Abstract
The place that the Sienese school occupies in the cosmopolitan Gothic movement is somewhat different from that of Florence; the Sienese artists played a more direct part in the development of late Gothic painting. Besides, already at the end of the Trecento, Sienese art was more Gothic than Florentine. Paolo di Giovanni Fei, at the end of the 14th century, was before all an adherent of the Gothic manner and it is from him that the first masters, who, in Siena, were representative of this style, so wide-spread throughout Europe at the beginning of the 15th century, derive. Moreover, Siena, much more than Florence, was in constant touch with other regions of Central Italy, such as Umbria and The Marches, where the Gothic style had found so many adherents and renowned interpreters.
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Literatur
Langton Douglas, A forgotten painter, Burlington Magazine, I, 1900, p. 306.
F.M. Perkins, Burlington Magazine, V, 1904, p. 581. The Same, Un quadro sconosciuto del Sassetta, Rassegna d’Arte, 1907, p. 76.
F.M. Perkins, Rassegna d’Arte, XIII, 1913, p. 121.
F.M. Perkins, Rassegna d’Arte, XVIII, 1918, p. 112.
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Van Marle, R. (1927). Sassetta. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2792-7_4
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DOI: https://doi.org/10.1007/978-94-015-2792-7_4
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