Simone Martini: Biography and Creativity

Italy brought the world magnificent artists, who in their era created masterpieces. One of such geniuses of painting remained in the "heart of Italy" Simone Martini. It was not easy to study his biography. All the records that remained about him had to be found in documents and mentions of people of that time.

Nevertheless, it was possible to restore the chronology and events from the life of Simone Martini, although in this story everything is not so smooth. Sometimes there are questions, there are gaps. Nevertheless, thanks to the works of the painter, you can display his main picture - life.

Start

Unfortunately, Simone Martini's biography begins with death. This is the only exact date that researchers have been able to obtain. In one of the cathedrals of Siena - San Domenico, records were found, thanks to which it became known that the great artist died here on August 4, 1344. The exact date of his birth is impossible to know. Approximately only a year is known - 1284th. He is identified according to the information indicated on the painter's tomb: the information says that Martini died at the age of 60 years.

Appearance

More questions arise about the appearance of the Italian. His best friend, the famous Petrarch, claimed that Simone was not beautiful. Researchers decided to look for an image of the painter in his canvases. Someone noticed him in the guise of Christ before Pilate, someone saw him in the image of a knight. The supposed portrait is possible on the fresco "The miracle of the resurrection of a boy".

The first 30 years

Unfortunately, nothing is known about this period of the creator's life. Nevertheless, there are speculations that Simone was born in the city of Siena. His father was a local plasterer who prepared the canvas for the frescoes. Most likely, this is what led the artist to the future profession.

There is a possibility that the art of the boy studied in the workshop of Duccio, but the popularity came to the creator after the creation of "Maesta". Now the year of publication of this canvas is known - 1315th. These data were found on the fresco frame. Although, if such a job was ordered by the city authorities, then it is obvious that the painter already had a good reputation. "Maesta" settled in the Palazzo Pubblico. The decoration of this place could only be entrusted to outstanding craftsmen.

It is worth noting that the artist, working on his works, tried to show all the most natural and realistic. This verisimilitude was reflected in his works. Therefore, having received another order from the city authorities to depict the fortress, he went there, so as not only to see with his own eyes the object of art, but also to imbue with the atmosphere of battle and conquest. Then he gathered his servant, and on a horse went on a journey. Fresco was later placed in the hall of Mappomondo already in 1331. Now familiarize with the work is very difficult, because it is considered destroyed, although researchers have a hope to find it.

Data

Unfortunately, there are not many of them. Trying to reconstruct the life of Simone Martini, you can stumble upon proven data. For example, it is known that the painter traveled to Assisi. And this happened in the 1310's. There he performed work, decorating the church of San Francesco with window stained glass. Later here he created and murals.

There is information that Martini was in Naples for some time, although there is no documentary evidence of this. His trip to this city is connected with the order of the Naples altar in honor of the canonization of Louis Toulouse.

Style

For one decade, researchers were able to find a large collection of paintings on the tree, which allows you to trace the changes in the work of Simone. The frescoes that were made in Assisi had some kind of proto-Jotttish traits, but the works performed later are endowed with a gothic style. The latter has changed not only the volumes, but the backgrounds and lines in the works.

To the creativity of this time, we can safely include two polyptych from the church of Santa Catarina and the museum in Orvieto. Although the researchers more than once conducted a stylistic analysis, which indicates that the last polyptych dates back to the 1320s. By the way, difficulties with studying this work also arise because several assistants in the creation of this work have been documented.

Active Activities

In city documents there were also information about payments to the painter. And the salary was issued regularly, which means that in Siena the artist worked quite actively. Immediately indicated and the work for which Martini received money, and which is difficult to identify, some are lost at all.

There is information that Simone received the finance for the amendment of his own creation "Maesta". The fact is that the fresco was spoiled because of leaked moisture. Also, the artist received finance for painting the cross, which was destined to be completed by another creator. Regularly in 1322, Martini received money for the work that he performed for Palazzo Pubbliko.

Personal life

The marriage of the Italian creator happened in 1324. His lover was Giovanna, the daughter of Filippuccio. We can assume that the wedding was magnificent, since Martini received a lot of money for his works. The proof is that before the wedding he bought the house for his future wife. And such a gift flew him a pretty penny, he paid 220 gold florins (which was three times more than the money that he received for his magnificent work with the image of the fortress).

Such a gift, probably, should be interpreted as gratitude for the nobility. After all, at that time the painter was already 40 years old, and his chosen one was very young. Simone thought that he had to thank the girl for the fact that she agreed to marry a plain-looking man of age. Thanks to his marriage, the artist was able to establish close ties with the Lippo family, who could hold out until the end of Martini's entire work. The most striking manifestation of such a close relationship with his wife's wives was the work "The Annunciation from the Uffizi", where the features of the Lippo family are clearly expressed.

Family creativity

After the marriage, the artist continued his active work in the direction of creativity. In 1326, he created a magnificent canvas, which was later called "very good", and the fee for it was worthy. The following year he created a painting of two standards, which, unfortunately, have not survived to our time. They were dedicated to the son of King Robert.

In the late 1320s he creates two works, which are also considered lost. The first work is devoted to two angels and was created for the Palazzo Pubblico, and the second work depicted the rebel Marco Regoli and was placed in the hall of the Consistory.

France

Avignon, a small town in Provence, for a time became the cultural art center of the world. Here came the painters from all over Europe, brought their works and entire workshops. In 1336 Simone came here as well. Here a significant role was played by the stratification of society, in which Martini tried to be closer to the "high people". He did it at the expense of his art, carrying out orders of the highest authority.

Unfortunately, there is very little information about Martini's work in France. There are official documents that indicate the active life position of the creator. He was a witness in the lease business, and was a party to the legal dispute.

Concerning the works, it should be noted that their fragments were found in Notre-Dame de Dom, and there is also the likelihood that the artist put his hand to the frontispiece of the manuscript of Virgil, which had previously been dominated by Petrarch. Also known is the canvas "Holy Family", located in Liverpool.

Death

As you know, the painter died in 1344. He was knocked down by an unknown "serious illness". The Italian realized that the end of it is close, and therefore a few days before his death he made a will in which he divided all his property among his wife's relatives. The document was certified by a notary from Florence - Galgani.

"Annunciation"

Painting Simone Martini "Annunciation" was created in 1333. The artist created it for the altar of Ansania, which is in Siena. The background of the fresco is golden, which symbolizes the sky, and the silhouette of Maria is restrained and smooth. The archangel Gabriel is depicted on the canvas as an active figure, his clothes develop, and the wings have acquired a flying form. Description (Simone Martini "Annunciation") has no mystery and some mysteries. The picture conveys something very soft, but at the same time bright and divine.

Images that can be identified on a fresco are mystical. Each figure itself is crystal, very fragile and ethereal. Saints Ansaniy and Juliette, on the contrary, turned out to be quite voluminous and realistic.

"Madonna"

Deserves attention and the work "Madonna". Simone Martini created an extraordinary canvas, which many refer to the last period of creativity, more mature. Characteristic for the picture of this creator is a golden background with red and blue hues, soft lines, graceful lines of the figure of Mary. Fresco retained the features of the Gothic style, which was inherent in the painter in the late period of his work.

This work was loved by many fans and the author himself - Simone Martini. The Hermitage became that treasury, which since 1911 keeps the work within its walls.

Other creations

The most popular painting by Simone Martini is Maesta. She, probably, was the first major work of the creator. Researchers believe that it was under the influence of Duccio that this masterpiece was created. The picture has some very precise features that you will not find in Duccio. Among them, a change in colors, shapes and lines.

It is worth noting the presence in the world collection of Simone Martini's painting "Portrait of Laura". This work was devoted to a friend of the artist Petrarke, who ordered an image of his beloved.

You can talk a lot about this artist. Creativity Simone Martini, though not known until the end, perhaps in some places thought out, still remains unusually bright and interesting for connoisseurs of Italian art. The artist made a huge "gift" to the world culture, and his works retained the features on which it is easy to identify Martini's masterpieces.