Madonna of childbirth, tribute to Piero della Francesca. 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. Original technique painted in egg yolk tempera on a 23 k pure gold background. Decoration on gold carried out entirely in burin. Ancient wooden board. 18 x 22 cm Tribute to Piero della Francesca painting by Silvia Salvadori. Painted with tempera on a pure gold background entirely engraved with a burin on the halo. A personal tribute to the greatest Renaissance artist from Arezzo, Piero della Francesca. Study, personal reinterpretation and reconstruction of the figure of the Madonna di Piero della Francesca. The Madonna del Parto by Piero della Francesca. Arezzo Renaissance art. Painted on a gold background. Gold foil 23 k. Egg tempera, fine pigments, lapis lazuli blue. Ancient wooden board. Use of the same original painting technique used in the fifteenth century. Fresco by Piero della Francesca preserved in the chapel of Santa Maria di Momentana in Monterchi. Arezzo Painted on a gold background. Pure gold foil 23 k. Egg tempera, fine pigments (lapis lazuli blue, cochineal red, original lacquers). Ancient wooden board. Use of the same original painting technique used in the 15th century in Tuscany. Piero della Francesca (Borgo Sansepolcro, 1416 / 1417circa - Borgo Sansepolcro, 12 October 1492), was an Italian painter and mathematician. Among the most emblematic personalities of the Italian Renaissance, he was an exponent of the second generation of painters-humanists. His works are admirably suspended between art, geometry and complex multi-level reading system, where complex theological, philosophical and topical issues converge. He managed to harmonize, in life as in works, the intellectual and spiritual values ​​of his time, condensing multiple influences and mediating between tradition and modernity, between religiosity and new affirmations of Humanism, between rationality and aesthetics. The Madonna del parto is a fresco (260x203 cm) made by Piero della Francesca, dating from around 1455-1465, and preserved in a specially prepared museum in Monterchi, coming from the chapel of Santa Maria di Momentana in Monterchi. The Madonna del Parto is one of the most famous frescoes by Piero della Francesca. The iconographic subject of the pregnant Virgin represents Mary standing with a closed book resting on her belly, probably the Old Testament, a symbol of the word of God which she incarnates through her. The Madonna, unlike other representations, does not make any royal gesture and does not hold any book in her hand, but supports the weight of the belly by pointing a hand on her side. Beside her, on both sides she has two angels, symmetrical completions, which are moving aside the tent of the pavilions, in the embroidery you can see the pomegranates, which symbolize the passion of Christ. The tent can take on the interpretation of the Ark of the Covenant, Mary would be the new ark, or the pavilion could be the church and the Madonna the Eucharistic tabernacle as it bears the body of Christ. Piero della Francesca used for this depiction using a large amount of ultramarine blue, red and ocher yellow. Off Renaissance

Golden spear dedicated to Spinello Aretino. Painting by Silvia Salvadori.

Project made with tempera and pure gold. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. Drawings of Silvia Salvadori. Project of the Golden Lance inspired by the painting of Spinello Aretino (double-sided handle). Description: The handle of the Lancia d'oro is made up of three cones, each of which represents a scene and hides an allegorical message (inspired by the Divine Comedy). Above, the universe enclosed in a celestial sphere painted with the colors of the districts of the city of Arezzo. Below, raised beams of golden rays support the base on which the ellipse rests, slightly concave inside. On the front, the central cone bears the effigy of the Madonna del Conforto. The mantle of the Virgin (inspired by the figure of the Magdalene among the Angels, painted by Spinello Aretino) forms a raised fan that joins the golden ring of the spear bearing the engraving of the names of Spinello Aretino and the City. The golden ring of the spear acts as a dividing line between the universe and the central cone that encloses the figure of the Virgin and the city of Arezzo. The robe of the Madonna will be made in golden relief and painted in ultramarine blue. On the sides of the central cone two musician angels in golden bas-relief look out from two Gothic windows. The elongated and moved figures of the angels, with their impalpable and delicate complexions painted in the manner of the Sienese School, create an architectural frame that recalls the patterns of the Gothic facades and windows (with this aspect I wanted to emphasize that the painting by Spinello Aretino represented one of the more elegant examples of transition from Gothic to Renaissance). Back of the spear: Golden bas-relief of the city of Arezzo protected by its mighty walls. Final part: On the inverted cone a feathered snake with bright colors, emerald green and pure gold is twisted (around the snake, on the whole surface of the cone, a carpet of golden feathers stands out in relief). The snake devours an egg symbol of eternal life. From the fig leaves (the scene is inspired by the Book of Genesis, the first story of Creation) three golden apples ripen, a symbol of knowledge and prosperity. Painting by © Silvia Salvadori Tempera and pure gold SPINELLO ARETINO - Biography: Spinello di Luca Spinelli, nicknamed Spinello Aretino (Arezzo, ca. 1350 - 14 March 1411), was an Italian painter, among the most active in Tuscany in the second half of the fourteenth century. His family was originally from Capolona. It was Luca Spinello his father, a refined goldsmith, who moved to Arezzo where Spinello Aretino grew "so inclined by nature to be a painter, that almost without a master, being still a child, he knew what many exercised, under the discipline of excellent masters , they don't know "(Giorgio Vasari). His training, however, comes not only from doing in his father's workshop, through Jacopo del Casentino (of whom Spinello Aretino was a disciple), by Taddeo Gaddi, one of Giotto's main followers. Without a doubt it was a feeling of love for the country, a parochial desire to exalt the hometown, which prompted Giorgio Vasari to dedicate a long biography to Spinello Aretino, who he said would have "compared Giotto in drawing and far advanced it in the complexion "; strange that with this premise, once in front of the highest achievement of the beloved painter, the frescoes in the church of Carmine, Giorgio Vasari could not do better than assign them to Giotto. In Florence he worked alongside his master in the church of Carmine and in that of Santa Maria Novella, while between 1360 and 1384 Spinello Aretino was active mainly in Arezzo, where he instoried many fresco painting cycles, unfortunately almost all lost. The Crucifixion remains in the Cathedral of Arezzo, close to the Orcagna style. In 1384 after the sack of the city Spinello Aretino returned to Florence, where he had the important commission of the Stories of San Benedetto in the sacristy of San Miniato al Monte in Florence (painted by Spinello Aretino around 1387-1388), where the composition is Giotto , while the brilliance of the colors reflects more the Sienese art. The fragmentary mystical marriage of Saint Catherine of Alexandria between saints in the basilica of Santa Trinita in Florence dates back to around 1390. In 1391-1392 Spinello Aretino painted six frescoes, still existing, on the south wall of the Camposanto of Pisa with the Miracles of Saints Potito and Ephesus, for which he received a compensation of 270 gold coins. The Triptych of the Enthroned Madonna and Saints from the Galleria dell'Accademia also dates back to those years, while in the following decade it is Santo Stefano in the same museum. "In his later years Spinello Aretino softened somewhat the color and the relief, reflecting other trends that pressed him around." (Toesca) In the History of Alessandro, in the Palazzo Pubblico of Siena (1407-1408) Spinello Aretino showed a lively narrative quality in the autographed parts, testifying to the remarkable artistic maturity in the last period of his career or perhaps also to the influence of the spirited and whimsical son Parri di Spinello who collaborated on it. The stories are a representation of Federico Barbarossa's war against the Republic of Venice. But the chronology is extremely uncertain, and this should not be surprising in a painter in whom the qualitative fluctuations are above all in relation to the importance of the commission and who remains, throughout the span of his activity, always faithful to the same ideal of aristocratic contentment. , to a world that is already a prelude to the cold and abstract one of Lorenzo Monaco, in which pages of a composed elegance move, sweetly gathered bridesmaids, and where even the knights in the fray softly grip the swords and the miracle assistants amaze in moderation and with falcate gestures. "In Santo Agostino d’Arezzo he was buried, where still today you can see a plaque with an arms made at his whim, inside a thorny one" (Giorgio Vasari). Epitaph: "SPINELLO ARRETINO PATRI OPT PICTORIQVE SVAE AETATIS NOBILISS CVIVS ​​OPERA ET IPSI ET PATRIAE MAXIMO ORNAMENT FVERVNT PII THREADS NOT SINE LACRIMIS POSS." Spinello Aretino. Off Renaissance

Floral arrangement inspired by Sandro Botticelli. Painting by Silvia Salvadori.

Floral arrangement in Renaissance style made with tempera and pure gold on wood. Burin engravings and use of fine colors including lapis lazuli blue. Renaissance style paintings executed by Silvia Salvadori. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. 31×17 cm Painting by Silvia Salvadori. Floral arrangement in Renaissance style. Painted flower pot on a gold background. Painted on a gold leaf panel. Vase of Flowers, Tuscan Renaissance painting inspired by Sandro Botticelli - Botticelli style. Painting executed with the same pictorial techniques used in the 400 in Tuscany. Pink and white English roses inspired by the floral arrangements of the Tuscan Florentine Renaissance by Sandro Botticelli. Vase of flowers painted in deep ultramarine blue laspislazuli that recalls the blue alabaster vases. The decorations on the flower pot are entirely engraved on a pure gold background. Tempera on a gold background. Painted on a gold leaf panel. Painting by Silvia Salvadori. Painted on a gold leaf panel. Tempera and pure gold Painting executed with the same pictorial techniques used in the 400 in Tuscany. Floral arrangement in Renaissance style. English pink and white roses. Tempera on a pure gold background. Painted on a gold leaf panel. (Gold leaf flowers, roses painted on gold, hand-painted Renaissance composition on gold, painted Renaissance roses, vase of flowers with roses, paintings on a gold background, Renaissance painting, Botticelli style, tempera pure gold, Florentine Renaissance style floral composition). Off Renaissance