28 November 2019

from ArtsLife - Silvia Eleonora Salvadori: journey into the ancient Tuscan art workshop

Silvia Eleonora Salvadori's works mix medieval art, Renaissance and Gothic influence.

Arezzo, a city with medieval charm, has one of the few shops in Italy, if not the only one and with an exquisite seventeenth-century style, where the ancient pictorial techniques handed down to us by Cennino Cennini and Giorgio Vasari are used. We are talking about the Bottega d’Arte Toscana, by the teacher and artist Silvia Eleonora Salvadori whose works draw inspiration not only from Medieval art, but also from Gothic and early Renaissance art in Florence and Siena. Her sacred and profane characters, architecture and landscapes are not only faithfully reproduced on commission, but also revisited with an accuracy and delicacy that clearly show the skills of the artist, whose style recalls that of Simone Martini and Duccio di Buoninsegna.
Her works are like fairytale atmospheres that come to life and project us into that ancient and distant world in contact with saints, ladies and knights. The care she pays on her works is such that, by gently touching them, it is possible to feel the consistency of what they represent, instead of simple, albeit meticulous brush strokes.

The soft colors, the use of precious stones and pure gold give an unrivaled royalty to each subject. Her works perfectly embody Silvia's character and sensitivity, and it is as if she were in every one of her works and instills a spark of life. Quoting the art historian Annamaria Parlato: «(...) Silvia in her art, and her ability to experiment and to wisely search for knowledge now lost, manages with a gentle soul to revive in her historiated tables, the "manner" of the Masters who made art history great". The artist and entrepreneur Silvia Eleonora Salvadori, (Sinalunga 1978) graduated from the Duccio di Buoninsegna Institute of Art, graduated in Archeology from the University of Siena and in 2004 obtained a European master's degree in Conservation and Cultural Asset Management. Curator of exhibitions and collections not only in Italy but also abroad, she is also a fine physiognomist, a specialization she also uses to reproduce not only human faces, but also animals.
Her Bottega in Arezzo, which can also be visited by reservation, is a magical treasure chest from which she herself extracts, indeed like treasures, the countless colors that go paint each of her works.   Published on : "ArtsLife" https://artslife.com/2019/11/28/silvia-eleonora-salvadori-viaggio-nellantica-bottega-darte-toscana/
27 February 2019

Reproduction of Renaissance paintings: Sano di Pietro's class

Sano di Pietro is a great master of Sienese painting of the fifteenth century. The master Silvia Salvadori uses the same techniques and the same tools as the contemporaries of Sano di Pietro. The production process is entirely handmade and the result is enormously suggestive.

One of the most beautiful examples is the Jesus Child by Sano di Pietro. This particular work is made using egg yolk tempera on a 23k pure gold background, according to the techniques of the Sienese Renaissance school.

The Jesus Child by Sano di Pietro is a classic of Renaissance painting. Reproduction is done entirely by hand

Another splendid work the Madonna and Child, also by Sano Pietro. In this case, the master Salvadori rendered admirably the facial expressions. The sacred icon was created using tempera and gold leaf on wood as in ancient Renaissance painting. The work was carried out with the ancient pictorial techniques of the Sienese school of the fifteenth century for unparalleled reproduction.

Reproduction of Renaissance paintings: the ancient paintings with the icons of the saints


The icons of saints are a recurring theme of Renaissance painting. The reproduction of the Renaissance paintings of the saints is performed with extreme accuracy, for example, the icon depicting Santa Dorotea holding a delicate bouquet of flowers between the folds of her dress.

The Madonna: the protagonist of Renaissance painting


Renaissance painting sees in the Madonna the absolute protagonist. The master Salvadori, has created several reproductions of Renaissance paintings that have the Blessed Virgin at the center. One is certainly the Madonna and Child by Botticelli realized with tempera and pure gold 23 k applied both as leaf and powder, and pure gold shell. The use of fine pigments (lapis lazuli) has further enhanced the work.

The Madonna del Parto, another large reproduction of Renaissance painting made entirely by hand, is instead a personal tribute to the greatest Renaissance artist of Arezzo, Piero della Francesca. The use of the same original painting technique used in the fifteenth century on a precious old wooden table has created a truly suggestive result.

Our Lady of Humility by Gentile da Fabriano, on the other hand, is a work with a decidedly more decorative background. It is a reproduction of a small Renaissance painting dedicated to private prayers, probably by Alemanno Adimari, cardinal of Florentine origin and archbishop of Pisa. In this reproduction, the master Salvadori used tempera and pure gold, using identical colors to the original table painted by Gentile da Fabriano.

16 July 2018

Art reproductions of Pietro Lorenzetti in Medieval Siena

The reproductions of Pietro Lorenzetti, an artist from medieval Siena together with his brother Ambrogio, are a tribute to what is one of the greatest exponents of Sienese pictorial art. Not much has come down to us concerning his life but it is common opinion that he grew artistically, like his friend and colleague Simone Martini, at the shadow of Duccio di Buoninsegna and his teachings. It is his own works that tell this story, through the lines and colors of his compositions. Also known by the name of Pietro Laurati because of a citation error by the great Giorgio Vasari, the master was very active in the early fourteenth century and was influenced in particular by artists such as Giovanni Pisano and Giotto. Together with his brother Ambrogio Lorenzetti he was one of the main introducers of naturalism in a context such as that of Sienese art which was mainly characterized by a mystical imprint.

The art reproductions of Pietro Lorenzetti, artist of Medieval Siena

Many of Lorenzetti's religious works are still preserved in the churches of Siena, Arezzo and Assisi. To understand how important his art was, it is necessary to think of medieval Siena and what was the approach to art in those years: even if we were still far from the Renaissance, the world and art with him began to awaken from that sleep typical of the Middle Ages, introducing new concepts and points of view.

Pietro Lorenzetti's paintings are a very important example: together with his brother he contributed to introducing a new way of seeing painting and expressing messages through the use of the brush inside the Sienese art, and beyond.

All paintings by Pietro Lorenzetti have left their mark on the world of art but his greatest work is undoubtedly a tempera fresco in the Lower Basilica of Assisi in which he painted large frames reproducing the Crucifixion, the Deposition from the Cross and the Lamentation, giving space to the naturalism that made it famous in Gothic art. To understand how relevant this artist is, it is important to recognize how Giotto and his works were influential in the way in which the master then decided to express his talent. The departure from Duccio Di Buoninsegna and his teachings is a path that can be seen gradually over the decades and his activities. This is not a bad thing, on the contrary: it is the main symptom of that particular way of seeing painting that will make the artist and his brother in some way precursors of what will happen with the Renaissance. Although these painters are partly "slaves" of the Byzantine conception, they somehow manage to overcome it, at least conceptually.

Reproduction of "The Madonna and Child" by Pietro Lorenzetti

Among the art reproductions of Pietro Lorenzetti created by the expert hands of Silvia Salvadori there is that of the Madonna and Child, part of a polyptych still preserved at the Church of Santa Maria della Pieve in Arezzo and currently undergoing restoration.

Overall, the work is one of the most important of the fourteenth century and one of the few that can be observed in its place of origin while taking into account the movements of the polyptych inside the Church in the last centuries. It was Bishop Guido Tarlati of Pietramala, struk by the works of Pietro Lorenzetti and the particular style he employed, very similar to that of Giotto, Duccio di Buoninsegna and his brother Ambrogio Lorenzetti, who commissioned the work to the Sienese artist.

The polyptych of Arezzo which includes the Madonna and Child is not only important because it is an example of fine medieval Gothic art but also for the existence of the commission contract, which has come down to us and was dated 17 April 1320, contract which obliged the master to paint "beautiful figures" with high quality colors on a pure gold background leaving the preparation of the wooden support and the choice of the subject to the client. The way the two figures interact and their lines give full representation of the naturalism to which the painter was so fond of.

Equally interesting, in the same Polyptych is the Annunciation placed just above the Madonna and Child. The Announcing Angel is perfectly placed in the context and in the perspective chosen by the author.

The art reproductions of Pietro Lorenzetti, and of Duccio, Simone Martini and Sano di Pietro

Among the art reproductions of Pietro Lorenzetti performed by the expert hands of Silvia Salvadori there are also the Madonna Annunciata by Simone Martini, that by Duccio di Buoninsegna and by Sano di Pietro. Different artistic approaches to what is a common theme in sacred art of the fourteenth and fifteenth centuries with the need, despite some similarities, to make distinctions. While Martini, Pietro and Ambrogio Lorenzetti are masters of the fourteenth century, Sano di Pietro, being born and operating in the fifteenth century, is to be considered much closer to the Renaissance than is believed.

Stylistically, the Madonna and Child by Sano Di Pietro is very reminiscent of the style used by his colleagues in Medieval Siena but at the same time it is clear how the artist detaches himself, offering a different emotion to the scene reproduced: in this case, in fact, the figures stand out particularly for the choice of color on a golden background just as it happened with the homonymous work by Duccio di Buoninsegna, but they impress the eyes of the spectator for their sad expression charged of that tragic and salvific future that the Jesus Child will be forced to live to expiate the sins of the world. The reference to the Passion is well outlined and graspable even if you are lacking in specific knowledge of the symbolism of the painting.

Particularly important, among the works reproduced by Silvia Salvadori, is the Madonna Annunciante by Simone Martini. Just look at the scene to understand how the Sienese master, by painting this sacred subject, managed to transform a simple work of art into one of the most appreciated jewels of all Gothic art of the fourteenth century. Still appreciated by critics and enthusiasts today, it bears testimony of the creation of one of the most elegant pictorial linear movements of medieval Siena and fourteenth-century Tuscan art.

Specifically, the painting is a tempera on wood currently preserved in the Uffizi Gallery and painted by Martini together with his brother-in-law Lippo Memmi who made the side panels for the Cathedral of Siena. It is the psychological empathy present in the painting that brings the message to the base of the work to stand out in a particular way, together with the use of a symbolism and an impeccable perspective.

16 July 2018

Art reproductions of Simone Martini in Medieval Siena

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.