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A practicing artist, author, and curator, Timothy Hyman guides us through the golden age of Sienese painting, offering a new perspective on some of the world's most beautiful paintings, including Duccio's Maesta and Ambrogio Lorenzetti's famous Good Government frescoes. A sound understanding of the art and history of the period underpins the author's clearly conveyed love of the works. He takes a broadly chronological approach, with each chapter looking at one particular artist or group of artists from the late thirteenth century to the late fifteenth. Perceptive visual analysis is combined with clear discussion of the social, political, and religious climate of late medieval Italy. The impact of the Black Death on Siena's population and artistic production is discussed along with the profound effect of the Franciscan movement and the cults of local saints such as St. Catherine. Important throughout is Siena's civic self-consciousness, felt in the many cityscapes of Sienese art, from the fortified towns of Simone Martini's Guidorricio da Fogliano to the tiny schematic villages of Giovanni di Paolo's St. John the Baptist cycle. Hyman's enthusiastic tour of Sienese painting looks at its defining characteristicsrich color and spatial inventivenessand challenges the view that favors Florentine over Sienese art. An epilogue concludes with a look at the continuing renewed interest in Sienese painting and a discussion of its impact on contemporary artists such as R. B. Kitaj. Anyone interested in the art and culture of Italy, including those already familiar with Sienese painting, will find inspiration in this book. 180 illustrations, 80 in color.

Original publisher's sewn paperback, pictorial frontcover, large 8vo: Vol. 1: coloured frontispiece, vi,164pp., 138 illustrations, 16 diagrams, notes, bibliography, index. With a contribution: "On architectural and liturgical aspects of Siena Cathedral in the Middle Ages", by Kees van der Ploeg. Vol. 2: coloured frontispiece, 262pp., 225 illustrations, notes, bibliography, index. With a contribution: "A Description of the Altars in Siena Cathedral in the 1420s", by Gail Aronov. Vol. 1: Paperback. Vol. 2: Clothbound. Very fine copies - as new. Still shrink-wrapped. Volume 4 & 9: Mediaevalia Groningana.

(Paintings) 13.25 x 11.5", hardcover, dust jacket, 472 pages. An exquisite look at the Italian city of Siena which from the late Middle Ages into the seventeenth century was a thriving center of trade, learning, and fine art. 350 illustrations, including 200 plates in full color. Near Fine/Near Fine.

Physical description; 188 pages : illustrations (some color) ; 31 cm. Subjects; Bartolo di Fredi 1330-1410 - Criticism and interpretation. Bartolo di Fredi 1330-1410 - Catalogues raisonnés.

(Paintings) 13.25 x 11.5", hardcover, dust jacket, 472 pages. An exquisite look at the Italian city of Siena which from the late Middle Ages into the seventeenth century was a thriving center of trade, learning, and fine art. 350 illustrations, including 200 plates in full color. Near Fine/Near Fine.

Second Printing 1988. There are several pages near the front of the book with very neat underlines. No names notes or highlights. Wraps are bright, clean, tightly bound. Proceeds benefit Oro Valley Public Library.

Physical description; 188 pages : illustrations (some color) ; 31 cm. Subjects; Bartolo di Fredi 1330-1410 - Criticism and interpretation. Bartolo di Fredi 1330-1410 - Catalogues raisonnés.

Siena of the thirteenth and fourteenth centuries was one of the great cities of Europe and its artists—Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti—were among those who reshaped the nature and place of painting first in Italy, then across Europe. Drawing on the extraordinary riches of Sienese archives, on early unpublished secondary sources, and on the recent work of historians, Hayden Maginnis situates early Sienese painters within their society and their city and provides the first comprehensive account of the economic, social, religious, and intellectual world of Siena’s artists. Where did painters live? How much were they paid? What was their social status? Were painters aware of the novel importance of thirteenth-century optics? Were the famous Sienese painters isolated figures, surrounded by a few secondary figures, or were they part of a larger community? These and a host of related questions structure Maginnis’s book, which demonstrates how firmly painters’ lives were embedded in the values and customs of their society and how important the particular character of their society was for the patronage artists received. The World of the Early Sienese Painter is the second volume of a trilogy Maginnis began with Painting in the Age of Giotto (1997). The third volume will turn from the broad social and cultural history of the present book to a history of early Sienese painting.

Questo attesissimo volume, primo di una serie di tre sui dipinti senesi presenti nelle collezioni pubbliche e private ungheresi, presenta 33 opere databili fra il 1420 e il 1510. Il catalogo, costituito da schede riccamente illustrate e corredate di biografia aggiornata degli artisti, bibliografia specifica e accuratissime informazioni su provenienza, committenza, attribuzioni precedenti, iconografia e datazione di ciascun dipinto, è accompagnato da un ampio saggio dell'autrice, direttrice del Dipartimento di Pittura Antica del Museo di Belle Arti di Budapest, sulla storia del corpus, la conservazione e la collocazione dei dipinti. cm.24,5x28,5, pp.368 ,260 ill. bn.e 33 a col. Firenze, Centro Di cm.24,5x28,5, pp.368 ,260 ill. bn.e 33 a col. legatura editoriale, sopracoperta fig.a col. legatura editoriale, sopracoperta fig.a col.

Siena of the thirteenth and fourteenth centuries was one of the great cities of Europe and its artists—Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti—were among those who reshaped the nature and place of painting first in Italy, then across Europe. Drawing on the extraordinary riches of Sienese archives, on early unpublished secondary sources, and on the recent work of historians, Hayden Maginnis situates early Sienese painters within their society and their city and provides the first comprehensive account of the economic, social, religious, and intellectual world of Siena’s artists. Where did painters live? How much were they paid? What was their social status? Were painters aware of the novel importance of thirteenth-century optics? Were the famous Sienese painters isolated figures, surrounded by a few secondary figures, or were they part of a larger community? These and a host of related questions structure Maginnis’s book, which demonstrates how firmly painters’ lives were embedded in the values and customs of their society and how important the particular character of their society was for the patronage artists received. The World of the Early Sienese Painter is the second volume of a trilogy Maginnis began with Painting in the Age of Giotto (1997). The third volume will turn from the broad social and cultural history of the present book to a history of early Sienese painting.

Sherwood A. Fehm, Jr., analyzes the paintings, provides ecclesiastical and communal documents pertaining to both the artist and his art, and presents a com­plete catalogue to re-create the life and to explicate the art of Luca di Tommè, the leading painter in Siena after the Black Plague of 1348. In this first full-length study of Luca di Tommè, Fehm revives a neglected yet important artist who flourished during a period previously overshadowed in art history. He identifies Luca’s achieve­ments and relates them to the rich tradi­tion of Sienese painting. Placing Luca in the fourteenth-century Italian tradition, Fehm briefly outlines the careers of the four great Sienese painters of the first half of the century: Duccio di Boninsegna, Simone Martini, and the brothers Ambrogio and Pietro Lorenzetti, the art­ists who most influenced Luca. In addition to the detailed catalogue of Luca’s works, which is divided into Ac­cepted Works, Doubtful Attributions and Shopworks, and Lost Works, Fehm estab­lishes for the first time an accurate chro­nology. The study is completed with photographs of all of Luca’s paintings, many of them taken specifically for this book. For close investigation, specific de­tails from a number of the more impor­tant works are illustrated.

English Text.Firenze, 2015; clothbound, pp. 368, 250 b/w ill., 38 col. ill., cm 24x28. Questo volume, primo di una serie di tre sui dipinti senesi presenti nelle collezioni pubbliche e private ungheresi, presenta 33 opere databili fra il 1420 e il 1510. Il catalogo, costituito da schede illustrate e corredate di biografia aggiornata degli artisti, bibliografia specifica e informazioni su provenienza, committenza, attribuzioni precedenti, iconografia e datazione di ciascun dipinto, è accompagnato da un ampio saggio dell'autrice, direttrice del Dipartimento di Pittura Antica del Museo di Belle Arti di Budapest, sulla storia del corpus, la conservazione e la collocazione dei dipinti.

Siena of the thirteenth and fourteenth centuries was one of the great cities of Europe and its artists—Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti—were among those who reshaped the nature and place of painting first in Italy, then across Europe. Drawing on the extraordinary riches of Sienese archives, on early unpublished secondary sources, and on the recent work of historians, Hayden Maginnis situates early Sienese painters within their society and their city and provides the first comprehensive account of the economic, social, religious, and intellectual world of Siena’s artists. Where did painters live? How much were they paid? What was their social status? Were painters aware of the novel importance of thirteenth-century optics? Were the famous Sienese painters isolated figures, surrounded by a few secondary figures, or were they part of a larger community? These and a host of related questions structure Maginnis’s book, which demonstrates how firmly painters’ lives were embedded in the values and customs of their society and how important the particular character of their society was for the patronage artists received. The World of the Early Sienese Painter is the second volume of a trilogy Maginnis began with Painting in the Age of Giotto (1997). The third volume will turn from the broad social and cultural history of the present book to a history of early Sienese painting.

Margherita of Cortona and the Lorenzetti is an interdisciplinary study that explores the role of art within the growth of the cult of civic saints in fourteenth-century Italy. It focuses on three versions of the story of Margherita of Cortona narrated on a panel painting, in her tomb reliefs, and in the extensive fresco cycle that once decorated her burial church and whose design is here attributed to Pietro and Ambrogio Lorenzetti. These images present an intriguing contrast with the text of Margherita’s Legenda, compiled by her Franciscan confessor, which primarily portrays the intensity of her spiritual life, her asceticism, and her visions.The three visual cycles together provide a sequence that demonstrates the changing significance of Margherita for the people of Cortona in the fifty years following her death. The role of that art—predominantly Sienese in workmanship—in shaping medieval perceptions of the saint is also considered. Profuse illustrations, much of them from new photographs specially made for this book, forms integral part of the argument.Margherita of Cortona and the Lorenzetti introduces an important group of works into the discussion of later medieval art and spirituality and demonstrates the value of visual evidence for our knowledge and understanding of civic religion and religious experience, especially among the laity, in the Italy of the communes.

Margherita of Cortona and the Lorenzetti is an interdisciplinary study that explores the role of art within the growth of the cult of civic saints in fourteenth-century Italy. It focuses on three versions of the story of Margherita of Cortona narrated on a panel painting, in her tomb reliefs, and in the extensive fresco cycle that once decorated her burial church and whose design is here attributed to Pietro and Ambrogio Lorenzetti. These images present an intriguing contrast with the text of Margherita’s Legenda, compiled by her Franciscan confessor, which primarily portrays the intensity of her spiritual life, her asceticism, and her visions.The three visual cycles together provide a sequence that demonstrates the changing significance of Margherita for the people of Cortona in the fifty years following her death. The role of that art—predominantly Sienese in workmanship—in shaping medieval perceptions of the saint is also considered. Profuse illustrations, much of them from new photographs specially made for this book, forms integral part of the argument.Margherita of Cortona and the Lorenzetti introduces an important group of works into the discussion of later medieval art and spirituality and demonstrates the value of visual evidence for our knowledge and understanding of civic religion and religious experience, especially among the laity, in the Italy of the communes.

224 pp. : predom. ill. 4°. Geb. in OPpbd. mit SU. Condition: good.

Second Printing 1988. There are several pages near the front of the book with very neat underlines. No names notes or highlights. Wraps are bright, clean, tightly bound. Proceeds benefit Oro Valley Public Library.

This first comprehensive study in English devoted to Sienese painting to be published in four decades centers on the fifteenth century, a fascinating but frequently neglected period when Sienese artists confronted the innovations of Renaissance painting in Florence.

In 1308, Duccio di Buoninsegna, one of the foremost European artists and the founder of the Sienese school, signed a contract to paint a panel for the high altar of Siena's cathedral. Three years later, the richest and most complex altarpiece ever created in Italy--the Maestê--was carried amid general jubilation from the artist's workshop to be installed in the cathedral. It was the greatest achievement of Duccio's career and remains one of the most beautiful works in Italian art. Centuries later, the altarpiece was removed from the cathedral and several panels were separated from it. While most of the Maestê--forty-six panels--survives in Siena's Cathedral Museum, parts of it can be found in museum collections around the world, including the National Gallery and the Frick Collection. This book brings together the known fragments and unites them with the two-sided altarpiece, illustrating the work in 150 sumptuous color plates, many of which reproduce details in actual size. The central panel on the front of the altarpiece shows the Virgin Enthroned with Angels and Saints, while the back contains mainly scenes from the Passion. Other panels depict the Apostles and scenes from the Life of Christ and the Gospel story. The authoritative text, by a noted Italian art historian, discusses the social and historical context of Duccio's commission, the artist's relationship with Cimabue and Giotto, and the influence of the work on Sienese and Italian painting.

In the early 1980s, Duccio Balestracci discovered in a Sienese archive two account books kept from 1450 to 1502 by a Tuscan peasant named Benedetto del Massarizia. Benedetto knew how to read but not how to write. Infected by the urban habit of detailed personal record keeping, he asked various of his literate acquaintances to put into writing the details of his daily affairs. The resulting account books offer an unparalleled glimpse into the economic and social world of late medieval peasants. In Renaissance in the Fields, Balestracci uses these account books and a host of supporting archival records to explore the lives of Benedetto and his family over the course of the fifteenth century. In Benedetto we see how country people could organize land and capital and protect themselves, at least a little, from rapacious landlords and urban administrators. By capturing the changing realities of life in the countryside, Renaissance in the Fields offers the best introduction to how the peasant economy really worked, and to how most people actually lived during the Italian Renaissance.