A Journey Through Siena: The Art that Shaped Western Emotion

The National Gallery’s exhibition “Siena: The Rise of Painting” celebrates the emergence of Western art through the expressive works of 14th-century Sienese artists. Notable pieces include Duccio’s touching depictions of the Virgin and Child and Martini’s psychologically rich portrait of Christ. This show reveals an early intimacy in art, suggesting that the essence of the Renaissance was already thriving in Siena long before its broader emergence.

Seven centuries ago, poet Francesco Petrarca, known as Petrarch, commissioned a portrait of his beloved Laura from the Sienese artist Simone Martini, praising it as unmatched in beauty. This powerful sentiment echoes in the National Gallery’s exhibition “Siena: The Rise of Painting,” celebrating the flourishing moment of Western art in the 14th century. Martini’s expressive work, though lost, showcases art that goes beyond the distant aesthetics often associated with medieval creations.

The exhibition showcases a collection of soft pale faces, including tender portraits from Martini’s altarpiece. Saint Anselm holds a flag, while Saint Luke, possibly a self-portrait, gazes passionately at the Virgin Mary. Mary herself embodies rapture, and even baby Jesus, cradled in her arms, emanates profound thoughts beneath golden locks.

This exhibition argues that the intimate nature of such portraiture emerged earlier than often thought, challenging the conventional view of Renaissance artistry. Visitors enter a dimly lit space where gold-framed paintings are illuminated, bringing them into a realm rich with emotional depth, transcending the festive tourist attractions of modern Siena.

Duccio’s heart-stirring Virgin and Child, crafted around 1290-1300, immediately captivates; unlike the static Byzantine depictions, here Jesus reaches playfully for his mother’s face, evoking genuine tenderness. The journey through art continues, revealing three generations of Sienese artists increasingly attuned to maternal warmth, culminating in Ambrogio Lorenzetti’s Madonna del Latte, where a lifelike baby gazes intensely at the viewer.

Martini returns to the spotlight with “Christ Discovered in the Temple,” depicting the teenage Jesus in a moment of family tension. The sulking Christ can be felt amid Joseph’s frustration and Mary’s calm concern, conveyed through effective spatial mastery, a precursor to Renaissance perspective, which they employed to create enchanting narratives filled with emotional resonance.

The magnificent centerpiece of the exhibition, Duccio’s Maestà, once an expansive altarpiece, is reassembled here, featuring panels that narrate Jesus’s journey. Each scene, such as Christ raising Lazarus from the dead, reinforces a spellbinding sense of space, thick with palpable emotion, thereby making the divine danger of the devil’s temptations profoundly tangible.

Poetry plays a pivotal role in this narrative legacy, reflecting Dante’s real and vivid images of spiritual realms alongside Duccio’s insights. “O Siena!” resonates within the audience as this exhibition invites visitors to experience art’s ability to transcend time, offering glimpses into the heart of humanity.

The “Siena: The Rise of Painting” exhibition captivates with its rich display of emotional depth and artistry, showcasing how 14th-century Sienese painters like Duccio and Martini brought intimacy and life into their depictions. It dismantles the notion of medieval art as distant, illustrating that the Renaissance spirit thrived much earlier within Siena. Key themes of maternal love and profound emotional narratives are brought to life through innovative spatial techniques that continue to resonate today. Running until June 22 at the National Gallery, this exhibition stands as a powerful testament to the evolution of Western art, drawing visitors into a heartfelt dialogue across time.

Original Source: www.theguardian.com