Guido of Siena, was an Italian painter, active during the 13th-century in Siena, and painting in an Italo-Byzantine style.
Guido of Siena, was an Italian painter, active during the 13th-century in Siena, and painting in an Italo-Byzantine style.
The name Guido is known from the large panel in the church of San Domenico, Siena of the Virgin and Child Enthroned. The rhymed Latin inscription gives the painter's name as Guido de Senis, with the date 1221. However, this date cannot relate to the painting of the panel, which is usually dated on the basis of style to the 1270s. The faces of the Virgin and Child were scraped and repainted in the early 14th century in the manner of Duccio and so are not representative of Guido's original. A dossal featuring the Virgin and Child with four saints (accession No. 7) in the Siena Pinacoteca has an identical inscription, but unfortunately the name before "de Senis" has been cut off. It is very often assumed that the missing name is Guido, and gives us some indication of the original appearance of the Madonna at San Domenico.
Beyond this, little is known of Guido da Siena and his place in Sienese painting before Duccio. Because he is the only Sienese painter of the time to have surviving works on panels with a signature, he is often viewed as the most important artistic personality at the time and the first master of the great Sienese school of painting. However, Bellosi has attempted to associate some "Guidesque" works with the names Dietsalvi di Speme and Guido di Graziano, which are documented with the painting of Biccherna book covers for the Sienese commune in the 1270s. Some equate Guido as the father of Meo di Siena.
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The Sienese school of painting flourished in Siena, Italy, between the 13th and 15th centuries. Its most important artists include Duccio, whose work shows Byzantine influence, his pupil Simone Martini, the brothers Pietro and Ambrogio Lorenzetti and Domenico and Taddeo di Bartolo, Sassetta, and Matteo di Giovanni.
Duccio di Buoninsegna, commonly known as just Duccio, was an Italian painter active in Siena, Tuscany, in the late 13th and early 14th century. He was hired throughout his life to complete many important works in government and religious buildings around Italy. Duccio is considered one of the greatest Italian painters of the Middle Ages, and is credited with creating the painting styles of Trecento and the Sienese school. He also contributed significantly to the Sienese Gothic style.
Pietro Lorenzetti or Pietro Laurati was an Italian painter, active between c. 1306 and 1345. Together with his younger brother Ambrogio, he introduced naturalism into Sienese art. In their artistry and experiments with three-dimensional and spatial arrangements, the brothers foreshadowed the art of the Renaissance.
Siena Cathedral is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Domenico di Pace Beccafumi was an Italian Renaissance-Mannerist painter active predominantly in Siena. He is considered one of the last undiluted representatives of the Sienese school of painting.
Madonna and Child was painted by one of the most influential artists of the late 13th and early 14th century, Duccio di Buoninsegna. This iconic image of the Madonna and Child, seen throughout the history of western art, holds significant value in terms of stylistic innovations of religious subject matter that would continue to evolve for centuries.
For the village near Livorno, see Sassetta, Tuscany
Giovanni di Paolo di Grazia was an Italian painter, working primarily in Siena, becoming a prolific painter and illustrator of manuscripts, including Dante's texts. He was one of the most important painters of the 15th century Sienese School. His early works show the influence of earlier Sienese masters, but his later style was more individual, characterized by cold, harsh colours and elongated forms. His style also took on the influence of International Gothic artists such as Gentile da Fabriano. Many of his works have an unusual dreamlike atmosphere, such as the surrealistic Miracle of St. Nicholas of Tolentino painted about 1455 and now housed in the Philadelphia Museum of Art, while his last works, particularly Last Judgment, Heaven, and Hell from about 1465 and Assumption painted in 1475, both at Pinacoteca Nazionale (Siena), are grotesque treatments of their lofty subjects. Giovanni's reputation declined after his death but was revived in the 20th century.
Domenico di Bartolo, born in Asciano, Siena, was a Sienese painter of the early Renaissance period. In the Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari says that Domenico was the nephew of Taddeo di Bartolo. Influenced by the new Florentine style of painting, Domenico di Bartolo was the only Sienese painter of his time to receive commissions from clients in Florence. In Siena, he was employed by Lorenzo di Pietro, to help execute the fresco The Care of the Sick, in the Pilgrim's Hall of the Hospital of Santa Maria della Scala.
Taddeo di Bartolo, also known as Taddeo Bartoli, was an Italian painter of the Sienese School during the early Renaissance. His biography appears in the Vite of Giorgio Vasari, who claims that Taddeo was the uncle of Domenico di Bartolo.
Sano di Pietro or Ansano di Pietro di Mencio (1405–1481) was an Italian painter of the Sienese school of painting. He was active for about half a century during the Quattrocento period and his contemporaries included Giovanni di Paolo and Sassetta.
Matteo di Giovanni was an Italian Renaissance artist from the Sienese School.
Segna di Bonaventura, also known as Segna de Bonaventura, and as Segna di Buonaventura, was an Italian painter of the Sienese School. He was active from about 1298 to 1331.
The Maestà, or Maestà of Duccio, is an altarpiece composed of many individual paintings commissioned by the city of Siena in Tuscany in 1308 from the artist Duccio di Buoninsegna and is his most famous work. Duccio's the Maestà was originally composed with a front and back side that relied on each other to encompass the full knowledge of the altarpiece. This was the first altarpiece to contain both a front and back side. The front panels make up a large enthroned Madonna and Child with saints and angels, and a predella of the Childhood of Christ with prophets.
Lippo Memmi was an Italian painter from Siena. He was the foremost follower of Simone Martini, who was his brother-in-law.
Dietisalvi di Speme was an Italian painter, who worked in Siena between 1250 and 1291. In his work he influenced and was influenced by Cimabue.
Siena is a city in Tuscany, Italy. It is the capital of the province of Siena. Siena is the 12th largest city in the region by number of inhabitants, with a population of 53,062 as of 2022.
The Pinacoteca Nazionale is a national museum in Siena, Tuscany, Italy. Inaugurated in 1932, it houses especially late medieval and Renaissance paintings from Italian artists. It is housed in the Brigidi and Buonsignori palaces in the city's center: the former, built in the 14th century, it is traditionally identified as the Pannocchieschi family's residence. The Palazzo Bichi-Buonsignori, built in the 15th century, was until recently thought to have a 19th-century neo-medieval façade based on the city's Palazzo Pubblico; however, restoration in 2022 revealed that it is mostly original.
The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the Laudesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella. It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.
Master of Città di Castello, in Italian, Maestro di Città di Castello, was an anonymous painter of Medieval art. Mason Perkins is responsible for his identification and naming in 1908, based on the styling from the Master preserved at the Pinacoteca comunale, Città di Castello, in Umbria.
