Simone Martini


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Martini, Simone

(sēmô`nā märtē`nē), or

Simone di Martino

(dē märtē`nō), c.1283–1344, major Sienese painter. His art is admired for its Gothic spirituality combined with a vibrancy and a great elegance of line. A follower of Duccio di Buoninsegna, his earliest known work (1315) was a fresco depicting the Maestà (Madonna and Child Enthroned with Saints and Angels) in the Palazzo Pubblico, Siena. In 1317, King Robert of Anjou invited him to Naples to paint St. Louis Enthroned (Naples Mus.). He created altarpieces for the Dominicans of Pisa and Orvieto. One of these is now in the Gardner Museum, Boston. In 1328 he painted one of the first commemorative portraits, an impressive, almost heraldic, image of the soldier Guidoriccio da Fogliano, with a starkly landscaped background (Palazzo Pubblico, Siena). His painting of the Annunciation (1333; Uffizi) is famous for its exquisitely refined use of outline. In this work, as in others, he was assisted by his brother-in-law Lippo Memmi. At the invitation of Pope Benedict XII, he went to Avignon in 1339 and decorated the portal of Notre Dame des Dons (almost obliterated). He became friends with Petrarch and designed a frontispiece for him for a Vergil codex (Ambrosian Library, Milan). His frescoes (of uncertain date) at Assisi include lively scenes from the life of St. Martin. Other works by Simone are in Siena, Berlin, Liverpool, and in the Louvre.

Simone Martini:

see Martini, SimoneMartini, Simone
, or Simone di Martino
, c.1283–1344, major Sienese painter. His art is admired for its Gothic spirituality combined with a vibrancy and a great elegance of line.
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Simone Martini

 

Born circa 1284 in Siena; died July 1344 in Avignon, France. Italian painter.

Simone Martini followed in the tradition of Duccio di Buoninsegna, under whom he probably trained. He was also influenced by French Late Gothic art. In addition to working in Tuscany, Simone worked in Naples (1317), Orvieto (1320), Assisi (1320’s), and Avignon (from 1340). His works include several frescoes, including Maestd (Palazzo Pubblico, Siena, 1315), scenes from the life of St. Martin of Tours (lower church of San Francesco, Assisi, c. 1326), and a portrait of the condottiere Guidoriccio dei Fogliani (Palazzo Pubblico, Siena, 1328). He also did a number of altarpieces, for example, St. Louis of Toulouse Crowning His Brother, King Robert ofAnjou (c. 1317, National Museum and Gallery of Capodimonte, Naples), Annunciation (1333, Uffizi Gallery, Florence), and The Lord’s Passion (1340’s, Berlin-Dahlem Picture Gallery and other museums).

Chivalric ideals of the past, with an intrinsic refined spiritualism, gradually became dominant in Simone’s works. An emotionally expressive palette and refinement of line and silhouette characterize the artist’s paintings. While Simone worked in Avignon, he became close friends with Petrarch, for whom he did a portrait of Laura (now lost) and the frontispiece of a manuscript of Vergil (Ambrosiana Library, Milan).

REFERENCES

Paccagnini, G. Simone Martini. Milan, 1955.
Carli, E. Simone Martini. Milan, 1959.
Mariani, V. Simone Martini e il suo tempo. Naples [1968].
References in periodicals archive ?
Star performance Sam Twiston-Davies for his double Money in the bag Connections of Simone Martini landed a nice punt when the five-year-old made light of the muddy conditions Results and analysis start page 72
He is the actor-poet who performs the many monologues in this dramatic poem--many of them in the voice of his alterego, Simone Martini.
Simone Martini lives at any given moment both levels of consciousness: the earthbound physical, and the ethereal celestial.
Bonaffini's choice of this collection, instead of more recent writings, is particularly pertinent because Earthly and Heavenly Journey of Simone Martini has a very strong autobiographical connotation, brought out by the fact that the journey is to be understood as a journey into the self and not just as a geographical one.
Simone Martini, believed to have been born around 1284, is the leading figure in early 14th century painting in Sienna, and one of the great Italian painters of the late middle ages.
The back of the panel looked like tooled leather so when it was totally folded it would be carried like a book by the bishop or cardinal who owned it - we know it must have been someone wealthy to commission Simone Martini.
The mid-fourteenth century has been characterised as an artistic watershed for Siena, with the deaths of the Lorenzetti brothers in 1348 and the departure of Simone Martini for France in 1340 leaving a creative vacuum.
It could be argued that forecast second favourite Simone Martini has achieved a similar level of form to Piermarini, while newcomer Fiulin has an attractive pedigree and is from the Marco Botti yard, which can get one ready first time - the trainer's record with first-time-out juveniles is three winners from 17 runners (18 per cent strike-rate)
5) Emboldened (and also frustrated) by the apparent lack of competition, Piero Torriti threw down the gauntlet in 1989, saying that he 'would like to challenge art historians to produce a Trecento painter other than Simone Martini capable of painting the Guidoriccio'.
The excursion called "The Treasures of Naples: Capodimonte and the treasure of San Gennaro" will take guests on a tour of the extraordinary historical and artistic legacy of the Museo Reale: from the breathtaking masterpieces of medieval, Renaissance and modern art including works by Simone Martini, Masaccio, Raphael, Michelangelo, Titian, Caravaggio, Ribera and Luca Giordano, to the plush royal apartments, where you can relive the atmosphere of one of the most prestigious stately homes of the Bourbon dynasty and see examples of the porcelain that Capodimonte is widely renowned for.
40) Yet Petrarch -- whose praise of Simone Martini in the Rime sparse assumes the painter's ability to portray the soul of the sitter -- cannot dismiss painting completely, and indeed he goes on to describe the type of painting that might seem living -- a painting that is (literally) adumbrated, shadowed about the face and eyes.
Such connections, whether historical or transhistorical, have - or ought to have - a clear impact on the study of works that emerge from a context where the practices of verbal and visual arts are experientially interrelated, say, when Petrarch writes sonnets about Simone Martini or Michelangelo composes poems about sculpture or Titian gets advertised by Lodovico Dolce.