Sienese school

Definition and stakes

Fernand Khnopff, Gerard Brown, Léonce Bénédite, Marion H. Spielmann, Richard Muther and John Van Dyke,  1911 Encyclopædia Britannica (1911)

“ The painters of the Sienese school were on the whole faithful to the style indicated, and later on in the century they extend the boundaries of their school by spreading its influence into the hill country of Umbria. In the cities of this region Taddeo di Bartoli, one of the best of the followers of Simone, worked about the end of the century, and early Umbrian art in consequence exhibits the same devotional character, the same dreaminess, the same grace and decorative charm, that are at home in Siena. ”
Source: Wikisource

Edmund G. Gardner,  The Story of Siena and San Gimignano

“ Niccolò’s son, Giovanni, became a citizen of Siena, and was chief architect of the Duomo during the two closing decades of the century. Stimulated by their presence and example, there rose an independent school of Sienese sculptors, which flourished from the end of the thirteenth to the middle of the fourteenth century—a school which chronologically succeeds to that founded by Niccolò Pisano, and anticipates the rise of the Florentine school under Andrea Pisano’s influence. ”
Source: Gutenberg

Edmund G. Gardner,  The Story of Siena and San Gimignano

“ The later Sienese school is fairly well represented by a Way to Calvary by Ventura Salimbeni, and a curious picture (on the last altar to the left of the choir) by Rutilio Manetti, representing the Temptation of St Antony. Beyond Sant’ Agostino is the Porta Tufi, so often mentioned in the story of Siena, outside which, on the site of the present Cimitero della Misericordia, was the famous convent of the Olivetani where Bernardo Tolomei died. ”
Source: Gutenberg

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