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Iz perspektive galerije, najpoznatije djelo umjetnika Pietro Lorenzetti je Madonna Enthroned with Angels (1340), čiji se original nalazi u muzeju Galleria degli Uffizi, Firenca. The Apostles Saint Andrew and Saint James the Lesser, with a Prophet (1328) i Saint Mary Magdalene, with an Angel [left panel] (1340) upotpunjuju triju koju svako oko prepoznaje. Od 83 djela umjetnika Pietro Lorenzetti u našem katalogu, galerija u nastavku prikazuje 82 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
Pietro Lorenzetti's Madonna Enthroned with Angels, painted around 1340 in Siena, isn’t merely a depiction of the Virgin Mary and Child; it’s a profound meditation on faith, divine grace, and the nascent embrace of humanism within the heart of medieval Italy. This magnificent panel, now housed within the Uffizi Gallery in Florence, offers a captivating glimpse into the artistic landscape of its time – a period poised between the rigid…
Gold leaf forms a luminous, patterned sky behind the figures, its surface textured by delicate punchwork. This 14th-century tempera work on wood panel creates a shallow, sacred space. Two pointed arches, supported by a central pillar, frame the holy figures like windows into a celestial realm. At the summit, a smaller, elevated niche holds the bust of a Prophet, whose white scroll unfurls through the air. The light does not…
![Saint Mary Magdalene, with an Angel [left panel] (1340) od Pietro Lorenzetti](/media/artworks/images-full/66/47/66478c5653f734a8328f140aaa90e075.jpg)
This tempera on wood panel, dating to 1340, presents a vertical composition within a pointed arch. The figure of Saint Mary Magdalene occupies the primary space, her presence defined by heavy, sculptural drapery and a steady, frontal gaze. Above her, a smaller angelic figure emerges from the apex of the arch, creating a hierarchical arrangement typical of the Sienese Gothic tradition. The use of gold leaf creates a luminous, non-spatial…
The composition unfolds within a tightly structured, compartmentalized architectural space. Arches and walls frame a central, intimate scene of religious vigil. A figure lies upon a bed, the focal point of the arrangement, surrounded by attendants who offer prayers and support. The scene is rendered with a degree of realism, capturing the heavy drapery of garments and the solemnity of the moment. Earthy tones of ochre, brown, and red dominate…
A Crowned Female Figure (Saint Elizabeth of Hungary?) is a work by Pietro Lorenzetti, dated 1334. This fragment of a fresco, once part of the border decoration in the chapter house of San Francesco in Siena, presents a solitary female figure. The subject is identified in various records as a female saint, with some interpretations suggesting the Annunciate Virgin or one of the Marys. The specific identity of Saint Elizabeth…
This fresco fragment, dating to 1334, presents the upper torso and head of a female figure, likely a saint, rendered in a style characteristic of the Sienese school. The subject is positioned diagonally across the irregular, broken edges of the plaster. A muted palette of ochre, beige, cream, and soft browns defines the composition, with subtle traces of pale blue or grey appearing in the folds of the drapery. The…
The Virgin Mary sits upon an ornate, patterned cushion, her presence anchored by the weight of deep ultramarine blue. She holds the Christ Child, a small figure of divine gravity amidst a sea of gold leaf. Around them, the air is thick with the presence of the sacred. Angels lean in with rhythmic folds of drapery, their forms caught in a shallow, tiered arrangement that suggests a heaven pressing close…
To stand before Pietro Lorenzetti’s depiction of Beata Umiltà Transports Bricks to the Monastery is to step directly across the threshold into the profound spiritual atmosphere of 14th-century Siena. This painting is not merely a record of an event; it is a meditation on piety, humility, and the quiet dignity found in service. The composition immediately draws the eye into a narrative unfolding within a modest, yet architecturally defined, urban…
The air feels heavy with a sacred, suspended tension as the scene unfolds against a shimmering expanse of gold leaf. At the center of this celestial stage, the figure of Christ hangs upon the cross, his body slumped in the heavy, visceral reality of suffering. The light does not fall from a sun, but seems to emanate from the very background, casting a symbolic glow over the unfolding tragedy. Around…
To stand before this depiction of The Approval of the New Carmelite Habit by Pope Honorius IV is to step directly into the vibrant, deeply spiritual atmosphere of early Quattrocento Siena. Pietro Lorenzetti masterfully captures a moment charged with both solemn ritual and profound communal affirmation. The scene unfolds within an interior space, richly populated by figures whose collective presence speaks volumes about devotion and institutional growth. One can almost…
The Miracle of the Ice1341 · Staatliche Museen zu Berlin
12
Predella panel: The Pope Issues a Bull to a Carmelite Delegation1328 · Pinacoteca Nazionale
13
Madonna and Child (detail of a polyptych)1320 · Pieve di Santa Maria
14
The Capture of Christ (detail)1320
15
Crucifix1320 · Museo Diocesano
16
Crucifix (detail)1320 · Museo Diocesano
17
Crucifix (detail)1320 · Museo Diocesano
18
Crucifix (detail)1320 · Museo Diocesano
19![Madonna and Child with the Blessing Christ, and Saints Mary Magdalene and Catherine of Alexandria with Angels [entire triptych] (1340) od Pietro Lorenzetti](/media/artworks/images-thumb/3d/b2/3db2db25071f0fe2d52a1cd83eb9e8ff.jpg)
Madonna and Child with the Blessing Christ, and Saints Mary Magdalene and Catherine of Alexandria with Angels [entire triptych]1340
20
Shaped Cross1325 · Museo Diocesano
21
Predella panel: St Albert Presents the Rule to the Carmelites1328 · Pinacoteca Nazionale
22
Predella panel: The Annunciation to Sobac1328 · Pinacoteca Nazionale
23
Predella panel: Hermits at the Fountain of Elijah1328 · Pinacoteca Nazionale
24![Madonna and Child, with the Blessing Christ [middle panel] (1340) od Pietro Lorenzetti](/media/artworks/images-thumb/77/88/7788e6d9fa683a3079c17a71c8d4ef6c.jpg)
Madonna and Child, with the Blessing Christ [middle panel]1340 · National Gallery of Art
25
The Birth of Mary1342 · Museo dell'Opera del Duomo
26
Madonna with Angels between St Nicholas and Prophet Elijah1328 · Pinacoteca Nazionale
27
Virgin and Child1340 · Lindenau-Museum
28
View of the south transept1320
29
Man of Sorrow1340 · Lindenau-Museum
30
The Adoration of the Magi
31
Assisi crucifixion Crucifixion
32
Saint Sabinus before the Governor of TuscanyNational Gallery
33![Saint Catherine of Alexandria, with an Angel [right panel] od Pietro Lorenzetti](/media/artworks/images-thumb/94/49/944909e210d0e046b6efe42c94e5fb63.jpg)
Saint Catherine of Alexandria, with an Angel [right panel]National Gallery of Art
34
Man of Sorrow1330 · Lindenau-Museum
35
A Female Saint (Fragment)Harvard Art Museums
36
A Female Saint (Fragment)Harvard Art Museums
37
Virgin and Child Enthroned and Donor, AngelsPhiladelphia Museum of Art
38
Elisha's well
39
Deposition
40
Assisi-arch-Deposition of Christ from the Tomb
41
Assisi-crucifixion-Crucifixion (detail)4
42
Assisi-vault-Entry of Christ into Jerusalem (detail)2
43
Assisi-vault-Flagellation of Christ (detail)
44
Assisi-crucifixion-Crucifixion (detail)2
45
AssisiPanoramic view of the frescoes
46
Assisi-vault-Entry of Christ into Jerusalem (detail)
47
Assisi-arch-Stigmata of St Francis (detail)
48
Assisi-crucifixion-Crucifixion (detail)
49
Assisi-crucifixion-Madonna with St Francis and St John the Evangelist
50
Assisi-vault-The Road to Calvary (detail)
51
St. Sabinus Before the Governor, detail, -
52
Assisi-crucifixion-Crucifixion (detail)3
53
Assisi-crucifixion-Crucifixion (detail)5
54
The CrucifixionMetropolitan Museum of Art
55
Annunciation
56
Saint Margaret or Agatha1315 · Musée de Tessé
57
Madonna and Child
58
The birth of Mary, 1342, Museo dell'OperaMuseo dell'Opera della Metropolitana
59
Monticchiello Altarpiece1315 · Musée de Tessé
60
Madonna di Monticchiello1315
61
Mary with child and saints1327 · Pinacoteca Nazionale
62
Virgin Enthroned with Child and Four Angels1320 · Museo Diocesano
63
Three Saints1315 · Museo Horne
64
Judas hanged1310
65
Crucifixion of Christ1336
66
Risen Christ1336 · Museo dell'Opera della Metropolitana
67
Madonna Col Bambino Fra Otto Angeli
68
Assisi arch Resurrection
69
Assisi-arch-Descent into Limbo
70
Saint Catherine of AlexandriaMetropolitan Museum of Art
71
Assisi-vault-The Washing of the Feet
72
Assisi-vault-The Road to Calvary
73
Assisi-arch-Painted architecture
74
Assisi arch Entombment
75
Assisi-vault-Entry of Christ into Jerusalem
76
Assisi-arch-Madonna and Child with St Francis and St John the Baptist
77
Assisi-vault-The Last Supper
78
Assisi-arch-Stigmata of St Francis
79
Assisi-vault-Flagellation of Christ
80
Deposition of Christ from the Cross 1
81
Assisi-vault-The Capture of Christ
82
Adoration of the Magi1340 · Louvre
#2 The Apostles Saint Andrew and Saint James the Lesser, with a Prophet
![Saint Mary Magdalene, with an Angel [left panel] (1340), Pietro Lorenzetti](/media/artworks/images-thumb/56/70/567081333697abce62276a169dde6184.jpg)
#3 Saint Mary Magdalene, with an Angel [left panel]
#5 A Crowned Female Figure (Saint Elizabeth of Hungary?)
#6 A Female Saint in Yellow
#7 Enthroned Mary with the Child, Adoring Angels and the Saints Paul, John the Evangelist, John the Baptist and Peter
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Pietro Lorenzetti | Slike iz ovog popisa |
|---|---|---|---|
 Pinacoteca Nazionale |
Siena | 7 | Predella panel: The Approval of the New Carmelite Habit by Pope Honorius IV, Predella panel: The Pope Issues a Bull to a Carmelite Delegation, Predella panel: St Albert Presents the Rule to the Carmelites |
 Museo Diocesano |
Cortona | 6 | Crucifix, Crucifix (detail), Crucifix (detail) |
 National Gallery of Art |
Washington | 3 | Saint Mary Magdalene, with an Angel [left panel], Madonna and Child, with the Blessing Christ [middle panel], Saint Catherine of Alexandria, with an Angel [right panel] |
 National Gallery |
London | 3 | A Crowned Female Figure (Saint Elizabeth of Hungary?), A Female Saint in Yellow, Saint Sabinus before the Governor of Tuscany |
 Harvard Art Museums |
Cambridge | 3 | Christ on the Cross with the Virgin and Saints Clare, John the Evangelist, and Francis, A Female Saint (Fragment), A Female Saint (Fragment) |
 Lindenau-Museum |
Altengau | 3 | Virgin and Child, Man of Sorrow, Man of Sorrow |
 Galleria degli Uffizi |
Firenca | 2 | Madonna Enthroned with Angels, Beata Umiltà Transports Bricks to the Monastery |
 Staatliche Museen zu Berlin |
Berlin | 2 | Beata Umiltà Heals a Sick Nun, The Miracle of the Ice |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
Gold leaf forms a luminous, patterned sky behind the figures, its surface textured by delicate punchwork. This 14th-century tempera work on wood panel creates a shallow, sacred space. Two pointed arches, supported by a central pillar, frame the holy figures like windows into a celestial realm. At the summit, a smaller, elevated niche holds the bust of a Prophet, whose white scroll unfurls through the air. The light does not…
A Crowned Female Figure (Saint Elizabeth of Hungary?) is a work by Pietro Lorenzetti, dated 1334. This fragment of a fresco, once part of the border decoration in the chapter house of San Francesco in Siena, presents a solitary female figure. The subject is identified in various records as a female saint, with some interpretations suggesting the Annunciate Virgin or one of the Marys. The specific identity of Saint Elizabeth…
Pietro Lorenzetti's Madonna Enthroned with Angels, painted around 1340 in Siena, isn’t merely a depiction of the Virgin Mary and Child; it’s a profound meditation on faith, divine grace, and the nascent embrace of humanism within the heart of medieval Italy. This magnificent panel, now housed within the Uffizi Gallery in Florence, offers a captivating glimpse into the artistic landscape of its time – a period poised between the rigid…
Madonna Enthroned with Angels (1340), Galleria degli Uffizi, Firenca. Nakon njih slijede The Apostles Saint Andrew and Saint James the Lesser, with a Prophet (1328) i Saint Mary Magdalene, with an Angel [left panel] (1340).
60 godina: Madonna Enthroned with Angels datira iz 1340, a Pietro Lorenzetti je rođen/a 1280.
Madonna Enthroned with Angels, The Apostles Saint Andrew and Saint James the Lesser, with a Prophet, Saint Mary Magdalene, with an Angel [left panel], Beata Umiltà Heals a Sick Nun, A Crowned Female Figure (Saint Elizabeth of Hungary?), A Female Saint in Yellow, Enthroned Mary with the Child, Adoring Angels and the Saints Paul, John the Evangelist, John the Baptist and Peter, Beata Umiltà Transports Bricks to the Monastery, Christ on the Cross with the Virgin and Saints Clare, John the Evangelist, and Francis i Predella panel: The Approval of the New Carmelite Habit by Pope Honorius IV. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 83 djela umjetnika Pietro Lorenzetti, datiranih od 1310 do 1345.
Većinom u Pinacoteca Nazionale (Siena), Museo Diocesano (Cortona) i National Gallery of Art (Washington). Gornja tablica muzeja navodi sve njih.
U 1320s: 18 od 82 djela na ovoj stranici nastalo je tada, od čega je The Apostles Saint Andrew and Saint James the Lesser, with a Prophet The Apostles Saint Andrew and Saint James the Lesser, with a Prophet.
Na ovoj stranici najstarije djelo je iz Judas hanged (1310), a najnovije iz Enthroned Mary with the Child, Adoring Angels and the Saints Paul, John the Evangelist, John the Baptist and Peter (1345).
Buildings (15), Woman (13) i Gold background (9), kroz svih 82 djela na ovoj stranici.
Tempera On Panel, za 17 od 82 djela na ovoj stranici.
Proto-renaissance, sudeći po originalima na ovoj stranici.
Predella panel: The Approval of the New Carmelite Habit by Pope Honorius IV, Predella panel: The Pope Issues a Bull to a Carmelite Delegation i Predella panel: St Albert Presents the Rule to the Carmelites: Pinacoteca Nazionale, Siena posjeduje 7 djela s ove stranice.
Pietro Lorenzetti (oko 1280. – 1348.) stoji kao ključna figura u sienezskoj umjetnosti, označavajući duboki prijelaz od gotičkog formalizma prema bujanim humanističkim idealima ranog renesansnog doba. Rođen u živopisnom kulturnom krajoliku Sijene oko 1280. godine, Lorenzettijev umjetnički put odvijao se tijekom razdoblja značajnih intelektualnostih i umjetničkih transformacija u Toskani. Iako biografski detalji ostaju neuhvatljivi poput sjena u sumornom fresku — što je česta sudbina umjetnika njegovog doba — znanstveni konsenzus ukazuje na formativne utjecaje Duccia di Buoninsegne, slavnog sienezgog maestrea, te Simonea Martinija. Njegov profinjeni stil duboko je oblikovao Lorenzettijeve estetske osjećaje, a dokazi sugeriraju da je usavršavao svoje vještine uz Martinija, upijajući pedantnu pažnju prema detaljima i ekspresivnu upotrebu boje koja će postati zaštitni znak njegovog zrelog stvaralaštva.
Lorenzettijev umjetnički stil izdvaja se po iznimnom prihvaćanju trodimenzionalnih prostornih aranžmana, što je karakteristika koja je najavila revolucionarna otkrića umjetnika poput Giotta di Bondonea. Za razliku od ravnijih, dekorativnijih tradicija visokog srednjeg vijeka, Lorenzetti je nastojao privući gledatelja u samu srž sakralnog narativa. Njegova djela često su koristila svjetlosne palete, dajući prednost naturalizmu i prožimajući djela dubokom emocionalnom težinom. Ovaj pristup usredotočen je na hvatanje bitnosti ljudskog iskustva s iznimnom točnošću, odražavajući humanistički duh koji je dobivao zamah širom Europe. Prožimajući religijsku ikonografiju osjećajem opipljive težine i psihološke prisutnosti, on je premostio jaz između božanskog i zemaljskog.
Širina Lorenzettijevog djela otkriva umjetnika sposobnog za istovremenu intimnu nježnost i monumentalnu veličinu. Njegovi prikazi Device i Djeteta služe kao mirne meditacije o majčinstvu i božanskoj milosti, koristeći toplu paletu kako bi stvorili atmosferu tihe svetosti. U tim djelima, povezanost Marije i Isusa prikazana je s mekom, ljudskom intimnošću koja vjernike poziva u osobni trenutak štovanja. Nasuprot tome, njegova sposobnost upravljanja veličinom i dramom očigledna je u mnogo uznemirujućijim temama. Njegove scene Raspeća i prikazi poput Čovjeka patnje nude potresne i visceralne prikaze patnje i žrtve, koristeći oštre kontraste i emotivne geste kako bi potresli dušu promatrača.
Izvan pojedinačnih figura, Lorenzetti se isticao u složenim narativnim kompozicijama koje su koristile arhitektonsku dubinu za pripovijanje teoloških priča. Njegova Kraljev Posvećenost (Adoracija magova) kvintesencijalno je remek-djelo proto-renesansnog doba, prikazujući živopisnu scenu biblijske pobožnosti ispunjenu zadivljujućim detaljima i bogatim, draguljastim bojama. Nadalje, njegovi monumentalni fresci, poput Posljednjeg suda, snažno komuniciraju složene teološke koncepte kroz dramatično vizualno pripovijanje, koristeći prostranstvo medija kako bi preplavili i inspirirali gledatelja veličinom božanske pravde.
Povijesni značaj Pietra Lorenzettija ne može se pretjerati. On nije bio samo nasljednik sienskih majstora, već i prethodnik renesansne revolucije. Njegovo pedantno promatranje prirode, u kombinaciji s evoluirajućim razumijevanjem ljudskih emocija i prostorne dubine, utvrdilo ga je kao kamen temeljac sienske umjetničke baštine. Njegov utjecaj protezao se daleko izvan zidina Sijene, inspirirajući sljedeće generacije umjetnika da teže prirodnijem i psihološki složenijem predstavljanju svijeta.
Kroz njegov rad svjedočimo sljedećim trajnim doprinosima povijesti umjetnosti:
