Early Renaissance

Sea painted "The Mermaids" Tempera and gold on wood. 23 carat pure gold. Pure pigments. Original technique of the Tuscan school XV century. 50 x 60 cm

The Mermaid recalls and evoked fantasies, dreams and memories that have always been in us. The Mermaid emerge in the thoughts as iconic images of an imaginary tale never dormant. They awaken deep feelings of freedom, beauty, mystery and love. The sea painted in Silvia Salvadori becomes a symbol of life and even death, while the water element becomes a metaphor for the unconscious and a lunar femininity intimately connected with water. Silvia Salvadori Tempera and pure gold Sea Painted "The Mermaid"

Tempera gold painting

Medieval casket with ocean mermaids

Between Sky and Sea

On Early Renaissance

Quando e come nasce il tuo percorso artistico? Il mio percorso artistico nasce a Siena nell’ambito della conservazione e del restauro. Da sempre affascinata dall’arte senese ho intrapreso un lungo percorso di ricerca e studio delle antiche tecniche pittoriche scritte a cavallo tra XIII e Xv secolo in Toscana. Quali persone, artisti ed episodi hanno influenzato maggiormente il tuo percorso? Gli artisti che mi hanno da sempre ispirato sono Simone Martino, Duccio di Buoninsegna e tutta la pittura del primo Rinascimento, primo fra tutti Piero della Francesca. Cosa cerchi attraverso la forma d’arte che utilizzi? Recuperare questa antica tecnica pittorica e renderla contemporanea. C’è una ricerca costante della luce e del colore che cerco di far emergere in ogni mia opera. C’è una parte nella tua ricerca artistica di cui vorresti parlare in particolare? Sicuramente l’aspetto simbolico e della ricerca alchemica del colore ha da sempre occupato un ruolo predominante nei miei studi. Ogni mia opera è composta da colori puri e vibranti uniti all’oro zecchino. Il mio è un vero e proprio tuffo nel passato nel tentativo di riportare alla luce un’antica arte da tempo dimenticata. Qual è il tuo rapporto con il mercato? In oltre venti anni di ricerca posso dire che il mio rapporto con il mercato è sempre stato rivolto ad una specifica committenza. Una committenza esperta e molto interessata a questo genere di pittura. Cosa consiglieresti ad un artista che vorrebbe vivere d’arte? Studiare molto, sperimentare e donarsi di queste virtù : Amore, timore, obbedienza e perseveranza.

Chimera and Pegaso Silvia Salvadori Painting Tempera and gold on wood http://connectivart.altervista.org/intervista-a-silvia-salvadori/?doing_wp_cron=1644836382.8221380710601806640625 Chimera and Pegaso by Silvia Salvadori tempera and gold on wood painting Chimera and Pegaso by Silvia Salvadori

A window on time

Tribute to Orient

Energy

On Early Renaissance

Icon of Saint George and the dragon. Reproduction of Art by Silvia Salvadori.

Sacred icon made with tempera and pure gold on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. 28 x 24 cm

Icon painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school. Painting by Silvia Salvadori. Icon of San Giorgio and the Dragon, Reproduction of art by Sano di Pietro, Sienese painting, tempera and pure gold on wood. The "Maestro dell'Osservanza", one of the highest and most refined painters of the Sienese fifteenth century, was none other than the young Sano di Pietro, as Cesare Brandi had already said at the time. Painter and miniaturist. N. Siena, 1406 - in. Siena, 1/11/1481 Sano di Pietro was active from 1428 and was formed artistically at Sassetta, without however reaching the lyrical splendor of the master, but was to some extent also influenced by the same age Giovanni di Paolo, still keeping away from the fantastic bizarre of the latter. Sano di Pietro's painting has been overly praised or devalued according to historical periods. Today it must be correctly observed that, if its stylistic development was not always coherent, certainly the artist was able to achieve absolute mastery of the pictorial technique, which allowed him to arrive, with a happy combination of different expressive elements, to his own style well recognizable. On the other hand, Sano di Pietro's ability to reproduce formulas of sure commercial success was perhaps the reason for the unequal value of some of his works. Sano di Pietro was in fact held in high esteem and, receiving a very large number of orders, Sano di Pietro was probably forced to make use of the work of the workers of his very active workshop, or in any case to carry out the works himself in perhaps too short times. It is certain, however, that Sano di Pietro has left us a very large production, overall of a good standard, preserved largely in Siena and in the countryside, and it is also certain that his best works, especially those of exclusive hand, stand out always for a great refinement of design and color, and for a very skilful use of gold. In these works the mild religiosity of Sano di Pietro shines through, however, devoid of unnecessary sentimentality and still pervaded by an austerity throughout the fourteenth century. One of Sano di Pietro's first works was the "Coronation of the Virgin" painted, in about 1440, on the Porta Nuova (today Porta Romana) in Siena. Two panels representing «S. Bernardino preaching in the Campo di Siena »and« Icon San Bernardino preaching in Piazza S. Francesco », preserved in the Chapter Hall of the Cathedral of Siena, and to be considered works of considerable suggestion and of great documentary interest. The first dated work by Sano di Pietro dates back to 1444 and is the large polyptych with the "Madonna and Child" in the center, now preserved in the Pinacoteca Nazionale di Siena, and coming from the Church of the Convent of the Gesuati di S. Girolamo in the same city; the work is to be considered a true masterpiece, for the clarity of the design, and for the bright colors, still perfectly preserved. Coming from the same polyptych for the Gesuati are some panels with "Stories of St. Jerome" today at the Louvre in Paris. In 1445-46 Sano di Pietro resumed and completed the large fresco with the "Coronation of the Virgin", started by Domenico di Bartolo, in the Biccherna Room of the Palazzo Pubblico of Siena, one of his most successful and admired creations. The panel with «A miracle of S. Biagio» in the Pinacoteca Nazionale di Siena, part of a polyptych made for the Church of S. Biagio in Scrofiano, dates from 1449. Perhaps a little later than 1450, it is a very precious tablet depicting the icon of the Madonna and Child with Angels and Saints »preserved in the Chigi-Saracini Collection in Siena; here it is particularly evident that Sano di Pietro was more at ease in the small and collected paintings, in which, having passed the trade, he reached the highest levels of his art. In this tablet the color is beautifully preserved; in it, in the center there is a very sweet icon of the "Madonna and Child", wrapped in the bright blue of the mantle, in great prominence on the sparkling glow of the gold background. A little later than 1455 is the valuable panel with the icon "Madonna recommending Siena to Pope Callixtus III", coming from the Palazzo Pubblico and currently kept in the Pinacoteca Nazionale di Siena, where there is also the table with the "Announcement to the Shepherds », Around 1460. In the same art gallery there are also many other very valid works by Sano di Pietro, including some polyptychs depicting the icon of the "Madonna Enthroned with the Child and Saints". It would then be long to list a myriad of other works preserved in Siena, where Sano di Pietro worked, among other things, also in the Church of San Pietro alle Scale, in the Church of San Bartolomeo in the Contrada of the Istrice, etc. Sano di Pietro also carried out numerous works in the countryside, including a triptych in the Collegiate Church of San Quirico d'Orcia. Remember Diocesan Museum of Sacred Art, Siena Tempera and pure gold on wood - antique wood San Giorgio and the Dragon drawn from Sano di Pietro. Tempera painted icon on a pure gold background.

Madonna and Child by Sano di Pietro

Saint Catherine of Alexandria

Off Early Renaissance

Virgin with Child. Art Reproduction. Painting Studio by Sandro Botticelli. (The Madonna of the Book).

Sacred icon made with gouache and gold on board. Work performed with the ancient painting techniques of the Sienese school of the fifteenth century. 55 x 75 cm

In these works by Silvia Salvadori, we highlight the desire to deepen the painting of all the Tuscan Early Renaissance. In particular she carries out careful studies of the style of great master Sandro Botticelli. This work is distinguished by elegance and great mastery of execution. The work was commissioned to teacher Silvia Salvadori, and she needed a lot of work, since this item is not only large but also rich in details. First of all the bulky drapery of the blue dress from whose shoulder falls a delicate white veil, made by Silvia teacher, translucent and transparent. Extreme care and accuracy are noted in the fruit basket, in the biscuit casket and the book. There are many golden glories on Mary's hair, on the fabrics, on the leaves in the fruit basket, and on the goldfish horns. Silvia Salvadori paints Virgin's face to perfection and performs an elegant miniature decor inside it. Same precision of brushstroke we can notice on hair, even more emphasized by a thin line of pure gold. The pigments are the same as those used by Sandro Botticelli. History: The original table of The Virgin and Child (The Madonna of the Book) is preserved at the Poldi Pezzoli Museum in Milan. The Virgin Mary and the book is a tempered painting on the table (58x39,5 cm) by Sandro Botticelli, dating back to 1480-1481. Museum Poldi Pezzoli, Milan Unique painting performed by Silvia Salvadori according to the ancient pictorial techniques of the Tuscan pictorial school of the first Renaissance. Notes: gold leaf 23k applied to leaf and powder, gold plucked shell. Refined painting technique. Use of fine pigments (lapislazuli). Madonna and Child. Reproduction of art drawn from Sandro Botticelli (Madonna del Libro). Unique painting executed by Silvia Salvadori according to the ancient pictorial techniques of the Tuscan pictorial school of the early Renaissance.

Musician angel

Golden spear

Biccherna, noble wedding

Off Early Renaissance

Annunciation. Reproduction by Silvia Salvadori.

Sacred icon made with tempera and pure gold leaf on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. 25 x 16 cm

Painting by Silvia Salvadori inspired by the Spinello Annunciation by Luca Spinelli, commonly known as Spinello Aretino (Arezzo, ca. 1350 - 14 March 1410), one of the most active painters in Tuscany in the second half of the fourteenth century. Subject: Annunciation (work drawn from Spinello Aretino) Technique: Original pictorial technique in use in the 13th and 15th centuries. Egg yolk tempera on a 23k pure gold background on an ancient table. Pure pigments. Pictorial recipe book drawn from Cennino Cennini's Book of Art. The decorative elements of the haloes were all entirely punched (punched) following the decoration on the original table. The work in question is inspired by the fourteenth century Arezzo painting with particular reference to Spinello Aretino. Reference works: Annunciation, a young work by Spinello Aretino painted in fresco and placed in the church of the Santissima Annunziata in Arezzo. Annunciation, fresco present in the right chapel of the Basilica of San Domenico in Arezzo and the Annunciation (1384-85) painted on wood on a pure gold background preserved in the Fitzwilliam Museum in Cambridge. Annunciation (work drawn from Spinello Aretino). Silvia Salvadori. Tempera painting on a pure gold background. Original technique of the Sienese school of painting of the thirteenth and fourteenth centuries. Sienese School of Painting - Artistic reproduction by © Silvia Salvadori Tempera on a pure gold background. Annunciation. Silvia Salvadori. Tempera painting on a pure gold background. Original technique of the Sienese school of painting of the thirteenth and fourteenth centuries.

Musician angel