更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 83 件 伯多祿·洛伦采蒂 作品收录于我们的目录中
简而言之
在画廊看来，伯多祿·洛伦采蒂 最著名的作品是 Madonna Enthroned with Angels (1340)，其原作现收藏于 佛罗伦萨 的 乌菲兹美术馆。 The Apostles Saint Andrew and Saint James the Lesser, with a Prophet (1328) 与 Saint Mary Magdalene, with an Angel [left panel] (1340) 共同构成了那组令人过目不忘的艺术三部曲。 在我们的目录中，伯多祿·洛伦采蒂 共有 83 件作品，画廊为您精选了以下 82 件最著名的原作，并详细列出了每件作品的创作年份、馆藏机构及其独特之处。
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) 作 伯多祿·洛伦采蒂](/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 · 柏林州立博物馆
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
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Crucifix (detail)1320 · Museo Diocesano
17
Crucifix (detail)1320 · Museo Diocesano
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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) 作 伯多祿·洛伦采蒂](/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
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Predella panel: St Albert Presents the Rule to the Carmelites1328 · Pinacoteca Nazionale
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Predella panel: The Annunciation to Sobac1328 · Pinacoteca Nazionale
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Predella panel: Hermits at the Fountain of Elijah1328 · Pinacoteca Nazionale
24![Madonna and Child, with the Blessing Christ [middle panel] (1340) 作 伯多祿·洛伦采蒂](/media/artworks/images-thumb/77/88/7788e6d9fa683a3079c17a71c8d4ef6c.jpg)
Madonna and Child, with the Blessing Christ [middle panel]1340 · 国家美术馆
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The Birth of Mary1342 · 锡耶那大教堂博物馆
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Madonna with Angels between St Nicholas and Prophet Elijah1328 · Pinacoteca Nazionale
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Virgin and Child1340 · Lindenau-Museum
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View of the south transept1320
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Man of Sorrow1340 · Lindenau-Museum
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The Adoration of the Magi
31
Assisi crucifixion Crucifixion
32
Saint Sabinus before the Governor of Tuscany国家美术馆
33![Saint Catherine of Alexandria, with an Angel [right panel] 作 伯多祿·洛伦采蒂](/media/artworks/images-thumb/94/49/944909e210d0e046b6efe42c94e5fb63.jpg)
Saint Catherine of Alexandria, with an Angel [right panel]国家美术馆
34
Man of Sorrow1330 · Lindenau-Museum
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A Female Saint (Fragment)哈佛艺术博物馆
36
A Female Saint (Fragment)哈佛艺术博物馆
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Virgin and Child Enthroned and Donor, Angels费城艺术博物馆
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
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Assisi-vault-Entry of Christ into Jerusalem (detail)
47
Assisi-arch-Stigmata of St Francis (detail)
48
Assisi-crucifixion-Crucifixion (detail)
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Assisi-crucifixion-Madonna with St Francis and St John the Evangelist
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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
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The Crucifixion大都会艺术博物馆
55
Annunciation
56
Saint Margaret or Agatha1315 · Musée de Tessé
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Madonna and Child
58
The birth of Mary, 1342, Museo dell'OperaMuseo dell'Opera del Duomo
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Monticchiello Altarpiece1315 · Musée de Tessé
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Madonna di Monticchiello1315
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Mary with child and saints1327 · Pinacoteca Nazionale
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Virgin Enthroned with Child and Four Angels1320 · Museo Diocesano
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Three Saints1315 · Museo Horne
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Judas hanged1310
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Crucifixion of Christ1336
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Risen Christ1336 · Museo dell'Opera del Duomo
67
Madonna Col Bambino Fra Otto Angeli
68
Assisi arch Resurrection
69
Assisi-arch-Descent into Limbo
70
Saint Catherine of Alexandria大都会艺术博物馆
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 · 卢浮宫
#2 The Apostles Saint Andrew and Saint James the Lesser, with a Prophet
![Saint Mary Magdalene, with an Angel [left panel] (1340), 伯多祿·洛伦采蒂](/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
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 伯多祿·洛伦采蒂 的作品 | 此列表中的画作 |
|---|---|---|---|
 Pinacoteca Nazionale |
锡耶纳 | 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 |
科尔托纳 | 6 | Crucifix, Crucifix (detail), Crucifix (detail) |
 国家美术馆 |
华盛顿 | 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] |
 国家美术馆 |
伦敦 | 3 | A Crowned Female Figure (Saint Elizabeth of Hungary?), A Female Saint in Yellow, Saint Sabinus before the Governor of Tuscany |
 哈佛艺术博物馆 |
剑桥 | 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 |
阿尔滕高 | 3 | Virgin and Child, Man of Sorrow, Man of Sorrow |
 乌菲兹美术馆 |
佛罗伦萨 | 2 | Madonna Enthroned with Angels, Beata Umiltà Transports Bricks to the Monastery |
 柏林州立博物馆 |
柏林 | 2 | Beata Umiltà Heals a Sick Nun, The Miracle of the Ice |
选择一个年代，探索定义该时代的原创杰作。
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)，乌菲兹美术馆, 佛罗伦萨。紧随其后的是 The Apostles Saint Andrew and Saint James the Lesser, with a Prophet (1328) 和 Saint Mary Magdalene, with an Angel [left panel] (1340)。
60岁：Madonna Enthroned with Angels创作于1340年，伯多祿·洛伦采蒂出生于1280年。
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 及 Predella panel: The Approval of the New Carmelite Habit by Pope Honorius IV。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 83 件 伯多祿·洛伦采蒂 的作品，创作年代从 1310 年至 1345 年。
多见于 Pinacoteca Nazionale (锡耶纳), Museo Diocesano (科尔托纳) 及 国家美术馆 (华盛顿)。上方的博物馆列表列出了所有相关机构。
在 1320s 期间：本页 82 件作品中有 18 件创作于该时期，其中包含 The Apostles Saint Andrew and Saint James the Lesser, with a Prophet 件作品。
在本页面中，最早的作品创作于 Judas hanged (1310)，最晚的创作于 Enthroned Mary with the Child, Adoring Angels and the Saints Paul, John the Evangelist, John the Baptist and Peter (1345)。
Buildings (15), Woman (13) 及 Gold background (9)，共计 82 件作品。
Tempera On Panel，共计 17 件（本页共有 82 件作品）。
根据本页面的原作，Proto-renaissance
Predella panel: The Approval of the New Carmelite Habit by Pope Honorius IV, Predella panel: The Pope Issues a Bull to a Carmelite Delegation 及 Predella panel: St Albert Presents the Rule to the Carmelites：Pinacoteca Nazionale, 锡耶纳收藏了本页中 7 件作品。
彼埃特罗·洛伦泽蒂（约 1280 – 1348）是锡耶纳艺术史上的关键人物，标志着艺术从哥特式的形式主义向早期文艺复兴时期蓬勃发展的人文主义理想的深刻转型。洛伦泽蒂于 1280 年左右出生于充满活力的锡耶纳文化景观中，他的艺术旅程展开于托斯卡纳思想与艺术发生重大变革的时代。尽管关于他生平的细节依然如黄昏湿壁画中的阴影般难以捉摸——这也是那个时代艺术家的共同困境——但学术界的共识指向了两位大师对他形成的深远影响：锡耶纳著名的宗师杜乔·迪·博宁塞尼亚（Duccio di Buoninsegna）以及西蒙内·马蒂尼（Simone Martini）。后者的精致风格深刻地塑造了洛伦泽蒂的美学感官，证据表明他曾与马蒂尼并肩磨炼技艺，吸收了后者对细节的严谨追求以及极具表现力的色彩运用，这些元素最终成为了他成熟作品的标志。
洛伦泽蒂的艺术风格以其对三维空间布局的卓越运用而脱颖而出，这一特征预示了乔托·迪·邦多纳（Giotto di Bondone）等艺术家随后的开创性创新。不同于中世纪盛期那些较为扁平且偏向装饰性的传统，洛伦泽蒂试图将观众拉入神圣的叙事之中。他的画作频繁采用明亮的色调，优先追求自然主义的表现，并传达出深邃的情感深度。这种创作方法的核心在于以惊人的准确度捕捉人类经验的本质，反映了当时在欧洲范围内日益壮大的人文主义精神。通过为宗教图像注入一种真实的重量感与心理存在感，他在神圣与尘世之间架起了一座桥梁。
洛伦泽蒂作品的广度展现了一位既能驾驭亲密温柔、又能表现宏伟壮丽的艺术家。他笔下的圣母与圣婴是关于母爱与神圣恩典的宁静冥想，利用温暖的色调营造出一种静谧的神圣氛围。在这些作品中，玛利亚与耶稣之间的纽带以一种柔和、人性化的亲密感呈现，邀请信徒进入一个私密的崇拜时刻。相反，他在处理更为凄惨的主题时，展现出了掌控规模与戏剧冲突的能力。他的基督受难场景以及如忧伤之子之类的描绘，通过鲜明的对比和富有感染力的姿态，对痛苦与牺牲进行了深刻而直观的刻画，震撼着观察者的灵魂。
除了单个人物形象，洛伦泽蒂还擅长复杂的叙事性构图，利用建筑的深度来讲述神学故事。他的东方三博士来朝是一幅典型的前文艺复兴时期杰作，展示了一个充满生机的圣经崇敬场景，细节惊人且色彩如宝石般绚丽。此外，他那些宏伟的湿壁画，例如the-last-judgment">《最后的审判》》，通过戏剧性的视觉叙事有力地传达了复杂的神学概念，利用媒介的广阔空间感，以神圣正义的规模令观众感到震撼与启迪。
彼埃特罗·洛伦泽蒂的历史地位不容低估。他不仅是锡耶纳大师们的继承者，更是文艺复兴革命的先驱。他对自然的细致观察，结合对人类情感和空间深度的不断探索，确立了他作为锡耶纳艺术遗产基石的地位。他的影响力远超锡耶纳的城墙，激励了后世一代又一代的艺术家去追求一种更加自然主义且具有心理复杂性的世界表现形式。
通过他的作品，我们可以见证其对艺术史留下的持久贡献：
