Seven centuries ago a poet penned the most ecstatic art review ever written. Francesco Petrarca, known as Petrarch, had commissioned the Sienese artist Simone Martini to paint a portrait of his beloved, Laura. The result was so marvellous, he wrote, that if all the famous artists of ancient Greece “competed for a thousand years they wouldn’t have seen a tiny bit of the beauty that’s conquered my heart”.
Petrarch’s rave review has it right. Conquering the heart is what Martini and other 14th-century painters from Siena do in the National Gallery’s devastatingly exact, epochal exhibition about the moment western art came alive. Simone’s painting of Laura is lost but you see why he was the artist for the job. He is so expressive, so tender, exploding any idea of medieval art as remote.
