Ambrogio Lorenzetti is considered one of the most important painters of the 14th century - and yet he is known to very few people. Little is known about the artist's life. It is certain that he was born in Siena in 1290 and, together with his brother Pietro Lorenzetti, belonged to an Italian painting movement, the so-called School of Siena. Although the conservative style of this artistic movement sought to continue the traditional Byzantine art, Lorenzetti strove for artistic change. His intensive study of compositional perspective representations, his vision of a more naturalistic depiction of faces and figures, and his enthusiasm for classical antiquity enabled him to create extraordinary works that were far ahead of their time. He combined conventional traditionalism with innovative subjects in an original style - and thus advanced to become an important representative of the pre-renaissance period.
As was usual for artists of the Trecento, Lorenzetti was well acquainted with religious motifs, which he presented in a series of altarpieces. His particular interest, however, was in narrative subjects that had their origins in the distinct political debating culture of the Italian pre-Renaissance. Lorenzetti, who was also known as an intellectual and engaged in lively discussions with famous philosophers such as Thomas Aquinas or Marsilius of Padua, made possibly the most significant contribution to the political discourse of the time with the fresco cycle "Allegory and Effects of Good and Bad Government". The allegorical representation uses moralistic scenes to refer to the social and societal consequences of political governments. Since the artists of the Proto-Renaissance were mainly concerned with religious themes, the depiction of a political subject was an artistic novelty of the period.
Ambrogio Lorenzetti regrettably did not receive the art historical attention and recognition he deserved. The reason: unfortunately, very few of his works have survived. Some frescoes and paintings could be restored to their original condition through extensive restoration work; the majority, however, was so badly damaged that in some cases only individual fragments could be recovered. There is no doubt that Lorenzetti was an artistic and philosophical visionary who, through his innovations in painting and his participation in intellectual and political debates, is today regarded as a pioneer of the Renaissance. It can be assumed that Lorenzetti and his entire family fell victim to the then rampant plague epidemic.
Ambrogio Lorenzetti is considered one of the most important painters of the 14th century - and yet he is known to very few people. Little is known about the artist's life. It is certain that he was born in Siena in 1290 and, together with his brother Pietro Lorenzetti, belonged to an Italian painting movement, the so-called School of Siena. Although the conservative style of this artistic movement sought to continue the traditional Byzantine art, Lorenzetti strove for artistic change. His intensive study of compositional perspective representations, his vision of a more naturalistic depiction of faces and figures, and his enthusiasm for classical antiquity enabled him to create extraordinary works that were far ahead of their time. He combined conventional traditionalism with innovative subjects in an original style - and thus advanced to become an important representative of the pre-renaissance period.
As was usual for artists of the Trecento, Lorenzetti was well acquainted with religious motifs, which he presented in a series of altarpieces. His particular interest, however, was in narrative subjects that had their origins in the distinct political debating culture of the Italian pre-Renaissance. Lorenzetti, who was also known as an intellectual and engaged in lively discussions with famous philosophers such as Thomas Aquinas or Marsilius of Padua, made possibly the most significant contribution to the political discourse of the time with the fresco cycle "Allegory and Effects of Good and Bad Government". The allegorical representation uses moralistic scenes to refer to the social and societal consequences of political governments. Since the artists of the Proto-Renaissance were mainly concerned with religious themes, the depiction of a political subject was an artistic novelty of the period.
Ambrogio Lorenzetti regrettably did not receive the art historical attention and recognition he deserved. The reason: unfortunately, very few of his works have survived. Some frescoes and paintings could be restored to their original condition through extensive restoration work; the majority, however, was so badly damaged that in some cases only individual fragments could be recovered. There is no doubt that Lorenzetti was an artistic and philosophical visionary who, through his innovations in painting and his participation in intellectual and political debates, is today regarded as a pioneer of the Renaissance. It can be assumed that Lorenzetti and his entire family fell victim to the then rampant plague epidemic.
Page 1 / 2