ambrogio lorenzetti

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Giacobbe Giusti, PIETRO da RIMINI:La Déposition de Croix , Musée du Louvre, Paris

Publié par GIACOBBE GIUSTI le 6 septembre 2018

Publié dans: Giacobbe Giusti, PIETRO da RIMINI:La Déposition de Croix , Musée du Louvre, Paris, Giotto : Filippo Rusuti, Pietro Cavallini, Duccio di Buoninsegna, Giovanni da Rimini, Neri da Rimini, Pietro da Rimini, Simone Martini, Pietro Lorenzetti, Ambrogio Lorenzetti, Matteo Giovann, La Déposition de Croix , Musée du Louvre, Paris, Luciano Bellosi, Giotto et son héritage artistique4, traduit de l'italien par CIEL5, 1 vol. 383 p. - Paris : Le Figaro, coll. Les grands maîtres de l'art n° 20, 2008 - (ISBN978-2-81050-019-2), Musée du Louvre | Paris, PIETRO da RIMINI, Senza categoria. Tagué : 1 vol. 383 p. - Paris : Le Figaro, 15 m), 2008 - (ISBN978-2-81050-019-2) (it) Cesare Brandi (a cura di Maria Andeloro), 20 × 0, 20 × 16 cm, Adoration des mages, Altichiero da Zevio, ambrogio lorenzetti, art, à l'origine en l'église San Niccoló de Jesi, Baptême du Christ., Berlin et musée Thyssen-Bornemisza, chiesa dei Morti, coll. Les grands maîtres de l'art n° 20, collection Henckell, collection privée. Annonciation, Crucifix, crucifixion, duccio di buoninsegna, fresques de la voûte de la chapelle S. Chiara (Ravenne), Galleria Nazionale delle Marche, giacobbe giusti, giottino, Giotto et son héritage artistique4, Giotto : Filippo Rusuti, giovanni da milano, giovanni da rimini, Giusto de Menabuoi, Italie. Crucifix, Jacopo Avanzi, Jaka Book, Jardin des Oliviers, Jean Pucelle, les Évangélistes et les Docteurs (1330), les Frères de Limbourg, Louvre Museum, Luciano Bellosi, Madrid. Le Christ au jardin des oliviers, maintenant au couvent San Francesco de Montottone. Scènes de la vie du Christ(1330), maintenant au musée de Ravenne. Saint François (1333) (fresque), maso di banco, Matteo Giovannetti, milan, Montpellier, musée de Hambourg. Déposition de la croix, Musée Fabre, musee du louvre, Nativité, Neri da Rimini, paris, Paris. Nativité (1325-1330), pietro cavallini, PIETRO da RIMINI, PIETRO da RIMINI:La Déposition de Croix, Pietro Lorenzetti, PUCCIO CAPANNA, puiscathédrale, renaissance, Saints, Santarcangelo di Romagna Crucifixion, simone martini, taddeo gaddi, Temperasur panneau de bois, Tra Medioevo e Rinascimento: scritti sull'arte da Giotto a Jacopo della Quercia, traduit de l'italien par CIEL5, Urbania, Urbino. Crucifix (attribution autrefois au Maestro del Refettorio di Pomposa)2, Wiesbaden. La Dormition de la Vierge(0. Poster un commentaire

Giacobbe Giusti, PIETRO da RIMINI:La Déposition de Croix , Musée du Louvre, Paris

La Déposition de Croix (1320-1325), Musée du Louvre, Paris

Naissance	1280 Rimini
Décès	1350
Activité	Peintre
Lieu de travail	Rimini

Giacobbe Giusti, PIETRO da RIMINI

Crucifix d’Urbania

Pietro da Rimini, (Rimini, 1280–1350) est un peintre italien de l’école de Rimini qui a été actif dans la première moitié du xiv^e siècle.

Biographie

Cette section est vide, insuffisamment détaillée ou incomplète. Votre aide est la bienvenue ! Comment faire ?

Pietro da Rimini, comme les autres artistes de l’école de Rimini, a été fortement influencé par le cycle de fresques (aujourd’hui perdues) que Giotto – en route vers Padoue, où il se rend pour peindre les fresques de la chapelle des Scrovegni – a peintes pour l’église San Francesco, lorsque celui-ci a séjourné à Rimini en 1303¹.

Œuvres

Crucifix, chiesa dei Morti, puiscathédrale, Urbania, Italie.
Crucifix, Galleria Nazionale delle Marche, Urbino.
Crucifix (attribution autrefois au Maestro del Refettorio di Pomposa)², Santarcangelo di Romagna
Crucifixion, musée de Hambourg.
Déposition de la croix, Musée du Louvre, Paris.
Nativité (1325-1330), Temperasur panneau de bois, 20 × 16 cm, collection privée.
Annonciation, Nativité, Adoration des mages, Crucifixion, Baptême du Christ, Jardin des Oliviers, Saints, les Évangélistes et les Docteurs (1330), fresques de la voûte de la chapelle S. Chiara (Ravenne), maintenant au musée de Ravenne.
Saint François (1333) (fresque), à l’origine en l’église San Niccoló de Jesi, maintenant au couvent San Francesco de Montottone.
Scènes de la vie du Christ(1330) , Berlin et musée Thyssen-Bornemisza, Madrid.
Le Christ au jardin des oliviers, collection Henckell, Wiesbaden.
La Dormition de la Vierge(0,20 × 0,15 m), Musée Fabre, Montpellier³.

Bibliographie

Luciano Bellosi, Giotto et son héritage artistique⁴, traduit de l’italien par CIEL⁵, 1 vol. 383 p. – Paris : Le Figaro, coll. Les grands maîtres de l’art n° 20, 2008 – (ISBN 978-2-81050-019-2)
(it) Cesare Brandi (a cura di Maria Andeloro), Tra Medioevo e Rinascimento: scritti sull’arte da Giotto a Jacopo della Quercia, Milan, Jaka Book, 2006(lire en ligne [archive]), p. 60-63

Notes et références

↑Voir la biographie de Giotto sur le site du dictionnaire Larousse [archive]
↑« Crocifisso Pietro da Rimini » [archive], sur Catalogue fondazionezeri
↑Michel Hilaire, « Fabre Collectionneur et donateur », L’Objet d’Art, vol. N° Spécial François-Xavier Fabre, n^o 2H,‎ 2000, p.78
↑Les peintres étudiés par Luciano Bellosi comme « héritiers » de Giotto : Filippo Rusuti, Pietro Cavallini, Duccio di Buoninsegna, Giovanni da Rimini, Neri da Rimini, Pietro da Rimini, Simone Martini, Pietro Lorenzetti, Ambrogio Lorenzetti, Matteo Giovannetti, Maso di Banco, Puccio Capanna, Taddeo Gaddi, Giovanni da Milano, Giottino, Giusto de Menabuoi, Altichiero da Zevio, Jacopo Avanzi, Jean Pucelle, les Frères de Limbourg
↑CIEL = Centre international d’études linguistiques

https://fr.wikipedia.org/wiki/Pietro_da_Rimini

http://www.giacobbegiusti.com

Giacobbe Giusti, AMBROGIO LORENZETTI exhibited in Massa Marittima

Publié par GIACOBBE GIUSTI le 1 août 2018

Publié dans: Ambrogio Lorenzetti exhibited in Massa Marittima, Senza categoria. Tagué : (dir.), 1338, 1979 (it) Chiara Frugoni, a fragment that originally was part of one of the frames connecting the scenes that Ambrogio, also in Siena; and the Allegory of the Redemption for the Pinacoteca of Siena., ambrogio lorenzetti, Ambrogio Lorenzetti exhibited in Massa Marittima, are on display from June 2 until September 16 in the Museo di San Pietro all’Orto Eleven works by Ambrogio Lorenzetti, are on display from June 2 until September 16 in the Museo di San Pietro all’Orto in Massa Marittima in the exhibition “Ambrogio Lorenzetti in the Maremma: masterpieces from the Grosseto and Siena, Éditions I.F.I., but it is above all a tribute to the city of Massa Marittima, Cairola Aldo, carried out around 1335 for the Augustinian hermits of the church of San Pietro all’Orto, carried out for the chapter room of the Sienese convent of San Francesco. The Polyptych of Saint Peter in Castelvecchio and the Polyptych of the Maddona Enthroned with Saints Peter and Paul painted fo, Conjurer la peur : Essai sur la force politique des images, florence, from Roccalbegna, giacobbe giusti, including the 1335 Maestà, Le Lettere 2004. Patrick Boucheron, lorenzetti, Lorenzetti developed a complex iconography that depicts the three theological virtues seated on the steps that lead up to the Madonna’s throne. This painting is the starting point for the exhibition, Masterpieces by Ambrogio Lorenzetti exhibited in Massa Marittima 11 works by the Sienese painter, Montenero d’Orcia and Siena. Among the works on display is the figure of King Solomon (1320/1325), one of the major European painters of the 14th century, Pietro et Ambrogio Lorenzetti, Sienne, Simone Martini et Ambrogio Lorenzetti dans le palais de la mairie de Sienne, the Maestà, the origins of the current museum’s name. In this painting, together with his brother Pietro, which is home to one of the 14th century painter’s greatest masterworks, which provides the chance to view works from different seasons of the painter’s career all together. It is also a chance to better contextualize the Maestà in the setting of what was considered the, with works from the church of San Galgano in Montesiepi. Poster un commentaire

Giacobbe Giusti, AMBROGIO LORENZETTI

Ambrogio was one of the greatest European painters of the 14th century but, ironically enough, he is still a fairly little-known artist. A lot of people know him as the painter of « Good Government », a cycle of allegorical frescoes with astonishing views of the city and the countryside in the Palazzo Pubblico, Siena’s town hall, but aside from that, they have absolutely no notion of the work of this uncontainably creative artist who profoundly renewed a host of iconographical traditions, not an inkling of the art of a man who renewed the very concept of the altarpiece as a genre, the great painter of religious stories, the narrator who looked beyond the bare bones of his narrative to rediscover the landscape and the view. With a considerable number of astutely targeted loans (including paintings from the Louvre, the National Gallery and the Gallerie degli Uffizi), the exhibition sets out to illustrate Ambrogio Lorenzetti’s intense artistic career by bringing a whole host of paintings together in Santa Maria della Scala, the majority of them originally produced either for Sienese citizens or for the city’s churches. A collection of surviving fragments will also allow visitors to « ideally » appreciate a number of fresco cycles which were extremely famous in their day but which have since been destroyed, for instance those in the chapter house and cloister of the convent of San Francesco in Siena or the paintings in Siena’s Augustinian chuch, and the cycle of frescoes (specially restored for the occasion) from the chapel of San Galgano on Montesiepi, which were so far removed from the consolidated religious iconography of the time that the chapel’s patrons demanded substantial changes to them shortly after their completion. The exhibition, preceded by an event entitled « Inside Restoration » funded with a contribution from the MIBACT, Italy’s Fine Arts Ministry, for Siena Cultural Capital 2015, also includes several other sites in the city such as the churches of San Francesco and Sant’Agostino, where Lorenzetti’s fresco cycles have been restored for the occasion, and of course the Palazzo Pubblico, the town hall with its superb cycle of frescoes depicting Good Government. The Pinacoteca Nazionale di Siena is also currently devising a series of collateral events and planning to devote a number of rooms to paintings and other works by Ambrogio Lorenzetti’s contemporaries, while the Archivio di Stato is planning a documentary section devoted to, or built around, the figure of Ambrogio Lorenzetti himself. The exhibition will include an audio-guide in five languages and a selection of videos containing both information and narrative.

Masterpieces by Ambrogio Lorenzetti exhibited in Massa Marittima

11 works by the Sienese painter, including the 1335 Maestà, are on display from June 2 until September 16 in the Museo di San Pietro all’Orto

Eleven works by Ambrogio Lorenzetti, one of the major European painters of the 14th century, are on display from June 2 until September 16 in the Museo di San Pietro all’Orto in Massa Marittima in the exhibition “Ambrogio Lorenzetti in the Maremma: masterpieces from the Grosseto and Siena territories.” The exhibition is a fitting continuation of the works on display at Santa Maria della Scala in Siena, but it is above all a tribute to the city of Massa Marittima, which is home to one of the 14th century painter’s greatest masterworks, the Maestà, carried out around 1335 for the Augustinian hermits of the church of San Pietro all’Orto, the origins of the current museum’s name. In this painting, Lorenzetti developed a complex iconography that depicts the three theological virtues seated on the steps that lead up to the Madonna’s throne. This painting is the starting point for the exhibition, which provides the chance to view works from different seasons of the painter’s career all together. It is also a chance to better contextualize the Maestà in the setting of what was considered the Sienese Maremma, with works from the church of San Galgano in Montesiepi, from Roccalbegna, Montenero d’Orcia and Siena. Among the works on display is the figure of King Solomon (1320/1325), a fragment that originally was part of one of the frames connecting the scenes that Ambrogio, together with his brother Pietro, carried out for the chapter room of the Sienese convent of San Francesco. The Polyptych of Saint Peter in Castelvecchio and the Polyptych of the Maddona Enthroned with Saints Peter and Paul painted for the Church of Roccalbegna both date back to 1340. Between these two dates were a host of other works including the Cross painted for the Parish Church of Montenero d’Orcia; the glass window depicting Saint Michael the Archangel triumphant over a demon; the sinopia works of the Annunciation for the Chapel of San Galgano in Montesiepi; the Four Saints of the Museo dell’Opera della Metropolitana di Siena; the frescoed scenes along the eastern side of the cloister of San Francesco, also in Siena; and the Allegory of the Redemption for the Pinacoteca of Siena.

https://fr.wikipedia.org/wiki/Ambrogio_Lorenzetti

https://www.visittuscany.com/en/events/masterpieces-by-ambrogio-lorenzetti-exhibited-in-massa-marittima/

http://www.giacobbegiusti.com

Giacobbe Giusti, ANDREA VANNI Œuvres

Publié par GIACOBBE GIUSTI le 17 juillet 2018

Publié dans: andrea vanni, école siennoise de style byzantin, Bowd, S.D. 2011. "Andrea Vanni. ``Fare diligente inquisitione: Gian Pietro Carafa e le origini dei chierici regolari teatini".RENAISSANCE QUARTERLY. 64 (1): 279-280. Bryan, Michael (1889). Walter Arms, Das Fresko der Katharina von Siena in der San Domenico in Siena, Lindenau Museum, Altenburg, musée de l'Ermitage, Saint-Pétersbourg, Museum of Fine Arts, Boston, États-Unis, Polyptyque de l'église Santo Stefano de Sienne1 - Vierge à l'Enfant, Musée des Offices, Florence, Saint Paul by Vanni. Andrea Vanni (1332 – c. 1414) was an Italianpainter of the early Renaissance, active mainly in his native Siena., Sankt Petersburg, Eremitage: Ascensione di Cristo (Detail), Sankt Petersburg, Eremitage: Ascensione di Cristo (Detail) andrea vanni, Sankt Petersburg, Eremitage: Ascensione di Cristo (Detail) vanni, Senza categoria, Simone Martini, Ambrogio Lorenzetti, uffizi andrea vanni, Vierge à l'Enfant, Musée des Offices, Florence. Tagué : 2007: George Bell and Sons. pp. page 586. Perkins, active mainly in his native Siena., Altenburg, Altenburg Saint François Deux panneaux peints (1340 et 1360) par Lippo et Andrea Vanni, ambrogio lorenzetti, and Millard Meiss. 1956. "St. John the Evangelist". Annual Report (Fogg Art Museum), Andrea, andrea vanni, art, États-Unis, école siennoise de style byzantin, basilique de Mariazell, Basilique San Domenico de Sienne (~1390) Cycle de fresques et retables pour les églises de la région de Sienne dont le Dôme de Sienne. Ascension du Christ (1355-1360), Biographical and Critical (Volume II: L-Z). York St. #4, BOSTON, Bowd, Californie), Claremont, Covent Garden, Das Fresko der Katharina von Siena in der San Domenico in Siena, Digitized May 18, Eremitage: Ascensione di Cristo (Detail), F. Mason. 1903. "Andrea Vanni". The Burlington Magazine for Connoisseurs. 2 (6): 309-311. Pope-Hennessy, florence, Florence Sainte Claire, fresque, giacobbe giusti, Hermitage Museum, Italy, John. 1939. "Notes on Andrea Vanni". The Burlington Magazine for Connoisseurs. 74 (431): 92. Pope-Hennessy, John. 1943. "A Madonna by Andrea Vanni". The Burlington Magazine for Connoisseurs. 83 (484): 174-177. Vanni, Lindenau-Museum., London; Original from Fogg Library, Michael (1889). Walter Armstrong and Robert Edmund Graves. ed. Dictionary of Painters and Engravers, Musée Capodimonte de Naples, musée Capodimonte de Naples Vierge à l'Enfant, Musée de l'Ermitage, musée des Offices, Museum of Fine Arts, Polyptyque de l'église Santo Stefano de Sienne1 - Vierge à l'Enfant, Pomona College Museum of Art, prédelle, S.D. 2011. "Andrea Vanni. ``Fare diligente inquisitione: Gian Pietro Carafa e le origini dei chierici regolari teatini".RENAISSANCE QUARTERLY. 64 (1): 279-280. Bryan, Saint Paul, Saint Paul by Vanni. Andrea Vanni (1332 – c. 1414) was an Italianpainter of the early Renaissance, Saint Pierre, Saint-Pétersbourg (préalablement attribuée à Bartolo di Fredi) Sainte Catherine d'Alexandrie (~1375), Saint-Pétersbourg., salle du Trésor, Salzbourg Vierge à l'Enfant, Sankt Petersburg, simone martini, UFFIZI GALLERY, Une sainte et une dévote, Vierge à l'enfant. Poster un commentaire

Giacobbe Giusti, ANDREA VANNI Œuvres

Vierge à l’Enfant, Musée des Offices, Florence

Giacobbe Giusti, ANDREA VANNI Œuvres

Das Fresko der Katharina von Siena in der San Domenico in Siena

Giacobbe Giusti, ANDREA VANNI Œuvres

Sankt Petersburg, Eremitage: Ascensione di Cristo (Detail)

Giacobbe Giusti, ANDREA VANNI Œuvres

Sainte Claire

Naissance	Vers 1332 Sienne
Décès	Vers 1414 Sienne
Activité	Peinture, Enluminure
Lieu de travail	Sienne
Mouvement	Tradition picturale byzantine
Influencé par	Simone Martini, Ambrogio Lorenzetti

Œuvres principales
Polyptyque de l’église Santo Stefano de Sienne¹ – Vierge à l’Enfant, Musée des Offices, Florence

Andrea Vanni ou Andrea di Vanni d’Andrea(Sienne, vers 1332 – vers 1414), est un peintre italien et un enlumineur de l’école siennoise de style byzantin.

Biographie

Andrea Vanni subit l’influence de Simone Martiniet de Ambrogio Lorenzetti et dirige, à Sienne, un atelier, avec Bartolo di Fredi. Il travaille également avec son frère Lippo Vanni.

Comme Martino di Bartolomeo et Gregorio di Cecco, il fait survivre, sans la renouveler, la tradition picturale byzantine.

Comme la plupart des peintres de cette époque, il a occupé des charges publiques de la ville.

Il est surtout connu pour avoir fait partie du groupe des Caterinati, des disciples de sainte Catherine, leur contemporaine².

La fresque peinte dans la Basilique San Domenico vers 1390 représentant la sainte et une dévote, acquiert le statut d’un véritable portrait.

Son chef-d’œuvre est un polyptyque de l’église Santo Stefano de Sienne, aujourd’hui transféré au Baptistère.

Il a peint aussi à Naples avec son frère Lippo³.

Œuvres

Une sainte et une dévote, fresque, Basilique San Domenico de Sienne (~1390)
Cycle de fresques et retables pour les églises de la région de Sienne dont le Dôme de Sienne.
Ascension du Christ (1355-1360), musée de l’Ermitage, Saint-Pétersbourg (préalablement attribuée à Bartolo di Fredi)
Sainte Catherine d’Alexandrie (~1375), prédelle, Lindenau Museum, Altenburg
Saint François
Deux panneaux peints (1340 et 1360) par Lippo et Andrea Vanni, musée Capodimonte de Naples
Vierge à l’Enfant, salle du Trésor, basilique de Mariazell, Salzbourg
Vierge à l’Enfant, Musée des Offices, Florence
Sainte Claire, Pomona College Museum of Art, Claremont, Californie,
Saint Paul, Saint Pierre, Museum of Fine Arts, Boston, États-Unis

Notes et références

↑« Andrea Vanni » [archive](consulté le14 août 2013)
↑Lettre à Maître Andréa Vanni, peintre – Lettre LXIX (213) sur l’administration de la ville
↑drawnbylove [archive]

Giacobbe Giusti, ANDREA VANNI Œuvres

Saint Paul by Vanni.

Andrea Vanni (1332 – c. 1414) was an Italianpainter of the early Renaissance, active mainly in his native Siena.

Biography

Vanni was born in about 1332 in Siena. The first notice of him as a painter comes from 1353 when he was associated with Bartolo di Fredi, though it is uncertain if Vanni was a painter or assistant. His last activities date around 1400 and scholars have put his death to be around 1414 (although no documentary evidence). He was also involved in the foundation of the new government of Siena in 1368 and for twenty years held several different offices, including being elected to Great Council in 1370, Gonfaloniero in 1371, and sent on Envoys to the Pope in 1372 and again in 1384.

Works

Vanni is less known than his contemporaries. He appears influenced by his fellow Sienese Simone Martini and Pietro Lorenzetti. In Siena, only one work by his hand remains: an Enthroned Madonna in the transept of S. Francesco. Prior to 2002, there was also a painting of St. Paul in the Palazzo Pubblico but it was acquired by the Boston Museum of Fine Arts in the form of a gift from Mrs. W. Scott Fitz . Additional works to his credit are a portrait of St. Catherine of Siena (who was rumored to be a relative of his), located in the church of San Domenico to commemorate the life of the saint, and a fragmented Crucifixion which was originally housed in the church of Alborino and is now in the Istituto delle Belle Arti. Around 1400, Vanni painted another portrait of St. Catherine with scenes from the life of St. James in the chapel in San Jacomo Intercisco, but these works have disappeared.

Polyptych of S. Stefano

Vanni’s most famous work is a polyptych in the church of Santo Stefano alla Lizza. It gives the viewer a greater sense of Vanni’s manner. The central panel contains a portrait of the Virgin and Child and apart from the color being striking, there is a “silhouette-like character of the design”. The Madonna is set like a dark pattern against the gold background of her throne. There is almost no attempt at chiaroscuro except around the face and hands which gives the piece a rather flat effect, and is an example of Simone Martini’s influence. The drapery of the Virgin however, is an example of Lorenzetti’s influence. Simple folds and lines along with the Madonna’s stiff upright pose is nothing like the Madonna’s of Martini but the “statelier figures of Lorenzetti”. The facial expression is completely of Vanni’s own. The Madonna has a large round head, narrow eyes and a delicate mouth. Her firm chin completes a set of strong features which are hard to ignore. The Christ Child is said to be modeled after the prototype for Martini’s fresco of the Majestas in the Palazzo della Signoria.

The figures of SS. James and Stephen on the left side panels are clear examples of Vanni’s work. The head of S. Stephen is similar to that of the Virgin and show Vanni’s love for the silhouette. The side figures of saints in the pinnacles of the polyptych show a strong sense of modeling.

Polyptych of San Stefano

Works attributed to Vanni

Another work may possibly be attributed to Vanni; a frescoed figure of St. John the Baptist on the left wall of a parish church in Basciano. There are only fragments of the fresco which survive and it is practically colorless which make it hard to prove authorship. The case for Vanni being the artist includes figure parallels to the S. Francesco fresco and the kneeling St. John on the right-hand panel of the Corcoran triptych. This work would be from Vanni’s late period and painted sometime after 1396 but prior to 1400. Some scholars suggest this fresco belongs to Andrea Gallerani.

Giacobbe Giusti, ANDREA VANNI Œuvres

St. Catherine

References

Bowd, S.D. 2011. « Andrea Vanni. « Fare diligente inquisitione: Gian Pietro Carafa e le origini dei chierici regolari teatini ».RENAISSANCE QUARTERLY. 64 (1): 279-280.

Bryan, Michael (1889). Walter Armstrong and Robert Edmund Graves. ed. Dictionary of Painters and Engravers, Biographical and Critical (Volume II L-Z). York St. #4, Covent Garden, London; Original from Fogg Library, Digitized May 18, 2007: George Bell and Sons. pp. page 586.

Perkins, F. Mason. 1903. « Andrea Vanni ». The Burlington Magazine for Connoisseurs. 2 (6): 309-311.

Pope-Hennessy, John. 1939. « Notes on Andrea Vanni ». The Burlington Magazine for Connoisseurs. 74 (431): 92.

Pope-Hennessy, John. 1943. « A Madonna by Andrea Vanni ». The Burlington Magazine for Connoisseurs. 83 (484): 174-177.

Vanni, Andrea, and Millard Meiss. 1956. « St. John the Evangelist ». Annual Report (Fogg Art Museum). 1955 (1956): 46-47.

https://en.wikipedia.org/wiki/Andrea_Vanni

http://www.giacobbegiusti.com

Giacobbe Giusti, AMBROGIO LORENZETTI: Effects of Good Government in the city

Publié par GIACOBBE GIUSTI le 23 juin 2018

Publié dans: Allegory of Bad Government and Its Effects on Town and Country., ambrogio lorenzetti siene, AMBROGIO LORENZETTI: Effects of Good Government in the city, Ambrogio Lorenzetti (or Ambruogio Laurati) (c. 1290 – 9 June 1348)[1] was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348. He painted The Allegory of Goo, Senza categoria. Tagué : Allegory of Bad Government and Its Effects on Town and Country., ambrogio lorenzetti, AMBROGIO LORENZETTI: Effects of Good Government in the city, Ambrogio Lorenzetti (or Ambruogio Laurati) (c. 1290 – 9 June 1348)[1] was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348. He painted The Allegory of Goo, art, giacobbe giusti, Italy, Siena. Poster un commentaire

Giacobbe Giusti, AMBROGIO LORENZETTI: Effects of Good Government in the city

Ambrogio Lorenzetti (or Ambruogio Laurati) (c. 1290 – 9 June 1348)^[1] was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348. He painted The Allegory of Good and Bad Government in the Sala dei Nove (Salon of Nine or Council Room) in Siena‘s Palazzo Pubblico. His elder brother was the painter Pietro Lorenzetti.

Biography

Lorenzetti was highly influenced by both Byzantine art and classical art forms, and used these to create a unique and individualistic style of painting. His work was exceptionally original. Individuality at this time was unusual due to the influence of patronage on art. Because paintings were often commissioned, individualism in art was infrequently seen. It is known that Lorenzetti engaged in artistic pursuits that were thought to have their origins during the Renaissance, such as experimenting with perspective and physiognomy, and studying classical antiquity.^[2] His body of work clearly shows the innovativeness that subsequent artists chose to emulate.

His work, although more naturalistic, shows the influence of Simone Martini. The earliest dated work of the Sienese painter is a Madonna and Child (1319, Museo Diocesano, San Casciano). His presence was documented in Florence up until 1321. He would return there after spending a number of years in Siena.^[3]

Allegory of bad government, two soldiers robbing a woman

Later he painted The Allegory of Good and Bad Government. The frescoes on the walls of the Room of the Nine (Sala dei Nove) or Room of Peace (Sala della Pace) in Siena‘s Palazzo Pubblico are one of the masterworks of early Renaissance secular painting. The « nine » was the oligarchal assembly of guild and monetary interests that governed the republic. Three walls are painted with frescoes consisting of a large assembly of allegorical figures of virtues in the Allegory of Good Government.^[4] In the other two facing panels, Ambrogio weaves panoramic visions of Effects of Good Government on Town and Country, and Allegory of Bad Government and its Effects on Town and Country (also called « Ill-governed Town and Country »). The better preserved « well-governed town and country » is an unrivaled pictorial encyclopedia of incidents in a peaceful medieval « borgo » and countryside.

The first evidence of the existence of the hourglass can be found in the fresco, Allegory of Bad Government and Its Effects on Town and Country.

Like his brother, he is believed to have died of bubonic plague in 1348.^[5] Giorgio Vasari includes a biography of Lorenzetti in his Lives.

https://en.wikipedia.org/wiki/Ambrogio_Lorenzetti

http://www.giacobbegiusti.com