HOMAGE TO SIENESE PAINTING
FROM DUCCIO TO SIMONE MARTINI
Between the 1200s and the 1400s, painting developed greatly in Europe and Italy, and in Tuscany and Siena in particular, where it was used initially for altar paintings and later adopted to sacred themed works on wooden planks.
Between 1260 and 1300 devotional works were subjected to Byzantine influence and become similar to icons.
Later on, with artists such as Duccio di Boninsegna, Cimabue and brothers Ambrogio and Pietro Lorenzetti, sacred representations gained naturalistic connotations, so that the Child is actually an infant and the Virgin Mary became an affectionate mother with a halo, lacking any divine attitude.
The Primitive collection of Annibale Esposti pays homage to the Tuscan school between the Twelth and the Fourteenth centuries
Simone Martini, who was probably a student of Duccio di Boninsegna, enriched his paintings with decorative elements thanks to the use of stencils and stamps, which appear to have been a prerogative of the goldsmith’s art.
Subsequently, painting on wood was enriched with symbols (such as the goldfinch), flowers and red objects that represented the blood and the passion.
In the Primitive collection, Annibale Esposti wishes to pay homage to the Tuscan school of this era.