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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.



(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.


Andrea , original name Andrea di Cione. ?1308--68, Florentine painter, sculptor, and architect
References in periodicals archive ?
Likewise, the "hated house" of Habsburg-Lorraine which reigns in Tuscany will be replaced not by another dynasty but by Orcagna, an artist (11.
Although practised more systematically by Orcagna, strictly literary parody, addressing a wide range of academic targets such as (I) lofty lyric poetry in the Petrarchan tradition, (2) allegorical narrative poetry of a Dantean type, and (3) scientific and didactic poetry, is also found in Burchiello's corpus and in our collection.
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The Taddeo Gaddis among us, in walking through the exhibits of the fourth floor, may feel that we too are witnessing some terrible degeneration, and that between those of our Second Floor Artists who might be the living counterparts of Giotto or Cimabue, Bernardo Daddi or Buffalmacco, and those who are the living counterparts of Orcagna or Nardo di Cione, a loss of artistic power has taken place.
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.
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