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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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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).


Paccagnini, G. Simone Martini. Milan, 1955.
Carli, E. Simone Martini. Milan, 1959.
Mariani, V. Simone Martini e il suo tempo. Naples [1968].
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
(5.) Simone Martini, Annunciation, 1333; Sienese; Uffizi Gallery in Florence, Italy.
Hawkins discusses the Old Testament figure of Rahab in "Dante's Rahab." In "'Diligite Iustitiam:' Loving Justice in Siena and Dante's Paradiso," Rachel Jacoff analyzes the influence of Dante's text on Simone Martini's fresco on Good Government.
Simone Martini profited from a wind operation over the summer when landing a gamble (3-1 favourite from 8-1) in the first division of the 2m handicap hurdle, the five-year-old stretching right away from Goat Castle.
The lower level, which contains the crypt, is the older, with stained glass windows, and frescoes painted by Giotto, Cimabue and Simone Martini. The upper church was damaged quite severely by an earthquake in 1997, but thanks to four years of restoration it almost back to its former glory.
The youth, not given to the more erotic vein of Petrarchan lyrics, shifted the tradition of paired sonnets inspired by artists (Simone Martini in the case of Petrarch, Giovanni Bellini in the case of Bembo, and Titian in the case of Della Casa) from contemporary female portraits to a sculpture on a Roman historical theme, not surprising given Rimbotti's eventual ecclesiastical vocation.
He begins by examining above all what he refers to as "l'opinabile e affannosa antitesi tra tempo umano ed eternita" (60) in Per il battesimo dei nostri frammenti through Viaggio terrestre e celeste di Simone Martini. He then goes on to discuss the figure of Christ in the verses Luzi wrote for the Via Crucis al Colosseo of 1999, and returns to dichotomies such as tempo/eternita and metamorfosi/continuita in an analysis of Sotto specie umana.
L: Perseus and Andromeda by Frederic Leighton; M: Christ Discovered in the Temple by Simone Martini; N: Landscaping with the Ashes of Phocion by Nicholas Poussin.
In the 1920s, the Virgin turned up in the remarkable collection of Adolphe Stoclet in Brussels where it was believed to be by one of the greatest of all 14th-century painters, the Sienese master Simone Martini (c.
Kiribati King looked like downing tools midway through the 1m7f handicap but Tony Culhane was rewarded for his perseverance to gain the day from two less than enthusiastic rivals in Simone Martini and Sphere.
The most important, and thematic, transiflon occurs in the poetic works Per il battesimo dei nostri frammenti (1978-1984; henceforth as Battesimo) and Viaggio terrestre e celeste di Simone Martini (1994; henceforth as Viaggio) (3) culminating in his last theatrical work, Il fiore del dolore (2003; henceforth as Flore).
In "Simone Martini's Beato Agostini Novello Altarpiece and Reliquary Altar: Sienese Program and Augustinian Agenda," Margaret Flansburg investigates Simone's altarpiece and Augustinian manipulation of local lay and pilgrim devotion toward this "unofficial" miracle-working saint.
Earthly and Heavenly Journey of Simone Martini. Trans.