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 Petrach Virgil oil painting


Petrach Virgil
Petrach's Virgil (title page) (c. 1336) Illuminated manuscript, 29,5 x 20 cm Biblioteca Ambrosiana, Milan
Painting ID::  59766 		Simone Martini
Petrach Virgil
Petrach'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. Asano, oil painting


The Annunciation with St. Margaret and St. Asano,
The Annunciation with St. Margaret and St. Asano, 1333
Painting ID::  59767 		Simone Martini
The Annunciation with St. Margaret and St. Asano,
The Annunciation with St. Margaret and St. Asano, 1333
   
   
     
Simone Martini Christ Discovered in the Temple oil painting


Christ Discovered in the Temple
Christ Discovered in the Temple, 1342
Painting ID::  59768 		Simone Martini
Christ Discovered in the Temple
Christ Discovered in the Temple, 1342
   
   
     
Simone Martini detail depicting Saint Clare of Assisi from a fresco in the Lower basilica of San Francesco oil painting


detail depicting Saint Clare of Assisi from a fresco in the Lower basilica of San Francesco
detail depicting Saint Clare of Assisi from a fresco (1312?C20) in the Lower basilica of San Francesco, Assisi
Painting ID::  59769 		Simone Martini
detail depicting Saint Clare of Assisi from a fresco in the Lower basilica of San Francesco
detail depicting Saint Clare of Assisi from a fresco (1312?C20) in the Lower basilica of San Francesco, Assisi
   
   
     
Simone Martini Madonna with the Holy Ones, oil painting


Madonna with the Holy Ones,
Madonna with the Holy Ones, 1319
Painting ID::  59770 		Simone Martini
Madonna with the Holy Ones,
Madonna with the Holy Ones, 1319
   
   
     
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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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