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Topic: Pietro Lorenzetti

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	Pietro and Ambrogio Lorenzetti
		In the "Cenacle", for example, Pietro devotes an entire piece to a kitchen interior where lads wash the dishes while a dog licks the plates.
		But Pietro, like most of the artists of the Middle Ages, is too lacking in style and in art.
		Pietro's aim is to move, Ambrogio's rather to instruct.
	www.catholicity.com /encyclopedia/l/lorenzetti,pietro_and_ambrogio.html (1200 words)

	Pietro Lorenzetti Summary
		The art of the Italian brothers Pietro (active 1306-1348") and Ambrogio (1319-1348") Lorenzetti emerged from the middle-class world of late medieval Siena and was one of the varied manifestations of Tuscan Gothic painting.
		Pietro seems to have been the elder, for there is documentary mention of him as early as 1306.
		As there is no further documentary notice of Pietro after 1344 or of Ambrogio after 1347, when he addressed the Council of Siena, it is assumed that the two brothers perished in the plague of 1348, which decimated the population of Tuscany and enfeebled the next generation of creative talent.
	www.bookrags.com /Pietro_Lorenzetti (1299 words)

	Encyclopedia: Pietro Lorenzetti (Site not responding. Last check: 2007-10-26)
		The Sienese School of painting flourished in Italy between the 13th and 15th centuries and for a time rivalled Florence, though it was more conservative, being inclined towards the decorative beauty and elegant grace of late Gothic art.
		Lorenzetti was active between approximately 1306 and 1345.
		In their artistry work and experiments with three-dimensional and spatial arrangements, they foreshadowed the art of the Renaissance.
	www.nationmaster.com /encyclopedia/Pietro-Lorenzetti (484 words)

	Thais - Assisi - Lorenzetti
		However, it is true that the opening of Pietro’s spirit towards new ideas offered by the different forms of art at that period and, above all, contemporary sculpture, allowed his work to be permeated by an admirable chromatic and luminous tone.
		The extraordinary result of the poetry of colour may be found in the works of Simone Martini, whilst in those of Lorenzetti in his early life as a painter there is the strong influence of Duccio, his most natural and direct teacher.
		All’epoca, infatti, il Lorenzetti operava in una situazione di transito tra le tradizioni arcaiche, tramandategli da Duccio, e le aperture goticizzanti, tipiche dei grandi maestri del secondo decennio del secolo 1300.
	www.thais.it /speciali/assisi/Lorenzetti/introduzione.htm (1507 words)

	Biography
		Pietro and Ambrogio, born in Siena, belonged to the Sienese school dominated by the stylized Byzantine tradition developed by Duccio di Buoninsegna and Simone Martini.
		Pietro (circa 1280-1348) was the more traditional of the two brothers, showing harmony, refinement, and detail but also dramatic emotion.
		Ambrogio (1290-1348), more realistic, inventive, and influential than Pietro, is best known for the fresco cycles Good Government and Bad Government (1338-39, Palazzo Publico, Siena), remarkable for their depiction of character and of the Sienese scene.
	www.wga.hu /bio/l/lorenzet/pietro/biograph.html (184 words)

	Pietro Lorenzetti ( - ) Artwork Images, Exhibitions, Reviews
		Pietro Lorenzetti - Madonna and Child with Saint Mary Magdalene and Saint Catherine c.
		Pietro da Cortona - Portrait of Cardinal Pietro Maria Borghese c.
		Pietro Ghigi, Portrait of Giovanni Pietro Foliari, after the fresco by Raphael in the Stanza de Eliodoro in the Vatican Palace, 18th - 19th century
	www.wwar.com /masters/l/lorenzetti-pietro.html (575 words)

	Biography
		Pietro and Ambrogio, born in Siena, belonged to the Sienese school dominated by the stylized Byzantine tradition developed by Duccio di Buoninsegna and Simone Martini.
		Pietro (circa 1280-1348) was the more traditional of the two brothers, showing harmony, refinement, and detail but also dramatic emotion.
		Ambrogio (1290-1348), more realistic, inventive, and influential than Pietro, is best known for the fresco cycles Good Government and Bad Government (1338-39, Palazzo Publico, Siena), remarkable for their depiction of character and of the Sienese scene.
	gallery.euroweb.hu /bio/l/lorenzet/pietro/biograph.html (239 words)

	AllRefer.com - Lorenzetti (European Art To 1599, Biography) - Encyclopedia
		Pietro Lorenzetti, c.1280–c.1348, was first influenced by Duccio di Buoninsegna and Giovanni Pisano.
		Pietro's altarpiece (1329) for the Church of the Carmelites is now in the Pinacoteca.
		Of uncertain date are the imposing frescoes attributed to Pietro in the Lower Church at Assisi : Virgin and Child with St. Francis and scenes from the Passion.
	reference.allrefer.com /encyclopedia/L/Lorenzet.html (389 words)

	Pietro Lorenzetti -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-26)
		He was born and died in (additional info and facts about Siena) Siena.
		He and his brother, (additional info and facts about Ambrogio Lorenzetti) Ambrogio Lorenzetti, helped introduce ((philosophy) the doctrine that the world can be understood in scientific terms without recourse to spiritual or supernatural explanations) naturalism into Sienese art.
		In their artistry work and experiments with three-dimensional and spatial arrangements, they foreshadowed the art of the (The period of European history at the close of the Middle Ages and the rise of the modern world; a cultural rebirth from the 14th through the middle of the 17th centuries) Renaissance.
	www.absoluteastronomy.com /encyclopedia/P/Pi/Pietro_Lorenzetti.htm (170 words)

	Pietro Lorenzetti - Wikipedia, the free encyclopedia
		He was influenced by Giovanni Pisano, Giotto worked alonside Simone Martini at Assisi.
		The narrative influence of Giotto's frescoes in the Bardi and Peruzzi Chapels in Santa Croce (Florence) and the Arena Chapel (Padua) can be seen in these and other works of the lower church.
		The Lorenzetti brothers and their contemporary competitor from Florence, Giotto, but also his followers Daddi and Maso Di Banco, seeded the Italian pictorial revolution that extracted figures from the gilded ether of byzantine iconography into pictorial worlds of towns, land, and air.
	en.wikipedia.org /wiki/Pietro_Lorenzetti (321 words)

	essay1.html
		This is the beginning of the 14th century; Pietro Lorenzetti and Bernardo Daddi witnessed those times and were among the actors who transformed them.
		Her figure's traits are delicately drawn by lines and modeled by soft shadows, except where her brown eyes pierce the smoothness of the surface, and gives to her facial expression a melancholy which is underlined by the sadness of her mouth.
		Pietro Lorenzetti made Saint Margaret for the lower church of San Francesco (Assisi): his composition is a beautiful and sensitive illustration of the Franciscan spirit, giving to humans a privileged place in the Christian drama.
	www.niquette.com /brigitte/essais/essai1/essay1.html (1722 words)

	Lorenzetti on Encyclopedia.com (Site not responding. Last check: 2007-10-26)
		Pietro Lorenzetti, c.1280-c.1348, was first influenced by Duccio di Buoninsegna and Giovanni Pisano.
		Of uncertain date are the imposing frescoes attributed to Pietro in the Lower Church at Assisi— Virgin and Child with St. Francis and scenes from the Passion.
		Margherita of Cortona and the Lorenzetti: Sienese Art and the Cult of a Holy Woman in Medieval Tuscany.
	www.encyclopedia.com /html/L/Lorenzet.asp (537 words)

	Pietro Lorenzetti ( - ) Artwork Images, Exhibitions, Reviews
		Pietro da Cortona - Portrait of Cardinal Pietro Maria Borghese c.
		Pietro Berrettini (Pietro da Cortona), Achilles among the Daughters of Lycomedes, 17th century
		Pietro Ghigi, Portrait of Giovanni Pietro Foliari, after the fresco by Raphael in the Stanza de Eliodoro in the Vatican Palace, 18th - 19th century
	wwar.com /masters/l/lorenzetti-pietro.html (540 words)

	artnet.com: Resource Library: Lorenzetti: (1) Pietro Lorenzetti (Site not responding. Last check: 2007-10-26)
		Although deeply indebted to the art of Duccio and his circle and inclined to be retrospective, he was an artist of considerable originality: his naturalistic figures, influenced by sculpture, are imbued with intense emotions and set within innovative illusionistic space.
		It is not certain whether he is identifiable with a ‘Petruccio Lorenzo’ who, on 25 February 1306, was paid 1 lira and 10 soldi for a picture on a ‘panel’ of the nine governors of Siena.
		Although Pietro’s earliest surviving works date to the second decade of the 14th century, the course of his career suggests that he was an independent master by the first decade.
	www.artnet.com /library/05/0519/T051930.asp (368 words)

	Lorenzetti History, Lorenzetti Prints, Lorenzetti Art, Lorenzetti Works, Lorenzetti Life
		The Lorenzetti brothers were two 14th century Italian painters of the Byzantine period, born in Siena.
		The Lorenzetti brothers were the first Sienese artists to manifest the style of Tuscon sculptor Giovanni Pisano in that they experimented with 3-dimensional images and spatial arrangements; this foreshadowed the advent of the Renaissance.
		Pietro was more traditional than his brother and focused on refinement, harmony and dramatic emotion.
	www.arthistoryguide.com /travel/travel11.aspx (163 words)

	CATHOLIC ENCYCLOPEDIA: Pietro and Ambrogio Lorenzetti
		Assisi frescoes, where he continued Giotto's "Life of Jesus", this
		This lack of dignity is perhaps mere familiarity coupled with
		für Kunstwissenschaft (1888); MEYENBURG, Ambrogio Lorenzetti (Zurich, 1903); SCHUBRING, Das gute Regiment in Zeitschrft für Bildenden Kunst; PERKINS, The Masterpieces of Ambrogio Lorenzetti in Burlington Magazine (London.
	www.newadvent.org /cathen/09357c.htm (1246 words)

	The Lorenzetti (Site not responding. Last check: 2007-10-26)
		We noted that Simone Martini's Annunciation was painted for the Duomo in Siena as part of a series of major altarpieces focusing on the Virgin Mary.
		Pietro was commissioned in the 1320s and 1330s to do a series of frescoes focusing on the Passion of Christ for the Lower Church of San Francesco in Assisi.
		Ambrogio Lorenzetti's most famouse project was a fresco cycle for the Sala del Nove in the Palazzo Publico in Siena: The Allegory of Good and Bad Government and the Effects of Good and Bad Government on the City and the Country (1338-39):
	employees.oneonta.edu /farberas/arth/arth213/lorenzetti.html (574 words)

	[No title] (Site not responding. Last check: 2007-10-26)
		It is not known who Ambrogio's teacher was, but his early works indicate that he early received his main inspiration from the art of Duccio, his brother Pietro, and Giotto.
		His desire to depict spatial depth convincingly led him to an increasingly accurate rendering of space in his paintings and almost to one-point perspective in his last work, the "Annunciation." With his profound interest in perspective and in classical antiquity, Ambrogio anticipated the Renaissance.
		The art of the Lorenzettis was widely imitated in Siena during the third quarter of the 14th century, and many works by close followers are still commonly attributed to one or the other brother.
	emsh.calarts.edu /alumni/bkeresey/ambro.html (210 words)

	JAIC 1978, Volume 17, Number 2, Article 2 (pp. 10 to 18)
		Lorenzo nearly always used a pure white highlight, whereas Pietro Lorenzetti, who was influenced by the more sculptural techniques of modelling prevalent in Florentine painting, allowed a more gradual transition between shadow and highlight.
		Giotto's Maesta in the Uffizi is a good example as is Pietro Lorenzetti's Madonna and Child with Eight Angels, dated 1340, also in the same Gallery.
		Pietro's punch mark is no. 29 in Table II, p.
	aic.stanford.edu /jaic/articles/jaic17-02-002_appx.html (1057 words)

	Christian Iconography (Site not responding. Last check: 2007-10-26)
		A paradigm of the new compositional venture — one which also takes us into the nerve centre, as it were, of the religious consciousness behind these innovations — is the large fresco painted between 1316 and 1319 by Pietro Lorenzetti for the lower church of San Francesco in Assisi.
		In photographs Lorenzetti’s Christ appears somewhat larger than the Thieves, but this is the result of a spatial device the painter has used, in the absence of a worked-out perspective or landscape, to show that the Thieves’ crosses are planted further in the background.
		His portrayal of the thieves is likewise indicative of both his naturalistic strivings and his concern to re-create biblical history: the malefactors are distinguished not only from Christ but from one another in significant and expressive ways.
	www.aug.edu /augusta/iconography/iconographySupplementalImages/crucifixion/lorenzetti.html (431 words)

	HighBeam Research: Library Search: Results (Site not responding. Last check: 2007-10-26)
		here attributed to Pietro and Ambrogio Lorenzetti in the church whether she was buried...
		and attribution (Pietro or Ambrogio Lorenzetti?), and attempts to ascertain the precise...
		Lorenzetti, a traditional producer of electrical equipment operating for 77 years in the Brazilian market, is...
	www.highbeam.com /library/search.asp?FN=SS&search_newspapers=on&search_magazines=on&q=Lorenzetti&refid=ency_botnm (543 words)

	Italica - L'Opera di Pietro Lorenzetti
		Di nascita senese, pare che Pietro Lorenzetti fosse il più anziano dei due fratelli, entrambi pittori.
		Pietro lavorò negli anni della formazione a Siena, per poi spostarsi ad Assisi, eppure alcune celebri opere sue sono in Firenze, segno che egli fu famoso anche in questa città.
		Sebbene in Pietro confluiscano motivi mutuati dalla compagine artistica del suo tempo, ciò non toglie grandezza alla sua capacità espressiva e alla sua arte.
	www.italica.rai.it /index.php?categoria=arte&scheda=storia_arte_lorenzetti_opera_prima_parte&lingua=ita (410 words)

	Pietro Lorenzetti: The Crucifixion (2002.436) \| Object Page \| Timeline of Art History \| The Metropolitan Museum of Art (Site not responding. Last check: 2007-10-26)
		Like his brother Ambrogio, Pietro Lorenzetti is one of the true innovators of Italian art.
		Trained in Siena under Duccio, he was attentive both to the sculpture of Giovanni Pisano and the paintings of Giotto.
		Especially notable is the swooning Virgin, supported by her companions, and the energetic figure about to break the legs of one of the thieves who was crucified with Christ.
	www.metmuseum.org /TOAH/hd/sien/hod_2002.436.htm (235 words)

	Pietro Lorenzetti Online
		Pietro Lorenzetti in the Louvre Museum Database, Paris (only available in French)
		Pietro Lorenzetti at the National Gallery, London, UK Saint Sabinus before the Governor of Tuscany
		All images and text on this Pietro Lorenzetti page are copyright 2007 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/lorenzetti_pietro.html (227 words)

	Malaspina Great Books - Pietro and Ambrogio Lorenzetti (c. 1305-c. 1348)
		From October 21-23, 2007, join a global movement rising up against war and global warming by participating in a massive intervention in Washington DC or your own community.
		The time of their birth and death is not known.
		The result is an integrated multi-cultural and multi-disciplinary database built upon the framework of a Great Books Core List developed by Mortimer Adler (1902-2001).
	www.malaspina.org /home.asp?topic=./search/details&lastpage=./search/results&ID=722 (1533 words)

	Renaissance Studies at the Open University: A354 (Site not responding. Last check: 2007-10-26)
		Pietro Lorenzetti, The Birth of the Virgin (detail), Museo dell'Opera del Duomo, Siena
		Saint Sabinus before Venustianus, Governor of Tuscany, originally part of Pietro Lorenzetti's altarpiece for the altar of Saint Sabinus in Siena cathedral, is now in the National Gallery, London.
		Thus, in the case of Pietro Lorenzetti's Birth of the Virgin, attention is drawn, in the course materials, to the Sienese painter's skilful representation of key figures in this religious narrative, his highly sophisticated treatment of pictorial space and how both served the painting's original devotional and liturgical functions very well.
	www.open.ac.uk /Arts/renaissance/a354ex.htm (490 words)

	Riproduzione Icone Arte Senese Icone Siena Cimabue Duccio di Buoninsegna Simone Martini Pietro Lorenzetti Sano di ...
		Riproduzione Icone Arte Senese Icone Siena Cimabue Duccio di Buoninsegna Simone Martini Pietro Lorenzetti Sano di Pietro Giotto Piero della Francesca Spinello Aretino
		Ciamabue, Duccio di Buoninsegna, Simone Martini, Pietro Lorenzetti, Sano di Pietro, Giotto, Spinello Aretino e Piero della Francesca
		Silvia Salvadori realizza riproduzioni Icone Sacre di pregio dei più importanti artisti medievali toscani: Cimabue, Duccio di Buoninsegna, Simone Martini, Pietro Lorenzetti, Sano di Pietro, Giotto, Spinello Aretino e Piero della Francesca.
	www.bottegadartetoscana.it (154 words)

	MSN Encarta - Lorenzetti
		Lorenzetti, two 14th-century Italian painters who were brothers.
		Pietro and Ambrogio, born in Siena, belonged to the Sienese school dominated by the...
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	encarta.msn.com /encyclopedia_761552122/Lorenzetti.html (76 words)

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