The Sienese school of painting flourished in Siena , Italy , between the 13th and 15th centuries. Its most important artists include Duccio , whose work shows Byzantine influence , his pupil Simone Martini , the brothers Pietro and Ambrogio Lorenzetti and Domenico and Taddeo di Bartolo , Sassetta , and Matteo di Giovanni .
8-712: The Master of the Osservanza Triptych , also known as the Osservanza Master and as the Master of Osservanza , is the name given to an Italian painter of the Sienese School active about 1430 to 1450. The Italian scholar Roberto Longhi recognized that two triptychs formerly attributed to Stefano di Giovanni (il Sassetta) were the work of another hand, now generally referred to as the Master of
16-524: A church in Asciano, just outside Siena, which was actually under the bishopric of Arezzo. The priest of the church in Asciano did not pay the painter and therefore the city government of Siena had to make an appeal to the bishop in Arezzo to force the priest from his district to pay the artist. The artist's name was included on the document as Sano di Pietro. Sienese School Duccio may be considered
24-671: The Metropolitan Museum of Art , the Yale University Art Museum and Museum Wiesbaden , Germany). Additionally, the full-length painting of St. Anthony Abbot in the Louvre appears to be from another altarpiece by the same master. Research in 2010 by Maria Falcone in Siena has revealed the name of the Master to be Sano di Pietro . Falcone found a document about an altarpiece by the “Master of Osservanza” for
32-529: The "father of Sienese painting". The brothers Pietro and Ambrogio Lorenzetti were "responsible for a crucial development in Sienese art, moving from the tradition inherited from Duccio towards a Gothic style , incorporating the innovations in Florence introduced by Giotto and Arnolfo di Cambio ". "Sienese art flourished even when Siena itself had begun to decline economically and politically. And while
40-651: The 16th century the Mannerists Beccafumi and Il Sodoma worked there. While Baldassare Peruzzi was born and trained in Siena, his major works and style reflect his long career in Rome. The economic and political decline of Siena by the 16th century, and its eventual subjugation by Florence, largely checked the development of Sienese painting, although it also meant that a good proportion of Sienese works in churches and public buildings were not discarded or destroyed. Unlike Florentine art , Sienese art opted for
48-541: The Osservanza Triptych. The Virgin and Child with St. Jerome and St. Ambrose ( Basilica dell'Osservanza , Siena) and the Birth of the Virgin ( Museo d'Arte Sacra , Asciano) are both stylistically similar to the work of Stefano di Giovanni , but have a narrative expression that is characteristic of Late Gothic painting. Longhi observed that another group of paintings was closely related to these works and appeared to be by
56-495: The artists of 15th-century Siena did not enjoy the widespread patronage and respect that their 14th-century ancestors had received, the paintings and illuminated manuscripts they produced form one of the undervalued treasures in the bounty of Italian art." In the late 15th century, Siena "finally succumbed" to the Florentine school 's teachings on perspective and naturalistic representation, absorbing its "humanist culture". In
64-723: The same hand. These included the predella of the Osservanza Altarpiece ( Pinacoteca Nazionale, Siena ), a predella of St. Bartholomew (Pinacoteca Nazionale, Siena), Scenes of the Passion ( Vatican Museums , Philadelphia Museum of Art , and Fogg Art Museum ), the Resurrection ( Detroit Institute of Arts ), and Scenes from the Life of St. Anthony Abbot (panels in the National Gallery of Art , Washington D. C.,
#179820