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 St Catherine and St Lucy oil


St Catherine and St Lucy
Painting ID::  32637 		St Catherine and St Lucy
1320-25 Tempera on wood, 54 x 41 and 51 x 40 cm
1320-25 Tempera_on_wood, _54_x_41_and_51_x_40_cm
   
   
     
Simone Martini Madonna of Mercy oil


Madonna of Mercy
Painting ID::  32638 		Madonna of Mercy
1308-10 Tempera on wood, 154 x 84 cm
1308-10 Tempera_on_wood,_ 154_x_84_cm
   
   
     
Simone Martini Saint Martin Renounces his Weapons oil


Saint Martin Renounces his Weapons
Painting ID::  32639 		Saint Martin Renounces his Weapons
1312-17 Fresco, 265 x 230 cm
1312-17 Fresco,_ 265_x_230_cm
   
   
     
Simone Martini Petrach's Virgil, title page oil


Petrach's Virgil, title page
Painting ID::  32640 		Petrach's Virgil, title page
c. 1336 Illuminated manuscript, 29,5 x 20 cm
c._1336 Illuminated_manuscript,_ 29,5_x_20_cm
   
   
     
Simone Martini St John the Evangelist oil


St John the Evangelist
Painting ID::  32641 		St John the Evangelist
1330-39 Tempera on wood, 34,5 x 24 cm
1330-39 Tempera_on_wood, _34,5_x_24_cm
   
   
     
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     Simone Martini
     1283-1344 Italian Simone Martini Locations He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maest?? of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maest?? (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.

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