Despite all these breakthroughs, the road to the Renaissance was not marked by a coherent sequence of events. The leading school of painting in the fourteenth century was not Florence, but nearby Siena, where artists were dealt with completely different issues. It had a lot to do with the patronage figure of Duccia di Buoninsegna (Ok. 1255-1318). who did not follow giotto's revolutionary path, but he breathed new life into the Byzantine tradition. Duccia's sense of the sublimity of the scene is perfectly conveyed in Maesta, the central quarters of his masterpiece., located in the Museo dell Opera del Ouomo of his hometown. However, the artist's talent is emphasized above all in the small scenes of this huge altar.: Duccio shows his narrative mastery in them., perfectly arranging and grouping characters and perfectly capturing expression, feeling and movement. Colour, which in Giotto served only to fill the forms. here it becomes an independent component.
Despite the presence of dynamic statues of Giovanni Pisano in the city, later Sienese painters considered Duccio's narrative art to be a more promising model.. Simone Martini (Ok. 1284-1344) he began his career by painting the equivalent of Ducci's Maesta in the form of a fresco for Palazzo Publico. and his most famous work in this building, posthumous Equestrian Portrait of Guidoriccio da Fogliano. is now widely considered to be falsified. Its sophisticated. graceful style was based mainly on the line, color and decorative effects – which is best seen in the life of st.. Martin in the lower church in Assisi and the rocking, the elaborately dissolved Annunciation of the Uffizi. This second work was painted in collaboration with the artist's brother-in-law. Lippo Memmim (d. 1357). who independently created Maesta for Palazzo Publico in San Gimignano. and perhaps also frescoes with dramatic New Testament scenes in a collegiate church in the same city, traditionally attributed to an unknown from other works Barna.
Another Sienese painter, which operated in Assisi is the Lorenzetti Floor (Work 1306-45); his frescoes in this city bear the marks of Giotto's influence and are characterized by a sense of pathos, which was alien to Sienese painting. His brother, Ambrogio Lorenzetti (Work 1319-47) was a more original artist, and his main achievement is the idiosyncine-cratic Allegory of Good and Good Governance in Palazzo Pubblico; it is the first in modern times to apply the image for secular didactic purposes, the landscape gains a new one. higher status, and the awareness of perspective is at an unprecedented level in this era. The second prominent Sienese sculptor of this period was the mysterious Lorenzo Maitani (Ok. 1270-1330), which is associated with only one work – wonderfully lyrical bas-reliefs on the most exuberant façade in Italy, decorating the Cathedral of Onrieto.
Meanwhile, in Florence, a large group of painters consciously referred to Giotto's style., however, without moving it forward. The most talented of them was Maso di Banco. especially skillfully drawing on the sense of plasticity of the master's form, while the most faithful imitator was Taddeo Gaddi (d. 1366), whose son Agnolo Gaddi (d. 1396) led the Giottovian tradition almost to the end of the century. Z kolei Bernardo Daddi (Ok. 1290-1349) combined this tradition with certain apsects of Sienese painting. Sculptor Andrea Pisano (Ok. 1290-1348) succeeded Giotto as master stonemason in the construction of Campanile. Bas-reliefs made by him intended for this building, and the brown doors of the baptistery. translate Giotto's painting language back into three-dimensional format.
The reaction against the hegemony of the Giottoman style came from Andrea Orcagna (Ok. 1308-68), who excelled as both a painter and a sculptor, developing the floral ornamentation applied with the best effect in the tabernacle of Orsanmichele. Paintings of Orcagna and his school restored the hieratic Byzantine tradition, with the rejection of spatial depth.
At the very end of the fourteenth century, the style of international gothic initiated at the Burgundian courts prevailed in Europe.. He was characterized by a new sense of realism in landscape representations, animals and costumes, but he rejected intellectual considerations. Its spread in Italy is mainly due to Gentile da Fabriano (Ok. 1370-1427), whose Adoration of the Magi in the Uffizi (one of the few surviving compositions of his) shows rich surface effects at their best. Another leading representative of this style was Masolino da Pani-cale (1383-1447), best known as a creator, who began a cycle of frescoes at Santa Maria del Carmine in Florence. In the same city, the movement influenced Lorenzo Monaco. (1372-1425), whose works combine the Florentine and Sienese traditions.
International Gothic took root particularly strongly in Verona, mainly thanks to Antonio Pisanelli (1395-1455). His fame is to some extent based on his medallion craftsmanship, as very few of his paintings have survived., mainly frescoes in the churches of Sant Anastasia and San Fermo in Verona and in the Palazzo Ducale in Mantua, which magically create an idealized court world of fairy tales. Numerous drawings prove, that these works were based on a persistent observation of nature — which was to become one of the key elements of the nascent Renaissance art.