Agnolo Bronzino

Agnolo Gaddi

Ambrogio Lorenzetti

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Andrea di Bartolo

Andrea Mantegna

Antonello da Messina

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Bartolo di Fredi

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Bernard Berenson

Bernardo Daddi

Bianca Cappello

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Bonaventura Berlinghieri

Buonamico Buffalmacco

Byzantine art

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masaccio

masolino da panicale

master of monteoliveto

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master of the osservanza

matteo di giovanni

memmo di filippuccio

neroccio di bartolomeo

niccolo di segna

paolo di giovanni fei

paolo ucello

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piero della francesca

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pietro aldi

pietro lorenzetti

pinturicchio

pontormo

sandro botticelli

sano di pietro

sassetta

simone martini

spinello aretino


taddeo di bartolo

taddeo gaddi

ugolino di nerio

vecchietta

 

             
 
Pietro di Giovanni d'Ambrogio (1410–1449), Adoration of the Shepherds between Saints Augustin and Galgano, tempera on panel	(1440 - 1449), 219 mm x 215,50 mm, sala Palazzo Corboli, Civic Archeological and Sacred Art Museum, Asciano



Pietro di Giovanni d'Ambrogio (1410–1449), Adoration of the Shepherds between Saints Augustin and Galgano, tempera on panel (1440 - 1449), 219 mm x 215,50 mm, sala Palazzo Corboli, Civic Archeological and Sacred Art Museum, Asciano [1]

 

Travel guide for Tuscany
       
   

Pietro di Giovanni D'Ambrogio


   
   

Pietro di Giovanni D'Ambrogio (fl.1410-1449) was an Italian painter of the Sienese school.

He was apparently born in Siena and may have studied with Stefano di Giovanni, known as "Il Sassetta". In 1428, he became a member of the Painter's Guild. Most of his surviving pieces date from the 1430s and 1440s. The first major work that is still extant is an altarpiece depicting the Adoration of the shepherds with Saint Augustine and Saint Galgano, which dates from between 1430 and 1435 and may have been based on earlier works by Ambrogio Lorenzetti or Bartolomeo Bulgarini. Some of his works were also once attributed to Il Sassetta.

Documents from 1440 indicate that he received payment for some works done in the Città di Castello, but the nature of those works is not mentioned. That same year, he worked on frescoes at the Hospital of Santa Maria della Scala (now a museum), but these have been destroyed.

In 1444, following the death of the Franciscan priest, Bernardino (who would later become a saint), he painted a portrait of him based on his death mask, for the Basilica dell'Osservanza, which is now preserved at the Pinacoteca Nazionale. Some art historians have seen the influence of Masaccio in a set of panels from a predella, now divided between the Brooklyn Museum and the Lindenau Museum.

In 1446, he painted the Crucifixion mural at the Siena City hall (Palazzo Pubblico) and two years later, completed another depiction of Saint Bernardino in Lucignano. He may have also participated in painting the cloister at the Monastery of the Holy Saviour in Lecceto. He and Vecchietta worked on ? pair of reliquary shutters at Siena Cathedral; now in the Pinacoteca. Numerous small works from the late 1440s have been attributed to him.

In addition to his artwork, he also provided miniatures and illustrations for various books; notably the Tractatus de Principatu (1446), now in the Biblioteca Trivulziana [it], and an Antiphonary, which is held by the Free Library of Philadelphia.

 

   
   

 

 
Pietro di giovanni d'ambrogio, adorazione dei pastori tra i ss. galgano e agostino, da. agostino, 06

Pietro di Giovanni d'Ambrogio (1410–1449), Adoration of the Shepherds between Saints Augustin and Galgano (detail), sala Palazzo Corboli, Civic Archeological and Sacred Art Museum, Asciano [2]

 

Pietro di Giovanni d'Ambrogio was capable of refinement and sophistication, but in his large Adoration of the Shepherds he adopts a rustic idiom. The bright button-eyed child so cosily wrapped in his swaddling-cylinder looks out under the kindly gaze of the beasts, the ox's horn companionably placed behind the ass's ear. The nocturnal panorama extending beyond the creche, leading across chessboard fields to a dark lake and dominated by the great owl perched on the roof, is among the most astounding landscapes in all Italian painting.


Pietro di Giovanni d'Ambrogio, Adoration of the Shepherds between Saints Augustin and Galgano (detail of the angels and owl in front of a magnificent landscape) Pietro di Giovanni d'Ambrogio, Adoration of the Shepherds between Saints Augustin and Galgano (detail) Pietro di Giovanni d'Ambrogio, Adoration of the Shepherds between Saints Augustin and Galgano (detail) Pietro di Giovanni d'Ambrogio, Adoration of the Shepherds between Saints Augustin and Galgano (detail)

Pietro di Giovanni d'Ambrogio, Adoration of the Shepherds between Saints Augustin and Galgano (details), Sacred Art Museum, Asciano [2]

 

 

 

 

Pietro di Giovanni d'Ambrogio | Selection of works

 

 

 

 

Pietro di Giovanni d'Ambrogio. St. Catherine in Glory. 1440-45 Musee Jackemart-Andree, Paris..jpg

Pietro di Giovanni d'Ambrogio, St. Catherine in Glory, 1440-45, Musee Jackemart-Andree, Paris.

 

 

 

 
Pietro di Giovanni d'Ambrogio, Madonna col Bambino e Santi, 1444-49, Castello di Gallico (Siena), collezione Salini

Pietro di Giovanni d'Ambrogio, Triptych, Madonna col Bambino e Santi, 1444-49, tempera on panel, Salini Collection, Castello di Gallico, Asciano (Siena)

 

The central panel depicts the Virgin and Child between Sts Anthony Abbot, John the Baptist, Bernardino of Siena, and Bartholomew, above the Crucifixion. The left wing shows Sts Catherine of Alexandria and Mary Magdalen, while the right wing contains Sts Peter and Paul. Above the side wings are the images of the Annunciation.

 

 

 

 

Pietro Di Giovanni D'Ambrogio - The Virgin Mary - WGA17725.jpg

Pietro di Giovanni d'Ambrogio, The Virgin Mary, tempera on wood, 47 x 30 cm, Christian Museum, Esztergom

 

The Madonna is rarely shown without her Child, but such representation do occur occasionally. In this painting it is supposed that the original composition was larger and possibly included the figure of the infant Jesus.

 

 
 
 
 
   


[1] Quest'opera è nel pubblico domini.
[2] Quest'opera è nel pubblico domini. Fonte: ngH7vvFp059kUg at Google Cultural Institute maximum zoom level

 

  • C. Volpe (ed.) Il Gotico a Siena: miniature, pitture, oreficerie, oggetti d'arte (exhibition catalog, Palazzo Pubblico), Centro Di, 1982 ISBN 978-88-7038-058-3
  • Giulietta Chelazzi Dini, et al., Five Centuries of Sienese Painting: From Duccio to the Birth of the Baroque, Thames and Hudson, 1998 ISBN 978-0-500-23756-4
  • Max Seidel (ed.), Da Jacopo della Quercia a Donatello. Le arti a Siena nel primo Rinascimento, (exhibition catalog), Federico Motta Editore, 2010 ISBN 978-88-7179-602-4


This article incorporates material from the Wikipedia article Pietro di Giovanni D'Ambrogio published under the GNU Free Documentation License.

         
Surroundings of Podere Santa Pia


Podere Santa Pia is situated in the unspoiled valley of the Ombrone River, only 21 kilometres from Montalcino. This valley is famous locally as being of great natural beauty and still very undeveloped.