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 Annuciation oil painting


Annuciation
mk164 1333 Uffizi Florence
Painting ID::  41518 		Simone Martini
Annuciation
mk164 1333 Uffizi Florence
   
   
     
Simone Martini Her Madona of the Sign oil painting


Her Madona of the Sign
mk166 tempera 30.5x21.5cm Museo of the Hermitage San Petersburgo
Painting ID::  41917 		Simone Martini
Her Madona of the Sign
mk166 tempera 30.5x21.5cm Museo of the Hermitage San Petersburgo
   
   
     
Simone Martini La Anunciacion,Con los Santos Ansano y Margarina y Cuatro profesar oil painting


La Anunciacion,Con los Santos Ansano y Margarina y Cuatro profesar
mk166 1333 Temperamento sobriedad tribunal de madera 184x114cm
Painting ID::  41929 		Simone Martini
La Anunciacion,Con los Santos Ansano y Margarina y Cuatro profesar
mk166 1333 Temperamento sobriedad tribunal de madera 184x114cm
   
   
     
Simone Martini Madona de la Misericordia oil painting


Madona de la Misericordia
mk166 Siglo XIII, Pinacoteca,Siena,Italia
Painting ID::  41935 		Simone Martini
Madona de la Misericordia
mk166 Siglo XIII, Pinacoteca,Siena,Italia
   
   
     
Simone Martini Lodewijk of Toulouse Crowns Robert of Anjou, King of Napels oil painting


Lodewijk of Toulouse Crowns Robert of Anjou, King of Napels
MK169 1317 Panel 200x138cm Predella 50x174.6cm Museu Tue Capodimonte, Napels
Painting ID::  42610 		Simone Martini
Lodewijk of Toulouse Crowns Robert of Anjou, King of Napels
MK169 1317 Panel 200x138cm Predella 50x174.6cm Museu Tue Capodimonte, Napels
   
   
     
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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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