Od svih slika umetnika Пјетро Лоренцети, Madonna Enthroned with Angels (1340) je najpoznatija; nalazi se u muzeju Galerija Ufizi, Firenca. Odmah za njima su The Apostles Saint Andrew and Saint James the Lesser, with a Prophet (1328) i Saint Mary Magdalene, with an Angel [left panel] (1340). Od 83 dela umetnika Пјетро Лоренцети u našem katalogu, ovih 83 su najpoznatija, a svako od njih prikazano je sa datumom nastanka, muzejom i pričom.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano октобар 2026. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu od lana ili kao umetnički print, izrađen u dimenzijama koje sami odaberete.
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) čiji je Пјетро Лоренцети](/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…
To stand before Pietro Lorenzetti’s depiction of The Miracle of the Ice is to step across the threshold of time and into a moment suspended by divine grace.…
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In the delicate, intricate world of the fourteenth-century predella, few scenes capture the gravity of ecclesiastical diplomacy as poignantly as Pietro Lorenzetti’s Predella panel: The Pope Issues a…
![Madonna and Child with the Blessing Christ, and Saints Mary Magdalene and Catherine of Alexandria with Angels [entire triptych] (1340) čiji je Пјетро Лоренцети](/media/artworks/images-thumb/3d/b2/3db2db25071f0fe2d52a1cd83eb9e8ff.jpg)
![Madonna and Child, with the Blessing Christ [middle panel] (1340) čiji je Пјетро Лоренцети](/media/artworks/images-thumb/77/88/7788e6d9fa683a3079c17a71c8d4ef6c.jpg)
In the delicate interplay of light and pigment, Pietro Lorenzetti’s Madonna and Child, with the Blessing Christ invites the viewer into a sacred, intimate moment frozen in time.…
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This magnificent fresco, measuring 188 x 183 cm, offers a profound glimpse into the artistic and spiritual landscape of Siena in 1342. Executed by the masterful Pietro Lorenzetti,…
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Pietro Lorenzetti's 1328 masterpiece, “Madonna with Angels between St Nicholas and Prophet Elijah,” is more than a religious depiction; it’s a profound meditation on faith, humanity, and the…
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The painting "Virgin and Child" by Pietro Lorenzetti is a masterpiece of medieval art, showcasing the artist's skill in capturing the intimate moment between the Virgin Mary and…
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A Glimpse into Medieval Devotion: Pietro Lorenzetti's "View of the South Transept" Step inside a world steeped in faith and artistry with Pietro Lorenzetti’s “View of the South…
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In the quiet corridors of the Lindenau-Museum in Altenburg, Germany, resides a profound testament to the emotional depth of the Trecento period: Pietro Lorenzetti’s Man of Sorrow. Created…
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![Saint Catherine of Alexandria, with an Angel [right panel] čiji je Пјетро Лоренцети](/media/artworks/images-thumb/94/49/944909e210d0e046b6efe42c94e5fb63.jpg)
This tempera on panel, transferred to canvas, presents a solemn figure of Saint Catherine of Alexandria. Positioned within a pointed Gothic arch, the saint is rendered in a…
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The Man of Sorrow is a poignant painting created by the renowned Italian artist Pietro Lorenzetti in 1330. This tempera on panel artwork measures 35 x 26 cm…
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The painting presents a central figure of the Virgin Mary seated and holding the Christ Child against a solid golden background. A red cross motif is visible behind…
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Pietro Lorenzetti's "Adoration of the Magi," painted around 1340, isn’t merely a depiction of a biblical event; it’s a vibrant window into the burgeoning artistic spirit of Proto-Renaissance…
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#2 The Apostles Saint Andrew and Saint James the Lesser, with a Prophet
![Saint Mary Magdalene, with an Angel [left panel] (1340), Пјетро Лоренцети](/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 pojavljuju na ovim platnima, svaka sa svojim najomiljenijim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Пјетро Лоренцети | Slike iz ovog spiska |
|---|---|---|---|
 Pinacoteca Nazionale |
Sijena | 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 |
Kortona | 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 |
Kembriđ | 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 |
 Galerija Ufizi |
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 |
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.…
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…
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…
Madonna Enthroned with Angels (1340), Galerija Ufizi, Firenca. Prate ih The Apostles Saint Andrew and Saint James the Lesser, with a Prophet (1328) i Saint Mary Magdalene, with an Angel [left panel] (1340).
Пјетро Лоренцети, rođen/a 1280, imao/la je 60 godina: Madonna Enthroned with Angels datira iz 1340.
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. Svako platno u gornjem rangiranju sadrži godinu nastanka i naziv muzeja.
U našem katalogu se nalazi 83 dela umetnika Пјетро Лоренцети, datiranih od 1310 do 1345.
Većinom u Pinacoteca Nazionale (Sijena), Museo Diocesano (Kortona) i National Gallery of Art (Washington); gornja lista navodi svaki muzej i njegova platna.
U 1320s, koji obuhvata 19 od 83 dela na ovoj stranici, među njima je i The Apostles Saint Andrew and Saint James the Lesser, with a Prophet.
Najstarije platno ovde je iz Judas hanged (1310) godine; najnovije je iz Enthroned Mary with the Child, Adoring Angels and the Saints Paul, John the Evangelist, John the Baptist and Peter (1345) godine.
Buildings (15), Crucifixion (11) i Virgin mary (9), kroz svih 83 dela na ovoj stranici.
Tempera On Panel, korišćeno u 10 od 83 dela na ovoj stranici.
Proto-renaissance, kao što pokazuju platna na ovoj stranici.
Muzej Pinacoteca Nazionale, Sijena čuva 7 dela sa ove stranice, među kojima su i 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.
Da. Svaku sliku sa ove stranice možete naručiti sa njene posebne stranice kao ručno oslikano ulje na platnu ili kao umetnički print, u veličini koju odaberete.
Pjetro Lorenceti (oko 1280. – 1348.) predstavlja ključnu figuru u sienezskoj umetnosti, označavajući duboki prelaz iz gotičkog formalizma ka buđenju humanističkih ideala ranog renesansnog doba. Rođen u živopisnom kulturnom pejzažu Sijena oko 1280. godine, Lorencetijev umetnički put odvijao se tokom perioda značajnih intelektualnostih i umetničkih transformacija u Toskani. Iako biografski detalji ostaju neuhvatljivi poput senki u sumornom fresku — što je česta sudbina umetnika njegovog doba — naučni konsenzus ukazuje na formativne uticaje Duccia di Buoninsegne, slavnog sienezkog maestra, i Simone Martinija. Refinirani stil ovog drugog duboko je oblikovao Lorencetijevu estetsku senzibilnost, a dokazi sugerišu da je usavršavao svoj zanat uz Martinija, upijajući pedantnu pažnju posvećenu detaljima i ekspresivnu upotrebu boje koja će postati zaštitni znak njegovog zrelog stvaralaštva.
Lorencetijev umetnički stil izdvaja se po izvanrednom prihvatanju trodimenzionalnih prostornih aranžmana, karakteristike koja je nagovestila revolucionarna dostignuća umetnika poput Đota di Bondonea. Za razliku od ravnijih, dekorativnijih tradicija visokog srednjeg veka, Lorenceti je težio da privuče posmatrača u samu srž svetog narativa. Njegova dela često su koristila svetlucave palete, dajući prioritet naturalizmu i prenoseći duboku emocionalnu težinu. Ovaj pristup bio je usredsređen na hvatanje suštine ljudskog iskustva sa izvanrednom preciznošću, odražavajući humanistički duh koji je dobijao zamah širom Evrope. Unosivanjem osećaja opipljive težine i psihološkog prisustva u religioznu ikonografiju, on je premostio jaz između božanskog i zemaljskog.
Širina Lorencetijevog dela otkriva umetnika sposobnog i za intimnu nežnost i za monumentalni grandioznost. Njegove priredbe Bogorodice i Deteta služe kao spokojne meditacije o majčinstvu i božanskoj milosti, koristeći toplu paletu boja kako bi stvorile atmosferu tihe svetosti. U ovim delima, povezanost između Marije i Isusa prikazana je sa mekom, ljudskom intimnošću koja vernike poziva u lični trenutak obožavanja. Nasuprot tome, njegova sposobnost da vlada obimom i dramom očigledna je u mnogo uznemirujućijim temama. Njegove scene Razapnuća i prikazi poput Čoveka patnje nude potresne i visceralne prikaze patnje i žrtve, koristeći oštre kontraste i emotivne gestove kako bi pokrenuli dušu posmatrača.
Pored pojedinačnih figura, Lorenceti se isticao u složenim narativnim kompozicijama koje su koristile arhitektonsku dubinu za pripovedanje teoloških priča. Njegova Kunjacija magova je kvintesencijsko remek-delo proto-renesansnog doba, prikazujući živopisnu scenu biblijske pobožnosti ispunjenu zadivljujućim detaljima i bogatim, dragocenim bojama. Nadalje, njegovi monumentalni fresci, poput Svetog Sud, snažno komuniciraju složene teološke koncepte kroz dramatično vizuelno pripovedanje, koristeći prostranstvo medija kako bi preplavili i inspirisali posmatrača veličinom božanske pravde.
Istorijski značaj Pjetra Lorencetija ne može se preuveličati. On nije bio samo naslednik sienezkih majstora, već i predvodnik renesansne revolucije. Njegovo pedantno posmatranje prirode, u kombinaciji sa evoluirajućim razumevanjem ljudskih emocija i prostorne dubine, učinilo ga je kamenom temeljcem sienezkog umetničkog nasleđa. Njegov uticaj se protezao daleko izvan zidina Sijena, inspirišući buduće generacije umetnika da teže prirodnijem i psihološki složenijem predstavljanju sveta.
Kroz njegov rad, svedočimo sledećim trajnim doprinosima istoriji umetnosti:
