Painting depicting a view of the city of Arezzo with a Tuscan landscape on a pure gold background. Tuscany painted landscape with a view of Arezzo. Wooden board. Painted by Silvia Salvadori "Contemporary Middle Ages" 21 x 11,5 Silvia Salvadori Tempera and gold leaf on wood On Middle Ages

Texts by: Anna Maria Parlato historian and art critic

 

Emblem of a seductive and corrupting femininity, as the guilty heir of Eve, Mary Magdalene had to redeem herself as a woman and, according to medieval legends, atone for her guilt in the desert.

 

The hermit's life made her ugly but chaste, covered only by her own blanket of hair that recalled the innocence of Eve still a virgin in lost Eden, so much so that she became a source of inspiration for Donatello's wooden sculpture. Metaphor of the complexity of the female universe, she was goddess, sinner and saint in a single archetype: Mary of Bethany, sister of Lazarus and Martha, Mary of Magdala, the one whom the evangelist Luke defines as tormented by seven demons and who was the announcer of the Resurrection, the anonymous sinner, who wept at the feet of Christ in the house of the Pharisee Simon.

40x30 cm Painting by Silvia Salvadori Egg tempera painting on a pure gold background On Middle Ages

Sacred icon hand painted in tempera with egg yolk on a gold background. Tempera and gold on wood.  Painting by Silvia Salvadori 59x40 cm Sacred Icon  Tempera gold painting 23 carat gold Original technique Tempera and gold on wood Sacred icon. Tempera gold painting by Silvia Salvadori On Middle Ages

Icon of the Madonna del Bambino called the "Madonna del Solletico". Art reproduction taken from Masaccio by Silvia Salvadori using the ancient pictorial techniques of the Sienese school of painting. Original technique painted in egg yolk tempera on a 23 k pure gold background. Decoration on gold executed entirely in burin. Ancient wooden board. 24,50 x 18,20 cm Art reproduction of the Madonna del Solletico by Masaccio. Icon of the Madonna and Child. Use of the original Sienese school technique. Painted with egg yolk tempera on a 23 k pure gold background, engravings. Medieval art. Paintings and art reproductions by Silvia Salvadori. Off Middle Ages

Silvia Salvadori's homage to the city of Arezzo.

Painting made with tempera and pure gold on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. 15 x 15 cm Civitas Aretii. Coat of Arms of the City of Arezzo. Tempera and gold earring. Bunch engraving with medieval gold decorations. Painted by Silvia Salvadori. Tablet performed with the ancient pictorial techniques of the 15th century Sienese school. In this work was represented the coat of arms of the city of Arezzo with the rampant black horse. All around, there is an elegant finely-matched gold decoration recalling the plant's decorations of the antique fifteenth-century iconic codes. Every aspect has been carefully taken care of by the frame entirely decorated with bougainvillea, the wall crown above the coat of arms of the City. Painting by Silvia Salvadori. Coat of arms painted with gold tempera and gold satin - 23k - on antique table. Off Middle Ages

Coat of arms of the contrada of the Tower, Siena.

Painting made with tempera and pure gold on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. Coat of arms of the Torre district, Siena. Autograph painting by Silvia Salvadori Copyright ©. Tempera on a 23k pure gold background. Ancient table. Original technique of the Sienese schools of painting of the fourteenth century. Painting by Silvia Salvadori Coat of arms painted on a gold tempera and pure gold background - 23 k - on an ancient table. Off Middle Ages

Casket with noblewoman in medieval horse clothes. Painted by Silvia Salvadori.

Painting made with tempera and pure gold on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. 13 x 13 cm A Gold scarf with engraved bobbin and depicting a noble woman on horseback crossing a stream. Even in this small painting, Silvia Salvadori does not neglect any detail. The Dama is painted with the typical style of Simone Martini's painting and is wearing a delicate pink dress with gold embroidery. The horse also wears a finely finished gold finish. In the background you can see a medieval landscape typical of the Siena countryside and in the background a fortified village. Painting by Silvia Salvadori Tempera on Gold Leaf 23k Off Middle Ages

Horse Hunting Scene with Medieval Tuscan Landscape. Painting by Silvia Salvadori.

65 x 55 cm

This painting made by the artist on commission is a horse-riding scene set in Tuscany. The scene was drawn from ancient French tapestries and views of the landscapes of the Early Renaissance. In the center there are three figures, two ladies and a horse rider in the act of hunting a deer. Around the main figures there is a typical Tuscan landscape full of botanical elements, characterized by lush oak trees, streams, ponds rich in flora and fauna. In the background, a golden sky opens, surrounded by voluminous clouds illuminating the gentle hills of the Siena countryside between medieval castles, small villages and ancient mills. Silvia Salvadori, in this rich composition, tried to emphasize the naturalistic element since in the Middle Ages man had a complex and articulated landscape in front of him, where the cultivated forest ("bosk", term of Germanic origin) , occupied spontaneous forest spaces and where vineyards, fields and meadows created crevices in the vegetable mantle. In addition to the study of the landscape, Silvia lovingly recreates the dresses and horses' sketches in a perfect medieval style, using glittering and original colors, adorned with decors that we easily find in portraits of girls and ladies of the time. Every animal in this scene lives in its natural context, inviting it to contemplate every single detail.

Painting by Silvia Salvadori. Tempera on Gold Leaf 23k. On Middle Ages

Icon of Saint Antonio of Padua. Painting by Silvia Salvadori.

Sacred icon made with tempera and pure gold on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. Icon of Saint Anthony of Padua painted in tempera on a pure gold background. Embossed and relief decorations, pastille technique. Painting by Silvia Salvadori. Commission. Painting by Silvia Salvadori. Tempera and pure gold on an ancient table. Off Middle Ages

Madonna and Child, workshop of Duccio di Buoninsegna. Reproduction of art by Silvia Salvadori.

Sacred icon made with tempera and pure gold on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. 60 x 39 cm ART REPRODUCTION by Silvia Salvadori - (from Duccio di Buoninsegna school). Madonna and Child. Holy gold tempera icon. Icon attributed to the school of Duccio di Buoninsegna. Painted in the same pictorial style as Duccio di Buoninsegna. Painting of refined beauty and quality painted by Silvia Salvadori and performed with the same artistic know-how using the same pictorial techniques of the Sienese school. According to an ancient tradition, the Madonna and Child (Duccio di Buoninsegna icon - Workshop icons) was fortuitously discovered by a farmer amazed by the fact that his oxen had stopped and knelt in front of the sacred image, which was placed under a roof, as in a devotional road tabernacle. This miraculous vision, which took place in 1434, initiated the veneration of the Madonna and led to the concession of Pope Eugene IV to build a hospice for the poor and an adjoining chapel (1443), from which the current church of the company of the Madonna della Grotta. Here there is still a small processional banner, in which the Sienese painter Sebastiano Folli - at the end of the seventeenth century - represented the unusual miracle, also reproducing the table in question with its current curved shape and the Duccesque figuration in its essential features. The polyptych to which this Icon of the Madonna and Child belonged has been dismembered over the centuries, therefore it remains impossible to establish what its original destination was and from which and how many images of saints it was accompanied. Based on recent studies and on the hypotheses made by excellent scholars such as Frederick Mason Perkins and Enzo Carli, this work has been recognized as a work conceived in the workshop of Duccio di Buoninsegna, invented and set by the master, but largely painted by his pupil , which is also found in that apical area of ​​the Majesty. For the execution, we can probably suppose times close to the start of that great enterprise destined for the cathedral of Siena, considering also the fact that this Madonna and other similar works had to serve as a reference model for young students operating in the early fourteenth century. Indeed, Simone Martini, in an initial and extraordinary Madonna and Child, and Ugolino di Nerio with the Madonna Tadini Boninsegni referred to such examples. Diocesan Museum, Siena. Tempera and pure gold on an ancient poplar table. Duccio di Buoninsegna (Siena, 1255/60 - 1319 ca.) The first information relating to Duccio di Buoninsegna dates back to 1278 when he painted twelve crates for the safekeeping of documents of the Biccherna Office of the Municipality of Siena, which were subsequently lost. In the following years Duccio di Buoninsegna continued to be cited as a performer of works for the Municipality, despite being known as a particularly turbulent citizen: reluctant to participate in war actions in Maremma, to take an oath to the orders of the Captain of the People, and even connected to witchcraft practices for which he was made a fine in 1302. The movements hypothesized by the scholars of Duccio di Buoninsegna to explain the different components of his culture were not documented; if the trips to Assisi and Rome seemed very likely it is more difficult to sustain his stay in the eastern Mediterranean and in Paris where the Duch de Sienne or the Duch le Lombard mentioned in a text could have been a namesake of Duccio di Buoninsegna. The date of death, between 1318 and 1319, is probably related to the act of renunciation by the seven children of the paternal inheritance. The first works by Duccio di Buoninsegna for the Municipality of Siena were lost, the most certain work of this youthful phase was the small Madonna di Crevole, now in the Museo dell'Opera di Siena. Followed: the large panel with Maestà known as Madonna Rucellai, now in the Uffizi and for many centuries believed to be the work of Cimabue, a circular stained glass window in the apse of the Cathedral of Siena, the Madonna of the Franciscans (Siena, Pinacoteca), the Majesty of Bern ( Kunstmuseum), the Madonna and Child and six angels from the National Gallery of Perugia. On the other hand, it was the first document of 1308 that mentions the commission of the great panel with Maestà concluded in 1311 for the Cathedral of Siena, undoubtedly the absolute masterpiece of this painter; however, taking into account the commitment required by a work of such complexity, current criticism tends to anticipate its start date. Removed from the main altar of the Cathedral and subsequently dismembered during the eighteenth century, it is scattered in museums around the world while the main corpus is in the Museum of the Siena Opera. It showed an artist capable of profoundly renewing the texture of Byzantine painting, attentive to daily and natural data rendered with a chromatic range of great intensity. The Triptych of the National Gallery in London and the Polyptych n ° 47 of the Pinacoteca di Siena, very compromised in terms of conservation and with large contributions from the Bottega di Duccio di Buoninsegna, are attributable to recent years Off Middle Ages

Sacred icons painted by hand. Works of Silvia Salvadori.

Sacred icons made with tempera and pure gold leaf on wood. Works executed with the ancient pictorial techniques of the Sienese school of the thirteenth century. Various Hand painted icons on gold. Cennino Cennini pigments. Silvia Salvadori. Gold painting. Tuscan Art Workshop by Silvia Salvadori. Arezzo. Medieval painted boards. Paintings in medieval and Renaissance style, icons painted in tempera on a pure gold background. Traditional painting in use from the Middle Ages and early Renaissance in Tuscany. Paintings, icons and art reproductions. Gold painting. Works executed with the same artistic know-how of the Sienese school, unique author paintings. Hand-painted icons in tempera on a pure gold background entirely engraved in burin (ancient table) according to the ancient pictorial recipes in use since the 13th century in Tuscany. Paintings on a gold background. Paintings made through the use of ancient painting techniques. Each work is painted on ancient wooden supports. High quality pigments are used for painting. The gilding is done by means of thin pure gold foils. The decorative motifs of the haloes and frames are entirely made by using special tools for goldsmiths. Hand painted gold tempera icon. Cennino Cennini pigments. Paintings by © Silvia Salvadori. Hand-painted gold icon, gold painting. Cennino Cennini pigments. Paintings and icons painted in tempera on a pure gold background. Medieval painted plates. Traditional painting in use from the Middle Ages and early Renaissance in Tuscany. Gold painting. Paintings, icons and art reproductions. Art workshop of Silvia Salvadori. Arezzo. Off Middle Ages

Crucifixion by Duccio di Buoninsegna. Reproduction of art by Silvia Salvadori.

Sacred icon made with tempera and pure gold leaf on wood. Work performed with the ancient pictorial techniques of the Sienese school of the fifteenth century. 44 x 21 cm Holy gold tempera icon. Painting by Silvia Salvadori. Icon of the Crucifixion painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school and with the same pictorial style of Duccio di Buoninsegna. Gold background punched and engraved by hand. Painted on a gold background. Pure gold 23 k. Egg tempera, fine pigments. Ancient wooden board. Use of the same original painting technique used in the 14th century. Reproduction of Art. Medieval Art Icon, Reinterpretation of the Crucifixion on a model of the Sienese school inspired by Duccio di Buoninsegna. Medieval painting. Tempera on a pure gold background, antique table, engravings. Medieval art icon. Crucifixion, on the sides the Virgin Mary and Saint John, in the center of the scene Santa Maria Maddalena. Sacred icon, Sienese art, pure gold background. Technique: tempera and pure gold. Sacred icon. Painted with the same artistic know-how as the Sienese school, unique author painting. Hand-painted tempera icon on a fully engraved pure gold background (ancient table) according to the ancient pictorial recipes in use since the 13th century in Tuscany. Painted on a gold background. Paintings made through the use of ancient painting techniques. Each work is painted on ancient wooden supports. High quality pigments are used for painting. The gilding is done by means of thin pure gold foils. Reinterpretation of the Crucifixion - Art reproduction - on the model of the Sienese school inspired by Duccio di Buoninsegna. Original technique: Tempera on a pure gold background, antique table, engravings on pure gold. Reproduction of Art. Reinterpretation of the Crucifixion on the model of the Sienese school. Medieval painting. Tempera on a pure gold background, antique table, engravings on pure gold. Gold background punched and engraved by hand. Medieval art icon. Off Middle Ages