Annunciation triptychon, middle panel: the Annunciation, left: St. Ansanus of Siena, right. Holy, in the pediments four medallions with prophets. Simone Martini and Lippo Memmi
1333, tempera on wood, 265 x 305 cm
Florence, Galleria degli Uffizi
Collection
A5. Lorenzetti - Simone Martini
Tempera on wood, gold background
184 x 168 cm
Inscriptions
SYMON MARTINI ET LIPPUS MEMMIS DE SENIS ME PINCXERUNT ANNO DOMINI MCCCXXXIII
Inventory
1890 nos. 451, 452, 453
Sienese School, originally. For the chapel of St.. Ansanus in the Cathedral of Siena
The quintessence of Simone’s later art is in the famous Annunciation of the Uffizi. In order to justify the most nervously exquisite of linear arrangements he has chosen the least significant moment of the event. His Virgin is merely a sullen princess resenting an intrusion; the Gabriel, an etherialized courtier pleading a cause with apologies. But the contrast of the advancing and shrinking motives gave Simone precisely what he wanted. He builds up areas richly colored or brocaded, bounded by sharp curves, relieved by flutters and spirals of flying drapery, and accentuated by such details as the olive twigs and the lily which have the crisp incisiveness of finest metal work. As a triumph of pure decoration Gothic painting has nothing better to show than this lovely panel which was finished in 1333 for the chapel of Sant’ Ansano at Siena. It has little quality of heart in it, and no reverence save that of consummate workmanship. A history of Italian painting, Frank Jewett Mather
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Verkündigungstriptychon, Mitteltafel: Maria Verkündigung, links: Hl. Ansanus von Siena, rechts: Heilige, in den Giebelfeldern vier Medaillons mit Propheten. Simone Martini
1333, Tempera auf Holz, 265 × 305 cm
Florenz, Galleria degli Uffizi
Sieneser Schule, urspr. für die Kapelle des Hl. Ansanus im Dom von Siena
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