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Lippo Memmi (Italian 1280 - 1356)

Lippo Memmi (c. 1280 – 1356) was an Italian painter from Siena. He was the foremost follower of Simone Martini, who was his brother-in-law. Together with Martini, in 1333 he painted one of the masterworks of the International Gothic, the Annunciation for the Sienese church of Sant'Ansano (now in the Uffizi). He was one of the artistd who worked at the Orvieto Cathedral, for which he finished the Madonna della Misericordia. Later he followed Martini at the Papal court in Avignon, where he worked until the mid-14th century. After his return to Siena Memmi uted several works until his death in 1356.

Lippo Memmi (Siena, early 1280 - Siena, 1356) was an Italian painter. It is a typical example of the Sienese school of the first half of the fourth century and the most prominent representative and follower of Simone Martini, who was brother. 

In the context of Siena in the first half of the fourteenth century, Lippo Memmi is one of the most significant artists. His art, much in the style of the time, was highly prized by aristocratic sienesos environments. 

Although the critical current tends to appreciate Degree sienesos those artists who succeeded in distinguishing himself from the overall taste (such as Ambrogio Lorenzetti), and that in the first half of the fourteenth century in Siena there is no painter can find an expression level of Martini, Lippo Memmi is today considered one of the leading exponents of the fourth century Sienese painting, and therefore is precisely recalling and loved.

 He trained in the workshop of his father, Di Memmo Filippuccio painter source Siena, San Gimignano. 

He soon had to move closer to Simone Martini, possibly participating as a trainee in the fresh realization of the Master of the Palazzo Pubblico of Siena, Simone that he painted in 1315 (and later restored, in 1321) . 

Actually, for Memmi Simone was a great model to follow, even for works that he could see in San Gimignano: the Madonna, of which only the head remaining in the church of San Lorenzo at Ponte. 

Dating in this period are some young fresh fragments that have survived the renovation of the baroque church of Saint Augustine in San Gimignano: the Virgin of the Milk and some figures of saints.

The first work signed and dated by the artist is from 1317: it is the Maestà de San Gimignano, a fresh (435 x 875 cm) held in the Council Chamber of the Palazzo Pubblico of the city. 

The fact that the files indicate that the work was paid to Lippo and his father, Di Memmo Filippuccio, suggests that the painter would not have adult and therefore you calguera tutelage of the law. 

The contractor was Mino Tolomei di Siena Nelo, Podesta and Captain of the village of San Gimignano between 1317 and 1318, which was portrayed in the foreground, kneeling at the feet of the Virgin. 

This work owes much to the Maesta that Simone Martini had painted frescoes in the Palazzo Pubblico of Siena, either the general composition (the Mother of God enthroned in the center with two thick rows of angels and saints on both sides) as the great canopy attached to sticks. Simone was also used to decorate the innovative idea aureoles of saints with prints made with a stamp. 

Four of the figures, the latest on the right and the left were made by Bartolo di Fredi in 1367, when he was painting, also at the collegiate, Stories from the Old Testament. 

Although he was made a last speech restoration by Benozzo Gozzoli, placing the feet of the saints above the two doors and repairing the blue sky.

In the company of other artists senesos was one of the artists hired to work in the Cathedral of Orvieto, he made the extraordinary table with the Virgin of Mercy or Madonna dei Raccomandato, datable around 1320. He signed the work in the step at the foot of the Virgin, although you can also follow the hand of another partner that would make kneeling devotees. 

Around 1323 he made a Triumph of Saint Thomas Aquinas for the Convent of Santa Caterina in Pisa, it is yet. This monastery enjoyed great consideration among the thirteenth and fourteenth centuries and was one of the most prestigious cultural centers of the Dominican order, thanks to its important Studium, the constitution which directly attributed to Thomas Aquinas. St. Thomas is represented at center stage, seated in glory, while displaying a text with the Incipit of one of his most famous works, the Summa against Gentiles. 

Around 1330, although not everything is consistent - some are proposing a dating around the year 1325 - Lippo painted a Madonna with Child in the Basilica di Santa Maria dei Servi in Siena, known as Madonna del Popolo, which was the object of great veneration, now at the National Gallery of Siena. This is one of his finest works. 

Martini painted in the company of the year 1333 one of the masterpieces of the fourteenth century Gothic, the Annunciation (now preserved in the Uffizi), which is evident as the aristocratic refinement and delicacy that Siena and its artists will be a major European centers of International Gothic painting.

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