| SIMONE MARTINI | ||||
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Siena in 1285. He, too, was a determinant painter in that moment of renaissance for painting, at the beginning of the 14th century. About 20 years younger than Giotto, his poetics mature, initially, under his influence. A choice that was not opportunistic but, rather, one of spontaneous cultural adhesion. In the plastic world of Giotto, Simone will bring the representation of a world both serene and decorously well-bred, the finest representation of that profane civilisation which, in that historical period, reached a higher degree of refinery. The plastic architecture of the giottoesque culture is softened in gathering the requests of profane Gothic and, from this meeting, a new way of seeing and telling is sprung. Parallel to the laic process of evolution in the European spirit, carried forward, in particular, by the growing monarchies of France and England, the culture and vision of Simone will be opened more and more to purely profane solutions. The ornate interpretation of nature, a use of colour that is more courteous and sensual, a certain sumptuous languor are characteristics taken from this European spirit. |
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In Simone is particularly interesting the use and the elaboration of the same base material as a possible expressive medium. See, for example, the robe in the image of the knight Guido Riccio. Simone, who was himself the owner of a thriving "bottega", worked, most of all, in central Italy, but also in Avignon, at the papal court that had moved there, where he died in 1344. Works of his may be found, like those of Giotto, in the church of St. Francis in Assisi. The chapel of St. Martin in the lower church is considered one of the highest achievements of Simone and of the Italian 14th century on the whole. Simone was also distinguished for the remarkable production of altarpieces and poliptychs, in which to the magnificence of the painter is added the patient refinery of a goldsmith. |
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