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Museo dell'Opera Metropolitana del Duomo, Siena The Maestà , or Maestà of Duccio , is an altarpiece composed of many individual paintings commissioned by the city of Siena in Tuscany in 1308 from the artist Duccio di Buoninsegna [ 1 ] and is his most famous work. [ 2 ]
The central panel of Duccio's Maestà with Twenty Angels and Nineteen Saints (1308–1311), Museo dell'Opera del Duomo, Siena. Maestà, the Italian word for "majesty", designates a classification of images of the enthroned Madonna with the child Jesus, the designation generally implying accompaniment by angels, saints, or both.
Duccio di Buoninsegna (UK: / ˈ d uː tʃ i oʊ / DOO-chee-oh, [1] Italian: [ˈduttʃo di ˌbwɔninˈseɲɲa]; c. 1255–1260 – c. 1318–1319), commonly known as just Duccio, was an Italian painter active in Siena, Tuscany, in the late 13th and early 14th century.
It houses works of art and architectural fragments that were formerly in, or a part of, the Duomo of Siena (Siena Cathedral). These include a number of Italian Gothic sculptures by Giovanni Pisano and his school from the façade of the cathedral; the Maestà of Duccio di Boninsegna , which was the altarpiece from about 1311 until 1505 [ 1 ...
On top of the altar is the Madonna and Child, a sculpture (probably) by Jacopo della Quercia. Many of the Duomo's furnishings, reliquaries, and artwork, have been removed to the adjacent Museo dell'Opera del Duomo. This includes Duccio's Maestà altarpiece, some panels of which are scattered around the world or lost. Duccio's large stained ...
The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures. [2] Giotto's figures, however, escape the bounds of Byzantine art.
The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence.
Birth of the Virgin, 1342. Siena, Museo dell'Opera del Duomo. Lorenzetti's last major work (1342) was a triptych altarpiece, the Birth of the Virgin, commissioned for Siena Cathedral. [30] This painting in tempera on panel, like many Sienese paintings of the time, celebrates the life of the Virgin, the city's patron saint. [31]