Of all Orcagna's paintings, Saint John the Baptist (1355) is the most famous; it hangs in the იეილის უნივერსიტეტის სახელოვნებო გალერეა, ნიუ ჰეივენი. Close behind come The Calling of St. Matthew (1367) and Throne of Grace (1400). Among the 13 works by Orcagna in our catalogue, these 13 are the most celebrated, each shown with its date, its museum and its story.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated ოქტომბერი 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.
Triangle with Mary and child and saints. On the middle panel is Mary with the child of Christ sitting on the left knee, on both sides a kneeling…
Have it painted by hand →The four subjects that return most often on these canvases, each with its best-loved example.
The 5 museums that hold the most of the paintings on this page.
| Museum | City | Works by Orcagna | Paintings from this list |
|---|---|---|---|
| ფლორენცია | 2 | View of the Chapel, The Strozzi Altarpiece | |
| ნიუ ჰეივენი | 1 | Saint John the Baptist | |
| ვარშავა | 1 | Throne of Grace | |
| ფლორენცია | 1 | The Expulsion of the Duke of Athens | |
| ამსტერდამი | 1 | Triptych with the Virgin and Child, and Saints Mary Magdalene and Ansanus, Andrea di Cione named Orcagna, 1350 |
Saint John the Baptist (1355), იეილის უნივერსიტეტის სახელოვნებო გალერეა, ნიუ ჰეივენი. The Calling of St. Matthew (1367) and Throne of Grace (1400) follow.
Orcagna, born in 1315, was 40 years old: Saint John the Baptist dates from 1355.
Saint John the Baptist, The Calling of St. Matthew, Throne of Grace, The Burial of the Virgin, Tabernacle (detail), Tabernacle, Dormition and Assumption of the Virgin, detail of the Tabernacle, View of the Chapel, Hell (fragment) and The Expulsion of the Duke of Athens. Each canvas in the ranking above comes with its year and its museum.
13 works by Orcagna are in our catalogue, dated 1343 to 1367.
Mostly in Cappella Strozzi (ფლორენცია), იეილის უნივერსიტეტის სახელოვნებო გალერეა (ნიუ ჰეივენი) and National Museum in Warsaw (ვარშავა); the list above names each museum and its canvases.
In 1350s, which gave 8 of the 13 works on this page, Saint John the Baptist among them.
The earliest canvas here is The Expulsion of the Duke of Athens (1343); the latest is The Calling of St. Matthew (1367).
The Cappella Strozzi, ფლორენცია holds 2 of the works on this page, among them View of the Chapel and The Strozzi Altarpiece.
Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.
The name Orcagna—a moniker bestowed upon him by local artisans—encompasses a remarkable figure in the history of Italian art: Andrea di Cione, a painter, sculptor, architect, and master craftsman who dominated the artistic landscape of Florence during the latter half of the 14th century. Born around 1308 within the bustling heart of the city, Orcagna’s life was inextricably linked to its burgeoning wealth, political intrigue, and fervent religious devotion—elements that profoundly shaped his distinctive style and enduring legacy. His story isn't one of solitary genius, but rather a testament to collaborative artistry, meticulous planning, and an unwavering commitment to both technical mastery and expressive power.
Orcagna’s early life remains shrouded in some mystery, though it is believed he apprenticed under the renowned sculptor Andrea Pisano. This formative experience instilled within him a deep appreciation for classical forms and a sophisticated understanding of three-dimensional space—qualities that would later manifest in his monumental marble tabernacle for Orsanmichele. However, Orcagna’s artistic trajectory quickly diverged from his master's, developing a distinctly Florentine style characterized by dramatic figures, vibrant colors, and an innovative approach to composition. He was formally admitted into the painter’s guild in 1343-44 and later joined the stonemasons’ guild in 1352, demonstrating his versatility and ambition across multiple artistic disciplines.
Orcagna's most celebrated achievement undoubtedly lies in his contribution to the magnificent façade of the cathedral in Orvieto. Commissioned in 1358, this project demanded a level of technical skill and artistic vision that pushed Orcagna to the very limits of his abilities. He oversaw the creation of an extensive mosaic decoration, including a breathtaking rose window—a masterpiece of Byzantine-inspired design that exemplifies the lavishness and spiritual intensity characteristic of the period. The mosaics themselves are characterized by their rich palette, intricate detailing, and powerful emotional impact, reflecting Orcagna’s mastery of color theory and his ability to imbue religious subjects with palpable drama.
The scale of this undertaking was immense, requiring meticulous planning and coordination. Orcagna's role extended beyond mere execution; he served as a consultant, guiding the work of numerous skilled artisans and ensuring that every element harmonized within the overall design. The Orvieto mosaics stand as a testament to his organizational prowess and his ability to synthesize diverse artistic talents into a cohesive whole.
Perhaps Orcagna's most enduring legacy resides in the monumental marble tabernacle he designed and oversaw for the Orsanmichele, a former confraternity hall now serving as a public art gallery. Completed between 1352 and 1359, this architectural marvel is a complex and ambitious undertaking that showcases Orcagna’s exceptional skill as an architect and sculptor. The tabernacle's intricate façade is adorned with a multitude of sculpted figures—a veritable encyclopedia of biblical narratives, allegorical symbols, and classical motifs. Each figure is rendered with remarkable detail and expressive power, reflecting Orcagna’s deep understanding of human anatomy and his ability to convey complex emotions through gesture and expression.
The tabernacle's design incorporates a sophisticated system of arches, vaults, and niches, creating a dynamic interplay of light and shadow. The use of color—particularly the vibrant hues of the inlaid marble—further enhances its visual impact. Orcagna’s work on Orsanmichele demonstrates his mastery of both architectural form and sculptural technique, solidifying his reputation as one of Florence's most accomplished artists.
Orcagna’s influence extended far beyond the immediate commissions he undertook. His innovative approach to composition—characterized by dynamic figures, dramatic lighting, and a heightened sense of realism—helped to shape the course of Florentine painting in the late 14th century. He bridged the gap between the Gothic traditions inherited from his predecessors and the emerging Renaissance style, paving the way for future generations of artists. His work served as an inspiration to many of Florence’s leading painters, including Jacopo di Cione, his brother, who continued Orcagna's artistic legacy after his death in 1368.
Orcagna’s untimely death at the age of sixty is a poignant reminder of the fragility of life and the immense loss suffered by the Florentine art world. Despite his relatively short career, he left behind a remarkable body of work that continues to captivate audiences today—a testament to his extraordinary talent, unwavering dedication, and enduring vision.