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Essay / Research Paper Abstract
A 4 page research paper that examines the Enthroned Virgin and Child by Pietro Lorenzetti (1290-1348). The writer discusses the biography and the culture of the Sienese school, of which Lorenzetti was a part, as well as detailed the qualities of this work. Bibliography lists 4 sources.
Page Count:
4 pages (~225 words per page)
File: D0_khplvac.rtf
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Unformatted sample text from the term paper:
was dominated by the stylized Byzantine tradition that was developed by Duccio di Buoninsegna and Simone Martini (Kren and Marx). The city of Siena maintained a "special relationship" with the
Madonna and "elevated her worship to a cult" (Lambirth 64). According to some sources, roughly half the art commissions offered to Sienese artists, such as the Lorenzetti brothers, were for
paintings of the Virgin. This is the cultural idea expressed by Pietro Lorenzettis "Enthroned Virgin and Child" (c. 1320, tempura and tooled gold on panel, 126 x 76 cm., Philadelphia
Museum of Art). Siena, prior to the Black Death, which struck in 1348, was enjoying a period of prosperity (Fleming 155). Unlike its rival city, Florence, where power was
held by the guilds and rich merchants, Siena was a city that was political dominated by the landed aristocracy (Fleming 155). While Florentine art was pulled in a progressive direction,
a factor that made Florence a dynamic center in the Italian Renaissance, Siena was a bastion of tradition (Fleming 155). In Siena, the influence of Byzantine art could clearly be
seen (West 427). In Siena, the "great Duccio" was succeeded, first by Martini and then by the Lorenzetti brothers, who continued the Byzantine traditions that had first been introduced into
Italy through such centers as Ravenna and Venice several centuries earlier (Fleming 155). Despite the fact that Byzantine tradition had been evident in Italian art for this extended period of
time, Fleming offers the assessment tat the Sienese school "poured enough late-Gothic win into the old medicine old medieval wine skins to bring about a brilliant, albeit final, flowering of
Italo-Byzantine painting" (155). Of the two brothers, Pietro was the more traditional (Kren and Marx). His work, such as the Enthroned Virgin and Child, shows "harmony, refinement and detail"
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