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Topic: Duccio

	Duccio and the Art of Siena
		Duccio di Buoninsegna (active 1278-1318) was the principal painter in Siena, Florence's major rival at the beginning of the fourteenth century.
		And this picture Duccio di Niccolò the painter made, and it was made in the house of the Muciatti outside the gate a Stalloreggi.
		The Sienese appeals to this image of their patron saint were believed to have lead to the salvation of the city from the Florentines in the Battle of Montaperti in 1260.
	employees.oneonta.edu /farberas/arth/Arth213/Duccio.html (741 words)

	Art of Duccio
		Duccio, in undertaking to decorate the covers of the Biccherne, to supply the designs for the round stained-glass window of the choir of Siena Cathedral and to execute a work of such monumental importance as the Maestà, shows a proficiency which is versatile and skilled in the extreme.
		Traces of the period Duccio spent as a pupil of Cimabue can be seen in the round stained-glass window of the choir of Siena Cathedral, executed in 1288, the preparatory drawings of which have been rightly attributed to Duccio.
		The theory that the style of Duccio was formed by Cimabue at Assisi has been generally accepted and upheld insofar as it sheds light on both the obscure period of the painter's youth and the frequent connections between Florentine and Sienese art.
	gallery.euroweb.hu /tours/siena/duccio.html (3842 words)

	MyStudios- Duccio di Buoninsegna
		Duccio respected what probably appeared to him as the specifics of the Christian primitive style: elongated bodies, delicate limbs, oval faces with long noses and small mouths, pale flesh colour, a canonical repertoire of gestures complete with stock attitudes of walking or standing, and a concern with flowing robes and with landscape.
		Duccio's delicate figures have so many hair styles (wavy, curly, straight or bushy) and are wearing so many carefully differentiated materials that it almost seems he had been out to demonstrate the superiority of his figures over the rather wooden ones in Giotto's Ognissanti Madonna.
		Duccio had greater opportunity to naturalize the Christian primitive manner in the pictures for the Marian predella (some, of which are lost) and the twenty-six scenes of the Passion which he painted on the back of the Maesti.
	www.mystudios.com /art/gothic/duccio/duccio.html (728 words)

	Madonna and Child (Duccio) - Wikipedia, the free encyclopedia
		It was the first Duccio acquired by the Met, which bought the painting from a private collector in order to close a gap in its permanent collection of Renaissance painting.
		Works by Duccio, who is considered the pre-eminent painter of Siena in the early Renaissance, are extremely rare, with only a dozen or so known to survive; before the Met's purchase this was the last piece still in private hands.
		The painting is one of the few Duccio's known to be created as an individual work of art, and not part of an ensemble.
	en.wikipedia.org /wiki/Madonna_and_Child_(Duccio) (343 words)

	[No title] (Site not responding. Last check: 2007-10-17)
		Duccio was able to draw from sources outside Siena as well: from the combination of linear stylization and Hellenistic types that characterized the illustrations of books imported from Constantinople and also from contemporary French Gothic miniatures, with their lively tone and lyrical, animated stylizations of clothing and gesture.
		Duccio may also have travelled to Florence in his early years, coming into contact with Cimabue, but such an explanation is not entirely necessary to account for the formation of his style.
		The work in which the genius of Duccio unfolds in all its brilliant fullness and the one to which the painter owes his greatest fame, however, is the "Maestà," the altarpiece for the main altar of the cathedral of Siena.
	emsh.calarts.edu /alumni/bkeresey/duccio.html (1619 words)

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