Many artists have painted, photographed, and drawn nature’s magnificent sculptures.
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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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Saints played a very important role in the popular piety of the late Middle Ages. They were considered to be not only patrons and protectors against all manner of ills, but also mediators between the individual worshiper and God.
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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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Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
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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Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
In this panel Bosch shows us the last moments in the life of a miser, just before his eternal fate is decided. A little monster peeping out from under the bed–curtains tempts the miser with a bag of gold, while an angel kneeling at the right encourages him to acknowledge the crucifix in the window.
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The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This triptych was painted by two artists:
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