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Simone Martini
St Catherine and St Lucy
1320-25
Tempera on wood,
54 x 41 and 51 x 40 cm
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Simone Martini
Madonna of Mercy
1308-10
Tempera on wood,
154 x 84 cm
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Simone Martini
Saint Martin Renounces his Weapons
1312-17
Fresco,
265 x 230 cm
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Simone Martini
Petrach's Virgil, title page
c. 1336
Illuminated manuscript,
29,5 x 20 cm
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Simone Martini
St John the Evangelist
1330-39
Tempera on wood,
34,5 x 24 cm
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Simone Martini
Blessing Christ
c. 1317
Tempera on wood, 76 x 46 cm
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Simone Martini
t Francis and St Louis of Toulouse
1318
Fresco, 120 x 152 cm
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Simone Martini
St Elisabeth, St Margaret and Henry of Hungary
1318
Fresco,
120 x 228 cm
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Simone Martini
Christ Returning to his Parents
1342
Tempera on wood, 49,5 x 35 cm
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Simone Martini
St Ladislaus, King of Hungary
c. 1326
Tempera on wood, 45,5 x 21,5 cm
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Simone Martini
The Death of St. Martin
1312-17
Fresco, 284 x 230 cm
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Simone Martini
Burial of St Martin
1312-17
Fresco,
284 x 230 cm
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Simone Martini
Equestrian portrait of Guidoriccio da Fogliano
1328-30
Fresco, 340 x 968 cm
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Simone Martini
Equestrian portrait of Guidoriccio da Fogliano
1328-30
Fresco, 340 x 968 cm
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Simone Martini
Madonna and Child between St Stephen and St Ladislaus
1318
Fresco, 110 x 200 cm
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Simone Martini
St Anthony and St Francis
1317
Fresco, 215 x 185 cm
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Simone Martini
St Louis of France and St Louis of Toulouse
1317
Fresco, 215 x 185 cm
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Simone Martini
St Clare and St Elizabeth of Hungary
1317
Fresco, 215 x 185 cm
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Simone Martini
Maesta
mk83
c.1315
Fresco
763x970cm
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Simone Martini
Guidoriccio da Fogliano
mk83
1328
Fresco
340x967cm
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| Simone Martini
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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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