Nativity of the Baby Jesus. Painted by Silvia Salvadori. Inspired by the nativities of the early Tuscan Renaissance.
In the painting there is represented the tenderest moment of the nativity of Jesus with the ox and the donkey next to it.
The small icon was made using fine 23 karat gold leaf finely engraved with a burin as per ancient Tuscan tradition (goldsmith cisello).
In this painting we find the Renaissance style of the large gold backgrounds merged together, revisited in a modern and contemporary way.
The nativity of Jesus, nativity of Christ, birth of Jesus or birth of Christ.
8,5 x 9,5 cm
Sacred art for sale at Christmas.
Limited Edition. Gold Art.
Nativity of the Infant Jesus executed with the original Tuscan gold ground technique in Renaissance style.
New for this Christmas.
Arezzo is one of the most beautiful cities in Tuscany, enchanting with its medieval charm. A city of art and poets, it has always attracted many visitors.
Come and discover Silvia Salvadori's latest collection of works of art made entirely of 23-carat pure gold and precious antique pigments typical of Tuscan Renaissance painting.
Tuscan art lives again this Christmas with Silvia's gold art.
You can visit the Bottega d'arte in Arezzo in the heart of the historical centre just a few steps from Piazza Grande where the ancient chivalric joust of the Saracen takes place every year.
It is in this splendid medieval setting that artist Silvia Salvadori draws her inspiration. In Silvia's works, you can admire the medieval Tuscan landscape executed with pictorial techniques of the Tuscan Renaissance in a modern and contemporary key. Her ladies recall the Renaissance art of Piero della Francesca.
Pure gold frames each of his works, and his Renaissance and modern style allow the artist to make the most of this ancient painting technique in use in the early Renaissance in Tuscany by the greatest artists such as Cimabue in the Crucifix of San Domenico and the Polyptych by Pietro Lorenzetti preserved at the Pieve di Santa Maria in Arezzo.
La bottega d'Arte Toscana is a treasure chest of art and culture where the art of the Tuscan Middle Ages and the early Renaissance can be found in a harmonious synthesis of light, pure gold and colour that only artist Silvia Salvadori can recreate.
The Bottega d'Arte Toscana will be an ever-burning light to illuminate this Christmas.
The absolute novelty of this edition, which will be unveiled in December, will frame the festive programme.
Once again Arezzo will be a protagonist on the international art and culture scene.
Come and discover Silvia Salvadori's Art Gallery and her New Collection at Christmas!
Visit Arezzo!
Painted by Silvia Salvadori Tempera and Gold on wood On Renaissance
The artist Silvia Salvadori, combines for the first time the original painting techniques of the 14th century Tuscan school with the world of nature.
The idea stems from her passion and love for animals and the Tuscan landscape, which lead her towards the creation of new compositions of refined workmanship and incomparable value. We find the soul of Tuscany in her landscapes. Her works are inspired by the medieval and Renaissance landscapes painted by Pietro Lorenzetti, Piero della Francesca, Botticelli and the artistic production typical of the Medici collections.
Medici collecting and patronage were the fulcrum around which Florentine art revolved from the 15th century onwards. And it was precisely in keeping with this tradition that Silvia returned to the personal tastes of her patrons, who in Arezzo and all over the world demanded religious and historical subjects, portraits, floral compositions and Tuscan landscapes.
Tempera and pure Gold on wood
History: Jean Malouel in Dutch Jan Maelwael (Gueldre, 1397 -1415), Dutch painter and miniaturist. He was court painter to Queen Isabella of Bavaria and the Duke of Burgundy and an important artist of the international Gothic.
Jean Malouel's original painting is kept in the Louvre in Paris.
Jean Malouel paints a Grande Pietà Ronde - Pitié de Notre Seigneur (1400-1415), where pain becomes intimate, more composed, silent, combined with a great linear refinement. The work was commissioned by Philip the Ardito, brother of King Charles V.
This beautiful work, particularly dense with devotion, was created by Silvia Salvadori on commission.
Its realization involved many months of work and study. In particular, the original colors have been restored, largely greatly altered by aggressive cleaning carried out over the centuries both on the paint film and in the gilding. In some parts of the original painting the decoration had disappeared and therefore a careful and complete reconstruction was necessary.
Silvia Salvadori has added a thin gilded and finely engraved band to replace a hypothetical frame once present in the original work. The best pigments used and described by the most important Tuscan master painters, first of all Cennino Cennini, were used for this work. Everything has been taken care of in every little detail, from the hair, to the wings of the angels, to the gaudy draperies, up to the expressions of the faces very similar, if not identical to the original work.
Preserved at the Louvre in Paris
Tempera on a 23 K pure gold background, engravings, antique fir table
Reproduction of Art by Silvia Salvadori. Sienese school painting. Icon of the Madonna and Child painted with the original technique of the Sienese school of tempera and pure gold painting on old wood according to the ancient recipes of the Sienese school - painting by Silvia Salvadori. Giovanni di Paolo (Siena c. 1400 - 1482), Italian painter and miniaturist, one of the most important artists of the 15th century Sienese school. In Giovanni di Paolo's early works, the influence of previous Sienese masters such as Pietro Lorenzetti is noted, but his mature style became more and more personal, characterized by strong, clean colors and elongated shapes. The late Gothic polyptychs of Giovanni di Paolo, suggest an almost surreal atmosphere, the human figures, very expressive and defined by clear contour signs, are painted in geometric landscapes enriched with small scenes by Giovanni di Paolo's works, among which the Madonna of Humility (c. 1445) and the Last Judgment (1460-1465), also by Giovanni di Paolo. Reproduction of art, sacred icon - Sienese school. Sienese school painting.
National Picture Gallery, Siena
Tempera and pure gold on poplar wood
Faithful reproduction of the original table. Icon of the Madonna and Child (reference artist: Giovanni di Paolo). Sacred icon.
Hand painted icon from Gentile da Fabriano. Painting by Silvia Salvadori. Reproduction of Sienese school paintings of the '300 and' 400 made with the original technique: Tempera on gilded gold leaf table - 23 k -. WORK DRAWN FROM GENTILE DA FABRIANO. Madonna and Child icon on a gold background - pure gold foil.Unique copy of the Madonna of Humility. Icon of the Madonna and Child (Reproduction of art by Gentile da Fabriano - Silvia Salvadori) painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school. hand-painted sacred icon. Engravings and decorations made on pure gold. Reproduction of art by Gentile da Fabriano, Madonna of Humility. Art reproduction icon. The Madonna dell'Umiltà is a tempera painting on wood (56x41 cm) by Gentile da Fabriano, dating from around 1420-1423 and preserved in the National Museum of San Matteo in Pisa. Gentile da Fabriano's work comes from the Pisan Pia Casa della Misericordia, where it was taken in the nineteenth century for museum display. The circumstances of the tablet commission, which due to its size, was intended for private devotion are unclear. Perhaps it may have been requested by Alemanno Adimari, cardinal of Florentine origin and archbishop of Pisa, who had the sepulcher decorated in the Roman church of Santa Maria Nova by Gentile da Fabriano in those years (lost work mentioned by Giorgio Vasari). of Humility by Gentile da Fabriano, that is, sitting on the ground on a cushion, it was a very dear theme to the painting of the first fifteenth century. The Virgin Mary is depicted in adoration of her son on her knees, on a precious golden cloth, finely decorated. Stylistic and technical correspondences, such as the refined processing of gold in the background and fabrics, refer to the Florentine period of the artist, fully comparable with the Pala Strozzi (1423), while the pose of the Child follows another work of those years, the Adoration of the Child of the Getty Center. The artist had already tried his hand on at least one table at the Getty Museum in Los Angeles dating from around 1420-1421, where, however, the Virgin Mary is fully frontal. In the Pisa panel, on the other hand, the Virgin Mary is arranged almost in profile and exudes greater intimacy and stronger concentration in the sacred group. The child almost seems to smile at the mother and has a boyish gesture of grasping the golden edge of her dress as she walks around. Typical of the artist is the very soft treatment of the complexions. The sumptuousness of gold, mixed with red lacquers, hints at the background to the depth of the cushion and background curtain. The inscription "AVE M [A] T [ER] DIEGNA [D] EI" runs along the edge of the Virgin Mary's mantle. On the edge of the cloth where Jesus is lying, Arabic characters instead appear, which have been read as the verse of the Koran that reads "There is no other God outside Allah" (لا إله إلا الله - Lā ilāha illa Allāh) . The presence of such an inscription has not been clarified, perhaps it is a copy from a text without knowing the meaning, to give a touch of exoticism to the representation. Tempera and pure gold, colors identical to the original table painted by Gentile da Fabriano. Tempera on a pure gold background.
Reproduction of art drawn by Gentile da Fabriano
Tempera and pure gold on antique wood, engraved pure gold foil
Tempera and pure gold, colors identical to the original table painted by Gentile da Fabriano. Icon of the Madonna and Child, Art reproduction icon. Madonna and Child icon on a gold background - pure gold foil.
The two Angels were painted in Martini's style (Simone Martini) with the original technique of the Sienese school.
You can see the execution details and the beautiful pastel colors and cobalt blue colors of the bulky and soft dresses. The wings were finely engraved on gold with the scratch technique to give infinite light games.
Painting by Silvia Salvadori
Tempera and gold engraving 23k, engraved with bobbin. Antique Wooden Tablets
The work commissioned to Silvia Salvadori provided a first accurate study of the face and a restoration of the original incarnate and gold headgear, in the original in a bad state of conservation. Much attention has also been paid to the delicate and precious floral embroidery that is present within the agate and very abrasive in the original tablet.
Silvia Salvadori has reshaped every single detail of the decorations to perfection. The Incarnate of the Virgin has returned to shine out of its natural light. In this study of the face of the Virgin of Masaccio, Silvia Salvadori, wanted to imagine how the original work could appear before the old restorations and the erroneous cleaning done in the past.
History: Virgin Mary Casini (Virgin Mary and Child), also known as Virgin Mary del Solletico, by Masaccio, is a tempera on a table of very small size (24,50x18,20 cm), kept at the Uffizi of Florence and dated from 1426 to 1427.
The small table must have been almost certainly a painting for the private devotion of the cardinal of Sienese origin, jurist and canonist Antonio Casini, whose coat of arms is painted on the back of the table (gold, black band loaded with a cross of red, and accompanied by six stars of eight blue tips, ordered in the cradle).
The presence of the cardinal hat on the coat of arms led to a concomitant date, or in any case after his nomination, on May 26, 1426. The Cardinal, an educated and refined character, Branda Castiglione's friend (commissioner of Masolino and perhaps of Masaccio himself) in contact with various humanists and is likely to have chosen the Florentine painter after Masolino's departure for Hungary.
The ancient stories of the work are unknown. It was discovered in 1947 by Rodolfo Siviero who brought it back to Italy among the masterpieces of the Germans during the Second World War. Exhibited in the Loeser collection at Palazzo Vecchio was again stolen in 1971 and again found by Siviero two years later. Since 1988 has been in the Uffizi.
The first to attribute the work to Masaccio was Roberto Longhi in 1950.
Uffizi Gallery, Florence
Tempera painted on gold gold base 23 k, decorations made of gold engraved on gold with agate stone tip. Application of cochile decoration (golden dust pile) on the mantle of the dress in blue lapis lazuli. Antique wooden table.
Reproduction Art
Medieval casket in pure gold, hard stones (turquoise), painted in tempera and depicting two mermaids with a golden sea horse in relief in the center. All sides of the casket feature painted corals and sea snails. Autograph painting by Silvia Salvadori.
Work by Silvia Salvadori.
23 k gold plated pure gold leaf box decorated by hand
Lady Casket with the Unicorn. Golden box with 23 k pure gold leaf and engraved with a burin. Original "gouache" gilding. Painting depicting a Lady embracing a Unicorn symbol of the Leocorno district of Siena. The landscape in the background recalls the Sienese Crete in winter. The Sienese landscape with castles, clay and cypresses frame the entire composition. On the front of the box stands a bas-relief diadem with a Unicorn head. The lateral decorations have been executed in a "scratch" on a pure gold background. The painting was made according to the oldest pictorial techniques of the Sienese school of the 14th century. Contrada del Leocorno, Siena. Painting made by Silvia Salvadori.
Work by Silvia Salvadori.
Gilded box with 23 k pure gold leaf and engraved
The two small icons were designed by Silvia Salvadori to furnish small spaces and were designed to create a modular decorative apparatus composed of squares with inside relief circles hosting Virgin figures.
The figures, almost miniaturized, are made with great detail mastery. Every detail, decorated with gold, like hair and animals, is characterized by great naturalism and chromatic vivacity. The face of St. Catherine is that of a determined, fighting and noble woman. Catherine was a beautiful girl, daughter of a King, educated from early age in the liberal arts and very learned.
St. Catherine of Alexandria is the patron saint of philosophers, judges, notaries, students, female confraternities, but also tailors, ceramists and papermakers.
History:
The legend tells that a series of angels descended from heaven to save the body lifeless of the Princess. In 305, Massimo Daia was proclaimed governor of Egypt and Syria. On the occasion of his appointment, great and brilliant festivities were launched, in which numerous and cruel sacrifices of animals were foreseen. St. Catherine, horrified by these barbaric practices, resisted with great firmness and conviction, asking everyone to abandon Paganism in favor of Christianity.
The Governor, fascinated by the decisive character of the girl but also by her beauty, did not get angry and decided to send a group of philosophers to the palace to change their mind, but Catherine was unmovable.
Massimo then decided to make all Christians burn alive, and proposed to the princess to marry him to save her life. St. Catherine rejected the proposal and was sent to martyrdom. It was put on the toothed wheel, but as soon as the wheel touched the girl, it broke in a thousand pieces, under the amazed look of everyone. The Prosecutor Massimo, now furious, was forced to kill her in a more direct way, making her decapitate.
The icon of Virgin Agnes is instead represented by Silvia Salvadori with the lamb of the Passion of Christ in hand and with a light blue lapis lazuli. Silvia Salvadori represents in this icon a Virgin Agnes with an almost childish face, characterized by an incarnate rosy and delicate, typical of Siena's painting by Simone Martini.
Virgin Agnes suffered martyrdom during the persecution against Christians wanted by the Roman emperor Diocletian. According to tradition, she refused to enter the cloister between the vestals and the Prefect ordered her to be killed.
Other sources speak about a condemnation for the use of magic, and for this reason she was burnt. The flames split beneath her body without lapping it, and the hair instantly grew to cover their nakedness. After this, Virgin Agnes miracle was pierced by a sword stroke at the throat. She is depicted with a lamb in her arms, since she was sacrificed by the same fate.
After her death the body was buried in a catacomb that still has his name today. Virgin Agnes is honored as the protector of the Virgin Mary, the Gardeners, the Daughters of Mary, and is the Virgin Patron of the Sacred Order of the Most Virgin Trinity.
Painting by Silvia Salvadori
Sienese school painting technique (Cennino Cennini). Tempera on gold background zecchino, antique table and relief gold base frame, engraving on bobbin.
In this work, Silvia Savadori combines the elegance of the Virgin Mary of Pomegranate by Sandro Botticelli with her personal style and her sketches inspired by the style of Sandro Botticelli.
Sandro Botticelli becomes the point of reference for her Renaissance-style creations. Virgin Mary has been called like this for the many transparent silk veils that wrap her hair and end up becoming a game for the Child.
Silvia Salvadori painted in the background a medieval town of Arezzo surrounded by a timid dawn, between gentle hills, cypresses and lush quercetin. Great attention has been paid to both the botanical and typical elements of the Tuscan landscape as well as the architectural elements that recall the colonnade arches of the Florentine palaces of the 400 '.
The Virgin has a serene and smiling face and is also the face of the Child, intent on playing with her precious veil painted by delicate embroideries in gold pluck. Every detail is taken care to perfection.
The pillow is completely painted on gold to look like a damask fabric. The painting is rich in Gold embroidery made of shell (pure gold powder) and with the ancient technique of gold scratching on Siena's painting.
The voluminous dress accentuates the majesty of this beautiful Virgin. Many months of work and study were needed for this work. The table is of antique wood and on the back are embedded butterflies. This practice, much used in the past to link and make the boards stable to thermal variations.
Virgin Mary of Pomegranate by Sandro Botticelli. Uffizi Gallery, Florence
Tempera on a gold platter 23 k, pigments from the palette of Cennino Cennini (Book of Art), pure gold powder and leaf. Antique table.
