Duccio di Buoninsegna

[gans]

The first mention of Duccio in Siena archival documents marked the year 1278, and is associated with the order tavoletta (wooden covers for books consumables Siena Treasury. Best of Siena were painted by artists) for Bikkerny. It allowed scientists to calculate the approximate date of birth of the artist, because the order could be given only the artist has reached adulthood. Thus the date of birth has been attributed to Duccio 1255-60 year. Bikkerna ordered him painting tavoletta nine times since 1278 in 1295. However, these orders were not given a large income. Much more revenue brought in paintings depicting the Madonna, the patroness of the city, around which in Siena after the battle of W. Montaperto emerged a cult.

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The formation of Duccio happened under the influence of Cimabue. The famous Italian art critic Ferdinando Bologna attributes its formation to the 1278-79 year, or even earlier. He believes that in the years 1283-84 Duccio and Cimabue has worked closely, and quite convincingly argues that in the frescoes of Cimabue, which he wrote in the Upper Church of San Francesco in Assisi, in some places clearly visible hand of Duccio.
Unfortunately, signed by Duccio is only one work - a big "Maestà" of Siena Cathedral. But today almost no one doubts the attribution of several works. This is a small "Maestà" (Museum of Art, Bern), "Franciscan Madonna" (Siena, Pinacoteca), "Madonna and Child known as the Stroganoff Madonna" (Metropolitan Museum of Art, New York), "Madonna and Child and six Angels" (National Gallery of Umbria, Perugia), and a small "Triptych" (National Gallery, London). Apart from the almost undisputed work of Duccio, today he supposedly "Polyptych" (Siena, Pinacoteca). There are several works that are attributed to Duccio or workshop, or its joint with any creative work, such as "Madonna and Child" (Siena, Pinacoteca), which according to experts, he wrote in conjunction with the Master of Badia a Isola. Most of the staff of his studio have left their names.