The reproductions of art by Simone Martini, the artist of Medieval Siena, are a great classic of Tuscan painting. Also known as Simone Senese, he is a fourteenth-century painter known for being one of the most influential artists of his time: from the Madonna and Child to the Announcing Angel, Martini has as master Duccio di Buoninsegna and as colleagues Sano di Pietro and Pietro and Ambrogio Lorenzetti. History teaches us that the painter was most likely formed inside the shop of Duccio Di Buoninsegna with whom he had an excellent relationship throughout his life, but who did not leave a strong imprint in Martini's style who was certainly more concerned about the care of reproduced figures plasticity compared to that of his collaborators and other artists of medieval Siena. Simone Martini's paintings are all religiously inspired: from the beginning of his career, which actually blossomed around the age of 22-25, the master concentrated on reproducing the Madonna with Child, changing its characteristics and growing exponentially as to technique. Him too, like Giotto, in fact, attached great importance to perspective and its use and departed from what were the messages of the time. It is the realism introduced into each of his works of art that makes his artistic discourse different from that of the other painters, although masters such as Sano Di Pietro a century later, Pietro Lorenzetti and Ambrogio Lorenzetti as collaborators and disciples, came very close to what it was his style: as miniaturists everyone knew the importance of punching and more than once they used it to emphasize more than one detail in their works.

The reproductions of art by Simone Martini, master of Medieval Siena

Silvia Salvadori is a gifted and prepared contemporary artist: specializing in the restoration of works and active collaborator of many Italian and international museums, she is able to create fine art reproductions of Simone Martini's Art. One of the most interesting works reproduced by her is the Madonna and Child number 583.

It is a tempera and oil painting on wood dating from around 1305-1310, today preserved inside the Pinacoteca Nazionale of Siena that was the central panel of a polyptych, gone now lost, created for a church. It is one of the first works of the master and for many years it was attributed to Duccio di Buoninsegna until, after a restoration, it was studied in depth and compared to Martini. It is the style of this painting that points the finger at a possible formation in Duccio's workshop: this is especially visible in the characters' garments, the chiaroscuro, the three-quarter head of the Madonna and the physiognomy of the people represented. But at the same time it is possible to find signs of originality inside the painting, especially in the figure of the Child reproduced in a decidedly more accurate way than the canons of the time. The detail in Simone Martini's work of art becomes especially important and allows for recognition of the Jesus Child, that is not present in the art of the time.

The Madonna and Child: the art of Simone Martini in reproductions of medieval Siena

The artist, on commission, reproduces this work with care and attention, obtaining incredible results, perfect for decorating any wall.

Among the other reproductions of Simone Martini's art painted by the spectacular hands of Silvia Salvadori there is the Madonna Annunciata, where the announcing angel is simultaneously a cause for joy and fear in the way it is reproduced by the medieval artist as well as reason for the creation of one of the most elegant linear pictorial movements of medieval Siena and Tuscan art of the fourteenth century in general.

In this case we are talking about a tempera on wood, preserved in the Uffizi Gallery and painted by the master together with his brother-in-law Lippo Memmi who made the side panels for the Cathedral of Siena. The Madonna Annunciata is considered one of the greatest masterpieces of Gothic art and what is striking is the great psychological empathy that is expressed within the painting. The bottom of the table, completely gilded, creates an ideal space called to represent the divine: everything is painted in warm colors apart from the mantle of the Virgin which stands out with its dark blue and intense purples. There is no strong chiaroscuro reproduced but the front and partial illumination from the left, create the right shade that allows you to sustain a very precise rhythmic scan. The outline wins over the volume and this represents a good change compared to most of the sacred works produced in that particular medieval era.

Art reproductions by Simone Martini, Sano di Pietro, Duccio and Lorenzetti

Silvia Salvadori specializes in the reproduction of sacred art: among the works she reproduces there are also the Madonna and Child by Sano di Pietro and that by Pietro Lorenzetti. The former, painter of the early Renaissance active around the middle of the 1400s, was one of the masters of the Tuscan area who most left their mark after the death of Simone Martini, although partly departing from it.

The Virgin is placed in the center inside an altarpiece surrounded by the lives of the Saints. Her gaze and that of the Jesus Child seem sad, almost as if to foresee what Christ will face in the course of his life. The golden background brings the two figures to stand out in a particular way, also thanks to the choice of colors used, far from subtle: the work is currently exhibited in Boston, in the United States.

The Madonna and Child by Pietro Lorenzetti, which is part of a polyptych in the Church of Santa Maria della Pieve in Arezzo, on the contrary, is a valid example of what was the Sienese art of the fourteenth century: although the information on his life is very scarce, it is agreed upon the fact that he was formed, together with Simone Martini, inside the shop of Duccio Di Buoninsegna.

In this master's work it is possible to notice the same details identifiable in most of Martini's mature pictorial activity: a strong care for shadows, the way in which the figures of the Virgin and the Child, despite the golden background that somehow "cancels" part of that perspective that the painter used in a valid way in all his productions, manage to "pierce" the alter piece presenting an important three-dimensionality. The two figures are alive and far from static and the gaze they exchange makes it clear how in this religious subject an attempt is made to pursue an important realism, capable of spreading the message underlying the work. Lorenzetti's typical naturalism fits perfectly with the subject.