27 February 2019

Reproduction of Renaissance paintings: Sano di Pietro's class

Sano di Pietro is a great master of Sienese painting of the fifteenth century. The master Silvia Salvadori uses the same techniques and the same tools as the contemporaries of Sano di Pietro. The production process is entirely handmade and the result is enormously suggestive.

One of the most beautiful examples is the Jesus Child by Sano di Pietro. This particular work is made using egg yolk tempera on a 23k pure gold background, according to the techniques of the Sienese Renaissance school.

The Jesus Child by Sano di Pietro is a classic of Renaissance painting. Reproduction is done entirely by hand

Another splendid work the Madonna and Child, also by Sano Pietro. In this case, the master Salvadori rendered admirably the facial expressions. The sacred icon was created using tempera and gold leaf on wood as in ancient Renaissance painting. The work was carried out with the ancient pictorial techniques of the Sienese school of the fifteenth century for unparalleled reproduction.

Reproduction of Renaissance paintings: the ancient paintings with the icons of the saints

 

The icons of saints are a recurring theme of Renaissance painting. The reproduction of the Renaissance paintings of the saints is performed with extreme accuracy, for example, the icon depicting Santa Dorotea holding a delicate bouquet of flowers between the folds of her dress.

The Madonna: the protagonist of Renaissance painting

 

Renaissance painting sees in the Madonna the absolute protagonist. The master Salvadori, has created several reproductions of Renaissance paintings that have the Blessed Virgin at the center. One is certainly the Madonna and Child by Botticelli realized with tempera and pure gold 23 k applied both as leaf and powder, and pure gold shell. The use of fine pigments (lapis lazuli) has further enhanced the work.

The Madonna del Parto, another large reproduction of Renaissance painting made entirely by hand, is instead a personal tribute to the greatest Renaissance artist of Arezzo, Piero della Francesca. The use of the same original painting technique used in the fifteenth century on a precious old wooden table has created a truly suggestive result.

Our Lady of Humility by Gentile da Fabriano, on the other hand, is a work with a decidedly more decorative background. It is a reproduction of a small Renaissance painting dedicated to private prayers, probably by Alemanno Adimari, cardinal of Florentine origin and archbishop of Pisa. In this reproduction, the master Salvadori used tempera and pure gold, using identical colors to the original table painted by Gentile da Fabriano.