000			01904nam a2200265 a 4500
001			011735
005			20231009192149.0
008			221011s19891989nyca 000 ubeng d
020			_a9781878351050
050	0	0	_aPR4581 _b.S6155 2009
082	1		_aREF 759.5 MAR _2
100	1		_aJannella, Cecilia
240	1	0	_aToller Cranston Collection
245	1	0	_aSimone Martini _c/ Cecilia Jannella
260			_aFirenze _b: Scala _c, 1989
300			_a79 p. _b: illus. _c; 28 cm.
500			_aIncludes index
505	0	0	_aThe life of Simone Martini Simone Martini and Tuscany: early works Simone and the Commune of Siena: his fame grows Simone and the House of Anjou: Assisi and the Naples Altarpiece St Louis of Toulouse crowning Robert of Anjou Simone and his workshop The polyptych of Santa Caterina The Orvieto years Simone's second sienese period Simone Martini in Avignon
520			_aSimone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maestà of 1315 in the Palazzo Pubblico in Siena.[1] A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the 14th century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome.
546			_aTranslated from the Italian to English
600	1	4	_aMartini, Simone _d(, 1284-1349)
650		4	_aPainter _z-Italian
942			_cMO
999			_c230713 _d230713