Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/207
Study at Concarneau (1882); The Winnowers, Corner of the Market (1883); Bout de la cour, Summer (1884); Mother and Child, Number Two, Low Tide (1885); Number Two, Mother and Child, Number Three, Un déjeuner—Spain (1886).
SIMON, FRIEDRICH, born at Heidelberg
in 1809. Genre painter, pupil of Munich
Academy, and also studied after the masterpieces
in the Pinakothek; cultivated very
successfully comical genre, and was particularly
effective in his popular scenes by lamp
or candle light. Many of them are in private
collections in Munich. Works: Shoemaker's
Apprentice in financial Embarrassment
(1837); Vegetable Vender with Multiplication
Table (1838); Two Poachers
(1839); Girl at the Window, Miser by Candle-light,
Old Man with Dog performing
(1840); Return from Christmas Market;
Girl feeding Cat; Poet in the Garret;
Peasant Girl expecting her Lover (1841);
Host examining Glass; Night Watchman
and Drunken Man (1842); Journeyman
Travelling; Poacher in Alpine Hut (1843);
Music Lesson (1844); Priest on his Way to
a Dying Man (by torchlight); Poet trying
to chase Cats from the Roof (1845); Apprentice
with Journeyman's Bundle before Mirror
(1851).
SIMONE DI MARTINO (Martini) born
in 1285 (?), died at Avignon, July, 1344.
Sienese school; son of one Martino and
brother-in-law to Lippo Memmi, whence
Vasari's error in calling him Simone Memmi.
Sometimes called also Simone da Siena.
Vasari probably errs in making him the pupil
of Giotto, he being obviously a follower
of the purely Sienese manner improved by
Duccio. This is clear from the earliest of
his frescos in the Sala del Consiglio of the
Palazzo Pubblico, Siena, dated 1315. In
1320 he painted for S. Caterina of Pisa an
altarpiece in seven compartments, now dismembered,
six of the panels being in the
Seminario Vescovile of old S. Caterina, and
the seventh in the Academy. This picture
is in Simone's best manner, the tones being
both powerful and clear, yet it shows how
imperfectly he could express the idea of relief.
Another altarpiece, dated 1320, painted
for S. Domenico of Orvieto, is now in the
Fabbricieria of the Duomo, where is also
another equally fine Madonna of the same
period. In Assisi Simone decorated the
whole Chapel of St. Martin with frescos
from the legend of that saint. In 1328 he
painted in the Sala del Consiglio in the Palazzo
Pubblico, Siena, a fresco representing
Guidoriccio Fogliani de' Ricci on horseback,
and in 1333, with the aid of Lippo Memmi,
completed the Annunciation now in the
Uffizi, Florence. There is nothing to confirm
the assertion of Vasari that Simone
painted in Rome and in Florence, and the
frescos in the Campo Santo ascribed to him
are obviously by another hand. In 1338-39
Simone went to Avignon, where he met
Petrarch, who immortalized him in two of
his sonnets (xlix. and l. or lvi. and lvii.),
and Laura, whose portrait he painted. This
picture is now lost. Simone adorned the
portico of the Cathedral at Avignon with
frescos, and the Hall of the Consistory and
two chapels in the Papal Palace, but most
of his work is nearly obliterated. A Christ
among the Doctors, painted at Avignon and
dated 1342, is in the Royal Institution, Liverpool.
An altarpiece, once dismembered
and placed in different churches, is now in
the Pisa Gallery. The works of his son Donato,
who accompanied him to France, have
perished.—Vasari, ed. Le Mon., ii. 86, 91;
ed. Mil., i. 545; C. & C., Italy, ii. 60; Burckhardt,
95, 97, 498, 514; W. & W., i. 463;
Dohme, 2i.; Sienesische Malerschule; Lübke,
Gesch. ital. Mal., i. 169; Kunst-Chronik,
xix. 219; Zeitsch. f. b. K., x. 65.
SIMONE DA PESARO. See Cantarini,
Simone.
SIMONE DA SIENA. See Simone di
Martino.
SIMONETTA, LA BELLA, Sandro Botticelli,
Palazzo Pitti, Florence; canvas, H. 2
ft. × 1 ft. 4 in. Profile, in a cap and simple
attire. Portrait of Simonetta de' Vespucci,