01. First Apostle
SIMONE MARTINI (Siena, 1284 - Avignon, 1344)
Where to start a story. Altamira, Egypt, Rome, Byzantium, Ravenna: painting out of space. The pictorial space is the world in Siena in the mid-thirteenth century. Siena features, spatial and color. Ortega and the concept of "geographical reason." Possible community of artists and bliss of it. The laborious act of "huffing" to enter space in the paint. "Blow" as a dimension spiritual. Duccio, master of the Sienese school. Early
Simone Martini and belonging. Marriage to Filippo Memmi's sister, inbreeding painting. First order: the Maestá the Palazzo Comunale of Siena (1318). Differences with Duccio, individualization of the characters, naturalness of the figures, spatiality of the "canopy." Fresco: Italian technique par excellence, some characteristics. The importance of blue.
recognition and call to Assisi, the center of the pictorial culture of Trecento . The history of San Martín de Tours in ten episodes (1320). Psychological relationships between the characters. The space as a source of psychological depth. The importance acquired by secondary characters when the story. The musicians, German soldiers, the curious. Skeptic's praise in the healing of the child. Spiritual exaltation of the figure of San Martín, a man of action and prayer, never violence. Taking
political: the portrait of the king of Naples, Robert of Anjou (1317). The first secular icon in the history of painting. A pictorial theological-political treatise. Spinoza. The Road to Power, where it comes from and where it goes. Supremacy of the theology of politics. Need for legitimation of power. Ludwig of Toulouse, brother of the king, allows access to resign the crown and validates it with his holiness. Other examples of coronations: Ruggero II and Napoleon.
Back to Siena and the altarpiece of Agostino Novello (1324). Life of Saint Augustine. Friendship Manfredi in Bologna and called to the court of Palermo. Death of Manfredi (Purgatorio III), wounded and purpose of political dream. Admission to the Augustinian order and concealment of his person. The trial and the revelation of his wisdom. Augustinian Prior and confessor to Popes. Retirement and death. The main figure, the book and the angel. The four proposed single miraculous apparitions Simone. A saint of "civil support."
Guidoriccio da Fogliano (1328) on the wall opposite the Maestà . The civil plea. The figure of condottiero and its comparison with the player engaged. The symbolism of the portrait in profile. The loneliness of that "leading." Castles trophies taken in the Maremma in the war against Pisa. The desert landscape. The variety of realistic details, fences dunks. The price of a miniaturist, clothes horse.
The Annunciation of the Uffizi, his most famous work. The early withdrawal on a classic comeback. The golden background and the lack of space. The figure of the Virgin, the painter's psychological depth to capture the "turmoil." The breakdown of the profile of Mary and the position of the hands. Las palabras escritas, el “comic”. El regreso a la construcción de un ícono y los recelos de la iconografía.
Final en la corte Papal de Avignon. Importancia de la figura de Simone Martini en la difusión de la escuela de Siena en el resto de Europa. El gótico internacional. Amistad con Petrarca y la leyenda del retrato de Laura, la musa inspiradora de su poesía. El verso que atestigua dicha leyenda.
« Ma certo il mio Simon fu in paradiso,
Onde questa gentil donna si parte;
Ivi la vide e la ritrasse in carte,
Per far fede quaggiù del suo bel viso ».
(Ciertamente Simón fue al paraíso
adonde esta bella dama partió. There
saw her and her portrait was
to give here a testament to their beauty).
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