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321:, which is outside of Florence. According to the legend, Giovanni Gualberto set out to kill the knight who had killed his brother, but when Giovanni confronted the knight, it was Good Friday and the knight was unarmed. Giovanni's enemy then knelt before him and begged for mercy in the name of the Crucified. Guivanni Gualberto proceeded to put down his sword and enter the church with the knight. Through his work, Lorenzo places a halo around Giovanni's head to reveal the moment that the crucifix in the church bowed as a symbol of approval of Giovanni's lack of violence, and the enemies continued to become friends. Lorenzo's depiction of this miracle veers from the traditional legend through the existence of the knight's weapons, which he has laid at his side.
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it is thought that he trained under Gerini in a bottega, and in a way that was not conducive to learning the highest levels of painting. Gerini's work focused more on managing many artists on large projects than on working as a skilled painter. Lorenzo's friend, painter
Spinello Aretino was more influential to Lorenzo's personal artistic development. Lorenzo drew inspiration from Spinello's large-scale frescos and the freedom of imagination in his works. Lorenzo's work was further influenced by
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naturalism. Aspects of the stylization of this painting are characteristic of
Lorenzo's other works, seen through angular figures, large hands, and bright colors. In color, the work features bright colors, with blue, red and yellow tones and a light-green background. The work depicts a popular legend
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because he completed some works with the painter, and
Lorenzo's work is stylistically similar to Gerini's. It is more likely that Lorenzo was simply trained in Gerini's workshop; therefore, many of Lorenzo's early works share similarities with the work of Gerini. Lorenzo's education was limited, as
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periods. Many of
Lorenzo di Niccolò's works focus on his use of decorative patterns, and do not seem to be concerned with the classicizing naturalistic intentions of the majority of Renaissance artists working in 15th century Florence. However, when compared with his contemporary,
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serve as defining models of
Florentine art's transitional period at the beginning of the 15th century and connect the artist to the Florentine art circle and continued to work in a form of the late Gothic style well into the 15th century. This particular circle of
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for Saint
Felicita in Florence. Lorenzo's addition to this altarpiece was limited to the four saints on the left side of the predella. However, in January 1402 Lorenzo was commissioned to paint his own altarpiece of the
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Amore e Virtù: Two
Salvers Depicting Boccaccio's "Comedia delle Ninfe Fiorentine" in the Metropolitan Museum, by Paul F. Watson and Victoria Kirkham, in the Metropolitan Museum Journal, pages 35-50.
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The exact year of
Lorenzo's birth is unknown, but should be approximately 1374, for the first recorded date of his existence is in 1392 when it is documented that Lorenzo and his mentor,
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Lorenzo had a son, Piero, who was trained in painting at the Arte dei Medici e
Speziali in 1422 and became a painter in his own right. At this time, Lorenzo had already died.
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period had technically ended by
Lorenzo's time, this circle of artists continued to work in the style, which bridged the gap between the artistic styles of the
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Seven auction results for sales of Lorenzo's work between January 1998 and October 2016 are a matter of public record through
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Lorenzo di Niccolò, S. Giovanni Gualberto and his enemy before the crucifix in S. Miniato, 58 x 28 in
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615:, a collection catalog containing information about di Niccolo and his works (see pages: 52-56).
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Today Lorenzo's painting for the Medici Chapel is split between its original location and the
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traditions in his work, a style that he learned from Gerini. Lorenzo's works, such as
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Madonna and Child Enthroned with Sts. Christopher, Blaise, Sebastian, and Francis,
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Madonna and Child Enthroned with Sts. Christopher, Blaise, Sebastian, and Francis
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style, marking a transitional period between the Gothic sensibilities of the
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The first surviving work that can be attributed to Lorenzo is a triptych of
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of an 11th-century Florentine nobleman, and was a typical subject for late
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artists. Here San Giovanni Gualberto and his enemy are in the church of
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were attributed to the Studio of Lorenzo di Niccolò by art historians
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S. Giovanni Gualberto and his Enemy Before the Crucifix in S. Miniato
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S. Giovanni Gualberto and his enemy before the Crucifix in S. Miniato
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S. Giovanni Gualberto and his Enemy Before the Crucifix in S. Miniato
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1402, tempera and gold on panel, 81.9 x 102.8 in (208 x 261 cm), San
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http://www.oxfordartonline.com/subscriber/article/grove/art/T051961
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As he matured, Lorenzo's style transformed from one reminiscent of
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In 1401 Lorenzo collaborated with his mentor, Gerini, and friend
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S. Giovanni and his enemy before the crucifix in Saint Miniato,
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S. Bartholomew Enthroned and four Scenes from his Legend
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art through its decorative pattern and denial of modern
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had this altarpiece removed and replaced with a work by
516:. Oxford University Press, accessed February 26, 2017,
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Saint Bartholomew Enthroned, with Scenes from his Life,
277:. The last dated work that is attributed to Lorenzo is
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Madonna Seated on Clouds; Four Saints Standing Below
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St Bartholomew Enthroned, with Scenes from his Life.
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style Florentine artists was centered around artist
65:. Lorenzo's works were usually religious scenes in
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487:Bandera, Sandrina (2003). "Lorenzo di Niccolò".
53:style, and his work maintains influences of the
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254:(c. 1410-1412) is now exhibited in the
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551:Siren, Osvald. "Lorenzo Di Niccolo."
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508:John Richards. "Lorenzo di Niccolò."
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236:Coronation of the Virgin
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185:predella
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331:ArtNet
325:Market
208:Giotto
193:Cosimo
148:Gothic
105:Career
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