Italy brought the world great artists who in their era created masterpieces. One of these geniuses of painting remained in the "heart of Italy" Simone Martini. Studying his biography was not easy. All the statements that remained about him had to be found in documents and references to people of that time.
Nevertheless, it was possible to restore the chronology and events from the life of Simone Martini, although not everything is so smooth in this story. In some places questions arise, somewhere gaps appear. 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 the researchers managed to get. 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 find out. Roughly known only the year - 1284th. It is determined according to the information indicated on the tomb of the painter: the information says that Martini died at the age of 60.
Appearance
Even more questions arise regarding the appearance of the Italian. His best friend, the famous Petrarch, claimed that Simone was not handsome. Researchers decided to search for the image of the painter in his canvases. Someone noticed him in the guise of Christ in front of Pilate, someone saw him in the image of a knight. The alleged portrait is possible on the fresco "The Miracle of the Resurrection of the Boy."
First 30 years
Unfortunately, nothing is known about this period of the creator's life. Nevertheless, there are suggestions 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 precisely what led the artist to the future profession.
There is a possibility that the boy studied art in the workshop of Duccio, but popularity came to the creator after the creation of the Maesta. Now the year of publication of this canvas is known - the 1315th. These data were found on the fresco frame. Although, if the city authorities ordered a similar work, then it is obvious that the painter already had a good reputation. "Maesta" settled in the Palazzo Pubblico. The decoration of this place could be entrusted only to outstanding masters of their craft.
It is worth noting that the artist, working on his works, sought to show everything in the most natural and realistic way. This credibility was reflected in his work. Therefore, having received another order from the city authorities to depict the fortress, he went there, so as not only to see an object of art with his own eyes, but also to feel the atmosphere of battle and conquest. Then he gathered his servant, and went on a horse journey. The fresco was later placed in the Mappomondo Hall as early as 1331. Now it’s very difficult to get acquainted with the work, because it is considered to be destroyed, although researchers conceal the hope of finding it.
Data
Unfortunately, they are few. Trying to reconstruct the life of Simone Martini, you can stumble upon verified data. For example, it is known that the painter traveled to Assisi. Moreover, this happened in the 1310s. There he did the work, decorating the San Francesco church with stained glass windows. Later here he created murals.
There is information that Martini spent some time in Naples, although there is no documentary evidence of this. His trip to this city is connected with the order of the Neapolitan altar in honor of the canonization of Louis of Toulouse.
Style
For one decade, researchers were able to discover a large collection of paintings on wood, which allows you to track changes in the work of Simone. The frescoes that were made in Assisi had peculiar proto-Gottian features, but the work done later was endowed with a Gothic style. The latter changed not only the volumes, but the backgrounds and lines in the works.
Two polyptychs from the church of Santa Catarina and the museum in Orvieto can be safely attributed to the work of this time. Although researchers have repeatedly carried out stylistic analysis, which indicates that the last polyptych dates back to the 1320s. By the way, difficulties with the study of this work arise also because several assistants in the creation of this work have been documented.
Vigorous activity
In city documents, information was also found on payments to the painter. Moreover, the salary was issued regularly, which means that the artist worked quite actively in Siena. The works for which Martini received money and which are difficult to identify, some of which have been lost at all, are also indicated here.
There is evidence that Simone received finances for amending his own creation, "Maesta." The fact is that the mural was damaged due to leaked moisture. The artist also received finances for painting the cross, which was destined to be completed by another creator. Regularly in 1322, Martini received money for the work that he did for the Palazzo Pubblico.
Personal life
The marriage of the Italian creator happened in 1324. His lover was Giovanna, daughter of Filippuccio. It can be assumed that the wedding was magnificent, since Martini received large sums of money for his works. The proof is that before the wedding he bought a house for his future wife. Moreover, such a gift flew into a pretty penny, he paid 220 gold florins (and this was three times more than the money that he received for his magnificent work with the image of the fortress).
Such a gift should probably be interpreted as gratitude for the nobility. Indeed, at that time the painter was already 40 years old, and his chosen one was very young. Simone believed that he was obliged to thank the girl for agreeing to marry a plain man aged.
Thanks to his marriage, the artist was able to establish close ties with the Lippo family, which could hold out until the end of all of Martini's work. The most striking manifestation of such a close-knit relationship with his wife’s relatives was the work “The Annunciation from the Uffizi,” where the features of the Lippo family are clearly expressed.
Family art
After 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 pay for it was decent. 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 that are also considered lost. The first work was dedicated to two angels and was created for the Palazzo Pubblico, and the second work portrayed the rebel Marco Regoli and was placed in the hall of the Consistory.
France
Avignon, a small town in Provence, temporarily became the cultural and art center of the world. Painters from all over Europe came here, brought their works and entire workshops. In 1336, Simone also got here. Here a significant role was played by the stratification of society, in which Martini tried to be closer to "high people." He did this at the expense of his art, fulfilling orders of the highest authority.
Unfortunately, there is very little information about the work of Martini in France. There are official documents that indicate the active life position of the creator. He was a witness in a rental business, and was a party to a legal dispute.
Regarding the works, it should be noted that fragments were found in Notre Dame de Dom, it is also likely that the artist had a hand in the frontispiece of the manuscript of Virgil, which before that was in the power of Petrarch. Also known is the painting "The Holy Family", located in Liverpool.
Death
As you know, the painter died in 1344. He was knocked over by an unknown "serious illness." The Italian realized that his end was near, and therefore a few days before his death he made a will in which he divided all his property between his wife's relatives. The document was certified by a notary from Florence - Galgani.
"Annunciation"
Simone Martini's painting The Annunciation was created in 1333. The artist created it for the altar of Ansanias, which is located in Siena. The background of the mural is golden, which symbolizes the sky, and the silhouette of Mary is restrained and smooth. Archangel Gabriel is depicted on the canvas as an active figure, his clothes are developing, and his wings have gained a flying form. Description (Simone Martini's “Annunciation”) has no mystery and no mysteries. The picture conveys something very soft, but at the same time bright and divine.
The images that can be distinguished on the fresco are mystical. Each figure in itself is like a crystal, very fragile and ethereal. Saints Ansanius and Yulitta, on the contrary, turned out to be quite voluminous and realistic.
Madonna
The work “Madonna” is also noteworthy. Simone Martini created an extraordinary canvas, which many attribute to the last period of creativity, more mature. The background of this creator is characterized by a golden background with red and blue shades, soft lines, elegant lines of the figure of Mary. The 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 has become the treasury that has kept the work in its walls since 1911.
Other creations
The most popular painting by Simone Martini is “Maesta”. She, probably, was the first major work of the creator. Researchers are sure that it was under the influence of Duccio that this masterpiece was created. The picture is inherent in some very precise features that are not found in Duccio. Among them, a change in colors, shapes and lines.
It is worth noting the presence in the world collection of paintings by Simone Martini "Portrait of Laura." This work was dedicated to a friend of the artist Petrarch, who ordered the image of his beloved.
You can talk a lot about this artist. Although the work of Simone Martini is not fully known, it may have been thought up in some places, but it remains unusually bright and interesting for connoisseurs of Italian art. The artist made a huge “gift” to world culture, and his works retained features that make Martini's masterpieces easy to identify.