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(lōrān-tsĕt`tē), two brothers who were major Sienese painters. Pietro Lorenzetti, c.1280–c.1348, was first influenced by Duccio di Buoninsegna and Giovanni Pisano. His earliest known work, an altarpiece at Arezzo, already shows the impact of Giotto's style in its concern with profound emotion and simple grandeur of form. In Siena he painted, with his brother, several that have been lost. Pietro's altarpiece (1329) for the Church of the Carmelites is now in the Pinacoteca. His last works are the magnificent Birth of the Virgin (c.1342; Opera del Duomo, Siena) and an altarpiece for the Church of St. Francis at Pistoia (now in the Uffizi). Of uncertain date are the imposing frescoes attributed to Pietro in the Lower Church at Assisi—Virgin and Child with St. Francis and scenes from the Passion. Ambrogio Lorenzetti, d. 1348?, was the more inventive brother. Also influenced by Giotto and Giovanni Pisano, he developed great simplicity of style and a remarkable ability to depict spatial depth. Several times he is recorded as having been in Florence. There he painted an altarpiece for the Church of San Procolo, which includes scenes from the life of St. Nicholas. His greatest achievement is the cycle of frescoes (1337–39) in the Palazzo Pubblico, Siena. It consists of allegories of good and bad government and is a revealing portrayal of Italian life in the 14th cent. The paintings are invaluable for their accuracy of depiction. Other works by Ambrogio are three frescoes depicting the Maestà in Siena, Presentation in the Temple (Uffizi), and Annunciation (Siena Pinacoteca). No records of the brothers appear after 1348; they are believed to have perished in the plague.


See study by G. Rowley (2 vol., 1958).

References in periodicals archive ?
Bossu T, Scaramozzino P, Martini E, Lorenzetti R, Brozzi A, De Liberato C.
It is a precious icon and a decorative artifact such as his antecedent Pietro Lorenzetti would have contrived; no pastiche of a distant age, such as Burne-Jones derived from such writers as Tennyson and William Morris.
Marotta F, Chui DH, Lorenzetti A, Liu T, Marandola P.
There is the conspicuous example of Pietro Lorenzetti, who, in a small portable altarpiece dating from before 1320 (private collection), placed the standing saints flanking a scene of the Crucifixion beneath fictive tabernacles--an extension of the ideas he had explored in his frescoes in the lower church of Assisi and an ingenious way of marking off different sacred spaces within a single picture field.
Catania were their own worst enemies as openside flanker Mariano Lorenzetti was sent to the sin-bin after testing referee Peter Allen's patience, his opposite number Johnny Tuamoheloa making him pay as he crashed over after a trademark Worcester catch and drive.
If anything, his painting manifested the vitality and assimilative possibilities of a Tuscan tradition extending back to Giotto and the Lorenzetti brothers.
Elsewhere, some allegories can be considered as political propaganda, such as the series about The Good Effects of Rural Government, created in 1340 by Ambrogio Lorenzetti (168-69).
Once in Italy, "the work of Giotto, Orcagna, Lorenzetti, Taddeo Gaddi, the paintings leading up to and including Masaccio's are what have so far interested me most.
1318), and a lavish fresco cycle (no longer extant), here attributed to Pietro and Ambrogio Lorenzetti in the church whether she was buried, and known from watercolor copies in the Vatican Archive.
Linda Rice Lorenzetti is a freelance writer who lives in Florida and Montana.
ao, headed by Partners and Executive Directors, Flavio Valsani and Gisele Lorenzetti, is a public relations and corporate communications company that has provided a foundation of strategic vision and a focus on trademark protection to its clients for 35 years.
Jacky Lorenzetti, the millionaire owner of Racing, told a news conference on Thursday: "Carter will be the best paid player at Racing but also the least expensive because of the economic benefits.