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Simone Martini
Maesta (mk08)
1315/16
Fresco.
10.58x9.77m
Siena,Palazzo Pubblico.
Museo Civico
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Simone Martini
The Angel of the Annunciation
1333
National Gallery of Art, Washington DC
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Simone Martini
The Death of St.Martin
1321
Lower Church of San Francesco, Assisi
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Simone Martini
Miracle of Fire
1321
Lower Church of San Francesco, Assisi
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Simone Martini
Miraculous Mass
1321
Lower Church of San Francesco, Assisi
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Simone Martini
The Miracle of the Resurrected Child
1321
Lower Church of San Francesco, Assisi
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Simone Martini
Consecration of the Chapel (Detail)
1321
Lower Church of San Francesco, Assisi
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Simone Martini
The Dream of St.Martin
1321
Lower Church of San Francesco, Assisi
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Simone Martini
St.Martin is Knighted
1321
Lower Church of San Francesco, Assisi
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Simone Martini
St.Louis of France and St.Louis of Toulouse
1321
Lower Church of San Francesco, Assisi
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Simone Martini
St.Clare and St.Elizabeth of Hungary
1321
Lower Church of San Francesco, Assisi
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Simone Martini
St.Martin Renouncing the Sword
1321
Lower Church of San Francesco, Assisi
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Simone Martini
Division of the Cloak
1321
Lower Church of San Francesco, Assisi
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Simone Martini
The Angel of the Annunciation
Musee Royal des Beaux Arts, Antwerp
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Simone Martini
The Virgin of the Annunciation
Musee Royal des Beaux Arts, Antwerp
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Simone Martini
Orsini Diptych
1325-35
Musee du Louvre, Paris
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Simone Martini
The Annunciation and the Two Saints
1333
Galleria degli Uffizi, Florence
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Simone Martini
The Virgin of the Annunciation
The Hermitage, St.Petersburg
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Simone Martini
Madonna and Child aaa
1308-1310
Pinacoteca, Siena
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Simone Martini
Christ Discovered in the Temple
1342
Walker Art Gallery, Liverpool
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| Simone Martini
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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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