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323:. It was also accepted that an artist bearing the name Barna was a fellow student under Simone Martini and an artistic collaborator with Memmi. In attributing the panel of St. Agnes to Memmi, Heaton states that it is “...a panel endowed with unity of design and characteristics rarely found in the works of an artist not possessing a more independent, creative personality than is usually predicated of Lippo Memmi”.
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complexity in the punchwork has allowed historians to recognize the hand of Lippo Memmi and gives a clearer idea of his place in collaborations with Simone
Martini. Stamp designs, gilding and the execution of rayed halos are similar, yet show that Lippo Memmi's mature gild and scribe work patterns in the 1317
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Memmi and
Martini most likely settled into a familiar style in gilding patterns with the Monaldeschi altarpiece in Orvieto from about 1320 consisting of a “composite punch design of a quatrefoil set about a central rosette”. His most identifiable device is found in the alternating long and short
268:
The term “Lippesque', coined by Joseph Polzer, describes the overall effect of Memmi's visual devices found in several
Madonna and Christ images. “The seated Christ Child in the central image, and especially his head which is axially and frontally ordered ... heads close to spheroid in shape and
233:
panel (1300–50) shows how Memmi's pictorial style was less severe and angular than the
Duecento works his imagery recalled: “...has softer qualities and its spirit is tranquil”. Indeed, his depiction of emotion and realism is also subdued by this 'soft tranquility', leaving figures to read as
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in
Florence is signed by both Lippo and Simone. Memmi's definite contribution to the panel are the halos for, and columnar renderings of St. Margaret and St. Ansanus that bookend the panel. The scribe work in the Arch Angel Michael's halo and arguably the gold leaf background were also Memmi
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and gilding work used. Golden tin on the throne cusps, laminated tin with gold foil for the halos which are carefully rendered with intricate punchwork, his application of these materials described as “a neat perfection rarely encountered elsewhere”. Examination of the motifs and degree of
330:, thought to date from the 1340s, are now generally attributed to Lippo Memmi. Traditionally they were attributed to Barna of Siena, but it is thought now that this artist never existed, even though the attribution dates from the writing of the Renaissance art biographer
315:
in 1348. Thus, a more complete understanding of his style and artistic achievements continues to emerge. His status as an artist of personal expression, rather than simply a craftsman and “Fratello in Arte” of his brother-in-law Simone
Martini is gaining acceptance.
229:. Though they demonstrate Memmi's adherence to earlier conventions of emphasizing the spiritual function of Medieval art, there are also indications of the forward-looking stylistic developments of his fellow Sienese masters. A description of his
338:
who painted the Old
Testament cycle in the opposite aisle of the church. This suggests that other works attributed to Barna could be works of Memmi and thus his stylistic adherence to Simone Martini is less binding.
222:. Common features of his documented and attributed work are the sophisticated compositional arrangements, figures rendered with a striking facial roundness, narrow eyes, graceful brow lines, and elongated noses.
225:
Memmi's figures are considered less innovative than those of his
Trecento contemporaries, the sensibility of the lines used in the face and the eyes hearken back to the conventions of the
444:
lines depicting light emanating from the halos of saints and angels, most famously recognized in the
Annunciation, yet we see this in works throughout his career such as the
261:
in Munich. Memmi's interest in detail is evident in his innovative compositional devices using simple geometric shapes such as the circular arrangement of the angels in the
422:) suggests a more direct stylistic connection between the ideas emerging from Lippo's shop and the younger generation of Sienese artists apprenticing under him.
334:. Vasari took the name from an earlier work by Ghiberti, but it is thought that "Barna" might have been wrongly transcribed from "Bartolo", and referred to
450:
269:
share a dominating large forehead crowned by an identical centrally located whirl of hair”. These
Lippesque elements are on display in the Sienese panel
241:. This interest in design carries over to Memmi's observation of fabric patterns and their placement. He is also known as an effective miniaturist, using
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Memmi's figures retain the static and generally frontal view found in the earlier generation of late Duecento masters such as
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Sienese art has revealed the plausible influence of Memmi on various artists in the generation following the outbreak of the
143:, where he worked until the mid-14th century. After his return to Siena, Memmi continued to work until his death in 1356.
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Freuler, Gaudenz (1986). "Lippo Memmi's New Testament Cycle in the Collegiata in San Gimignano".
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panels. Lippo's brother Federigo Memmi belonged to the shop before 1343, during the time the
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A considerable amount of ongoing research on unsigned panels and altarpieces of early to mid-
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Together with Martini, in 1333 he painted what is regarded as one of the masterworks of the
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there is little evidence of interaction with Simone Martini. The influence of Memmi's
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on 27 May 1631. The image has long been since held miraculous and is enshrined at the
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are rooted in the simpler patterns and less developed line he applied to Martini's
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Poltzer, Joseph (December 1981). "The Master of the Rebel Angels Reconsidered".
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Research in the 1920s began to separate the works of Lippo Memmi from those of
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Poltzer, Joseph (1999). "A Sienese Painting in the Gemaldegalerie, Berlin".
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1065:, Leonetto (1982). "'Golden Tin' in Sienese Murals of the Early Trecento".
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Memmi is remembered for distinctive stamped tin halos with ray patterns in
747:
Madonna with Child, Angels and Sts. John the Baptist and Francis of Assisi
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Wieruzowski, Helene (1944). "Art and the Commune in the Time of Dante".
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in Berlin, and his small Maesta in the San Domenico cloister in Siena.
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Mallory, Michael (1974). "An Altarpiece by Lippo Memmi Reconsidered".
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Meiss, Millard (1977). "Notes on a Dated Diptych by Lippo Memmi".
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Henniker-Heaton, Raymond (1925). "Two Early Sienese Paintings".
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139:("Madonna dei Raccomandati"). Later he followed Martini to the
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273:, which Polzer uses to demonstrate Memmi's authorship of the
105:
59:
952:"'Objects of Study': Art trove from Marcoses put on exhibit"
675: – Panel, 149 x 57 cm, Pinacoteca Nazionale, Siena
773:
730:
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in the Sala di Dante of the Palazzo Comunale, San Gimignano
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159:
648: – 44 x 21 cm, W.B. Golovin Collection, New York
608:(c. 1330–1340) – Panels in several museum, including
398:
was the brother-in-law of Lippo. After Lippo returned to
691:(c. 1325–1330) – 78 x 51 cm, Diocesan Museum,
604:
Dismantled polyptych for the church of San Francesco of
245:
to delicately render garments as depicted in the Griggs
669: – Unknown location, last mention in Turin in 1987
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Polyptych of San Paolo a Ripa d'Arno: side panel with
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Scritti di Storia dell'Arte in Onore di Ugo Procacci
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Madonna Enthroned with Child, St. Paul and an Angel
234:somewhat archaic, yet projecting a dreamy quality.
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202:on 27 May 1631. The surrounding marble frame is a
104:(c. 1291 – 1356) was an Italian painter from
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612:, the National Gallery of Art in Washington, the
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685:) – 33 x 24 cm, Gemäldegalerie, Berlin
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535:Madonna Enthroned with Child, Angels and Saints
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368:The Memmi workshop began with Lippo's father,
122:Annunciation with St. Margaret and St. Ansanus
511: – Detached fresco, 130 x 308 cm,
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810:(c. 1338 – 1345) – Fresco cycle,
1114:Lippo Memmi at the National Gallery of Art
794:Presidential Commission on Good Government
716: – Collezione Chiaramonte Bordonaro,
673:Madonna with Child and Christ the Redeemer
326:The New Testament cycle of frescos in the
29:
983:The Burlington Magazine for Connoisseurs
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630:, c. 1325–1330) – 78 x 51 cm,
598:Polyptych – Church of San Niccolò,
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689:Madonna Enthroned with Child and Donor
467:is striking in the various methods of
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388:cycle and other works attributed to "
372:. Its early works, such as the 1317
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150:was the first venerated image of the
931:
772: – Convent of Santa Caterina,
737:Dismantled diptych (c. 1330–1340)
13:
705: – Lindenau-Museum, Altenburg
328:Collegiate Church of San Gimignano
108:. He was the foremost follower of
14:
1165:
1107:
743: – 60 x 29 cm, Louvre, Paris
636:Signed and dated diptych (1333):
439:Stamp work with gold leaf and tin
426:Collaboration with Simone Martini
792:(c. 1330) – 200 x 200 cm,
16:Italian painter (c. 1291 – 1356)
943:
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577:Isabella Stewart Gardner Museum
291:Attribution and artistic legacy
901:
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751:The Metropolitan Museum of Art
642: – Gemäldegalerie, Berlin
287:, rather than Simone Martini.
112:, who was his brother-in-law.
1:
1144:14th-century Italian painters
950:Bautista, Jane (2022-07-17).
817:
727:Museo Nazionale di San Matteo
596:Madonna with Child and Saints
573:Madonna with Child and Saints
430:The 1333 Annunciation at the
1043:Jahrbuch der Berliner Museen
808:Stories of the New Testament
780:Triumph of St Thomas Aquinas
632:Santa Maria dei Servi, Siena
549:Madonna with Child and Donor
518:Madonna Enthroned with Child
504:Sant'Agostino, San Gimignano
502: – Frescoes, Church of
496:Madonna Enthroned with Child
133:, for which he finished the
7:
1004:Metropolitan Museum Journal
812:Collegiata di San Gimignano
770:Apotheosis of St. Catherine
658:Nelson-Atkins Museum of Art
513:Pinacoteca Nazionale, Siena
10:
1170:
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251:Metropolitan Museum of Art
956:Philippine Daily Inquirer
790:Altarpiece of Five Saints
656: – 50 x 39 cm,
575: – 34 x 25 cm,
551: – 56 x 24 cm,
541:, 1317) - Signed fresco,
89:
79:
67:
52:
28:
21:
758:Polyptych pinnacle with
587:Madonna dei Raccomandati
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280:Coronation of the Virgin
263:Assumption of the Virgin
255:Assumption of the Virgin
181:
42:Madonna dei Raccomandati
1067:The Burlington Magazine
683:Madonna of the Humility
610:Berlin's Gemäldegalerie
553:National Gallery of Art
352:thirty pieces of silver
148:La Madonna della Febbre
146:Memmi's famed artwork,
524: – Signed panel,
360:
304:
285:Gemäldegalerie, Berlin
215:
212:Saint Peter's Basilica
210:di Bardi, Sacristy of
172:Saint Peter's Basilica
141:Papal court in Avignon
1139:Italian male painters
628:Madonna of the People
564:Musée du Petit Palais
345:
298:
253:in New York, and the
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785:Santa Caterina, Pisa
762: – 41 x 19 cm,
760:st. Anthony of Padua
749: – 67 x 33 cm,
703:St. John the Baptist
646:St. John the Baptist
591:Cathedral of Orvieto
539:San Gimignano MaestĂ
474:San Gimignano MaestĂ
374:San Gimignano MaestĂ
192:Madonna della Febbre
156:Canonical coronation
117:International Gothic
1149:Painters from Siena
1015:. pp. 137–139.
907:Polzer 1981 582-583
618:Museo Poldi Pezzoli
370:Memmo di Filippucci
227:Byzantine tradition
196:canonically crowned
152:Blessed Virgin Mary
832:Henniker-Heaton 23
679:Madonna with Child
654:Madonna with Child
624:Madonna with Child
616:in Paris, and the
589:, c. 1320) –
560:St. Mary Magdalene
543:Palazzo del Popolo
451:Virgin of Humility
418:(another term for
364:The Memmi workshop
361:
305:
271:S. Maria dei Servi
216:
1154:Catholic painters
667:Blessing Redeemer
640:Madonna and Child
448:in New York, the
392:" were produced.
382:Orvieto Polyptych
275:Madonna and Child
247:Madonna and Child
168:Blessed Sacrament
131:Orvieto Cathedral
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606:Colle Val d'Elsa
484:Palazzo Pubblico
446:Virgin and Child
412:Naddo Ceccarelli
378:Palazzo Comunale
336:Bartolo di Fredi
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545:, San Gimignano
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200:Pope Urban VIII
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1134:1356 deaths
1073:(947): 94.
989:(263): 18.
898:Freuler 100
889:Mallory 193
802:Quezon City
741:Crucifixion
662:Kansas City
313:Black Death
102:Lippo Memmi
23:Lippo Memmi
1123:Categories
940:Tintori 95
862:Freuler 94
818:References
766:, New York
753:, New York
486:in Siena.
408:Assumption
355:, fresco,
190:The famed
1094:(1): 14.
1049:: 37–45.
783:, (1323)
723:St. James
710:St. Peter
530:Altenburg
469:pastiglia
243:sgraffito
239:gold leaf
231:St. Agnes
208:Donatello
1088:Speculum
725: –
714:St. Paul
620:in Milan
579:, Boston
457:Memmi's
309:Trecento
299:Memmi's
277:and the
204:ciborium
164:Sacristy
90:Movement
84:Painting
1100:2856851
1063:Tintori
1055:4126005
1034:3050164
966:Sources
718:Palermo
693:Asciano
568:Avignon
414:in his
404:Avignon
376:in the
283:at the
170:inside
62:, Italy
56:c. 1291
1098:
1079:880572
1077:
1053:
1032:
995:862528
993:
699:Saints
522:Saints
500:Saints
479:MaestĂ
460:MaestĂ
432:Uffizi
301:MaestĂ
214:, Rome
127:Uffizi
119:, the
1096:JSTOR
1075:JSTOR
1051:JSTOR
1030:JSTOR
991:JSTOR
490:Works
402:from
400:Siena
348:Judas
182:Style
158:by a
106:Siena
60:Siena
774:Pisa
731:Pisa
712:and
520:and
498:and
176:Rome
160:Pope
71:1356
68:Died
53:Born
1071:124
463:at
410:on
206:by
198:by
174:in
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800:,
729:,
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