Simone Martini

1283-1344 Italian Simone Martini Locations He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maest?? of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maest?? (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.


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Simone Martini Guidoriccio da Fogliano Besieging Mote Massi oil


Guidoriccio da Fogliano Besieging Mote Massi
Painting ID::  30395
Guidoriccio da Fogliano Besieging Mote Massi
mk68 Fresco Siena,Palazzo Pubbico 1330-1333 Italy
mk68 Fresco Siena,Palazzo_Pubbico 1330-1333 Italy
   
   
     

Simone Martini Annunciation with Two Saints and Four Prophets oil


Annunciation with Two Saints and Four Prophets
Painting ID::  30396
Annunciation with Two Saints and Four Prophets
mk68 Tempera on wood 72 1/2x6'10" Florence Uffizi Early Ltalian
   
   
     

Simone Martini Window oil


Window
Painting ID::  32629
Window
c. 1312 Stained glass, 570 x 400 cm
c._1312 Stained_glass,_570_x_400_cm
   
   
     

Simone Martini Orvieto Polyptych oil


Orvieto Polyptych
Painting ID::  32630
Orvieto Polyptych
c. 1321 Tempera on wood, 113 x 257
c._1321 Tempera_on_wood, _113_x_257
   
   
     

Simone Martini Blessed Agostino Novello Altarpiece oil


Blessed Agostino Novello Altarpiece
Painting ID::  32631
Blessed Agostino Novello Altarpiece
1324 Tempera on wood, 198 x 257 cm
1324 Tempera_on_wood,_198_x_257_cm
   
   
     

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     Simone Martini
     1283-1344 Italian Simone Martini Locations He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maest?? of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maest?? (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.

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