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Pietro Lorenzetti | National Gallery of Art

https://www.nga.gov/artists/1492-pietro-lorenzetti

The art historical literature generally asserts that the great Sienese painter cited in a document of 1320 as “Petrus quondam Lorenzetti � and who signed himself as “Petrus Laurentii� is to be identified with the Petruccio di Lorenzo paid in 1306 for a panel, now lost, painted for the Sienese government. If that is the case, then his date of birth is unlikely to have been any later than 1280.[1] The prestigious commission presupposes, in fact, that he must have been a well-established artist by this date.
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Puccio di Simone | National Gallery of Art

https://www.nga.gov/artists/5524-puccio-di-simone

The artist, who was enrolled in the Arte dei Medici e Speziali in Florence between 1346 and 1348, must have been an established artist by this time, not only because a document datable between 1348 and 1349 lists him among the best Florentine painters of the day,[1] but also because various paintings identified as his work seem to date to the 1340s or even earlier. Knowledge of Puccio in the art historical literature was confined for a long time to the signed polyptych in the Galleria dell’Accademia in Florence (no.
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Agnolo Gaddi | National Gallery of Art

https://www.nga.gov/artists/1327-agnolo-gaddi

Grandson of the painter Gaddo di Zanobi, and son of Taddeo Gaddi — disciple of Giotto and one of the leading exponents of Florentine painting in the mid-fourteenth century — Agnolo probably was trained in his father’s shop, and by 1369 he must already have emerged as a recognized master in his own right. In that year he received payments together with a group of artists including Giovanni da Milano, Giottino, and his own brother Giovanni (also a painter but one whose works have not survived) for the now lost decoration in the palace of Pope Urban V in the Vatican.[1] His earliest works, including the triptych dated 1375 now in the Galleria Nazionale in Parma and the fresco fragments in the former monastery of San Domenico del Maglio in Florence, executed according to the documents in 1376,[2] are characterized by harsh color and rather crowded compositions;
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Italian Paintings of the Thirteenth and Fourteenth Centuries: Scenes from the Passion of Christ: The Agony in the Garden, the Crucifixion, and the Descent into Limbo [entire triptych], 1380s | National Gallery of Art

https://www.nga.gov/research/publications/italian-paintings-thirteenth-and-fourteenth-centuries-0/italian-paintings-thirteenth-and-fourteenth-centuries-scenes-passion-christ-agony-garden-crucifixion

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Madonna and Child with the Blessing Christ, and Saints Mary Magdalene and Catherine of Alexandria with Angels [entire triptych] by Pietro Lorenzetti

https://www.nga.gov/artworks/206124-madonna-and-child-blessing-christ-and-saints-mary-magdalene-and-catherine-alexandria-angels-entire

Pietro Lorenzetti of Siena painted me in 1340 . This inscription is the signature of the Sienese painter Pietro Lorenzetti , which survives on a fragment of the original frame (now incorporated in a modern support and located beneath the image of Madonna and Child ).
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