
An Exhibition at the Metropolitan Museum of Art (now through January 26, 2025)
This new exhibition covers artworks created in a relatively short time span – mostly between 1300 and 1350. It was a period when Siena advanced to share leadership in Italian art with Florence. Sienese art is more “conservative, ” preserving strong links with the Byzantine tradition. Yet, at the same time it displayed innovations that were points of departure for the future of Western art. Siena, as a major trading center, was well situated to foster the fruitful interaction of these influences. It maintained contact with Constantinople as well as with Rome. At the same time art from the Gothic world north of the Alps made its way to the city. The exhibition includes examples of works from these other traditions that influenced Siena. For example, there are samples of fabrics with elaborate designs – some imported from Asia – that are reproduced in the 14th century paintings.
Sienese art maintained many Byzantine artistic conventions – most notably, the gold background on most of the paintings. The lighting of this exhibition is very precise and subdued, yet it cannot capture the magic effect that candlelight one had on this art. In addition, the paintings continue to reflect traditional Byzantine compositions. Yet in no way could these works of Duccio, the Lorenzetti brothers, Simone Martini and others be confused with the Byzantine originals. Architectural frameworks with incipient three-dimensional effects appear. New compositions are developed, now more emotional, realistic and even monumental, now more elegant in the Gothic tradition. And finally there is a developing awareness among these artists of the desirability of capturing, not just a timeless image, but a specific moment in time. The visitor has the opportunity to study these paintings up close and to marvel at the glowing colors, the innumerable details and the extraordinarily refined brushstrokes. The contrast with the modern, cartoon-like “Eastern” art in favor in certain Catholic ecclesiastical circles – and among some of the Orthodox as well – could not be greater.
Sienese art is of course intensely religious. In this age of Christendom, the Church, the state and various private associations offered major commissions for public display. This exhibition includes one large altarpiece and some panels from Duccio’s incredibly complex Maesta for the high altar of Siena cathedral. Indeed, some of the multipanel artworks have been reunited here for the first time in ages.
Yet much of what we see are smaller scale works intended for private devotion. For in Siena, as elsewhere in 14th century Europe, there was a growing receptivity to individual devotion, to mysticism. Later, in the second half of that same century, was not Siena the home of one of the greatest mystics of all, Saint Catherine? But we must not exaggerate a contrast between public and private devotion. St. Catherine of Siena herself hardly lived withdrawn from the presssing issues of her day! She might have seen with her own eyes a number of the works currently on display in this exhibition.
All in all, this exhibition testifies to the power and refinement of Christian art in an age when Christendom itself was at the summit of its creative power. A creativity, that, in the case of Siena, was associated with respect for tradition. Sienese art demonstrates that cultivating tradition is no hindrance to originality and innovation.

(Above) In the exhibition are public works commisioned for secular buildings and churches – one panel of an altarpiece for the Palazzo Pubblico (town hall) of Siena by Simone Martini (ca. 1326- 30) (Below) Yet a large part of the exhibits are smaller paintings intended for private devotion. Lippo Memmi, Virgin and Child with Saints and Angels ( ca. 1350).

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