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(ōrkä`nyä) or


(ärkä`nyōlō), c.1308–1368, Florentine painter, sculptor, and architect, whose original name was Andrea di Cione. He was one of the leading artists of his day. According to Vasari, writing more than 200 years later, Orcagna studied sculpture under Andrea Pisano. In 1343 he enrolled in St. Luke's Guild as a painter. The only extant authenticated painting is his famous altarpiece in the Strozzi Chapel of Santa Maria Novella, Florence. It represents The Redeemer with the Madonna and Saints (1537). In his painting he reverted from a more naturalistic style to the Byzantine remote and monumental figural type. He usually worked in collaboration with his brothers Nardo, Jacopo, and Matteo di Cione. They were all strongly influenced by the naturalism of Giotto. Fragments of the Prophets by Orcagna and his assistants have come to light in Santa Maria Novella, as well as portions of his Triumph of Death, Last Judgment, and Hell in the Church of Santa Croce (1530s). In 1355 he was appointed chief architect of Orsanmichele in Florence, for which he executed an elaborate marble tabernacle depicting The Death and Assumption of the Virgin. In 1359 he became chief architect of the cathedral at Orvieto and designed a mosaic for the facade.
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



(Andrea di Cione). First mentioned in 1343 or 1344; died 1368 in Florence. Italian painter, sculptor, and architect. Representative of the Florentine school of the trecento.

Orcagna participated in building the cathedral of Orvieto from 1359 to 1362 and the cathedral of Florence in 1357 and from 1365 to 1367. In his sculpture and painting, which are strongly influenced by Giotto and Andrea Pisano, plastic clarity of representation is combined with Gothic features of refined ornamentation and enamel-like coloring. Examples are the surviving fragment of the fresco Triumph of Death in the church of Santa Croce in Florence (c. 1350) and the altarpiece in the Strozzi Chapel of Santa Maria Novella in Florence (1354–57).

The di Cione family included Orcagna’s brothers, the painters Nardo (died 1365 or 1366 in Florence) and Jacopo (mentioned between 1365 and 1398).


Gronau, H. D. Andrea Orcagna und Nardo di Cione. Berlin, 1937.
Boskovits, M. “Orcagna in 1357 and in Other Times.” The Burlington Magazine, 1971, vol. 113, no. 818, pp. 239–51.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.


Andrea , original name Andrea di Cione. ?1308--68, Florentine painter, sculptor, and architect
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
References in periodicals archive ?
In 1842 the Farnese tomb was still in place: see Fantozzi, 1974, 334-35: "Above this door [opening to the Campanile] on the interior was erected by the order of the Comune that funerary monument that one sees in memory of its brave Captain Misser Pietro Farnese by the sculptor Jacopo Orcagna" ("Sopra di questa [porta del Campanile] dalla parte interna, fu eretto per ordine del Comune quel monumento sepolcrale che vi si vede alla memoria del suo valorosa Capitano M.
He published many of my books of photographs of sculpture, including those on Michelangelo, Bernini, Orcagna, Henry Moore, and Marino Marini.
#A three-night break in Florence at the two-star Orcagna Hotel costs from pounds 128, flying from Prestwick on June 3.
260) and many verbal echoes of her poem, such as the civil guard shooting at the sky, the mention of the stone of Dante and Orcagna (11.
(2) The alla burchia technique, often associated with anti-academic parody, was far more systematically used by Mariotto di Nardo di Cione Orcagna (d.
But the Musee Guimet gets a long, excited paragraph in which Moore singles out an Indian figure as "one of the finest pieces of sculpture I've ever seen?' 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." On the other hand, "[o]f great sculpture I've seen very little--Giotto's painting is the finest sculpture I met in Italy--what I know of Indian, Egyptian and Mexican sculpture completely overshadows Renaissance sculpture." About the only exceptions are late Michelangelo and Donatello.
In the Madonna (Stalybridge) from the School of Orcagna's brother, Jacopo di Cione, a plump infant Jesus, adorned with a teething coral and a crucifix either anachronistic or ominous, responds to the wild blonde adoration of the attendant angels by stroking His mother's cheek.
In Orcagna, which Boiardo locates within the boundaries of ancient Persia, Marchino's wife seems to share this sentiment.
Making art is perhaps the closest we can come to acknowledging our frustrations in a ceremonial fashion, and though the distance is astronomical between the Strozzi Altarpiece by Orcagna, the greatest artist of the age, and AIDS Timeline by the collaborative Group Material, the impulses of the two works are almost parallel.
3), the most spacious room in the gallery, pairs grand polyptychs--both in superb condition--on opposite walls: one centred on St Paul (circle of Andrea Orcagna), the other a Lorenzo di Niccolo altarpiece of the Madonna and Child Enthroned, one of several works to have been cleaned and restored for the reopening.
The famous Or San Michele Tabernacle in Florence, commissioned to Andrea Orcagna in 1352, correctly has been compared to the Roman shrines insofar as it houses a sacred object: not the effects or remains of a saint, but Bernardo Daddi's miracle-working image of the Madonna and Child that is visible through the broad arched opening on each of three sides of the shrine.
[50] Giotto's Campanile project foresaw a huge central octagon surrounded by high pinnacles at the corners, an arrangement paralleled in the superstructure of Orcagna's Orsanmichele tabernacle, whose central ribbed cupola has in fact been seen to reflect or foreshadow the Duomo project (fig.