SEGNA DI BUONAVENTURE - b. ~1280 Siena, d. ~1330 Siena - WGA

SEGNA DI BUONAVENTURE

(b. ~1280 Siena, d. ~1330 Siena)

Italian painter. He is seemingly documented from December 1298 to May 1326, but the evidence is ambiguous and may refer to more than one artist. In 1306 he was paid 10 lire for a painted panel for the office of the Biccherna in the Palazzo Pubblico, Siena. According to a 17th-century copy of notices from the convent of Lecceto (near Siena), Segna received 4 florins in partial payment for an altar panel in December 1317. He was resident in the parish of San Pietro Ovile, Siena, in 1316 and 1318 and in Arezzo on 21 July 1319; he was again working in Siena by 8 November 1319 because he then received 8 lire for repairing a figure of the Virgin in the Palazzo Pubblico. On 27 August 1321 he apparently received a payment (1 lira, 11 soldi) for a panel on which were inscribed the articuli fidei for the Palazzo Pubblico.

Several documentary references cite only the name Segna, however, and Segna’s sons Niccolò di Segna and Francesco di Segna were also painters. The formulation Insegna dipegnitore occurs only in some early notices relating to minor decorative projects. A document of 16 March 1332 refers to a Segna dipegnitore, four months after Segna’s son Niccolò was styled pictor olim Segne pictoris de Senis. Finally, a document of 12 April 1340 (i.e. after Segna’s death) refers to a ‘Segna Bonaventure’, who it is assumed was not a painter.

Crucifix
Crucifix by

Crucifix

In the terminals the mourning Virgin and St John the Evangelist are shown. The apron of the cross is decorated with stars. By analogy with contemporary crucifixes, the top probably once had a roundel with the Blessing Redeemer.

Crucifix
Crucifix by
Crucifix (detail)
Crucifix (detail) by

Crucifix (detail)

The detail shows the mourning Virgin on the left terminal.

Crucifix (detail)
Crucifix (detail) by

Crucifix (detail)

The detail shows St John the Evangelist on the right terminal.

Madonna and Child
Madonna and Child by

Madonna and Child

This panel belonged to a now dismembered pentaptych (five-paneled altarpiece). In its original configuration, St Benedict was the left, St Silvester Gozzolini the right and the Madonna and Child the centre panels (all in the Metropolitan Museum of Art, New York). The centre panel was flanked by panels depicting St John the Baptist (Perkins Collection, Sacro Convento di San Francesco, Assisi), and St John the Evangelist (Metropolitan Museum of Art, New York).

When intact, the altarpiece would have resembled Duccio’s polyptych in the Pinacoteca Nazionale, Siena (the so-called polyptych 47). The pairing of Sts John the Baptist and John the Evangelist - the forerunner of Christ and the beloved disciple - to either side of the Madonna and Child is not uncommon and may relate either to the dedication of the chapel or to the name of the patron. On the other hand, the presence of Sts Benedict (c. 480–543) and Silvester Gozzolini (1177–1267) virtually assures that the altarpiece was painted for a monastery of the Silvestrine order, which was founded by Silvester in 1231 and followed the rule of St Benedict.

The figures above the Madonna and Child are Christ flanked by Sts Paul and Peter. Segna’s figures are notable for their somewhat austere, regal bearing. He also retained the Byzantine web of gold striations on draperies to enhance their status as sacred icons.

St Benedict
St Benedict by

St Benedict

This panel belonged to a now dismembered pentaptych (five-paneled altarpiece). In its original configuration, St Benedict was the left, St Silvester Gozzolini the right and the Madonna and Child the centre panels (all in the Metropolitan Museum of Art, New York). The centre panel was flanked by panels depicting St John the Baptist (Perkins Collection, Sacro Convento di San Francesco, Assisi), and St John the Evangelist (Metropolitan Museum of Art, New York).

When intact, the altarpiece would have resembled Duccio’s polyptych in the Pinacoteca Nazionale, Siena (the so-called polyptych 47). The pairing of Sts John the Baptist and John the Evangelist - the forerunner of Christ and the beloved disciple - to either side of the Madonna and Child is not uncommon and may relate either to the dedication of the chapel or to the name of the patron. On the other hand, the presence of Sts Benedict (c. 480–543) and Silvester Gozzolini (1177–1267) virtually assures that the altarpiece was painted for a monastery of the Silvestrine order, which was founded by Silvester in 1231 and followed the rule of St Benedict.

St Magdalen
St Magdalen by

St Magdalen

Segna di Bonaventura worked in Siena and was a pupil of Duccio. He had a large workshop with many pupils.

St Silvester Gozzolini
St Silvester Gozzolini by

St Silvester Gozzolini

This panel belonged to a now dismembered pentaptych (five-paneled altarpiece). In its original configuration, St Benedict was the left, St Silvester Gozzolini the right and the Madonna and Child the centre panels (all in the Metropolitan Museum of Art, New York). The centre panel was flanked by panels depicting St John the Baptist (Perkins Collection, Sacro Convento di San Francesco, Assisi), and St John the Evangelist (Metropolitan Museum of Art, New York).

When intact, the altarpiece would have resembled Duccio’s polyptych in the Pinacoteca Nazionale, Siena (the so-called polyptych 47). The pairing of Sts John the Baptist and John the Evangelist - the forerunner of Christ and the beloved disciple - to either side of the Madonna and Child is not uncommon and may relate either to the dedication of the chapel or to the name of the patron. On the other hand, the presence of Sts Benedict (c. 480–543) and Silvester Gozzolini (1177–1267) virtually assures that the altarpiece was painted for a monastery of the Silvestrine order, which was founded by Silvester in 1231 and followed the rule of St Benedict.

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