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Jesus aterfinns in the sanctuary
new19/Simone Martini-895985.jpg
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Jesus_aterfinns_in_the_sanctuary
mk234
1342
50x35cm
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The annunciation with Two Saints
new20/Simone Martini-962254.jpg
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The_annunciation_with_Two_Saints
mk247
1333,tempera on wood,104x120 in,265x305cm,uffizi,florence,ltaly
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Christ on the Cross
new20/Simone Martini-945422.jpg
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Christ_on_the_Cross
mk247
c.1340,tempera and gold on panel,9x5in,24x13cm,fogg art museum,cambridge,MA,USA
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angeln gabriel, bebadelsen
new20/Simone Martini-476388.jpg
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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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Jesus crucified like back
new20/Simone Martini-483672.jpg
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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
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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