Triptych with the Virgin Mary on the throne between the Saints Agnes and Donato. Painted by Silvia Salvadori. Triptych in Duccio di Buoninsegna's style.

Painting made with tempera and pure gold on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. 20 x 30 cm The work was carried out according to the ancient techniques of the Sienese school. The small triptych of travel depicts a Virgin Mary in thrust between Saints. The details of this work are well cared and well defined in the smallest details.  You can see the dresses and drapes with fine and elegant wires in gold. The reference style is Duccio di Buoninsegna and Simone Martini. The triptych features a fine marble finish on the back of a gold rose in the center. Unique work. Painting by Silvia Salvadori Egg yolk tempera on background of Gold Leaf 23 k. Bunches engraving. Poplar Antique Table. Off Sienese Middle Ages

Small Majesty on the throne between Angels and Saints.
Study of a small Majesty enthroned with typical elements of the school of Simone Martini.

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.

22 x 30 cm In this work every detail has been well cared for and well executed You can see the perfectly painted faces in martinian style, the soft drapes of the Virgin and Saints, the geometric floor, etc. The colors used are decisive, warm and bright. The precious brocade fabric, planted on the throne of the Virgin Mary, has been finely decorated with the "gold scratch" technique The composition was further embellished by an arched frame made of relief pads   Painting by Silvia Salvadori Tempera and Gold Leaf 23k on board. Original painting technique of the Sienese school. Patchwork decorations (frame) and engravings on gold pluck. Poplar Antique Table. Off Sienese Middle Ages

Madonna with Child Icon. Art Reproduction from Niccolò di Segna (Cortona, Diocesan Museum).

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. 25 x 34,5 cm History: The fourteenth century table is kept inside the Diocesan Museum of Cortona (Ar). Niccolò di Segna, son of Segna di Buonaventura, one of the prosecutors of the style of Duccio by Buoninsegna until more than half of the 14th century.  This Virgin Mary can also be considered an elegant 'variation on the theme' of the Virgin with the Son for how he had treated Duccio di Buoninsegna in some of his masterpieces, revisited in the light of a personal taste, perhaps a bit algid, for some warmth of the expressions, for a tonal color scheme and for the richness of the decorative elements. The almost absent look of Mary and the Child "passes above us", and is one of the characteristics that approach the style of Niccolò to that of Father. In this icon of the Virgin Mary and Child we notice the refined weives of veil deliberately exalted by Silvia Salvadori. The halo looks very elegant, thanks above all to the clever play between smooth surface and "granulate" obtained with the use of a tiny punch. The letters circled in the halo of Mary that make up the words AVE GRATIA is a clear reference to the greeting of the angel Gabriel, while the fine motif designed with a thin tip of agate stone in the halo of Jesus recalls the wine symbol of the Passion. In this work, Silvia used the same colors as Duccio Buoninsegna's palette, a purple red for the dress and delicate faces of the chromatic passages of martinian memory.   Diocesan Museum, Cortona Tempera on gold leaf 23k, antique table Painted on Virgin Mary with Child table. Tempered and gold icon. Gold background icon. Sienese school. Off Sienese Middle Ages

Noli Me Tangere. 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. 22 x 21 cm Painting by Silvia Salvadori. "Noli me Tangere". Icon painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school. Silvia Salvadori paints unique works of art using the ancient pictorial techniques of medieval Tuscan art. The gold used by Silvia Salvadori is a sheet of pure gold and the colors are of the highest quality prepared by the artist through long alchemical processes. Silvia Salvadori recreates the same hides as a medieval artist with the aim of reviving an ancient lost art. "Noli me tangere". Detail of a painting taken from a "Biccherna" by Giovanni di Paolo. Icon on a gold background. Reconstruction of the Sienese landscape and reinterpretation of other details, the face of Mary Magdalene, the Sienese landscape enriched by numerous tree varieties, flowers and fruits that recall the Passion of Christ. Drawn from a painting by Giovanni di Paolo. Siena, State Archives Tempera and pure gold on an ancient table. Antique wooden board, pure gold leaf engraved in a burin. Painted with the same pigments (Book of Art by Cennino Cennini) including saffron yellow. Off Sienese Middle Ages

Saint Mary Magdalene of Duccio di Buoninsegna. Faithful reproduction 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. 32 x 24 cm Reproduction of art by Duccio di Buoninsegna (copyright copy by Silvia Salvadori). Reproduction of Sienese school paintings of the '300 and' 400 made with the original technique: Tempera on gilded gold leaf table. WORK DRAWN FROM DUCCIO DI BUONINSEGNA. Icon painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school and with the same pictorial style as Duccio di Buoninsegna. Icon of Mary Magdalene, pure gold background. Polyptych Madonna and Child with Saints Agnes, John the Evangelist, John the Baptist and Mary Magdalene; in the upper register: Prophets and Patriarchs; in the cupids: Christ the Redeemer and Angels. The polyptych with complex architecture and carpentry, represents the oldest example that has come down to us as an altarpiece with several registers of figurations. It constitutes the immediate precedent of some of the more elaborate altarpieces made from the end of the second decade of the century; from the polyptych by Simone Martini for the church of Santa Caterina in Pisa to the one commissioned in 1320 to Pietro Lorenzetti for the parish church of Santa Maria in Arezzo, up to the vast complex of Ugolino di Nerio destined for the high altar of the Florentine church of Santa Croce. The polyptych entered the National Art Gallery of Siena in 1892, coming from the Hospital of Santa Maria della Scala. It had to be destined to the primitive "ecclesia sive oratorium" of the hospital, whose construction was granted by bishop Buonfiglio in 1257 and ratified by Pope Alexander IV in 1257: the first nucleus of the building which, still remembered as "capella hospitalis" in 1316, it would become the church of the Virgin Annunziata. Both for the complexity of the structure and for the monumental amplification of the group of the Madonna and Child, most scholars believe the polyptych to be an extreme work of Duccio's activity, to be placed in the lapse between the completion of the Majesty (1311) and the death of the artist. History of St. Mary Magdalene: St. Mary Magdalene or Magdala was, according to the New Testament, a woman disciple of Jesus; she is revered as a saint by the Catholic Church, which celebrates her feast on July 22nd. Saint Mary Magdalene is described both in the New Testament and in the apocryphal Gospels. Santa Maria Maddalena is not mentioned in other sources. The name Maria Maddalena derives from "Magdala", a small town on the western shore of Lake Tiberias, also known as Genezaret. The Gospel narratives quote St. Mary Magdalene in a few verses, making us realize how St. Mary Magdalene was one of the most important and devoted disciples of Jesus. St. Mary Magdalene was among the few who could witness the crucifixion and, according to some gospels, she became the first witness eye of the resurrection. National Art Gallery, Siena, inv. 47. Tempera and gold on poplar wood, gold zecctempera background and gold on poplar wood, engraved pure gold background engraved. Faithful reproduction of the Icon of Santa Maria Maddalena painted by Duccio di Buoninsegna. Copy made with the same ancient painting techniques. Reconstruction of the lost complexions, through comparison with other works of the artist, completely abraded in the original panel. Off Sienese Middle Ages

Small Icon depicting St. Lucy. Reproduction of art by Simone Martini (Siena, 1250-1350).

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. 19 x 10 cm The original color had been largely lost due to caustic soda cleanings. A highly detrimental cleaning method for the delicate pictorial surfaces and unfortunately very much used up to 1800. Also the dress of a beautiful turquoise blue has been restored and with it the subtle golden embroidery. Silvia Salvadori also tried to redesign part of the bouquet of pots containing inside it the flame symbol of renewed Light. St. Lucy is revered as the saint of light and considered a protector of sight. History:  The polyptych preserved at the Isabella Stewart Gardner Museum in Boston, now composed of five separate elements, placed side-by-side but not reconciled and inserted into modern frames, presents from left to right, Saint Paul, Saint Lucy, Virgin Mary and Child, St. John the Baptist, and St. Catherine from Alexandria.  In the center cusp, the Redeemer, in the lateral four half-figures of angels, the two externally designed to resonate the Trumpets of Judgment, the others with the instruments of the Passion: the column and scourge supported by that above Paul, nails, spear and sponge from the one above Catherine, in front of which the crown of thorns hangs from the crossing of the cross arms. The tradition of the church complex of St. Francis, the concentration of the symbolic elements around the Passion and the Christ of the cusp that shows the wounds of the Crucifixion, have led to a commission by the Franciscans of spiritual orientation.  Recent surveys, however, have made it possible to ascertain the origin of the polyptych from the church served by Orvieto, where it is recalled in some inventions of the seventeenth century (Simone Martini of Marco Pierini, Alberto Olivetti, documentary appendage by Paolo Brogini Silvana Editoriale). Polyptych preserved at the Isabella Stewart Gardner Museum in Boston Egg yolk tempera on gold leaf 23k, punch engravings and decorations made with the old gold scratch technique. Original Sienese painting technique. Off Sienese Middle Ages

St. George frees the princess. 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. 25 x 45 cm Icon painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school. Silvia Salvadori - Art Reproductions. Reproduction of art drawn from a miniature by Simone Martini. Detail of the San Giorgio and the Dragon - San Giorgio frees the Princess from the Dragon - drawn from an illuminated manuscript. Sienese painting, medieval icon, pure gold background, tempera on wood. Vatican City, Chapter Archives of Saint Peter, Rome Tempera and pure gold on cherry wood St. George and the Dragon icon, Sienese school painting, medieval icon. Tempera on a pure gold background. Italian miniaturist (Siena? -Sec. XIV). This is the name of the anonymous artist (perhaps attributable to Simone Martini) who illustrated the Codex of San Giorgio with the stories of the saint for Cardinal Iacopo Stefaneschi (Rome, Chapter Archives of St. Peter). The miniatures, of great figurative and compositional elegance, reveal profound influences of Sienese art. Off Sienese Middle Ages

Sacred icon of Saint Catherine of Alexandria. Reproduction of art 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 45 cm Panel painting of Saint Catherine of Alexandria. Medieval painted boards. Arezzo - Workshop of Art. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. Reinterpretation of Simone Martini's painting. Hand painted icon in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school - tempera on an ancient table. Tempera and gold. Gold background icon, Art Reproduction, medieval art. Reinterpretation of Simone Martini's painting. Icon of Saint Catherine of Alexandria. Original preserved in the National Gallery, Canada, Ottawa. Simone Martini, sometimes also referred to as Simone Sanese (Siena, 1284 - Avignon, 1344), was an Italian painter and miniaturist, indisputably considered one of the masters of the Sienese school and certainly one of the greatest and most influential artists of Italian medieval art, the only one capable of contending the scepter of the greatest artist of the fourteenth century to Giotto. His training probably took place in the workshop of Duccio di Buoninsegna. Tempera and pure gold, hand-painted icon. Painted with the same artistic know-how as the Sienese school, unique author painting. Hand-painted icon in tempera on a pure gold background entirely engraved in a burin (ancient table) according to the ancient pictorial recipes in use since the 13th century in Tuscany. Painted on a gold background. Paintings made through the use of ancient painting techniques. Each work is painted on ancient wooden supports. High quality pigments are used for painting. The gilding is done by means of thin pure gold foils. The decorative motifs of the haloes and frames are entirely hand-engraved. Preserved in the National Gallery, Canada, Ottawa. Hand-painted Tempera icon and pure gold background on an antique table. Off Sienese Middle Ages

Icon of San Francesco. Art Reproduction drawn from Taddeo Gaddi.

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. 29 x 42 cm Icon of Saint Francis painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school. Reproduction of Art. Icon, St. Francis receives the stigmata. Reproduction of art by Taddeo Gaddi (1295 - 1366). Medieval art. History of the painting: Taddeo Gaddi was an Italian painter, the son of Gaddo di Zanobi known as Gaddo Gaddi, he was in Giotto's workshop from 1313 to 1337, the year of the master's death. Father of the painters Giovanni Gaddi, Agnolo Gaddi and Niccolò Gaddi. He also had a fourth child, Zanobi, who seems not to have embarked on an artist career. Taddeo Gaddi was probably, as on the other hand says Giorgio Vasari, Giotto's disciple with greater talent or at least the one who best managed to carry on the style of the great master Giotto. Giorgio Vasari goes on to describe Taddeo Gaddi in his Lives "The lives of the most excellent painters, sculptors and architects" by writing: "He kept Taddeo Gaddi continually in Giotto's way but never much improved it, except that his complexion was fresher and more lively that Giotto's, having long waited to improve all the other parts and the other difficulties of this art. And even if he cared for it, he could not have the grace to do it. Laonde having seen Thaddeus what was facilitated in Giotto, and learning it, he could have time to add easily and to improve that in the coloring. It was with tender tears from Agnolo and Giovanni his sons wept, and in Santa Croce in the first cloister given him burial, not ceasing infinite friends and craftsmen composed sonnets and epigrams in his praise, praising him in customs, in judgment and in art, as much as they still praised him in the good execution he gave to the bell tower of Santa Maria del Fiore by sign left by his teacher Giotto .... ". In 1347 Taddeo Gaddi is remembered at the head of a list of the best painters in Florence. Among his works the most important is the cycle of frescoes with Stories of the Virgin in the Baroncelli Chapel of the Basilica of Santa Croce in Florence (1328-1338). In this prestigious work, Taddeo Gaddi, showed that he had put Giotto's teachings to good use, arranging the figures in the scenes with considerable narrative freedom, which are more crowded than those of his master Giotto. The experimentation of perspective in architectural backgrounds also resumes and bold results are reached, as in the oblique and broken staircase in the Presentation of the Virgin at the temple. Other works are: the tiles and the lunettes with the Life of Christ and St. Francis (now dismembered between Florence, Berlin and Munich). Taddeo Gaddi was collaborator, according to some, to the Stefaneschi Polyptych (Rome). And still to remember are the icon of the Madonna (Bern), the icon of the Adoration of the Magi (Dijon), the Stories of Job (Pisa, Camposanto), the icon of the Madonna with the child on the throne and angels (Florence, Uffizi), the Madonna del Parto (Florence), the Polyptych (Florence, Santa Felicita). Giorgio Vasari is also credited with the design of the reconstruction of the Ponte Vecchio, now questioned by scholars, who are oriented towards Neri di Fioravante. Even in the "Giotto" context, Taddeo Gaddi in the more mature works has an unmistakable style, with sometimes sophisticated effects of night light, almost unique in the fourteenth-century painting of central Italy. The space installations sought in some of his works are often majestic and solemn, approaching Maso di Banco in this. The features of the delicate and soft faces are indicative of the late development of Taddeo Gaddi's art. Florence, Accademia Gallery St. Francis icon. Tempera on pure gold background (antique table) Reproduction of Art by Taddeo Gaddi, pupil of Giotto - Medieval art - (Request the painting on commission) Off Sienese Middle Ages

Icon of St. Francis of Assisi inspired by Simone Martini's painting.

Sacred icon made with gouache and gold on board. Work performed with the ancient painting techniques of the Sienese school of the fifteenth century. 18 x 35 cm The work was commissioned and painted together with Sant'Antonio da Padova, both of them of the same size. This light painting reflecting on the style of Siena's painter Simone Martini was reinterpreted by Silvia Salavadori, imagining the saint inside a Gothic-shaped frame and decorated with a pastel with rose-shaped plant elements. The beautiful face of St. Francis, was painted by Silvia with great precision in the details in the beard, in the marble floor and in the soft décor of the sail. Painted according to the original pictorial technique of the Sienese school of the 14th century. Tempera on Gold ornaments, bouquet decorations and pastilles on gold. Painting by Silvia Salvadori Tempera on Gold ornaments, bouquet decorations and pastilles on gold. Off Sienese Middle Ages

Hand-painted icon of Mary Magdalene in Duccio by Buoninsegna's style.

Sacred icon made with gouache and gold on board. Work performed with the ancient painting techniques of the Sienese school of the fifteenth century. 9 x 8 cm

Study of the face of Mary Magdalene inspired by the pictorial style of Duccio di Buoninsegna. In this little icon, Silvia Salvadori tried to recreate with the same brushstrokes the flesh of the face of Mary Magdalene. Every detail of this small icon is perfect.

Painting by Silvia Salvadori. Egg yolk tempera on Gold Leaf, 23K. Original technique of the Sienese painting school Off Sienese Middle Ages

Madonna of Crevole by Duccio di Buoninsegna. Reproduction of art 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. 21 x 26 cm ART REPRODUCTION by Duccio di Buoninsegna (Silvia Salvadori, Art Reproductions). Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. Icon, Madonna and Child (detail of the face), Crevole. Hand painted sacred icon. Reproduction of art by Duccio di Buoninsegna. Tempera and pure gold on an ancient table. Relief gold engravings. To his youth production belongs the Madonna di Crevole which is located in the museum of the Siena Cathedral. In this work the models of his formation are evident: the schematic drapery and the use of gold from Byzantine painting, elements deriving from the Gothic miniature and typically Byzantine iconographic motifs. In the same period, while Cimabue and his followers try to represent space three-dimensionally and volumetrically, Duccio tries to focus his attention on the elegance of shapes and lines and on the harmony of colors. (Sacred Icons. Sacred Icon Madonna of Crevole by Duccio di Boninsegna. Sacred Annunciation Icon, detail, Simoune Martini. Sacred Icon) Museum of the Opera del Duomo, Siena. Original technique: Tempera on a pure gold background, antique table, engravings on pure gold. Hand painted sacred icon. Face of Madonna. Duccio's art had a solid Byzantine component, linked in particular to the most recent culture of the paleologic period, and a remarkable knowledge of Cimabue, to which must be added a personal reworking in the Gothic sense, understood as transalpine linearism and elegance. From Cimabue he resumed the setting of the monumental and melancholic figures, however making them with a soft line and a refined chromatic range. He never updated himself to late ancient culture, as Giotto did, but he made the Eastern and Nordic models his own which he had most likely had the opportunity to see in transportable works that easily circulated in Tuscany, such as illuminated manuscripts, model books, portable mosaics, icons, ivories and goldsmiths. Over time, Duccio's style reached results of ever greater naturalness and softness. Hand painted sacred icon. Duccio, son of Buoninsegna, was probably born just over the middle of the thirteenth century. The first document about him is from November 1278, when he was paid for twelve painted crates destined to contain documents of the Municipality of Siena (lost works). Subsequently, it is found mentioned in documents that speak of decorations in public registers, which have also been lost. On April 15, 1285 he was commissioned the so-called Madonna Rucellai, by the Compagnia dei Laudesi for the church of Santa Maria Novella in Florence, now in the Uffizi. It was called "Rucellai" because it was placed in the chapel of the Rucellai family. In this work is depicted the Madonna and Child in majesty, flanked by six angels. The work is inspired by the Majesty of the Louvre in Cimabue, painted about 5 years earlier, so much so that it was long believed to be a work by Cimabue and this erroneous attribution was sustained for a long time, even after the document was found (1790). This "majesty" is a key work in the artist's journey, where the solid majesty and human representation of Cimabue is crossed with a greater aristocracy, with an even sweeter human content. He also introduced a nervous linear rhythm, as underlined by the capricious golden edge of Mary's robe which draws a complex line from the chest to the feet. Other Madonnas are from the same years: that of the Buonconvento Museum, that of the Galleria Sabauda in Turin, that of the Opera del Duomo Museum of Siena, from the church of Santa Cecilia in Crevole, Madonna di Crevole, the one with three Franciscan friars, now in the National Art Gallery of Siena. Also from the same period is the Crucifix, now in a private collection, where Christ with his eyes open and still alive took up an iconography from the Romanesque era (the Christus Triumphans), very rare at the end of the thirteenth century. In about 1288, he built the large circular window in the apse of the Siena cathedral. His masterpiece dates back to 1308-1311, as well as one of the most emblematic works of Italian art: the Majesty for the high altar of the Cathedral of Siena, which remained exposed in the Cathedral, even if between various movements, until 1878, while today it is kept in the Museo dell'Opera Metropolitana. Finished in June 1311, its fame was such even before its completion, that on day 9, from Duccio's shop in the Stalloreggi district, it was brought to the Cathedral with a popular festival complete with a procession: at the head of this, the bishop and the highest city authorities, while the people, carrying lighted candles, sang and gave alms. It is a large two-sided table (425x212 cm.), Although today it is cut along the thickness according to a questionable nineteenth-century intervention that did not fail to create some damage. The main side, the one originally addressed to the faithful, was painted with a monumental Virgin and Child Enthroned, surrounded by a crowded theory of saints and angels on a gold background. The Madonna is seated on a large and sumptuous throne, which hints at a three-dimensional spatiality according to the novelties already practiced by Cimabue, and is painted with a soft color scheme, which gives the sweet complexion naturalness. Even the child expresses a deep tenderness, but his body does not seem to generate weight and the hands of Mary who hold him are rather unnatural. At the base of the throne, there is the prayer-signature in Latin verses: "MATER S (AN) CTA DEI / SIS CAUSA SENIS REQUIEI / SIS DUCIO VITA / TE QUIA PINXIT ITA" (trad.:"Mother Holy of God, be cause of peace for Siena, be life for Duccio who painted you like this "). The back was instead intended for the vision of the clergy, and there are represented 24 Stories of the Passion of Christ, divided into smaller panels, one of the largest cycles dedicated to this theme in Italy. The place of honor in the center is given by the Crucifixion, of greater width and double height, as well as the double tile in the lower left corner with the Entry to Jerusalem. In various scenes Duccio proved to be updated with respect to the "perspectives" of the ar backdrops Off Sienese Middle Ages