Icon Painting

• Icon painting Overview
• Icon painting in Italy
• Silvia Salvadori’s icon painting

In the Middle Age and especially during the Byzantine Art period, the form of art used mostly was probably the Icon painting, although artist realized artwork in many kind of media. Icon painting have formed an aspect of worship in the Christian tradition from earliest times, with the first mention of the use of an icon appearing in the apocryphal Acts of John. Nowadays, the term icon painting usually refers to the particular tradition and style grew up in Orthodox religious depicting of the Byzantine Empire.
The aim of icon painting was either to create reverence in worship or to show to illiterate people events of Holy Bible in illustrated form. For this reason icon painting have been also called prayers, hymns, sermons in form and color.

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Around the 13th century the russian icon painting influenced artworks of italian artists too, but new styles developed in this period made italian iconography evidently different from the earlier Orthodox tradition. So, despite the purpose of italian painting was the same two major art school in Tuscany - Seienese school and Florentine school - abandoned the relatively flat and stylized shapes in favor of more like-life perspective, smoother silhouettes and realistic shades.

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Silvia Salvadori is specialized in icon painting reproduction of various artist of tuscan art history such as Cimabue, Duccio di Buoninsegna, Simone Martini, Pietro Lorenzetti, Giotto and more, using same techniques of original artworks. Successive a short list of her icon painting reproductions

Virgin and child - Sano di Pietro
Madonna of the book - Sandro Botticelli
Announcing angel icon - Simone Martini

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Tuscan Art: Sienese School

Sienese painting school was born doubtless with Duccio di Buoninsegna. Others figures of this school, in fact, were all pupils of the master Duccio: Simone Martini and brothers Pietro and Ambrogio Lorenzetti. One of each was important for the development of Sienese painting, Simone Martini introducing frescoes in the art of tuscan city, Pietro Lorenzetti with his study on deep and complex spatial settings and three-dimensional figure construction, Ambrogio who was perhaps the first in Europe to employ a single-point perspective. The importance of Sienese in Tuscan Art concern particularly the use of lyrical note and a refined sense of color depicting figures with more like-life proportion and shading as well.

 

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