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's Virgil oil painting


Petrach's Virgil
1336 Biblioteca Ambrosiana, Milan
Painting ID::  2911 		Simone Martini
Petrach's Virgil
1336 Biblioteca Ambrosiana, Milan
   
   
     
Simone Martini Guidoriccio da Ffogliano (mk08) oil painting


Guidoriccio da Ffogliano (mk08)
C.1328 Fresco. 340x968cm Siena,Palazzo Pubblico
Painting ID::  21157 		Simone Martini
Guidoriccio da Ffogliano (mk08)
C.1328 Fresco. 340x968cm Siena,Palazzo Pubblico
   
   
     
Simone Martini The Road to Calvary (mk08) oil painting


The Road to Calvary (mk08)
c.1315 Tempera on wood. 29.5x20.5cm Paris,Musee National du Louvre
Painting ID::  21158 		Simone Martini
The Road to Calvary (mk08)
c.1315 Tempera on wood. 29.5x20.5cm Paris,Musee National du Louvre
   
   
     
Simone Martini The Carrying of the Cross (mk05) oil painting


The Carrying of the Cross (mk05)
Wood, 11 x 6 1/4''(28 x 16 cm.)Entered the Louvre in 1834
Painting ID::  19974 		Simone Martini
The Carrying of the Cross (mk05)
Wood, 11 x 6 1/4''(28 x 16 cm.)Entered the Louvre in 1834
   
   
     
Simone Martini The Deposition (mk08) oil painting


The Deposition (mk08)
c.1315 Tempera on wood 29.7x20.5cm Antwerpen,Koninklijk Museum voor Schone Kunsten
Painting ID::  21159 		Simone Martini
The Deposition (mk08)
c.1315 Tempera on wood 29.7x20.5cm Antwerpen,Koninklijk Museum voor Schone Kunsten
   
   
     
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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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