Siena: The Rise of Painting, 1300 – 1350 ★★★★★ The National Gallery | Until June 22, 2025


Almost ten years in development, this is the first major exhibition outside of continental Europe to address the transformational role of Siena in the history of art. It is definitely one which anyone who cares about the development of painting should not miss. The notion of narrative, the development of character and the exploration of multi-dimensional representation in the medium all start here. The power of these works comes from the fact they were not intended as icons, but were created to bring religious concepts to life. They were designed to serve as instructional and inspirational touchstones for a largely illiterate community of faithful. In fact, many were intended for display in Siena Cathedral. Concentrating on the works of Duccio, Simone Martini and Pietro Lorenzetti and his brother Ambrogio, the exhibition also presents some of the sculpture, metalwork, tapestry and objects used in worship which formed part of their artistic environment. However, the focal point of the show is the painting, and some of the high points are Pietro Lorenzetti's Birth of the Virgin (1335-42) and Simone Martini's The Annunciate Virgin (1326-34). These are on display along with the reunited pieces that form Duccio's masterpiece the Maestà. Broken up in 1771 along with its predella (altarpiece base) the panels were sold as separate works. Now, reunited for the first time since their dispersal 250 years ago, the eight surviving pieces of the predella and the constituent parts of the Maestà are brought together in an extraordinary display of Duccio's artistic prowess. There are so many important works here that it might be easy to overlook some of the lesser known ones. For us, the fragment of Ambrogio Lorenzetti's fresco, A Group of Four Poor Clares (c. 1325) was a wonderfully evocative and personal presentation. The final gallery, "Simone Martini in Avignon," beautifully concludes this extraordinary exhibition with the artist's Orsini Polyptych (1326-34) and The National Gallery's own Wilton Diptych (1396 -9). While there is definitely so much here for those interested in the historical development of painting, this is also a show for lovers of art in general. It is a wonderfully fitting commemoration of The National Gallery's bicentenary.

Reviewed by J.C.
Image: Duccio, Maestà Panels - Christ and the Woman of Samaria (1308-11) © Copyright Museo Thyssen-Bornemisza, Madrid

When, Where, Getting there:
Map & Location: Trafalgar Square, London WC2N 5DN, UK

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