The younger Lorenzetti, Ambrogio, is represented by three masterpieces.
In the second room there is a noble collection of paintings by the Lorenzetti.
The study of nature came in very slowly, and painting was not positive in statement until the time of Giotto and Lorenzetti.
The Lorenzetti alone soared high above the Sienese mannerism into a region of masculine imaginative art.
The larger figure, I am disposed finally to think, represents civic power, as in Lorenzetti's fresco at Siena.
Therefore Giotto, who represented the Florentine genius in the fourteenth century, set his stamp upon the Lorenzetti.
Poetry forced Castellani to decide where Solomon should go; Lorenzetti left it vague.
This might be used as an argument against the Lorenzetti hypothesis; for their work at Siena is eminently beautiful.
He was behind Giotto and Lorenzetti in power and in imagination, and behind Orcagna as a painter.
Raphael is buried beneath the base of the statue called la Madonna del Sasso, sculptured by Lorenzetti.