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Collection:
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ADJUNCT MODULE A: ITALIAN ART
LocalCollection
ADJUNCT MODULE A: ITALIAN ART
Collection
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Preferred Title:
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Presentation in the Temple
Work_PrefTitle
Presentation in the Temple
Preferred Title
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Image View:
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Detail, Saint Joseph, two attendant women, and Mary
Image_Title
Detail, Saint Joseph, two attendant women, and Mary
Image View
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Creator:
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Ambrogio Lorenzetti (Italian painter, 1285-ca. 1348)
Agent_Display
Ambrogio Lorenzetti (Italian painter, 1285-ca. 1348)
Creator
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Location:
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repository: Galleria degli Uffizi (Florence, Tuscany, Italy) Inv. 1890 no. 8346
Work_Location_Type_D isplay
repository: Galleria degli Uffizi (Florence, Tuscany, Italy) Inv. 1890 no. 8346
Location
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Location Note:
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Piazzale degli Uffizi
Work_LocationNotes
Piazzale degli Uffizi
Location Note
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GPS:
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43.768639 11.255214
GPS
43.768639 11.255214
GPS
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Date:
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1337-1342 (creation)
Work_DateDisplay
1337-1342 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Gothic (Medieval)
Work_StylePeriodDisp lay
Gothic (Medieval)
Style Period
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Work Type 1:
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altarpiece
Work_Worktype1
altarpiece
Work Type 1
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Work Type 2:
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panel painting
Work_Worktype2
panel painting
Work Type 2
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Classification:
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painting
Work_Classification
painting
Classification
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Material:
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tempera paint with gold gilding on wood panel
Work_MaterialDisplay
tempera paint with gold gilding on wood panel
Material
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Technique:
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gilding (technique); painting and painting techniques
Work_Technique
gilding (technique); painting and painting techniques
Technique
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Measurements:
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257 cm (height) x 168 cm (width)
Work_MeasurementDisp lay
257 cm (height) x 168 cm (width)
Measurements
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Description:
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Ambrogio’s signed panel, the Presentation in the Temple (Florence, Uffizi), once the center of the San Crescenzio Altarpiece in Siena Cathedral, was begun in 1337 but not completed until 1342. A 15th-century cathedral inventory states that the central image was flanked by figures of St Crescentius and St Michael the Archangel (now lost). Basing his image of the temple on the architecture of Siena Cathedral, Ambrogio created an architectural interior view of unprecedented complexity and spatial depth. By including inscriptions in his composition, he departed from the conventional treatment of the subject in order to enhance the theological significance of the event depicted. The image makes the Presentation critical in the history of salvation; in this it is unique. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
Ambrogio’s signed panel, the Presentation in the Temple (Florence, Uffizi), once the center of the San Crescenzio Altarpiece in Siena Cathedral, was begun in 1337 but not completed until 1342. A 15th-century cathedral inventory states that the central image was flanked by figures of St Crescentius and St Michael the Archangel (now lost). Basing his image of the temple on the architecture of Siena Cathedral, Ambrogio created an architectural interior view of unprecedented complexity and spatial depth. By including inscriptions in his composition, he departed from the conventional treatment of the subject in order to enhance the theological significance of the event depicted. The image makes the Presentation critical in the history of salvation; in this it is unique. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module A: Italian Art
LocalCollection
Adjunct Module A: Italian Art
Collection
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Identifier:
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7A1-LOREN-UG-PT-A05
Image_OriginalVendor ID
7A1-LOREN-UG-PT-A05
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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