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Oil Paintings
Come From United Kingdom
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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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Simone Martini
predella
c. 1317 Tempera on wood, 56 x 38 cm
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Simone Martini
St Francis and St Louis of Toulouse
1318 Fresco,
120 x 152 cm Lower Church, San Francesco
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Simone Martini
Detail of the Annunciation and two saints
nn09
1333
Tempera on wood
184x210cm
overall
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Simone Martini
Bebadelsen
mk234
1333
265x305cm
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Simone Martini
Bebadelsen
mk234
about 1333
30.5x22cm
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Simone Martini
Jesus aterfinns in the sanctuary
mk234
1342
50x35cm
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Simone Martini
The annunciation with Two Saints
mk247
1333,tempera on wood,104x120 in,265x305cm,uffizi,florence,ltaly
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Simone Martini
Christ on the Cross
mk247
c.1340,tempera and gold on panel,9x5in,24x13cm,fogg art museum,cambridge,MA,USA
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Simone Martini
angeln gabriel, bebadelsen
mk248 har ar forgyllningen markbar, angelns ard ar ristade i en bakgrund av matt bladguld. det fanns ingen valualagstiftning,sa professionlla guldslagare kun de utvinna bundra bld ur en enda ducat, det medeltida italiens guldmynt.
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Simone Martini
Jesus crucified like back
mk255 plastic painting dyes, gold background, Yang wood about 0.30 meters, 0.20 meters wide Louvre
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Simone Martini
Petrach Virgil
Petrach's Virgil (title page) (c. 1336)
Illuminated manuscript, 29,5 x 20 cm
Biblioteca Ambrosiana, Milan
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Simone Martini
The Annunciation with St. Margaret and St. Asano,
The Annunciation with St. Margaret and St. Asano, 1333
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Simone Martini
Christ Discovered in the Temple
Christ Discovered in the Temple, 1342
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Simone Martini
detail depicting Saint Clare of Assisi from a fresco in the Lower basilica of San Francesco
detail depicting Saint Clare of Assisi from a fresco (1312?C20) in the Lower basilica of San Francesco, Assisi
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Simone Martini
Madonna with the Holy Ones,
Madonna with the Holy Ones, 1319
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Simone Martini
St Margaret
1318 Fresco, 67 x 55 cm (size of detail) Lower Church, San Francesco, Assisi According to the legend St Margaret was thrown into prison because she rejected Olybrius, the Roman governor. In the prison she was attacked by the Devil and, while at prayer, swallowed by a dragon. Since she was carrying a small crucifix she was able to cut a hole in the monsters belly and escaped. Her attributes are the cross and the dragon. Artist:SIMONE MARTINI Title: St Margaret (detail), 1301-1350, Italian , painting , religious
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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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