Abstract
In dealing with the beginning of Simone Martini’s career, I have already mentioned that his father-in-law was Memmo di Filipuccio, whose son, Lippo Memmi, worked in collaboration with him at San Gimignano in 1317. Although Memmo is found with his family in that town as early as 1306, it is probable that Lippo was born at Siena; at least in certain instances he signs himself “de Siena”, but this does not necessarily imply that Siena was his native city, because in signing their pictures artists often identify themselves with the most important scene of their activity.
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References
R. van Mark,Simone Martini, p. 97.
R. Davidsohn,op. cit., II, p. 311.
Linsini,Chi fu l’architetto della Torre del Mangio, Misc. Stor. Sen., II, 1894, p. 131. F. Donati,II palazzo del Comune di Siena, Arte Antica Senese, I, Siena. 1904, p. 341. The tower was finished in 1348. Burckhardt,Cicerone, p. 101, believes that Lippo made the design for the whole tower, but there seems no reason to admit this.
N. Baldoria,Monumenti artistici in San Gimignano, Archiv. Stor. dell’ Arte, 1894, p. 41 Berenson,op. cit.
F. M. Perkins,Rassegna d’Arte, 1906, p. 31.
F. M. Perkins,Una tavola di Lippo Memmi, Rassegna d’Arte Senese, 192o, p. 115.
This panel has been stolen but later on it was fortunately found again, Rassegna d’Arte Senese, 1905, p. 225.
Suida,op. cit., questions the attribution of this picture to Lippo Memmi.
This panel is frequently ascribed to Taddeo di Bartolo v. Seymour de Ricci,Description raisonnée des peintures du Louvre, I, Paris, 1913, p. 5. A. Venturi,Storia dell’ Arte, V, fig. 6 [2. Schubring,Zeitschr. f. Christi. Kunst, XIV, 1901, p 378. It is obviously, however, a work of the first half of the 146h century. F. M. Perkins,Rassegna d’Arte, 1906, p. 31. published it as a work of Lippo’s.
F. M. Perkins,Rassegna d’Arte, 1917, p. 45.
This panel is not always attributed to Lippo, but the catalogue of the Gallery, Mr. Berenson and Mr. Langton Douglas ascribe it to this master.
F. M. Perkins,Rassegna d’Arte Senese,1917, P.73, and Art in America, 1920, p. 277.
Works which may still be attributed to Lippo Memmi are: — Berlin,the late von Kaufmann collection, half-length figure of the Madonna (reproduced in Venturi, Storia dell’ Arte, V, fig. 532); Providence,Rhode Island School of Design, half-length figure of a female saint; Rome,a short time aga a half-length figure of the Madonna in a reliquary was for sale (F. M. Perkins, Rassegna d’Arte, 1904, p. 31). A few other attributions will be found in Mr. Berenson’s “Central Italian Painters” and my book on Simone Martini, p. 11o, where incorrect attributions and lost pictures are also mentioned. I have mentioned the school works, together with those of Simone, at the end of the chapter on the latter artist. A half-length figure of St Stephen in the Blumenthal collection, New York, is, in Mr. Perkins opinion, a work of Lippo’s school (Art in America, 1920, p. 273). A small panel of the faithful mourning over the Lord’s body, which some years ago was in the hands of a Florentine art dealer, bore in some of its details a closer resemblance to Lippo’s than to Simone’s work, showing a considerable likeness to the della Genga Crucifixion, now in the Boston Museum. Siena,machine-room of the Arts and Crafts School (cloister of S. Domenico, adjacent to the fragment of Lippo Vanni’s Annunciation), Madonna and Child, with an angel on the left. offering flowers, and St. Paul; the figures on the right have disappeared_ Other fragments here seem to be by the same hand.
R. van Marle,Opere giovanile di Barna da Siena, Rassegna d’Arte Senese, 3923, p. 41.
R. van Marle,op. cit.
Several years ago this picture was in a private collection in Paris and was then exhibited at the Musée des Arts Décoratifs.
M, H. Bernath,in Thieme-Becker, Künstler Lexikon, VI, p. 253. R. van Marie,Simone Martini, p. 125.
This picture is reproduced in the Catalogue of the Burlington Exhibition of Sienese art, pl. 20.
G. De Nicola,Due dipinti senesi della collezione Lichtenstein, Bolletino dell. minist. della Pubbl. Istr., 3920, p. 243.
G. von Terey,Die Gemälde Gallerie etc. in Budapest, p. 28.
Guiffrey et Marcel,op. cit., II, pl. 12, attribute it to the Provençal school of the 14th century.
P. Durrieu,La peinture en France, in the Histoire de l’art, dirigée par A. Michel, III, p. 142.
R. van Marle,Simone Martini, p. 185.
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Van Marle, R. (1924). The Immediate Followers of Simone Martini. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2798-9_4
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