1.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
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Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
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Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
2.
Siena
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Siena is a city in Tuscany, Italy. It is the capital of the province of Siena, the historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nations most visited tourist attractions, with over 163,000 international arrivals in 2008, Siena is famous for its cuisine, art, museums, medieval cityscape and the Palio, a horse race held twice a year. Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans when it was inhabited by a called the Saina. A Roman town called Saena Julia was founded at the site in the time of the Emperor Augustus, the first document mentioning it dates from AD70. Some archaeologists assert that Siena was controlled for a period by a Gaulish tribe called the Senones, according to local legend, Siena was founded by Senius and Aschius, two sons of Remus and thus nephews of Romulus, after whom Rome was named. Supposedly after their fathers murder by Romulus, they fled Rome, taking them the statue of the she-wolf suckling the infants. Additionally they rode white and black horses, giving rise to the Balzana, some claim the name Siena derives from Senius. Other etymologies derive the name from the Etruscan family name Saina, Siena did not prosper under Roman rule. It was not sited near any major roads and lacked opportunities for trade and its insular status meant that Christianity did not penetrate until the 4th century AD, and it was not until the Lombards invaded Siena and the surrounding territory that it knew prosperity. Siena prospered as a trading post, and the constant streams of pilgrims passing to, the oldest aristocratic families in Siena date their line to the Lombards surrender in 774 to Charlemagne. This ultimately resulted in the creation of the Republic of Siena, the Republic existed for over four hundred years, from the late 11th century until the year 1555. During the golden age of Siena before the Black Death in 1348, in the Italian War of 1551–59, the republic was defeated by the rival Duchy of Florence in alliance with the Spanish crown. After 18 months of resistance, Siena surrendered to Spain on 17 April 1555, the new Spanish King Felipe II, owing huge sums to the Medici, ceded it to the Grand Duchy of Tuscany, to which it belonged until the unification of Italy in the 19th century. A Republican government of 700 Sienese families in Montalcino resisted until 1559, the picturesque city remains an important cultural centre, especially for humanist disciplines. The city lies at 322 m above sea level, the Siena Cathedral, begun in the 12th century, is a masterpiece of Italian Romanesque-Gothic architecture. Its main façade was completed in 1380, the original plan called for an ambitiously massive basilica, the largest then in the world, with, as was customary, an east-west nave. However, the scarcity of funds, in due to war and plague, truncated the project
Siena
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View of downtown Piazza del Campo (Campo Square), with the Mangia Tower (Torre del Mangia) and Santa Maria Church
Siena
–
Piazza del Campo.
Siena
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Capitoline Wolf at
Siena Duomo. According to a legend Siena was founded by
Senius and Aschius, two sons of Remus. When they fled
Rome, they took the statue of She-wolf to Siena, which became a symbol of the town.
Siena
–
Siena Cathedral
3.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
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The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
–
Flag
Italy
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The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
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Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
4.
Florence
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Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
Florence
–
A collage of Florence showing the
Galleria degli Uffizi (top left), followed by the
Palazzo Pitti, a sunset view of the city and the
Fountain of Neptune in the
Piazza della Signoria
Florence
–
A wooden model of Florence as it would have probably looked during Roman times, showing the ancient amphitheatre
Florence
–
The façade of the Cathedral
Florence
–
Leonardo da Vinci statue outside the
Uffizi Gallery.
5.
Gothic art
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Gothic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century AD, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, and much of Southern and Central Europe, in the late 14th century, the sophisticated court style of International Gothic developed, which continued to evolve until the late 15th century. In many areas, especially Germany, Late Gothic art continued well into the 16th century, primary media in the Gothic period included sculpture, panel painting, stained glass, fresco and illuminated manuscripts. The earliest Gothic art was monumental sculpture, on the walls of Cathedrals, Christian art was often typological in nature, showing the stories of the New Testament and the Old Testament side by side. Increased literacy and a body of secular vernacular literature encouraged the representation of secular themes in art. Gothic art emerged in Île-de-France, France, in the early 12th century at the Abbey Church of St Denis built by Abbot Suger, monastic orders, especially the Cistercians and the Carthusians, were important builders who disseminated the style and developed distinctive variants of it across Europe. Gothic art was often typological in nature, reflecting a belief that the events of the Old Testament pre-figured those of the New, Old and New Testament scenes were shown side by side in works like the Speculum Humanae Salvationis, and the decoration of churches. The Gothic period coincided with a resurgence in Marian devotion. Images of the Virgin Mary developed from the Byzantine hieratic types, through the Coronation of the Virgin, to human and initimate types. Artists like Giotto, Fra Angelico and Pietro Lorenzetti in Italy, and Early Netherlandish painting, brought realism, Western artists, and their patrons, became much more confident in innovative iconography, and much more originality is seen, although copied formulae were still used by most artists. Even in Last Judgements Christ was now usually shown exposing his chest to show the wounds of his Passion, the word Gothic for art was initially used as a synonym for Barbaric, and was therefore used pejoratively. Its critics saw this type of Medieval art as unrefined and too remote from the aesthetic proportions, Renaissance authors believed that the Sack of Rome by the Gothic tribes in 410 had triggered the demise of the Classical world and all the values they held dear. Gothic art was criticized by French authors such as Boileau, La Bruyère, Rousseau, before becoming a recognized form of art. Molière would famously comment on Gothic, The besotted taste of Gothic monuments, These odious monsters of ignorant centuries, in its beginning, Gothic art was initially called French work, thus attesting the priority of France in the creation of this style. Painting in a style that can be called Gothic did not appear until about 1200, or nearly 50 years after the origins of Gothic architecture and sculpture. Then figures become more animated in pose and facial expression, tend to be smaller in relation to the background of scenes, and are arranged more freely in the pictorial space, where there is room. This transition occurs first in England and France around 1200, in Germany around 1220, painting during the Gothic period was practiced in four primary media, frescos, panel paintings, manuscript illumination and stained glass. Frescoes continued to be used as the pictorial narrative craft on church walls in southern Europe as a continuation of early Christian
Gothic art
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The Western (Royal) Portal at
Chartres Cathedral (ca. 1145). These architectural statues are the earliest Gothic sculptures and were a revolution in style and the model for a generation of sculptors.
Gothic art
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Later Gothic depiction of the
Adoration of the Magi from
Strasbourg Cathedral.
Gothic art
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Gothic sculpture, late 15th century,
Amiens Cathedral.
Gothic art
–
14th Century
International Gothic Mary Magdalene in St. John Cathedral in
Toruń.
6.
Duccio
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Duccio di Buoninsegna was an Italian painter active in Siena, Tuscany in the late 13th and early 14th centuries. He is considered to be the father of Sienese painting and, along with a few others and he was hired throughout his life to complete many important works in government and religious buildings around Italy. Duccio is credited with creating the painting styles of Trecento and the Sienese school, although much is still unconfirmed about Duccio and his life, there is more documentation of him and his life than of other Italian painters of his time. It is known that he was born and died in the city of Siena, other details of his early life and family are as uncertain, as much else in his history. One avenue to reconstructing Duccios biography are the traces of him in archives that list when he ran up debts or incurred fines, some records say he was married with 7 children. The relative abundance of archival mentions has led historians to believe that he had difficulties managing his life, another route to filling in Duccios biography are by analyzing the works that can be attributed to him with certainty. Information can be obtained by analyzing his style, the date and location of the works, due to gaps where Duccios name goes unmentioned in the Sienese records for years at a time, scholars speculate he may have traveled to Paris, Assisi and Rome. Nevertheless, his talents were enough to overshadow his lack of organization as a citizen. In the 14th century Duccio became one of the most favored, where Duccio studied, and with whom, is still a matter of great debate, but by analyzing his style and technique art historians have been able to limit the field. Little is known of his career prior to his first documented commission. In 1278, at the age of 23, he was hired to paint 12 wooden panels to cover government documents for The Nine, although Duccio was active from 1268 to about 1311 only approximately 13 of his works survive today. Furthermore, of Duccios surviving works, only two can be securely dated, Duccios known works are on wood panel, painted in egg tempera and embellished with gold leaf. Different from his contemporaries and artists before him, Duccio was a master of tempera and managed to conquer the medium with delicacy, there is no clear evidence that Duccio painted frescoes. Duccio’s style was similar to Byzantine art in ways, with its gold backgrounds and familiar religious scenes, however it was also different. Duccio began to break down the lines of Byzantine art. He used modeling to reveal the figures underneath the heavy drapery, hands, faces, duccio’s paintings are inviting and warm with color. His pieces consisted of many details and were sometimes inlaid with jewels or ornamental fabrics. Duccio was also noted for his organization of space
Duccio
–
Maestà with Twenty Angels and Nineteen Saints, detail
Duccio
–
The Calling of the Apostles Peter and Andrew (from the Maestà), c. 1308-1311.
Duccio
–
Madonna with child, the child pulling the madonnas hair
Duccio
–
Annunciation
7.
Simone Martini
–
Simone Martini was an Italian painter born in Siena. He was a figure in the development of early Italian painting. It is thought that Martini was a pupil of Duccio di Buoninsegna, martinis brother-in-law was the artist Lippo Memmi. Very little documentation of Simones life survives, and many attributions are debated by art historians, Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maestà 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 Simones prototypes would have on other artists throughout the 14th century. During this stay, putative pupils were his son Francesco, Gennaro di Cola, francis Petrarch became a friend of Simones while in Avignon, and two of Petrarchs sonnets make reference to a portrait of Laura de Noves that Simone supposedly painted for the poet. A Christ Discovered in the Temple is in the collections of Liverpools Walker Art Gallery, Simone Martini died while in the service of the Papal court at Avignon in 1344. Memmo di Filippuccio Vasari, Giorgio, translation by George Bull, Art of Simone Martini Simone Martini – Gothic Painter
Simone Martini
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Petrarch 's Virgil (title page) (c. 1336) Illuminated manuscript, 29,5 x 20 cm Biblioteca Ambrosiana, Milan
Simone Martini
–
The
Annunciation with St. Margaret and St. Ansanus, 1333
Simone Martini
–
Saint Catherine of Alexandria Polyptych, 1319
Simone Martini
–
Virgin and Child with Saints (Boston Polyptych), c. 1321-5
8.
Pietro Lorenzetti
–
Pietro Lorenzetti was an Italian painter, active between c.1306 and 1345. Together with his younger brother Ambrogio, he introduced naturalism into Sienese art, in their artistry and experiments with three-dimensional and spatial arrangements, the brothers foreshadowed the art of the Renaissance. That the men were brothers was unknown to Vasari because he misread Pietros surname on a painting in Pistoias church of San Francesco as Laurati, thus the kinship between the artists was missed. Pietro worked in Assisi, Florence, Pistoia, Cortona, and Siena and his work suggests the influence of Duccio, Giotto, and Giovanni Pisano. According to Vasari, it was Pietros frescoes that adorned the facade of Sienas Ospedale della Scala that first bought him to the attention of his contemporaries. Unfortunately, the frescoes – now believed to be the work of both Lorenzetti brothers – were destroyed in 1720 and subsequently whitewashed over, many of his religious works may still be seen in churches and museums in the Tuscan towns of Arezzo, Assisi, and Siena. Although Lorenzettis integration of frame and painted architecture in the Nativity of the Virgin is usually thought to be unique, it is evident in the frescoes of Assisi some decades earlier. One probable conclusion can be made that he did not read Latin as there was documentation of a translator being paid in association with his work on The Birth of the Virgin. The narrative influence of Giottos frescoes in the Bardi and Peruzzi Chapels in Santa Croce, Sienese iconography, generally more mystical and fantastic than that of the more naturalistic Florentines, sometimes resembles a modern surrealist landscape. The gilded three-story altarpiece, the Arezzo Polyptych, was commissioned in 1320 by bishop Guido Tarlati for the Santa Maria della Pieve in Arezzo. At its centre is the Madonna and child, flanked by John the Evangelist, John the Baptist, Saint Matthew, the rich colours, graceful lines, decorative detail, and supple figures, endow the piece with a vivacity rare in contemporary Sienese art. The polyptych is Lorenzettis first dated work and one of four with verifiable documentation including the Carmelite Altarpiece, the Uffizi Madonna. “The dating has allowed scholars to identify with precision a specific stage of the painters activity, perhaps Lorenzettis most ambitious work is the Passion fresco cycle in the left transept of the Lower Church of San Francesco in Assisi. The conditions for the execution of the frescoes would have been difficult as very little natural light would be available and the lower church would be near darkness. The exact time line of the frescoes is in question, some believed the cycle was painted in sections over several years as the style had some similarities to Lorenzettis Carmelite Altarpiece. The reasons are varied, from painting only in the dry season to the skirmishes in the area at the time. The more recent technical and stylistic evidence presented by Maginnis poses strong arguments that Lorenzettis Passion Cycle was completed in one campaign between the years 1316 or 1317 and 1319. Believed to be one of his earliest works is the Madonna and Child with Saint Francis and John the Baptist, according to Maginnis the “finest and most complete realization of the ambition to conjoin real and painted space was left to Pietro Lorenzetti, working in the left transept
Pietro Lorenzetti
–
Pietro Lorenzetti,
Assisi Basilica, 1310–1329
Pietro Lorenzetti
–
Pietro Lorenzetti, Arezzo Polyptych, 1320. Arezzo, Santa Maria della Pieve
Pietro Lorenzetti
–
Last Supper, Basilica of San Francesco d'Assisi
Pietro Lorenzetti
–
Crucifixion, Basilica of San Francesco d'Assisi
9.
Ambrogio Lorenzetti
–
Ambrogio Lorenzetti was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348 and he painted The Allegory of Good and Bad Government in the Sala dei Nove in the Palazzo Pubblico of Siena. His elder brother was the painter Pietro Lorenzetti, Lorenzetti was highly influenced by both Byzantine art and classical art forms, and used these to create a unique and individualistic style of painting. Individuality at this time was due to the influence of patronage on art. Because paintings were commissioned, individualism in art was infrequently seen. His body of work shows the innovativeness that subsequent artists chose to emulate. His work, although more naturalistic, shows the influence of Simone Martini, the earliest dated work of the Sienese painter is a Madonna and Child. His presence was documented in Florence up until 1321 and he would return there after spending a number of years in Siena. Later he painted The Allegory of Good and Bad Government, the frescoes on the walls of the Room of the Nine or Room of Peace in the Palazzo Pubblico of Siena are one of the masterworks of early Renaissance secular painting. The nine was the assembly of guild and monetary interests that governed the republic. Three walls are painted with frescoes consisting of an assembly of allegorical figures of virtues in the Allegory of Good Government. In the other two facing panels, Ambrogio weaves panoramic visions of Effects of Good Government on Town and Country, the better preserved well-governed town and country is an unrivaled pictorial encyclopedia of incidents in a peaceful medieval borgo and countryside. The first evidence of the existence of the hourglass can be found in the fresco, Allegory of Bad Government and Its Effects on Town, like his brother, he is believed to have died of bubonic plague in 1348. Giorgio Vasari includes a biography of Lorenzetti in his Lives, annunciation,1344 Lorenzettis final piece, telling the story of the Virgin Mary receiving the news from the Angel about the coming of baby Jesus, contains the first use of clear linear perspective. Though it is not perfect, and the background that is traditional for the time renders a flat feeling. Madonna and Child,1319 In Madonna and Child, there is a debt to Byzantine art. The image of the Madonna is noted for its frontality, which is a characteristic of Byzantine art. The Madonna faces the viewer, as the Child gazes up at her, though not as emotionally intense as subsequent Madonnas, in Lorenzetti’s Madonna and Child, the Virgin Mary belies a subtle level of emotion as she confronts the viewer
Ambrogio Lorenzetti
–
Ambrogio Lorenzetti
Ambrogio Lorenzetti
–
Allegory of bad government, two soldiers
robbing a woman
Ambrogio Lorenzetti
–
Annunciation, 1344
Ambrogio Lorenzetti
–
Madonna and Child, 1319
10.
Domenico di Bartolo
–
Domenico di Bartolo was an Italian painter of the Sienese School. According to Vasari, he was a nephew of Taddeo di Bartolo and he was employed by Vecchietta in the masterpiece fresco The Care of the Sick in the Pellegrinaio of the Ospedale di Santa Maria della Scala in Siena. It portrays wealthy donors visiting the hospital to men washing the ill, in 1434, he also painted a fresco panel of Emperor Sigismund Enthroned for the Siena Cathedral. Domenico died in Siena around 1445, Sienese Painting The Art of a City-Republic
Domenico di Bartolo
–
Madonna of humility (1433),
Pinacoteca Nazionale (Siena).
Domenico di Bartolo
–
Domenico di Bartolo's The Marriage of the Foundlings, with a nice example of
Oriental carpets in Renaissance painting, 1440.
11.
Taddeo di Bartolo
–
Taddeo di Bartolo, also known as Taddeo Bartoli, was an Italian painter of the Sienese School during the early Renaissance. He is among the artists profiled in Vasaris biographies of artists or Vite, vasari claims he is the uncle of Domenico di Bartolo. Taddeo di Bartolo was born in Siena, the exact year of Taddeo di Bartolos birth is unknown, but it’s been suspected to be between 1363-65. Around 1389 he entered the Sienese Guild of artists, where he mastered the art of painting among his Sienese colleagues, in 1389 Taddeo traveled to Collegarli, the San Miniato al Tedesco hills, and Pisa. The painting of The Virgin and Child Enthroned, signed and dated in 1390, in 1393, Taddeo traveled to San Gimignano, where he executed the altarpiece of the Virgin and Child and Saints for the Sardi and Campigli Chapel in San Francesco. The Virgin and Child With Saints showcases Taddeo’s earlier style, the thin, elegant figures, and flowing lines of the drapery patterns reflect influence from his Sienese predecessors, such as Simone Martini and Ambrogio Lorenzetti. From 1400-01, Taddeo worked at the Palazzo Pubblico in Siena where he created twelve small panels, of only nine exist today. These panels give reverence to Taddeo’s craftsmanship in smaller scale work, around 1401, Taddeo painted the celebrated altarpiece, Assumption of the Virgin and scenes from the Passion, in Montepulciano. The intention of this piece was for religious and devotional functions, Taddeo worked to accommodate the established conventions of altarpiece painting, while simultaneously stylizing the pieces to fit their respective site. In 1403, Taddeo was working in Perugia producing two works, now on display in their public gallery, the Virgin and Child with two Angels and St Bernard and Descent of the Holy Ghost. These two works showcase Taddeo’s superior talents, exhibiting delicate coloring and vast human expression, though, in 1406, Taddeo was commissioned to destroy all the paintings in the chapel of the Palazzo Pubblico, and repaint the inside. Many of these represent the Life of the Madonna, including the Death of the Virgin in which Jesus descends, takes her hand. In 1422 Taddeo di Bartolo died in Siena, much of his early work was in Pisa, where he was responsible for the frescoes of Paradise and Hell in the Cathedral there, and for paintings in the Palazzo Pubblico and the church of San Francesco. At the Collegiata di San Gimignano, Taddeo painted a fresco depicting The Last Judgment, the Museo Civico of San Gimignano, displays a painting by Taddeo depicting Saint Gimignano holding the town in his lap. A triptych of the Virgin and Child with St John the Baptist and St Andrew, a massive triptych, Assumption of the Virgin, painted in 1401, is displayed in the 16th-century Duomo of Santa Maria dellAssunta at Montepulciano. Taddeos Madonna with Child, Four Angels and Saint John the Baptist and Saint Andrew may be seen in the Oratory of the Company of Saint Catherine of the Night at Santa Maria della Scala, Siena. He also painted allegories and figures from Roman history, and the Funeral of the Virgin at the Palazzo Pubblico in Siena and his St Elizabeth of Hungry is on display in the Perkins Collection of the Basilica of St Francis in Assisi. A Madonna and Child, painted with tempera and oil on a panel, is located in the Wadsworth Atheneum
Taddeo di Bartolo
–
Taddeo Di Bartolo, Self Portrait, Detail of Assumption of the Virgin, Located at Duomo of Santa Maria dell'Assunta at Montepulciano.
Taddeo di Bartolo
–
The Assumption of the Virgin Located at Duomo of Santa Maria dell'Assunta at Montepulciano.
12.
Stefano di Giovanni
–
While working within the Sienese tradition, he innovated the style by introducing elements derived from the decorative Gothic style and the realism of contemporary Florentine innovators as Masaccio. The name Sassetta has been associated with him, mistakenly, only since the 18th century but is now used for this artist. The date and birthplace of Sassetta are not known, some say he was born in Siena although there is also an hypothesis that he was born in Cortona. His father, Giovanni, is called da Cartona which possibly means that Cortona was the artists birthplace, the meaning of his nickname Sassetta is obscure and is not cited in documents of his time but appears in sources from the eighteenth century. Sassetta was probably trained alongside artists like Benedetto di Bindo and Gregorio di Cecco and he achieved a high level of technical refinement and was aware of artistic innovations of talented painters in Florence such as Gentile da Fabriano and Masolino. His work differs from the late Gothic style of many of his Sienese contemporaries and his first certain work, which originally had his signature is the Arte della Lana altarpiece, fragments of which are now divided among various private and public collections. The Madonna of the Snow altarpiece for the Siena Cathedral was a commission for Sassetta. Not only does he excel at infusing his figures with a light that convincingly molds their shape, he also has an amazing handle on spatial relationships. From this point on, under Gothic influence, Sassetta’s style increases its decorative nature, the polyptych done by Sassetta in San Domenico at Cortona shows scenes from the legend of St. Anthony the Abbot. He shows great skill in narration through his painting as well as combining a sophisticated color palette, Francesco di Giorgio e di Lorenzo, better known as Vecchietta, is said to have been his apprentice. He died by pneumonia contracted while decorating the Assumption fresco in the Porta Romana of Siena, the work was finished by his pupil Sano di Pietro. Many consider Sassettas fusing of traditional and contemporary elements as integral to the move from the Gothic to the Renaissance style of painting in Siena, Sassetta was a fiercely pious man. The painting is about the marriage of righteousness and violence and the consequences of sinfulness, the perils of feigning faith, the figure in black in the painting is an unbeliever, who has been found out in the process of receiving Communion. The officiating priest offers him the host on a plate, which is pictured miraculously spurting blood, the unbeliever has been struck dead instantly, and the creature above his face is a tiny black devil which has swooped down to snatch away his soul to the depths of Hell. The other men pictured are Carmelite monks, caught in expressions of shock, amazement, the painting is a carefully staged, meticulously created illusion which commemorates the Miracle of Bolsena which is said to have taken place in 1263. Sassettas Altarpiece of the Eucharist was later divided between three museums, the Vatican, and a private collection, the altarpiece was originally painted in Siena, and transported to Sansepolcro for placement in the church of San Francesco. In October 1900 the Berenson family purchased three panels created by Stefano di Giovanni and it is generally accepted by the art historical community that Sassetta’s San Francesco altarpiece was one of the largest and most expensive of the Quattrocento. The fact that it was produced by a Sienese artist in Siena, bernard Berenson bequeathed many of Sassettas painting from his Florence Villa to Harvard University, in what became the Center for Italian Renaissance Studies in Florence
Stefano di Giovanni
–
Detail of il Sassetta's Ecstasy of St Francis
Stefano di Giovanni
–
Sassetta
Stefano di Giovanni
–
Miracle of the Eucharist
Stefano di Giovanni
–
Saint Francis Abandons His Father.
13.
Matteo di Giovanni
–
Matteo di Giovanni was an Italian Renaissance artist from the Sienese School. Matteo di Giovanni di Bartolo was born in Borgo Sansepolcro around 1430 and his family relocated to Siena and he is firmly associated with the art of that city. Matteo was twice married—first in 1463 to a noble woman and, after her death, to a rich widow. Documentation concerning the early phases of Matteos life and career as an artist is scanty, the miniaturist Girolamo da Cremona and the Florentine painter Antonio del Pollaiolo also seemed to have contributed to Matteos distinctive style. In 1452, Matteo entered into partnership with the painter Giovanni di Pietro, Matteo and Giovanni also collaborated in the embellishment of organ shutters in the Siena Cathedral and in the decoration of the San Bernardino Chapel in that cathedral. For this prestigious commission Matteo painted three altarpieces, dating to the years 1460-62, these paintings offer a secure point from which to evaluate Matteos early style and to reconstruct his development as an artist. The three paintings in Pienza also help to explain the next phase in his style, the first of these altarpieces, a large Madonna and Saints signed Opus Matthei Johannis De Senis depicts the enthroned Madonna surrounded by Sts. During his mature period, Matteo began to paint idyllic and naturalistic landscape scenes employing delicate, Matteos brand of eclecticism tended to evolve from local taste and tradition. Matteo di Giovanni died in Siena in 1495 and he is credited with teaching Guidoccio Cozzarelli of Siena, an altarpice painter and miniaturist. Matteo di Giovannis lost altarpiece for SantAgostino, Asciano, pope-Hennessy, John & Kanter, Laurence B. The Robert Lehman Collection I, Italian Paintings, new York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press. CS1 maint, Multiple names, authors list Herbermann, Charles, ed. Matteo da Siena
Matteo di Giovanni
–
Mystical Crucifixion by Matteo di Giovanni,
Princeton University Art Museum, 1450
14.
Florentine School
–
Some of the best known artists of the Florentine school, including other arts, are Filippo Brunelleschi, Donatello, Michelangelo, Fra Angelico, Botticelli, Lippi, Masolino, and Masaccio. The earliest distinctive Tuscan art, produced in the 13th century in Pisa and Lucca, the oldest extant large scale Floretine pictorial project is the mosaic decoration of the interior of the dome of the Baptistery of St John, which began around 1225. Although Venentian artists were involved in the project, the Tuscan artists created expressive, lively scenes, Coppo di Marcovaldo is said to have been responsible for the central figure of Christ and is the earliest Floretine artist involved in the project. Like the panels of the Virgin and Child painted for the Servite churches in Siena and Orvieto, sometimes attributed to Coppo, similar works were commissioned for the Florentine churches of Santa Maria Novella, Santa Trinita and Ognissanti in the late 13th century and early 14th century. Cimabues Madonna of Santa Trinita and Duccios Rucellai Madonna do, however, contracts of the time note that clients often had a woodwork shape in mind when commissioning an artist, and discussed the religious figures to be depicted with the artists. The content of the scenes in predella panels however are rarely mentioned in the contracts. The guilds, cognizant of the stimulus that external craftmanship brought, sculptors had their own guild which held minor status, and by 1316 painters were members of the influential Arte dei Medici e Speziali. The naturalism developed by the early Florentine artists waned during the quarter of the 14th century. Commesso Bolognese School Lucchese School School of Ferrara Sienese School Florence Art life and organization, pope-Hennessy, John & Kanter, Laurence B. The Robert Lehman Collection I, Italian Paintings, new York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press. CS1 maint, Multiple names, authors list Media related to Florentine school at Wikimedia Commons
Florentine School
–
Mosaic ceiling of the
Baptistery of St John in Florence, dating from around 1225.
Florentine School
–
Madonna of Santa Trinita, dating from around 1285, once in the church of
Santa Trinita, and now housed in the
Uffizi Gallery.
Florentine School
–
Giotto's fresco, the Mourning of St. Francis in the
Bardi chapel of
Santa Croce.
15.
Domenico di Pace Beccafumi
–
Domenico di Pace Beccafumi was an Italian Renaissance-Mannerist painter active predominantly in Siena. He is considered one of the last undiluted representatives of the Sienese school of painting, Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to painting from Mechero. In 1509 he traveled to Rome, where he learned from the artists who had just done their first work in the Vatican, but soon returned to Siena. In addition to painting, he directed the celebrated pavement of the cathedral of Siena from 1517 to 1544, a task that took over a century. The pavement shows vast designs in commesso work—white marble, that is, engraved with the outlines of the subject in black and he made a triumphal arch and an immense mechanical horse for the procession of the emperor Charles V on his entry into Siena. Compared to the equilibrated, geometric, and self-assured Florentine style, buildings are often transected, and perspectives awkward. The setting is often hallucinogenic, the colors, discordant, for example, in the Nativity hovering angels form an architectural hoop, and figures enter from the shadows of a ruined arch. In his Annunciation, the Virgin resides in a world neither in day or dusk, she, in Christ in Limbo, an atypically represented topic, Christ sways in contrapposto as he enters a netherworld of ruins and souls. Freedberg compares his vibrant eccentric figures to those of the Florentine mannerist contemporary Rosso Fiorentino, yet more optical and fluid. While all the elements of the religious scenes are here, it is like a play in which all the actors have taken atypical costumes. In Medieval Italy, Siena had been an artistic, economic, and political rival of Florence, stylistically, Beccafumi is among the last in a line of Sienese artists, a medieval believer of miracles awaking in Renaissance reality. Drawing of Abraham St. Peter - -Woodcut, Cleveland Museum of Art Angels drawing -San Francisco Painting in Italy 1500–1600, Domenico Beccafumi in the A World History of Art Domenico di Pace Beccafumi. Paintings Texts on Wikisource, Beccafumi, Domenico di Pace
Domenico di Pace Beccafumi
–
Self-portrait, 1525–1530
16.
Il Sodoma
–
Il Sodoma was the name given to the Italian Renaissance painter Giovanni Antonio Bazzi. Giovanni Bazzi was of the family de Bazis, and born at Vercelli in Piedmont in 1477 and his first master was the archaic Martino Spanzotti, he also appears to have been a student of the painter Giovenone. Along with Pinturicchio, Sodoma was one of the first to practice in Siena the style of the High Renaissance, gaining fluency in the prevailing popular style of Pinturicchio, Sodoma completed the set in 1502 and included a self-portrait with badgers. Sodoma was invited to Rome in 1508 by the celebrated Sienese merchant Agostino Chigi and was employed there by Pope Julius II in the Stanza della Segnatura in the Vatican. Vasaris rhetorical story that Sodomas larger works did not satisfy the pope, who engaged Raphael to substitute a program of Justice, Poetry, and Theology is not borne out by the documents. Before October 1510 he was in Siena, where he painted the exterior of Palazzo Chigi in monochrome chiaroscuro with scenes from the Bible and from Antiquity and his painting at this time began to show distinct Florentine influences, especially of Fra Bartolommeo. When Leo X became pope, Sodoma presented him with a picture of the Death of Lucretia, Leo gave him a large sum of money as a reward and created him a cavaliere. Sodoma returned to Siena and, at a date, sought work in Pisa, Volterra. From Lucca he returned to Siena not long before his death on 14 February 1549 and he had supposedly squandered his property and is said, without documentary support, to have died in penury in the great hospital of Siena. One of his pupils was Giomo del Sodoma, in his youth, Sodoma had married, but he and his wife soon separated. A daughter married Bartolomeo Neroni, called also Riccio Sanese or Maestro Riccio, instead, he was considered by contemporaries to have been homosexual, and was known from 1512 on as Il Sodoma. Giorgio Vasari, in particular, stressed this aspect, perhaps it was a nickname that resulted from a joke, but Bazzi seems to have used the name with pride. Some critics see in Sodomas Madonna in the Pinacoteca di Brera the direct influence of this master, in the Oratory of San Bernardino, are scenes from the history of the Virgin, painted in conjunction with Pacchia and Beccafumi. These frescoes depict the Visitation and the Assumption, in San Francesco are the Deposition from the Cross and Christ Scourged. Many critics regard one or the other of these paintings as Sodomas masterpiece, in the choir of the Pisa Cathedral is the Sacrifice of Abraham, and in the Uffizi Gallery of Florence a St. Sebastian. Some of his works, including the Holy Family now in the Pinacoteca and his easel pictures are rare, there are two in the National Gallery, London. C. Rape of the Sabine Women - Galleria Nazionale dArte Antica, Rome St, according to Vasari, the name by which Bazzi was known was Il Mattaccio, this epithet having been bestowed upon him by the monks of Monte Oliveto. He dressed gaudily, like a mountebank, and his house was a Noahs ark and he was a cracker of jokes, fond of music, and he sang poems composed by himself on indecorous subjects
Il Sodoma
–
Self-portrait with
badgers in a fresco at Monte Olivetto
Il Sodoma
–
Detail from Roxanne Receiving Her Husband's Crown
Il Sodoma
–
Holy Family with young Saint John
Il Sodoma
–
St. Sebastian (1525).
Galleria degli Uffizi, Florence
17.
Baldassare Peruzzi
–
Baldassare Tommaso Peruzzi was an Italian architect and painter, born in a small town near Siena and died in Rome. He worked for years with Bramante, Raphael, and later Sangallo during the erection of the new St. Peters. He returned to his native Siena after the Sack of Rome where he was employed as architect to the Republic, for the Sienese he built new fortifications for the city and designed a remarkable dam on the Bruna River near Giuncarico. He seems to have moved back to Rome permanently by 1535 and he was a painter of frescoes in the Cappella San Giovanni in the Duomo of Siena. His son Giovanni Sallustio was also an architect, another son, Onorio, learned painting from his father, then became a Dominican priest in the convent of Santa Maria Sopra Minerva in Rome. He then stopped painting until requested by his superiors at San Romano di Lucca to paint the organ doors of the church, almost all art critics ascribe the design of the Villa Chigi in Rome, now known more commonly as the Villa Farnesina, to Peruzzi. In this villa, two wings branch off from a hall with a simple arrangement of pilasters, and a decorative frieze on the exterior of the building. Some of the paintings which adorn the interior rooms are by Peruzzi. One example is the Sala delle Prospettive, in which Peruzzi revived the perspective schemers of Melozzo da Forli and Mantegna, possibly under the influence of both. The walls of the room are painted so that when one stands toward the left, one has the illusion that one is standing in a terrace, lined by pillars. The decoration of the façade, the work of Peruzzi, has almost entirely vanished, Raphael designed the composition of the story of Amor and Psyche as a continuation of the Galatea. On a plate-glass vault Peruzzi painted the firmament, with the signs, the planets. The interior room has a use of illusionistic perspective Peruzzi had produced a mosaic ceiling for the church of Santa Croce in Gerusalemme, Rome. Other paintings ascribed to him are to be found in SantOnofrio, the exterior details display a Mannerist-style. He made significant but unspecified contributions to what would become the Seven Books of Architecture, published in installments after Peruzzis death by his pupil and this article incorporates text from a publication now in the public domain, Herbermann, Charles, ed. article name needed
Baldassare Peruzzi
–
Baldassare Peruzzi, Muses Dancing with Apollo
18.
Guido da Siena
–
Guido of Siena, was an Italian painter, active during the 13th-century in Siena, and painting in a Byzantine style. The name Guido is known from the panel in the church of San Domenico, Siena of the Virgin. The rhymed Latin inscription gives the name as Guido de Senis. However, this date cannot relate to the painting of the panel, the faces of the Virgin and Child were scraped and repainted in the early 14th century in the manner of Duccio and so are not representative of Guidos original. A dossal featuring the Virgin and Child with four saints in the Siena Pinacoteca has an identical inscription and it is very often assumed that the missing name is Guido, and gives us some indication of the original appearance of the Madonna at San Domenico. Beyond this, little is known of Guido da Siena and his place in Sienese painting before Duccio, some equate Guido as the father of Meo di Siena. Selections from a series depicting the life of Christ Artcyclopedia - Guido da Siena This article incorporates text from a now in the public domain, Chisholm, Hugh. Hayden Maginnis Everything in a name, or the Classification of Sienese Duecento Painting in Italian Panel Painting of the Duecento and Trecento V. M
Guido da Siena
–
Enthroned Madonna of Guido of Siena, c. 1270-80.
Guido da Siena
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Annunciation, 1262-1279, in the
Princeton University Art Museum
Guido da Siena
–
Flight into Egypt, 1270s, in the
Lindenau-Museum
Guido da Siena
–
Flagellation, 1270s, in the
Lindenau-Museum
19.
Duccio di Buoninsegna
–
Duccio di Buoninsegna was an Italian painter active in Siena, Tuscany in the late 13th and early 14th centuries. He is considered to be the father of Sienese painting and, along with a few others and he was hired throughout his life to complete many important works in government and religious buildings around Italy. Duccio is credited with creating the painting styles of Trecento and the Sienese school, although much is still unconfirmed about Duccio and his life, there is more documentation of him and his life than of other Italian painters of his time. It is known that he was born and died in the city of Siena, other details of his early life and family are as uncertain, as much else in his history. One avenue to reconstructing Duccios biography are the traces of him in archives that list when he ran up debts or incurred fines, some records say he was married with 7 children. The relative abundance of archival mentions has led historians to believe that he had difficulties managing his life, another route to filling in Duccios biography are by analyzing the works that can be attributed to him with certainty. Information can be obtained by analyzing his style, the date and location of the works, due to gaps where Duccios name goes unmentioned in the Sienese records for years at a time, scholars speculate he may have traveled to Paris, Assisi and Rome. Nevertheless, his talents were enough to overshadow his lack of organization as a citizen. In the 14th century Duccio became one of the most favored, where Duccio studied, and with whom, is still a matter of great debate, but by analyzing his style and technique art historians have been able to limit the field. Little is known of his career prior to his first documented commission. In 1278, at the age of 23, he was hired to paint 12 wooden panels to cover government documents for The Nine, although Duccio was active from 1268 to about 1311 only approximately 13 of his works survive today. Furthermore, of Duccios surviving works, only two can be securely dated, Duccios known works are on wood panel, painted in egg tempera and embellished with gold leaf. Different from his contemporaries and artists before him, Duccio was a master of tempera and managed to conquer the medium with delicacy, there is no clear evidence that Duccio painted frescoes. Duccio’s style was similar to Byzantine art in ways, with its gold backgrounds and familiar religious scenes, however it was also different. Duccio began to break down the lines of Byzantine art. He used modeling to reveal the figures underneath the heavy drapery, hands, faces, duccio’s paintings are inviting and warm with color. His pieces consisted of many details and were sometimes inlaid with jewels or ornamental fabrics. Duccio was also noted for his organization of space
Duccio di Buoninsegna
–
Maestà with Twenty Angels and Nineteen Saints, detail
Duccio di Buoninsegna
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The Calling of the Apostles Peter and Andrew (from the Maestà), c. 1308-1311.
Duccio di Buoninsegna
–
Madonna with child, the child pulling the madonnas hair
Duccio di Buoninsegna
–
Annunciation
20.
Segna di Buonaventura
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Segna di Bonaventura, also known as Segna de Bonaventura, and as Segna di Buonaventura, was an Italian painter of the Sienese School. He was active from about 1298 to 1331, in 1306 he painted a panel for the office of the Biccherna in the Palazzo Pubblico in Siena. In 1317 he painted a panel for the convent of Lecceto. In 1319 he repaired a figure of the Virgin in the Palazzo Pubblico, in 1321 he painted a panel for the Palazzo Pubblico. Fredericksen, Burton and Federico Zeri, “Census of 14th-Century Italian Paintings in North American Public Collections”, Harvard University Press, Italian Paintings, Sienese and Central Italian Schools, a collection catalog containing information about Bonaventura and his works
Segna di Buonaventura
–
Madonna and Child, painting by Segna di Bonaventura, c. 1325-30,
Honolulu Museum of Art
Segna di Buonaventura
–
Mary Magdalen, painting on wood by Segna di Bonaventura, c. 1320,
Alte Pinakothek, Munich
Segna di Buonaventura
–
St. John the Evangelist, painting by Segna di Bonaventura, 1320s,
Metropolitan Museum of Art, New York City
Segna di Buonaventura
–
Crucifix by Segna di Bonaventura, 1310-15,
Pinacoteca Nazionale di Siena
21.
Lippo Memmi
–
Lippo Memmi was an Italian painter from Siena. He was the foremost follower of Simone Martini, who was his brother-in-law and he was one of the artists who worked at Orvieto Cathedral, for which he finished the Virgin of Mercy. Later he followed Martini to the Papal court in Avignon, where he worked until the mid-14th century, after his return to Siena, Memmi continued to work until his death in 1356. Memmis famed artwork, La Madonna della Febbre was the first venerated image of the Blessed Virgin Mary granted with a Canonical coronation by a Pope on 27 May 1631. The image has long been since held miraculous and is enshrined at the Sacristy chapel of the Blessed Sacrament inside Saint Peters Basilica in Rome, Memmis figures retain the static and generally frontal view found in the earlier generation of late Duecento masters such as Guido da Siena. A description of his St. Agnes panel shows how Memmis pictorial style was less severe and angular than the Duecento works his imagery recalled, “. has softer qualities and its spirit is tranquil”. Indeed, his depiction of emotion and realism is also subdued by this soft tranquility, leaving figures to read as somewhat archaic, Memmi is remembered for distinctive stamped tin halos with ray patterns in gold leaf. This interest in design carries over to Memmis observation of fabric patterns, Memmis interest in detail is evident in his innovative compositional devices using simple geometric shapes such as the circular arrangement of the angels in the Assumption of the Virgin. The term “Lippesque, coined by Joseph Polzer, describes the effect of Memmis visual devices found in several Madonna. “The seated Christ Child in the image, and especially his head which is axially and frontally ordered. Heads close to spheroid in shape and share a large forehead crowned by an identical centrally located whirl of hair”. Thus, a complete understanding of his style and artistic achievements continues to emerge. His status as an artist of personal expression, rather simply a craftsman. Research in the 1920s began to separate the works of Lippo Memmi from those of Guido da Siena and it was also accepted that an artist bearing the name Barna was a fellow student under Simone Martini and an artistic collaborator with Memmi. The New Testament cycle of frescos in the Collegiate Church of San Gimignano and this suggests that other works attributed to Barna could be works of Memmi and thus his stylistic adherence to Simone Martini is less binding. The Memmi workshop began with Lippos father, Memmo di Filippucci and its early works, such as the 1317 San Gimignano Maestà in the Palazzo Comunale, are a collaboration of the two. In the 1330s the shop produced the Orvieto Polyptych panels, Lippos brother Federigo Memmi belonged to the shop before 1343, during the time the New testament cycle and other works attributed to Barna of Siena were produced. Simone Martini was the brother-in-law of Lippo, after Lippo returned to Siena from Avignon there is little evidence of interaction with Simone Martini
Lippo Memmi
–
Virgin of Mercy (Madonna dei Raccomandati),
Orvieto Cathedral
Lippo Memmi
–
Memmi's Maestà in the Sala di Dante of the Palazzo Comunale, San Gimignano.
Lippo Memmi
–
Judas receives the
thirty pieces of silver, fresco,
San Gimignano.
22.
Naddo Ceccarelli
–
Naddo Ceccarelli was a 14th-century Italian painter of the Sienese School. Naddo Ceccarelli was a pupil of the leading Sienese painter Simone Martini. He may have travelled with Martini to Avignon in 1330 and returned to Siena after Martinis death in 1345 and he became one of the better-known artists of the masters workshop after Martinis death. Two signed paintings by Ceccarellis hand are known and they form the basis around which his oeuvre has been grouped and they are the Madonna and Child dated to 1347 and a Man of Sorrows. The majority of the attributed to Ceccarelli are depictions of the Madonna. An exception is the Madonna and Child with Saints, which is of larger scale, Ceccarellis work is closer to that of the Master of the Palazzo Venezia Madonna and the Master of the Strauss Madonna than with Martini himself. Ceccarelli was one of a handful of Sienese painters who created reliquaries that emulated the work produced by goldsmiths, sacred relics became incorporated into panel paintings, which predominantly featured Marian imagery. The producers of these combined the display functions of reliquaries with the devotional imagery associated with sculpture. Ceccarelli was particularly skilled in suggesting the shine of metalwork through his use of tempera and he carefully layered his paint over the gold ground, which he enriched with a variety of tooled and incised designs. Ceccarelli was apt at capturing the gleam of chain mail and the arabesques of damask, in his work he pays attention to render precious with great care. Pope-Hennessy, John & Kanter, Laurence B, the Robert Lehman Collection I, Italian Paintings. New York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press, cS1 maint, Multiple names, authors list Media related to Naddo Ceccarelli at Wikimedia Commons
Naddo Ceccarelli
–
Madonna by Naddo Ceccarelli, 1347
Naddo Ceccarelli
–
Christ as the Man of Sorrows by Ceccarelli
23.
Bartolomeo Bulgarini
–
Bartolomeo Bulgarini, also known as Bulgarino or Bologhini, was an Italian painter of the Trecento period in Siena both before and after the Black Death. Born into a family with several members being elected into the Commune, Siena’s central governing body. He is firmly in the Sienese school of painting using a byzantine-esque figuration, with his contemporaries, Simone Martini, Pietro Lorenzetti and Ambrogio Lorenzetti and others he is part of the generations following Duccio. He was the painter of his generation to be mentioned by Giorgio Vasari. The paintings were grouped on a similar visual fluency, style and it wasn’t until Millard Meiss made the argument that the works attributed to both The master of the Ovile Madonna and Ugolino Lorenzetti might actually be by the same artist, Bulgarini. Much of the difficulty in constructing his oeuvre is due to the lack of documentation needed to establish the Painters authorship, the only known autographed work by Bulgarini is the St. Victor altarpiece in Siena Cathedral. It was not until later when several documents were found. This altarpiece, found in the Siena Cathedral, was one of four commissioned by the Commune. However, none of these sources were consistent in mentioning the St Victor Altarpiece and it wasn’t until the late 16th century that previously lost inventories, made by Guigurta Tommasi, named Bulgarini as the painter of the St Victor altarpiece. In 1341 and 1342 he was commissioned for two covers for consecutive seasons. His career, starting roughly in the 1330s, lasted into the 1370s and his last documented work supposedly signed and dated 1373, which is now lost was a panel painting for the hospital of Santa Maria Della Scala in Siena. Though he was active up until his death in 1378, the Assumption of the Virgin with Doubting Thomas is a large panel painted by Bulgarini. The importance of the relics is reflected in the composition of the panel painted by Bulgarini, the Alana Collection, Italian Paintings from the 13th to 15th century. The Art Bulletin, Vol.13, No, “Bulgarini’s Assumption with Doubting Thomas, Art, Trade, and Faith in Post-Plague Siena”. A Faithful Sea, The Religious Cultures of The Mediterranean, 1200-1700, ISBN 978-1851684960 Pope-Hennessy, John & Kanter, Laurence B. The Robert Lehman Collection I, Italian Paintings, new York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press. Sienese painting after the Black Death, artistic pluralism, politics, and the new art market
Bartolomeo Bulgarini
–
Assumption of Virgin altarpiece in Santa Maria della Scala church
Bartolomeo Bulgarini
–
Berenson Polyptych (1340s)
Villa I Tatti, Florence.
Bartolomeo Bulgarini
–
Madonna and child and Saints (c. 1335)
Pinacoteca Nazionale, Siena
Bartolomeo Bulgarini
–
Madonna van de nederigheid
24.
Ugolino di Nerio
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Ugolino di Nerio was an Italian painter active in his native city of Siena and in Florence between the years 1317 and 1327. He was a follower of Duccio di Buoninsegna, from whose Maestà some of his scenes are clearly derived. He was a master who contributed to the spread of Sienese painting in Florence by earning commissions to paint in the two main basilicas there, Santa Maria Novella and Santa Croce. Nerio was born around 1280 in Siena to a family of painters and his father as well as his siblings, Guido and Muccio, were artists. His only known signed work is his altarpiece for the altar of Saint Croce. The signature is now lost but was recorded by Vasari, the work was moved from the main altar in 1566 to make way for a ciborium designed by Vasari. Today the panels are scattered in museums around the world. The National Gallery in London has eleven, studies of this work have resulted in putative reconstructions. Ugolino di Nerio emerged as an independent master around 1315 and his early paintings like the Madonna Contini Bonaccossi in the Pitti Palace, are painted in a style drawn from that of Duccio. From about 1320 a distinct mature style emerges, spiritual and elegant and his choice of brighter colours was perhaps influenced by Simone Martini. Evidence of di Nerio’s fondness for painting pious subject matter can be seen in his depictions of Mary Magdalene and Louis of Toulouse. Both of these paintings utilize the rich and vibrant colors that he was known for using, the altarpiece for Santa Croce was the most important commission in a series of works that the Franciscans entrusted to him. At least eight polyptychs have survived in parts, other important polyptychs are in the Cleveland Museum of Art and the Clark Art Institute, Williamstown, Massachusetts. His best-known Madonna is in the Chiesa della Misericordia, San Casciano in Val di Pesa, according to Vasari he died in Siena. In, National Gallery Catalogues, Catalogue of the Earlier Italian Schools, Clark Art Institute, An altarpiece painted by the artist
Ugolino di Nerio
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Virgin and Child, Ugolino di Nerio, 1315–1320, Sienne. Notice the
Pseudo-Kufic inscriptions on the veil of the Virgin.
Ugolino di Nerio
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Il Prophet Isaia, London,
National Gallery
25.
Lippo Vanni
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Lippo Vanni was a 14th-century Italian painter and miniaturist who was active in his native Siena. He painted miniatures for the Santa Maria della Scala in Siena in 1344, in 1352 he executed a Coronation of the Virgin for the Biccherna, the Sienese Ministry of Finance. In 1359, together with Nello Betti, he executed some work in the Palazzo Pubblico, in 1375 he received six gold florins and thirty-one soldi for painting the doors of the great crucifix in the cathedral of Siena. A 14th-century triptych of Saint Andrew by Lippo Vanni hangs in the Sala del Senato or Academic Senate conference room of the Pontifical University of Saint Thomas Aquinas, walter Armstrong & Robert Edmund Graves, ed. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons. Italian Paintings, Sienese and Central Italian Schools, a catalog containing information about Vanni
Lippo Vanni
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Biccherna Cover. The Tribute Offering, from ca. 1364.
26.
Bartolo di Fredi
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Bartolo di Fredi, also called Bartolo Battiloro, was an Italian painter, born in Siena, classified as a member of the Sienese School. He had a studio and was one of the most influential painters working in Siena. He registered in the Guild of that city in 1355, he had several children and he was the companion of Andrea Vanni from 1353, and helped decorate the Hall of Council at Siena, in 1361. In the early part of 1367 he was employed, along with Giacomo di Mino, in 1372 he rose to a position in the government of the city, and was sent to welcome the new Podestà on his approach to Siena. In 1381 he was made a member of the Council. In 1382 he executed the Descent from the Cross now in the Sacristy of San Francesco, the same church also possesses panels painted by him containing the Baptism of Christ, figures of SS. Peter, Paul, and Francis, and five scenes from the Life of St Philip of Montalcino and he combined a spirit of fantasy with anecdotal details. Web Gallery of Art Bryan, Michael, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell, pope-Hennessy, John & Kanter, Laurence B. The Robert Lehman Collection I, Italian Paintings, new York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press. CS1 maint, Multiple names, authors list
Bartolo di Fredi
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Presentation of Mary in the Temple,
tempera and gold on wood by Bartolo di Fredi, c. 1360,
Honolulu Museum of Art.
Bartolo di Fredi
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Detail from the triptych The Coronation of the Virgin (1388) Tempera on panel, Museo Civico e Diocesano d'Arte Sacra, Montalcino
Bartolo di Fredi
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Nativity and Adoration of Shepherds (1383)
Bartolo di Fredi
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Coronation of the Virgin (1388)
27.
Andrea Vanni
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Andrea Vanni was an Italian painter of the early Renaissance, active mainly in his native Siena. Vanni was born in about 1332 in Siena, the first notice of him as a painter comes from 1353 when he was associated with Bartolo di Fredi, though it is uncertain if Vanni was a painter or assistant. His last activities date around 1400 and scholars have put his death to be around 1414, Vanni is less known than his contemporaries. He appears influenced by his fellow Sienese Simone Martini and Pietro Lorenzetti, in Siena, only one work by his hand remains, an Enthroned Madonna in the transept of S. Francesco. Prior to 2002, there was also a painting of St. Paul in the Palazzo Pubblico, additional works to his credit are a portrait of St. Around 1400, Vanni painted another portrait of St. Catherine with scenes from the life of St. James in the chapel in San Jacomo Intercisco, Vanni’s most famous work is a polyptych in the church of Santo Stefano alla Lizza. It gives the viewer a sense of Vanni’s manner. The central panel contains a portrait of the Virgin and Child and apart from the color being striking, the Madonna is set like a dark pattern against the gold background of her throne. There is almost no attempt at chiaroscuro except around the face and hands which gives the piece a rather flat effect, the drapery of the Virgin however, is an example of Lorenzetti’s influence. Simple folds and lines along with the Madonna’s stiff upright pose is nothing like the Madonna’s of Martini, the facial expression is completely of Vanni’s own. The Madonna has a round head, narrow eyes and a delicate mouth. Her firm chin completes a set of features which are hard to ignore. The Christ Child is said to be modeled after the prototype for Martini’s fresco of the Majestas in the Palazzo della Signoria, James and Stephen on the left side panels are clear examples of Vanni’s work. The head of S. Stephen is similar to that of the Virgin, the side figures of saints in the pinnacles of the polyptych show a strong sense of modeling. Another work may possibly be attributed to Vanni, a figure of St. John the Baptist on the left wall of a parish church in Basciano. There are only fragments of the fresco which survive and it is practically colorless which make it hard to prove authorship. The case for Vanni being the artist includes figure parallels to the S. Francesco fresco and this work would be from Vanni’s late period and painted sometime after 1396 but prior to 1400. Some scholars suggest this fresco belongs to Andrea Gallerani, fare diligente inquisitione, Gian Pietro Carafa e le origini dei chierici regolari teatini
Andrea Vanni
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Saint Paul by Vanni.
Andrea Vanni
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Polyptych of San Stefano
Andrea Vanni
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St. Catherine
28.
Francesco di Vannuccio
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Francesco di Vannuccio was an Italian painter born in Siena. A small body of work has been ascribed to this painter, characterized by an attention to and love of pattern and decoration, a tradition dating back in Siena to Simone Martini. Most of these are works, richly finished, which were meant for private devotion, suggesting that Francesco di Vannuccio worked for a discerning. An unpublished reliquary of Francesco di Vannuccio, Art in America, the Works and Style of Francesco di Vannuccio, Art in America, vol. Francesco di Vannuccio e Paolo di Giovanni Fei, Bullettino senese di storia patria, Italian Pictures of the Renaissance, Central Italian & North Italian Schools. Francesco di Vannuccio, in Dictionary of Art, vol, Italian Paintings, Sienese and Central Italian Schools, a collection catalog containing information about Vannuccio and his works
Francesco di Vannuccio
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Crucifixion with Donor by Francesco di Vannuccio, 1380
29.
Jacopo di Mino del Pellicciaio
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Jacopo di Mino del Pellicciaio was an Italian painter, active in Siena. He is also called Giacomo di Mino and he appears to be a follower of Simone Martini. He was the contemporary of Lippo Vanni and Luca Thome, being in 1373 appointed to one of latters pictures. His name appears in the Sienese records from 1362 to 1389, in 1367 he aided Bartolo di Maestro Fredi at the Siena cathedral. He is known to have painted book-covers for the Biccherna, and was several times a member of the Grand Council of Siena and he frescoed for the Basilica of San Francesco. Milanesi mentions a Sienese painter Giacomo del Pellicciaio of the order of Friars Minor, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
Jacopo di Mino del Pellicciaio
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Coronation of the Virgin of 1340-1350, typical of the smaller Gothic depictions of the subject
30.
Andrea di Bartolo
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Andrea di Bartolo or Andrea di Bartolo Cini was an Italian painter, stained glass designer and illuminator of the Sienese School mainly known for his religious subjects. He was active between 1389–1428 in the area in and around Siena, Andrea di Bartolo was the son and pupil of Bartolo di Fredi, a very prominent painter in Siena. His youth was spent working in his fathers workshop which received many prestigious orders and he collaborated with his father and Luca di Tommè on an altarpiece for the altar of the shoemakers guild in the cathedral of Siena in 1389. This is his first documented work, however, it is believed that his hand can be discerned in works of his father painted between 1380 and 1389, such as in the Massacre of the Innocents. Andrea likely set up his own workshop around 1390 and he was extremely successful in Siena and obtained numerous commissions even from as far as Veneto. His patrons were drawn from the same circles as his father such as the Franciscans of Montalcino. From his studio he produced a number of works, some of which have survived and are found in various museums around the world. Like Simone Martini he travelled far to work for patrons, including the Marches, Veneto. It is possible Andrea was the father of the painter Giorgio di Andrea di Bartolo, most of Bartolos works are religious works of art. Throughout his career Andrea imitated his fathers paintings, while he worked on projects jointly with his father, he developed an independent style. Other collaborations were with Luca di Tommè, Andrea di Bartolos creativity is a continuation of the work of his father, who in turn drew on the tradition of Siena, begun by Duccio and Simone Martini. Still Andreas own style can also be recognised early on, Andrea had a more summary drawing style and a softer modeling technique than his father and paid less attention to naturalistic detail and expressionism. Generally speaking Andreas style remained solidly rooted in the Sienese traditions, however, if required he could absorb foreign influences, in particular in his commissions from the Venetian region. For instance, his Coronation of the Virgin shows in its iconography and his later work shows the influence of Taddeo di Bartolo, Martino di Bartolomeo and Spinello Aretino. This is also evident in his manuscript illuminations, in which he showed himself more independent from the style of his father, media related to Andrea di Bartolo at Wikimedia Commons
Andrea di Bartolo
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Christ on the Road to Calvary 1415-20. Tempera on wood, 55 x 49 cm. Fundación Colección Thyssen-Bornemisza, Pedralbes
Andrea di Bartolo
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Coronation of the Virgin by Andrea di Bartolo
Andrea di Bartolo
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Madonna of humility by Andrea di Bartolo
Herbermann, Charles, ed. (1913). "Matteo da Sienna". Catholic Encyclopedia. New York: Robert Appleton Company.
Herbermann, Charles, ed. (1913). "
