Saint Simon
c. 1315/1320
Painter, Sienese, active from 1315; died 1344

Simon “the Zealot” is one of Jesus’s apostles in the first three Gospels (Matthew, Mark, and Luke), but otherwise Simon is an elusive figure. Legend says that he was martyred by being sawn apart, but there is no saw to indicate his martyrdom in this half-length portrait. This panel once decorated the predella of an altarpiece along with nine other small portraits of apostles, three of which are in the collection of the National Gallery of Art: Matthew, James Major, and Thaddeus.
The array of 10 apostle portraits was already a bit old-fashioned when Simone painted the altarpiece and helps to determine the painting’s date, around 1320. After that time, such predellas were more typically decorated with a series of narrative scenes from the life of Jesus, the Virgin Mary, or a saint. In addition, it is believed that this is the last time Simone employed rounded arches, choosing the more “modern” pointed Gothic arch for his later altarpieces.
Simone Martini was probably a student of the great Sienese master Duccio. While retaining the older artist’s delight in pattern and decorative effect, the younger painter adopted a softer, more lyrical style. Its elegance and refinement drew praise from Petrarch, whom Simone met while working for the pope in Avignon (seat of the papacy 1309–1378), and for whom he painted a portrait of the poet’s beloved Laura.

West Building Main Floor, Gallery 1
Artwork overview
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Medium
tempera on panel
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Credit Line
-
Dimensions
painted surface: 26.2 x 19.7 cm (10 5/16 x 7 3/4 in.)
overall: 30.7 x 23.5 cm (12 1/16 x 9 1/4 in.)
framed: 44.4 x 60 cm (17 1/2 x 23 5/8 in.) -
Accession
1952.5.24
Associated Artworks

Saint James Major
Simone Martini
1315

Saint Judas Thaddeus
Simone Martini
1315
More About this Artwork
Artwork history & notes
Provenance
Acquired between 1832 and 1842 by Johann Anton Ramboux [1790-1866], Cologne, together with six other components of the same series, presumably in Siena;[1] (his estate sale, J.M. Heberle, Cologne, 23 May 1867, no. 75 [all ten panels], as by Lippo Memmi);[2] the whole series purchased by the Wallraf-Richartz-Museum, Cologne, which deaccessioned it in 1922-1923;[3] the four NGA panels, 1952.5.23-.26, purchased together with a fifth panel of the same series, by Philip Lehman [1861-1947], New York, by 1928;[4] the four NGA panels sold June 1943 to the Samuel H. Kress Foundation, New York;[5] gift 1952 to the NGA.
[1] Ramboux built up his huge collection of early Italian pictures essentially in the above-mentioned years of his second period of residence in Italy; see Christoph Merzenich,"Di dilettanza per un artista - Der Sammler Antonio Giovanni Ramboux in der Toskana," in Lust und Verlust, edited by Hiltrud Kier and Frank Günter Zehnder, 2 vols., Cologne, 1995-1998: 1(1995): 303-314.
[2] Without quoting their provenance, the sale catalogue entry states only that the ten busts “ . . . stimmen im Ausdruck wie in der übrigen Technik mit den Wandmalereien im Stadthause zu Sangeminiano überein.”
[3] See Kier and Zehnder 1995-1998, 2(1998): 550-552.
[4] The four panels in Washington and a fifth, representing Saint Philip, are included in the catalogue of the Lehman collection (Robert Lehman, The Philip Lehman Collection, New York, Paris, 1928: nos. xix-xxiii). Possibly, Philip Lehman acquired them through Edward Hutton in London, who also handled the panels of the series now in The Metropolitan Museum of Art in New York.
[5] The bill of sale for the Kress Foundation’s purchase of fifteen paintings from the Lehman collection, including NGA 1952.5.23-.26, is dated 11 June 1943; payment was made four days later (copy in NGA curatorial files). The documents concerning the 1943 sale all indicate that Philip Lehman’s son Robert Lehman (1892-1963) was owner of the paintings, but it is not clear in the Lehman Collection archives at the Metropolitan Museum of Art, New York, whether Robert made the sale for his father or on his own behalf. See Laurence Kanter’s e-mail of 6 May 2011, about ownership of the Lehman collection, in NGA curatorial files. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1905.
Associated Names
Exhibition History
1946
Recent Additions to the Kress Collection, National Gallery of Art, Washington, D.C., 1946, no. 821.
Bibliography
1862
Katalog der Gemälde Alter italienischer Meister (1221-1640) in der Sammlung des Conservator J. A. Ramboux. Cologne, 1862: 15, no. 75.
1864
Crowe, Joseph Archer, and Giovan Battista Cavalcaselle. A New History of Painting in Italy from the Second to the Sixteenth Century. 3 vols. London, 1864-1866: 2(1864):105.
1867
Heberle, J. M. Catalog der nachgelassenen Kunst-Sammlungen des Herrn Johann Anton Ramboux. Cologne, 23 May 1867: 17, no. 75.
1869
Niessen, Johannes. Verzeichniss der Gemälde-Sammlung des Museums Wallraf-Richartz in Köln. Cologne, 1869: 137.
1897
Berenson, Bernard. The Central Italian Painters of the Renaissance. New York, 1897: 148.
1901
Venturi, Adolfo. _Storia dell’arte italiana. 11 vols. Milan, 1901-1940: 5(1907):666-667 n. 1.
1903
Crowe, Joseph Archer, and Giovan Battista Cavalcaselle. A History of Painting in Italy from the Second to the Sixteenth Century. 6 vols. Edited by Robert Langton Douglas (vols. 1-4) and Tancred Borenius (vols. 5-6). Vol. 3, The Sienese, Umbrian, and North Italian Schools. London, 1903-1914: 3(1908):76, 76-77 n. 5.
1907
Perkins, Frederick Mason. "Simone di Martino (Simone Martini)." In Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. Edited by Ulrich Thieme and Felix Becker. 37 vols. Leipzig, 1907-1950: 31(1937):67.
1909
Berenson, Bernard. The Central Italian Painters of the Renaissance. 2nd ed. New York, 1909: 202.
1926
Gielly, Louis. Les primitifs siennois. Paris, 1926: 111.
1928
Lehman, Robert. The Philip Lehman Collection, New York: Paintings. Paris, 1928: no. XX, repro.
1930
Mayer, August L. "Die Sammlung Philip Lehman." Pantheon 5 (1930): 113.
1931
Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 60, repro.
1932
Marle, Raimond van. Le scuole della pittura italiana. 2 vols. The Hague and Florence, 1932-1934: 2(1934):258 n.
Berenson, Bernard. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932: 534.
1933
Venturi, Lionello. Italian Paintings in America. Translated by Countess Vanden Heuvel and Charles Marriott. 3 vols. New York and Milan, 1933: 1:no. 76, repro.
1936
Berenson, Bernard. Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere con un indice dei luoghi. Translated by Emilio Cecchi. Milan, 1936: 459.
1939
McCall, George. Masterpieces of Art. Catalogue of European Paintings and Sculpture from 1300-1800. Edited by Wilhelm R. Valentiner. Exh. cat. World’s Fair, New York, 1939: 116-117.
1946
Douglas, Robert Langton. "Recent Additions to the Kress Collection." The Burlington Magazine for Connoisseurs 88 (1946): 85.
1951
Galetti, Ugo, and Ettore Camesasca. Enciclopedia della pittura italiana. 3 vols. Milan, 1951: 2:1649 repro.
Toesca, Pietro. Il Trecento. Storia dell’arte italiana, 2. Turin, 1951: 551 n. 75.
1956
Coor, Gertrude. "Trecento-Gemälde aus der Sammlung Ramboux." Wallraf-Richartz-Jahrbuch 18 (1956): 118.
1957
Exposition de la Collection Lehman de New York. Exh. cat. Musée de l’Orangerie, Paris, 1957: 43.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 32, repro., as by Simone Martini and Assistants.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 123, as by Simone Martini and Assistants.
1966
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 48-49, fig. 123.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 110, repro., as by Simone Martini and Assistants.
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:404.
1970
Contini, Gianfranco, and Maria Cristina Gozzoli. L’opera completa di Simone Martini. Milan, 1970: 105 no. 53, repro.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 122, 450, 646, 665.
1974
De Benedictis, Cristina. "A proposito di un libro su Buffalmacco." Antichità viva 13, no. 2 (1974): 8 (repro.), 10 n. 13.
Mallory, Michael. "An Altarpiece by Lippo Memmi Reconsidered." Metropolitan Museum Journal 9 (1974): 201 n. 19.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 326, repro., as by Simone Martini and Assistants.
1977
Torriti, Piero. La Pinacoteca Nazionale di Siena. I Dipinti dal XII al XV secolo. Genoa, 1977: 90.
1978
Ressort, Claude, Sylvia Beguin, and Michel Laclotte, eds. Retables italiens du XIIIe au XVe siècle. Exh. cat. Musée National du Louvre, Paris, 1978: 19.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. National Gallery of Art. 2 vols. Washington, 1979: 1:432-433; 2:pl. 310.
De Benedictis, Cristina. La pittura senese 1330-1370. Florence, 1979: 93.
1980
Zeri, Federico, and Elizabeth E. Gardner. Italian Paintings: Sienese and Central Italian Schools. A Catalogue of the Collection of the Metropolitan Museum of Art. New York, 1980: 95.
1982
Natale, Mauro, Alessandra Mottola Molfino, and Joyce Brusa. Museo Poldi Pezzoli. Vol. 1 (of 7), Dipinti. Milan, 1982: 145.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 374, repro.
1987
Previtali, Giovanni. "Problems in the Workshop of Simone Martini." Center, Research Reports and Record of Activities 7 (1987): 83-84.
1988
Boskovits, Miklós, ed. Frühe italienische Malerei: Gemäldegalerie Berlin, Katalog der Gemälde. Translated by Erich Schleier. Berlin, 1988: 75.
Martindale, Andrew. Simone Martini. Oxford, 1988: 35 n. 18.
Previtali, Giovanni. "Introduzione ai problemi della bottega di Simone Martini." In Simone Martini: atti del convegno; Siena, March 27-29, 1985. Edited by Luciano Bellosi. Florence, 1988: 166 n. 23
1990
Boskovits, Miklós. "Review of Simone Martino by Andrew Martindale." Kunstchronik 43 (1990): 600.
1991
De Benedictis, Cristina. "Lippo Memmi." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 7(1996):732.
Christie, Manson & Woods. Important Paintings by Old Masters. New York, 11 January 1991: 28.
1995
Baetjer, Katharine. European Paintings in the Metropolitan Museum of Art by Artists Born before 1865. A Summary Catalogue. New York, 1995: 42.
1998
Frinta, Mojmír S. Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998: 118, 189, 205, 311, 388.
Kier, Hiltrud, and Frank Günter Zehnder, eds. Lust und Verlust. Vol. 2 (of 2), Corpus-Band zu Kölner Gemäldesammlungen 1800-1860. Cologne, 1998: 551, repro.
1999
Bagnoli, Alessandro. La Maestà di Simone Martini. Cinisello Balsamo (Milan), 1999: 156 n. 24, 179.
2009
Bellosi, Luciano, et al., eds. La collezione Salini: dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. 4 vols. Florence, 2009, 2015: 1(2009):135, repro. 139.
2016
Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 351-369, color repro.
Inscriptions
on the left side of the Saint: SAN[C]TUS; on the right side of the Saint: SYMON
Wikidata ID
Q20173020