Italian primitives, masterpieces of the Middle Ages

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Italian artists 13c - nachala15v. Primitives, the first of which went to all the others.
Their works have come down to us, for the most part, the board, taken out of once been severed from the altar of images, murals.

In the XIV century in Siena and Florence and art experienced a remarkable flowering, each created its own school. Century later prevailed in Florence, and it was Florentine school (along with Venice) was formative for all subsequent European art.
 A Siena School and has remained unique in its identity phenomenon, confined to one city and one time interval.
Siena School http://ru.wikipedia.org/wiki/%D0%A1%...BE%D0%BB%D0%B0

The first of these, Guido da Siena (Guido da Siena) - Italian painter who worked in Siena in the period between 1260 and 1290 years. He is one of the first artists to break with centuries-old tradition of Byzantine art, rigid composition. He has made more spontaneous gestures and scenes of life, which helped to further the adoption in Italy of emotional pictures Gothic.

The idea of this theme is the maximum number of illustrations of each artist, as much good quality, so you can consider all the details after an additional click.

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Coppo di Marcovaldo (Coppo di Marcovaldo; approx. 1225, Florence - approx. 1275, Siena).

In 1260 he took part in the Battle of Montaperti on the side of the Florentine supporters of the pope - Guelph. In the battle of the Florentines were defeated by the Sienese Ghibellines, and Coppo di Siena Marcovaldo got into captivity. The second documented product Coppo di Marcovaldo is painted a cross, which in 1274 he created together with his son, Salerno di Coppo, to the cathedral in Pistoia. Some critics believe that the cross was made by his son.

Coppo di Marcovaldo attributed to the altar the image of Archangel Michael and the scene of his legend, which is now considered the earliest of his works (1250-60gg., San Casciano Val di Pesa, Museum of Religious Art), another painted cross (after 1261, San Gimignano, Pinacoteca), and the altar the image of the St. Master of San Francesco Bardi (Florence, p. Santa Croce, Cappella Bardi).
http://ru.wikipedia.org/wiki/%D0%9A%...8C%D0%B4%D0%BE
Here is also a mosaic attributed to him from the Florentine Baptistery.

  Having made more human traits and plasticity in the Byzantine tradition, he, along with Guido da Siena is one of the founders of the Sienese school.

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Duccio di Buoninsegna (Duccio di Buoninsegna, about 1255-1319) - Siena School.
  Duccio's father was out of town Buoninsegna, not far from Siena, but at the time of the birth of Duccio, he lived in the city Camporegio.

 Interesting relationship with the authorities of Duccio, showing the nature of the artist and the freedom of the Middle Ages:
The first of his many conflicts with the authorities of Siena in 1280 marked the year. The essence of the conflict in the documents is not illuminated, but a large amount of the fine, which Duccio had to pay - 100 lire (200 - 400 gold), suggests that this was something very serious.

 The money could buy high-quality horse or Saracen girl. To recalculate the purchasing power of our money is equivalent to 1000 liters of first-class beer. And so, from 3500 $ to 9000 $. Since the Middle Ages changed little - horse was worth as Lada Kalina.

In 1289 refused to take oath of allegiance to the commander of the militia (people's militia). In 1302, he refused to take part in hostilities in the Maremma, for which he was fined for 18 lire and 10 soldi. 22 December the same year he was again fined for training magic. These classes are not at that time considered as a great crime, and fines amounted to only five soldi.
A lot of penalties for tax evasion.

Here is a work not shown previously and others in higher resolution.

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Dietisalvi di CPEM (Dietisalvi di Speme, first mentioned in 1250 - worked in Siena until 1291) - The Siena School.
 Interestingly, mainly the creation of the first portraits of real people tavoletta. Some scholars believe that he had a monopoly on Tavoletta (tavoletta di Biccherna, word comes from Italian. Tavola - board) - wooden covers for books consumables Siena Treasury. Boards 30h48 see
Of the known instruments for 56 tavoletta written Dietisalvi di CPEM to have survived only four. Until the mid XIV century tavoletta represents only the heads of fiscal services, sitting in his office (very often these finance chiefs chose the monks). It would be good idea to learn from the monks.

Judging from the numerous entries in the Sienese archives, have Dietisalvi di CPEM was a workshop, where workers perform multiple orders on his behalf.
procession around the Cathedral of Siena, so it went in to the XVI century). This altar was the beginning of future complicated many altars (on the sides of the image were shaped images of the four saints, and thus obtaining frieze was decorated with carved arches with columns).

Much of his work previously attributed to Guido da Siena.
Many isssledovateli believe that some of the frescoes, unexpectedly discovered in the crypt of the Cathedral of Siena in 2001, also owned by brush Dietisalvi di CPEM.

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What is interesting this artist? The modern sales at auction of Italian primitives.
What's so interesting - Archival documents provide information only about the last ten years of life, Pietro di Giovanni d'Ambrodzho. It is known that in 1428 he became a member of the Sienese Guild of Artists, and his teacher was the most likely Sassetta.

  Researchers suspect that he had a short life. Years of life calculated very roughly Pietro di Giovanni d'Ambrodzho Pietro di Giovanni d'Ambrogio; approx. 1410, Siena - 1449, ibid) - Siena school.

  This question is particularly interesting in a historical perspective, in 1348 the plague killed in Siena, 2 /3 of the population. Siena was unable to recover from this blow for centuries. After this series of rebellions, and wars.
  Ie trend is clear, is taken the young artist about whom virtually nothing is known, and - started ...

 Others work like no additions. Authentic?

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But, if we are interested in authenticity? I do not. The work below me satisfied with any author of medieval Siena.
  
Maybe this is due not to some abstract searches, and the urgent need of life:
And the Florentine republic expanded, acquired entire cities. Maybe the artist just wanted to let his work purchased. So he tried to shift to the Florentine tastes? For Florentine buyers.

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He created gorgeous altars with the original, for the time, colors and images easy. For me, one of the samples of the Artist-richness, innovation, and memorable images that successfully can be viewed in high resolution. And all of this, the 14 century. Just born slogan-less artists - higher quality. In order not to discredit the title of petty ambitions.

Don Lorenzo Monaco (Lorenzo-Monaco, addressed to the vows Piero di Giovanni) (c. 1370-1425) - Florentine painter.
Piero di Giovanni was one of the leading painters of Florence in the early 15 th century. It is known as Lorenzo Monaco (Lorenzo monk) because he took the name Lorenzo, when he came to the shelter in the monastery of Santa Maria degli Angeli in 1391

In his early work was influenced by Taddeo Gaddi, who may have been his teacher. He worked, mostly, for his religious order (Benedictine), creating manuscripts, altar and image of the fresco.

It is believed that Monaco could be a teacher of Fra Angelico.

Altar in very high resolution http://commons.wikimedia.org/wiki/Fi...a_in_trono.jpg

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Here, his portrait and very interesting work from the Louvre.