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Simone Martini must have seen paradise. At least that was Petrarch's verdict after seeing Martini's portrait of his beloved Laura. For in addition to her physical beauty, the painter had also captured her heavenly virtues. Who was this man with apparently almost supernatural abilities? Simone Martini was indeed one of the leading painters of the early 14th century. On the cusp of modern times, his art fed on the sources of the past and pointed ahead to what was to come. Martini lived in a time of artistic upheaval. For example, he was a contemporary of the Florentine sculptor and builder Filippo Brunelleschi (1377-1447), who is credited with discovering perspective. According to a disputed rendering of an epitaph by Vasari, Simone Martini was born in Siena in 1284. According to custom, he joined the school of a master as an apprentice. Duccio di Buoninsegna is the most likely choice, although Renaissance sources also bring Giotto di Bondone into play. In any case, he was in exchange with the greats of his time.
In Martini's first secured work, the Maestà for the Palazzo Pubblico in Siena of 1315, he already confronts us as a painter of his own standing. His fame spread quickly and led him to Naples in 1317 as court painter to Robert of Anjou, where he painted the coronation of the king by his canonized brother Louis of Toulouse for San Lorenzo Maggiore. This was followed in 1322-1326 by a cycle of frescoes with scenes from the life of St. Martin for the Chapel of St. Martin in the Basilica of San Francesco in Assisi, in 1342 by the polyptych of the Passion for the Orsini family, and in 1329 by a depiction of Guidoriccio da Fogliano at the siege of Montemassi again in the Palazzo Pubblico in Siena. In 1335, Pope Benedict XII summoned Martini to Avignon to paint the chapel. Martini to Avignon to decorate the papal court with frescoes. It was at this time that he met Petrarch, who commissioned a portrait of Laura as well as the frontispiece for his edition of Servius' commentary on Virgil. The friendship between painting and poetry in the figure of the two men is a significant episode from the early period of humanism.
Martini's innovative power is already evident in the Maestà in Siena. Duccio's influence is still apparent, for example in the Byzantine influences taken from the Pisan school and Giotto. The work captivates with its light brushwork and fine, detailed execution in vivid and sumptuous color. The flowing Gothic forms from beyond the Alps, miniatures and the goldsmith's art left their impression, as did arabesque elements from the work of the Sienese sculptor Lorenzo Maitani or the painterly realism of Giotto. During his work in Avignon, Martini's oeuvre fused Italian and French styles into a new style of painting that became known as the School of Avignon. Simone Martini died highly respected in Avignon in 1344.
Simone Martini must have seen paradise. At least that was Petrarch's verdict after seeing Martini's portrait of his beloved Laura. For in addition to her physical beauty, the painter had also captured her heavenly virtues. Who was this man with apparently almost supernatural abilities? Simone Martini was indeed one of the leading painters of the early 14th century. On the cusp of modern times, his art fed on the sources of the past and pointed ahead to what was to come. Martini lived in a time of artistic upheaval. For example, he was a contemporary of the Florentine sculptor and builder Filippo Brunelleschi (1377-1447), who is credited with discovering perspective. According to a disputed rendering of an epitaph by Vasari, Simone Martini was born in Siena in 1284. According to custom, he joined the school of a master as an apprentice. Duccio di Buoninsegna is the most likely choice, although Renaissance sources also bring Giotto di Bondone into play. In any case, he was in exchange with the greats of his time.
In Martini's first secured work, the Maestà for the Palazzo Pubblico in Siena of 1315, he already confronts us as a painter of his own standing. His fame spread quickly and led him to Naples in 1317 as court painter to Robert of Anjou, where he painted the coronation of the king by his canonized brother Louis of Toulouse for San Lorenzo Maggiore. This was followed in 1322-1326 by a cycle of frescoes with scenes from the life of St. Martin for the Chapel of St. Martin in the Basilica of San Francesco in Assisi, in 1342 by the polyptych of the Passion for the Orsini family, and in 1329 by a depiction of Guidoriccio da Fogliano at the siege of Montemassi again in the Palazzo Pubblico in Siena. In 1335, Pope Benedict XII summoned Martini to Avignon to paint the chapel. Martini to Avignon to decorate the papal court with frescoes. It was at this time that he met Petrarch, who commissioned a portrait of Laura as well as the frontispiece for his edition of Servius' commentary on Virgil. The friendship between painting and poetry in the figure of the two men is a significant episode from the early period of humanism.
Martini's innovative power is already evident in the Maestà in Siena. Duccio's influence is still apparent, for example in the Byzantine influences taken from the Pisan school and Giotto. The work captivates with its light brushwork and fine, detailed execution in vivid and sumptuous color. The flowing Gothic forms from beyond the Alps, miniatures and the goldsmith's art left their impression, as did arabesque elements from the work of the Sienese sculptor Lorenzo Maitani or the painterly realism of Giotto. During his work in Avignon, Martini's oeuvre fused Italian and French styles into a new style of painting that became known as the School of Avignon. Simone Martini died highly respected in Avignon in 1344.