page_title: Mariotto di Nardo
section_title: Career
hierarchical_section_title: Mariotto di Nardo / Career
caption_attribution_description: madonna tra i santi michele e francesco
context_page_description: Mariotto di Nardo di Cione was a Florentine painter in the Florentine Gothic style. He worked at the Duomo of Florence, the church of Santa Maria Maggiore, and the Orsanmichele. He created both frescoes and panel paintings, and was also active as a manuscript illuminator.
context_section_description: Mariotto was a member of the Physicians and Apothecaries Guild sometime between 1386 and 1408, and was also a member of the Company of Saint Luke in 1408. Many extant documents show that he was a popular and much sought after painter in both public and private affairs in Florence. Mariotto is thought to have been principally responsible for the artwork in the cathedral, although most of these paintings have since been tarnished. Mariotto was an avid altarpiece painter, and in 1398 he painted an altarpiece for the chapel of the Madonna della Neve in Florence, commissioned by the Board of Works. He began working on this piece in 1397 and was compensated with 15 florins in partial payment for the creation of the panel for the "opera" of Saint Reparata for the altar of the new chapel of the Virgin Mary. He also painted an altar piece for the Florence Cathedral around 1402–4. Mariotto's uncle, Jacopo di Cione, acted as a guarantor on behalf of Mariotto for the cathedral workshop on 2 May 1398.
  In 1400 he worked with Lorenzo Ghiberti in Pesaro. His triptych of the Virgin and Child with Saint Michael and Francis is in the Civic Museum there.
  Mariotto was commissioned to create frescos for two of the most important Catholic churches in Florence: the Santa Maria Maggiore and the Orsanmichele (around 1400). Mariotto also executed frescoes for the officials of the Orsanmichele to be placed in their residence. At this stage of his career, he was also commissioned to create illuminated manuscripts for Santa Maria degli Angeli, Florence. This gave him access to the manuscript workshop that would later influence his style; examples of this include two fragments of St Lawrence (Cambridge, Fitzwilliam) and St Mary Magdalene. The last known commission given to Mariotto was a painting for the altar of the Captains of the Company of Sta. Oratory, on 2 March 1415/16.
  As Mariotto's career progressed, his paintings became more and more repetitive, showing a personal trademark of distinguishable traits. Although his works were often considered to have been slightly above artisan quality, his success in his time period has baffled later critics. His production introduced to Florence new Gothic techniques such as oblique perspective, nervous tension of the figures and deserted, rocky landscapes.
caption: Madonna tra i santi michele e francesco
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