TIMELINE OF WORLD HISTORY
 

Loading
 
 
 
 
 

 
 
 
 
 
 
 
Pietro Lorenzetti
 
 
 
 
 
CONTENTS
  BACK NEXT    
 
 
 
 
Gothic and Early Renaissance
 
 
 
Lorenzetti Brothers

Lorenzetti - italian family of painters. Two members of this Sienese family, 
the brothers Pietro Lorenzetti and Ambrogio Lorenzetti, were artists. While Ghiberti regarded Ambrogio as the greatest of Sienese 14th-century painters, he was apparently unaware of Pietro’s existence. Vasari, who misread the inscription on a panel of the Virgin and Child Enthroned with Angels (Florence, Uffizi) as PETRUS LAURATI DE SENIS, did not recognize Pietro’s connection with Ambrogio. The fraternal relationship was specified, however, in a lost inscription below frescoes on the façade of the hospital of S Maria della Scala, Siena, first recorded by Ugurieri-Azzolini: HOC OPUS FECIT PETRUS LAURENTII ET AMBROSIUS EIUS FRATER M.CCC.XXX.V. There is also evidence that the brothers borrowed tools from each other, although it is unlikely that they collaborated regularly or that they maintained a joint workshop over any lengthy period. There is no doubt that they shared artistic ideas and ambitions, not so much as a result of their family connection, but because they were both major masters and exponents of naturalism. Both painters’ innovations were too radical to be assimilated by their immediate followers, but they foreshadow developments in the 15th century.
 
 
 
Pietro Lorenzetti
 
 
 
Pietro Lorenzetti, (born c. 1280/90, Siena?, Republic of Siena [Italy]—died c. 1348, Siena), Italian Gothic painter of the Sienese school who with his brother Ambrogio was the principal exponent of Sienese secular art in the years before the Black Death. Little is known of Lorenzetti’s life, and the attribution and dating of many of the works associated with him remains hazardous.

He was probably a pupil of Duccio, whose influence is seen in the graceful linearity and rich colour of Lorenzetti’s earliest documented work, the altarpiece (1320) in the Pieve di Santa Maria in Arezzo. But the altar’s centrepiece, a Madonna and Child, counters Duccio’s frigidly hierarchical conception of the subject with an intimate depiction of an affectionate mother caressing her mischievously playful baby. Those features, combined with the wealth of decorative detail (recalling Simone Martini) and the plasticity of the figures (derived from Giovanni Pisano), lend the painting a vivacity rare in contemporary Sienese art.

Sometime during 1330–40, Lorenzetti worked on a number of frescoes in the lower church of San Francesco in Assisi. The Deposition, in its clarity of composition and the monumentality of the sculpturelike draperies, shows a sensitive response to the art of Giotto. Lorenzetti’s figures achieve corporeality by means of strong, only partly blended colours. The Madonna and Child in the same cycle, however, returns to the intimacy of the Arezzo altarpiece in the Child’s exuberance and the Madonna’s reproving look and abrupt gesture toward St. Francis. It is in such scenes as the Last Supper that he departs most strikingly from Giotto. He abandons Giotto’s unity of time and place and compositional clarity in favour of carefully rendered minutiae and nonessential anecdote. That love of detail intrudes upon the otherwise Giottesque Crucifixions in San Francesco, Siena, and Museo Diocesaro, Cortona.

Lorenzetti’s mature style is epitomized in the triptych Birth of the Virgin (1342), his last major work. That he used the decorative detail and familial anecdotes as the theme of a major altarpiece is illustrative of his nonhierarchical, humanizing tendencies. Perhaps the most notable feature of the Birth of the Virgin is its sophisticated handling of perspective and the logical placement of figures within space. The arches and colonnettes of the triptych frame form the foreground of the painted picture space, and one of the figures is painted in such a way that it appears to be standing behind one of the colonnettes. This constitutes one of the most advanced perspective studies of its time.

Encyclopædia Britannica

 
 
 

Pietro Lorenzetti 
Madonna Enthroned with Angels
1340
Galleria degli Uffizi, Florence
 
 
 

Madonna and Child
1320
Pieve di
Santa Maria, Arezzo
 
 
 

Man of Sorrow
c. 1330
Lindenau Museum, Altenburg
 
 
 

Deposition
c. 1325
Lower Church, San Francesco, Assisi
 
 
 

Entombment
c. 1325
Lower Church, San Francesco, Assisi

 
 
 

Crucifixion
1320
Lower Church, San Francesco, Assisi

 
 
 

Madonna with St Francis and St John the Evangelist
1320-25
Lower Church, San Francesco, Assisi

 
 
 

Elisha's Well
1329
Pinacoteca Nazionale, Siena
 
 
 

The Annunciation
1344
 
 
 

Beata Umilta
Transport Bricks to the Monastery
c. 1341
Galleria degli Uffizi, Florence
 
 
 

Madonna with Angels between St Nicholas and Prophet Elisha
1328-29
Pinacoteca Nazionale, Siena

 
 
 

Madonna with Angels between St Nicholas and Prophet Elisha (detail)
1328-29
Pinacoteca Nazionale, Siena

 
 
 

Madonna with Angels between St Nicholas and Prophet Elisha (detail)
1328-29
Pinacoteca Nazionale, Siena

 
 
 

The Birth of Mary
1342
Museo dell'Opera del Duomo, Siena

 
 
 

The Birth of Mary (detail)
1342
Museo dell'Opera del Duomo, Siena

 
 
 

 
 

 
CONTENTS
  BACK NEXT