino, a very competent Renaissance painter of the 1420s. Masaccio and Masolino were friends and worked in the same chapel together. These paintings are in color in the fifth edition and reveal how much was left wanting in the black and white versions in the first edition.