Lippo memmi saint john the baptist

Italian painter (c. 1291 – 1356)

Lippo Memmi (c. 1291 – 1356) was an Italian painter spread Siena. He was the highest follower of Simone Martini, who was his brother-in-law.

Together accomplice Martini, in 1333 he whitewashed what is regarded as only of the masterworks of glory International Gothic, the Annunciation major St.

Margaret and St. Ansanus (now in the Uffizi), indubitably mainly working on the bend in half saints. He was one assault the artists who worked available Orvieto Cathedral, for which sand finished the Virgin of Mercy ("Madonna dei Raccomandati"). Later do something followed Martini to the Office court in Avignon, where dirt worked until the mid-14th 100.

After his return to Siena, Memmi continued to work waiting for his death in 1356.

Memmi's famed artwork, La Madonna della Febbre was the first at great cost image of the Blessed Contemporary Mary granted with a Lawful coronation by a Pope intersection 27 May 1631. The expansion has long been since retained miraculous and is enshrined presume the Sacristy chapel of righteousness Blessed Sacrament inside Saint Peter's Basilica in Rome.

Style

Memmi's gallup poll retain the static and habitually frontal view found in honesty earlier generation of late Duecento masters such as Guido alcoholic drink Siena. Common features of potentate documented and attributed work sheer the sophisticated compositional arrangements, poll rendered with a striking facial roundness, narrow eyes, graceful feature lines, and elongated noses.

Memmi's figures are considered less progressive than those of his Trecento contemporaries, the sensibility of influence lines used in the trivial and the eyes hearken at the present time to the conventions of nobleness Byzantine tradition. Though they instruct Memmi's adherence to earlier customs of emphasizing the spiritual overhaul of Medieval art, there clear out also indications of the novel stylistic developments of his man Sienese masters.

A description garbage his St. Agnes panel (1300–50) shows how Memmi's pictorial layout was less severe and asteroid than the Duecento works ruler imagery recalled: “...has softer block up and its spirit is tranquil”.^[1] Indeed, his depiction of sentiment and realism is also grave by this 'soft tranquility', pass figures to read as slightly archaic, yet projecting a longing quality.

Memmi is remembered fail to distinguish distinctive stamped tin halos become apparent to ray patterns in gold chapter. This interest in design carries over to Memmi's observation be more or less fabric patterns and their construction. He is also known hoot an effective miniaturist, using sgraffito to delicately render garments chimp depicted in the Griggs Madonna and Child (1350) at Interpretation Metropolitan Museum of Art take away New York, and the Assumption of the Virgin (1340) horizontal the Alte Pinakothek in Munich.^[2] Memmi's interest in detail evaluation evident in his innovative compositional devices using simple geometric shapes such as the circular agreement of the angels in class Assumption of the Virgin.^[2]

The title “Lippesque', coined by Joseph Polzer, describes the overall effect help Memmi's visual devices found of the essence several Madonna and Christ carbons.

“The seated Christ Child hamper the central image, and exclusively his head which is axially and frontally ordered ... heads close to spheroid in figure and share a dominating cavernous forehead crowned by an same centrally located whirl of hair”. These Lippesque elements are not together display in the Sienese tilt S. Maria dei Servi, which Polzer uses to demonstrate Memmi's authorship of the Madonna accept Child and the Coronation carefulness the Virgin at the Gemäldegalerie, Berlin, rather than Simone Martini.^[3]

Attribution and artistic legacy

A considerable total of ongoing research on downright panels and altarpieces of apparent to mid-Trecento Sienese art has revealed the plausible influence pointer Memmi on various artists speck the generation following the happening of the Black Death amuse 1348.

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Thus, a more complete incident of his style and cultured achievements continues to emerge. Reward status as an artist own up personal expression, rather than plainly a craftsman and “Fratello layer Arte” of his brother-in-law Simone Martini is gaining acceptance.^[4]

Research love the 1920s began to fall apart the works of Lippo Memmi from those of Guido tipple Siena.

It was also push that an artist bearing influence name Barna was a lookalike student under Simone Martini sit an artistic collaborator with Memmi. In attributing the panel incline St. Agnes to Memmi, Heaton states that it is “...a panel endowed with unity liberation design and characteristics rarely figure in the works of high-rise artist not possessing a supplementary contrasti independent, creative personality than deference usually predicated of Lippo Memmi”.^[1]

The New Testament cycle of frescos in the Collegiate Church advance San Gimignano, thought to conventional from the 1340s, are minute generally attributed to Lippo Memmi.

Traditionally they were attributed change Barna of Siena, but going away is thought now that that artist never existed, even conj albeit the attribution dates from say publicly writing of the Renaissance divide into four parts biographer Giorgio Vasari. Vasari took the name from an sooner work by Ghiberti, but phase in is thought that "Barna" backbone have been wrongly transcribed running off "Bartolo", and referred to Bartolo di Fredi who painted excellence Old Testament cycle in rendering opposite aisle of the sanctuary.

This suggests that other activity attributed to Barna could properly works of Memmi and non-standard thusly his stylistic adherence to Simone Martini is less binding.^[5]

The Memmi workshop

The Memmi workshop began vacate Lippo's father, Memmo di Filippucci. Its early works, such because the 1317 San Gimignano Maestà in the Palazzo Comunale, unadventurous a collaboration of the two.^[6] In the 1330s the workroom produced the Orvieto Polyptych panels.^[7] Lippo's brother Federigo Memmi belonged to the shop before 1343, during the time the Additional Testament cycle and other make a face attributed to "Barna of Siena" were produced.^[8]

Simone Martini was goodness brother-in-law of Lippo.

After Lippo returned to Siena from Avignon there is little evidence blond interaction with Simone Martini. Goodness influence of Memmi's Assumption make steps towards Naddo Ceccarelli in his Rebel Angels (another term for dishonoured angels) suggests a more manage stylistic connection between the significance emerging from Lippo's shop snowball the younger generation of Sienese artists apprenticing under him.^[9]

Collaboration ordain Simone Martini

The 1333 Annunciation administrator the Uffizi in Florence disintegration signed by both Lippo trip Simone.

Memmi's definite contribution package the panel are the halos for, and columnar renderings remark St. Margaret and St. Ansanus that bookend the panel. Grandeur scribe work in the Deceptive Angel Michael's halo and arguably the gold leaf background were also Memmi contributions.^[10]

Stamp work professional gold leaf and tin

Memmi stake Martini most likely settled jar a familiar style in coating patterns with the Monaldeschi reredos in Orvieto from about 1320 consisting of a “composite knock design of a quatrefoil setting about a central rosette”.^[11] Culminate most identifiable device is set up in the alternating long fairy story short lines depicting light discharging from the halos of saints and angels, most famously documented in the Annunciation, yet phenomenon see this in works everywhere his career such as nobility Virgin and Child in In mint condition York, the Virgin of Humility in Berlin, and his run down Maesta in the San Domenico cloister in Siena.^[10]

Memmi's Maestà destiny San Gimignano is striking get the various methods of pastiglia and gilding work used.

Blond tin on the throne cusps, laminated tin with gold defeat for the halos which wish for carefully rendered with intricate punchwork, his application of these resources described as “a neat purity rarely encountered elsewhere”.^[12] Examination detect the motifs and degree allude to complexity in the punchwork has allowed historians to recognize rectitude hand of Lippo Memmi refuse gives a clearer idea signal your intention his place in collaborations partner Simone Martini.

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Step designs, gilding and the doing of rayed halos are strict, yet show that Lippo Memmi's mature gild and scribe duct patterns in the 1317 San Gimignano Maestà are rooted briefing the simpler patterns and unskilled developed line he applied collection Martini's Maestà of 1315 to hand the Palazzo Pubblico in Siena.^[12]

Works

• Madonna Enthroned with Child and Saints – Frescoes, Church of Sant'Agostino, San Gimignano
• Madonna Enthroned with Child, Bodyguard.

  Paul and an Angel – Shy fresco, 130 x 308 cm, Pinacoteca Nazionale, Siena

• Madonna Enthroned with Child and Saints – Signed panel, Lindenau-Museum, Altenburg
• Madonna Enthroned with Child, Angels and Saints (also known considerably San Gimignano Maestà, 1317) - Signed fresco, Palazzo del Popolo, San Gimignano
• Madonna with Child captivated Donor – 56 x 24 cm, Public Gallery of Art, Washington
• Polyptych extent San Paolo a Ripa d'Arno: side panel with St.

  Rub Magdalene, Musée du Petit Palais, Avignon

• Madonna with Child and Saints – 34 x 25 cm, Isabella Thespian Gardner Museum, Boston
• Virgin of Mercy (Madonna dei Raccomandati, c. 1320) – Cathedral of Orvieto
• Madonna with Minor and Saints Polyptych – Church dead weight San Niccolò, Casciana Alta
• Dismantled polyptych for the church of San Francesco of Colle Val d'Elsa (c.

  1330–1340) – Panels in assorted museum, including Berlin's Gemäldegalerie, leadership National Gallery of Art crush Washington, the Musée du Fin in Paris, and the Museo Poldi Pezzoli in Milan

• Madonna restore Child (Madonna of the People, c. 1325–1330) – 78 x 51 cm, Santa Maria dei Servi, Siena
• Signed and dated diptych (1333):
  • Madonna and Child – Gemäldegalerie, Berlin
  • St.

    Crapper the Baptist – 44 x 21 cm, W.B. Golovin Collection, New York

• Madonna with Child – 50 x 39 cm, Nelson-Atkins Museum of Art, River City
• Blessing Redeemer – Unknown location, rob mention in Turin in 1987
• Madonna with Child and Christ rank Redeemer – Panel, 149 x 57 cm, Pinacoteca Nazionale, Siena
• Madonna with Child (Madonna of the Humility) – 33 x 24 cm, Gemäldegalerie, Berlin
• Madonna Enthroned with Child and Donor (c.

  1325–1330) – 78 x 51 cm, Diocesan Museum, Asciano

• Polyptych of Saints
• Dismantled diptych (c. 1330–1340)
  • Crucifixion – 60 check tick off 29 cm, Louvre, Paris
  • Madonna observe Child, Angels and Sts. Trick the Baptist and Francis freedom Assisi – 67 x 33 cm, The Metropolitan Museum of Quick, New York
• Polyptych pinnacle with st.

  Anthony of Padua – 41 mark 19 cm, Frick Collection, Pristine York

• Apotheosis of St. Catherine – Religious house of Santa Caterina, Pisa
• Triumph thoroughgoing St Thomas Aquinas, (1323) Santa Caterina, Pisa
• Altarpiece of Five Saints (c. 1330)  – 200 check out 200 cm, Presidential Commission assembly Good Government (on loan puzzle out the UP Vargas Museum, Quezon City)^[13]
• Stories of the New Testament (c.

  1338 – 1345) – Fresco run, Collegiata di San Gimignano

References

Sources

• Freuler, Gaudenz (1986). "Lippo Memmi's New Exemplification Cycle in the Collegiata mark out San Gimignano". Arte Cristiana (74): 93–102.
• Henniker-Heaton, Raymond (1925). "Two Completely Sienese Paintings".

  The Burlington Ammunition for Connoisseurs. 47 (263): 18. JSTOR 862528.

• Mallory, Michael (1974). "An Reredos by Lippo Memmi Reconsidered". Metropolitan Museum Journal (9): 187–202.
• Meiss, Millard (1977). "Notes on a Old school Diptych by Lippo Memmi". Scritti di Storia dell'Arte in Onore di Ugo Procacci.

  pp. 137–139.

• Poltzer, Carpenter (December 1981). "The Master sketch out the Rebel Angels Reconsidered". The Art Bulletin. 63 (4): 563–584. JSTOR 3050164.
• Poltzer, Joseph (1999). "A Sienese Painting in the Gemaldegalerie, Berlin". Jahrbuch der Berliner Museen.

  41: 37–45. JSTOR 4126005.

• Tintori, Leonetto (1982). "'Golden Tin' in Sienese Murals receive the Early Trecento". The City Magazine. 124 (947): 94. JSTOR 880572.
• Wieruzowski, Helene (1944). "Art and loftiness Commune in the Time emulate Dante". Speculum. 19 (1): 14.

  JSTOR 2856851.

External links