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496:, which was unusual in contemporary Sienese art. In the painting, the Virgin gazes at her child with intense emotion as he grasps her dress, returning her gaze. By personalizing the Virgin Mary in this way, Lorenzetti has made her seem more human, thus creating a profound psychological effect on the viewer. This highlights the increasing secularity in
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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
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at this time, of which
Lorenzetti was a leading proponent, through the uniqueness of his painting style. The crowd of saints depicted with the Virgin is a Byzantine artistic tradition, used to indicate an assemblage of witnesses. As such, Lorenzetti's art could be seen as a transition between
437:. This fresco is particularly well known for its realistic sense of depth within an architectural environment, due to Lorenzetti's compellingly rendered three-dimensional space. Moreover, his figures are positioned in a very natural and familiar manner, introducing an awareness of
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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
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is noted for its frontality, which is a typical characteristic of
Byzantine art. The Madonna faces the viewer, as the Child gazes up at her. Though not as emotionally intense as subsequent Madonnas, in Lorenzetti's
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394:, or could indicate Lorenzetti's evolution of style. But, even in this early work, there is evidence of Lorenzetti's talent for conveying the monumentality of figures, without the application of
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264:(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 "
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receiving the news from the Angel about the coming of baby Jesus, contains one of the first uses of clear linear perspective. Though it is not perfect, and the
449:'s face during the king's witness to his son's rejection of material goods and power. Such attention to detail possibly indicates an intellectual curiosity.
1295:
1050:
Polzer, Joseph (2002). "Ambrogio
Lorenzetti's 'War and Peace' Murals Revisited: Contributions to the Meaning of the 'Good Government Allegory'".
1110:
Rubinstein, Nicolai (1958). "Political Ideas in Siense Art: The
Frescoes by Ambrogio Lorenzetti and Taddeo di Bartolo in the Palazzo Pubblico".
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wrote of
Lorenzetti's intellectual abilities, saying that his manners were "more those of a gentleman and philosopher than those of an artist".
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and physiognomy, and studying classical antiquity. His body of work clearly shows the innovativeness that subsequent artists chose to emulate.
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mentions
Lorenzetti's interest in an antique statue uncovered during an excavation in Siena at the time, attributed to the Greek sculptor,
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belies a subtle level of emotion as she confronts the viewer. This difference could be attributed to the patron's stylistic wishes for
1240:
998:
Greenstein, Jack M. (1988). "The Vision of Peace: Meaning and
Representation in Ambrogio Lorenzetti's Sala Della Pace Cityscapes".
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Norman, Diana (1997). "Pisa, Siena, and the
Maremma: a neglected aspect of Ambrogio Lorenzetti's paintings in the Sala dei Nove".
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846:——— (1967). "The Medieval Commune and Internal Violence: Police Power and Public Safety in Siena, 1287-1355".
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Skinner, Quentin (1989). "Ambrogio
Lorenzetti: The Artist as Political Philosopher". In Belting, Hans; Blume, Dieter (eds.).
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The Frescoes in Siena's Palazzo Pubblico, 1289-1539: Studies in Imagery and Relations to other Communal Palaces in Tuscany
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326:
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Prazniak, Roxann (2010). "Siena on the Silk Roads: Ambrogio Lorenzetti and the Mongol Global Century, 1250–1350".
758:"The Christchild as Devotional Image in Medieval Italian Sculpture: A Contribution to Ambrogio Lorenzetti Studies"
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seen. It is known that Lorenzetti engaged in artistic pursuits that were thought to have their origins during the
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that is traditional for the time renders a flat feeling, the diagonals created on the floor do create depth.
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898:"War and Peace: the description of Ambrogio Lorenzetti's Frescoes in Saint Bernardino's 1425 Siena Sermons"
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to depict spatial depth. Ambrogio instead used color and patterns to move the figures forward, as seen in
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Feldges-Henning, Uta (1972). "The Pictorial Programme of the Sala della Pace: A New Interpretation".
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Arch 343: Cities in History - Lecture 10: The Uses of Decorum - Lorenzetti's Good and Bad Government
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Bowsky, William M. (1962). "The Buon Governo of Siena (1287-1355): A Mediaeval Italian Oligarchy".
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689:: "... 9. ag. 1348, quando, durante la pestilenza che infuriò in tutta Europa, fece testamento."
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480:, indicating an interest in literature. Additionally, this might point to the beginnings of
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Starn, Randolph (1987). "The Republican Regime of the "Room of Peace" in Siena, 1338-40".
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Diana Norman, " 'Little Desire for Glory': the Case of Ambrogio and Pietro Lorenzetti",
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S. Maureen Burke, "The Martyrdom of the Franciscans by Ambrogio Lorenzetti",
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up until 1321. He would return there after spending a number of years in
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445:. This fresco also shows his talent for depicting emotion, as we see on
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628:. Barnes & Noble, Inc., 2006. Page 34, Retrieved November 25, 2006.
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Malerei und Stadtkultur in der Dantezeit: die Argumentation der Bilder
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A Distant City; Images of Urban Experience in the Medieval World
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Lives of the Most Excellent, Painters, Sculptors and Architects
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of literature at this time, a precursor to humanist ideas. In
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Allegory of Bad Government and Its Effects on Town and Country
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Allegory of Bad Government and its Effects on Town and Country
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His work, although more naturalistic, shows the influence of
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157:. He was active from approximately 1317 to 1348. He painted
964:. Florence, Italy: Scala, Istituto Fotografico Editoriale.
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A Medieval Italian Commune; Siena Under The Nine, 1287-1355
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in the Sala dei Nove (Salon of Nine or Council Room) in
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painted with his brother, Pietro Lorenzetti, for Saint
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Ambrogio Lorenzetti at Panopticon Virtual Art Gallery
235:. The frescoes on the walls of the Room of the Nine (
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in 1348, having made his will on the 9th of August.
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1216:Ambrogio Lorenzetti; The Palazzo Pubblico, Siena
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1112:Journal of the Warburg and Courtauld Institutes
925:Journal of the Warburg and Courtauld Institutes
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715:, (New Haven: Yale University Press, 1999), 41.
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576:Key Figures in Medieval Europe: An Encyclopedia
546:Frank N Magill; Alison Aves (1 November 1998).
1151:(in German). Munich: Hirmer. pp. 85–103.
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258:Effects of Good Government on Town and Country
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881:. Berkeley: University of California Press.
271:The first evidence of the existence of the
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171:. His elder brother was the painter
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476:. Allegorical elements reference
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143:[amˈbrɔːdʒolorenˈtsetti]
896:Debby, Nirit Ben-Aryeh (2001).
756:Schlegel, Ursula (March 1970).
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700:Zeitschrift für Kunstgeschichte
1218:. New York: George Braziller.
1214:——— (1994).
1166:Southard, Edna Carter (1979).
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647:. Retrieved October 7, 2013.
552:. Routledge. pp. 595–.
429:. It was one in a series of
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624:Casu, Franchi, Franci.
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