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The Nativity of the Virgin is a painting by the Italian late medieval painter Pietro Lorenzetti, dating from around 1335–1342, now housed in the Museo dell'Opera del Duomo of Siena, Italy. History [ edit ]
Birth of the Virgin, 1342. Siena, Museo dell'Opera del Duomo. Lorenzetti's last major work (1342) was a triptych altarpiece, the Birth of the Virgin, commissioned for Siena Cathedral. [30] This painting in tempera on panel, like many Sienese paintings of the time, celebrates the life of the Virgin, the city's patron saint. [31]
Birth of the Virgin Birth of the Virgin tryptich by Lorenzetti This triptych by Pietro Lorenzetti was completed seven years after the same scene that was portrayed on the façade of Santa Maria della Scala. The work was placed originally in the main body of the church where it would be seen by many pilgrims.
These included the Annunciation with St. Margaret and St. Ansanus by Simone Martini and Lippo Memmi, the Nativity of the Virgin by Pietro Lorenzetti (1342, Altar of St. Sabinus), and a Nativity, now disassembled, attributed to Bartolomeo Bulgarini from 1351 (altar of St. Victor).
The Birth of the Virgin (Murillo) C. Nativity of the Virgin (Carpaccio) The Birth of the Virgin (Annibale Carracci) ... Nativity of the Virgin (Pietro Lorenzetti) M.
While the solemn Nativity of the Virgin is inspired by Trecento models, especially a panel by Andrea di Bartolo after a now lost, circa 1335 fresco by the Sienese artists Pietro and Ambrogio Lorenzetti, the realistic Doubt of Saint Joseph, with its depiction of everyday objects full of Christian symbolism, seems to channel Flemish artists. [1 ...
Ambrogio Lorenzetti's Annunciation (c. 1344) ... Domenico Beccafumi's Birth of the Virgin, St. Michael Expelling the Rebel Angels, Coronation of the Virgin, ...
The crowd of saints depicted with the Virgin is a Byzantine artistic tradition, used to indicate an assemblage of witnesses. [11] As such, Lorenzetti's art could be seen as a transition between Byzantine and Renaissance styles of art. Lorenzetti's interest in classical antiquity can be seen in Maestà, particularly in the depiction of Charity. [11]