Lorenzo di Niccolò orLorenzo di Niccolò di Martino was an Italian painter who was active inFlorence from 1391 to 1412. This earlyRenaissance artist worked in theTrecento style, and his work maintains influences of theGothic style, marking a transitional period between the Gothic sensibilities of theMiddle Ages while simultaneously beginning to draw on theClassical. Lorenzo's works were usually religious scenes intempera with gold backgrounds.
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,Niccolò di Pietro Gerini, painted frescoes in the church of San Francesco at Pisa.[1] Lorenzo is often erroneously cited as the son ofNiccolò di Pietro Gerini[2] 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.[3] Lorenzo's education was limited, as 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.[4] Lorenzo's friend, painter Spinello Aretino was more influential to Lorenzo's personal artistic development.[1] Lorenzo drew inspiration from Spinello's large-scale frescos and the freedom of imagination in his works.[1] Lorenzo's work was further influenced byLorenzo Monaco, and to a greater extent byMariotto di Nardo andAndrea di Giusto.[1] Based on records, Lorenzo was a most likely a member of the Medici e Speziali guild around 1408, and was certainly a member of the Compagnia di San Luca in 1410.[4]
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.
Throughout his career, Lorenzo maintainedTrecento traditions in his work, a style that he learned from Gerini.[4] Lorenzo's works, such asS. Giovanni and his enemy before the crucifix in Saint Miniato, 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.[4] This particular circle ofProto-Renaissance style Florentine artists was centered around artistLorenzo Monaco. Although theTrecento 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 theGothic andRenaissance 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.[5] However, when compared with his contemporary,Mariotto di Nardo, it is clear that Lorenzo skillfully maintained a Gothic style while allowing his figures some sense of movement that does not exist in works by Mariotto di Nardo.[1]
The first surviving work that can be attributed to Lorenzo is a triptych ofSt Bartholomew Enthroned, with Scenes from his Life. In 1401 Lorenzo collaborated with his mentor, Gerini, and friendSpinello Aretino on an altarpiece entitledCoronation of the Virgin for Saint Felicita in Florence. Lorenzo's addition to this altarpiece was limited to the four saints on the left side of the predella.[3] However, in January 1402 Lorenzo was commissioned to paint his own altarpiece of theCoronation of the Virgin, apolyptych for thepredella ofSan Marco in Florence.[3] In 1440,Cosimo andLorenzo de' Medici had this altarpiece removed and replaced with a work byFra Angelico, and Lorenzo's altarpiece was subsequently moved to San Domenico at Cortona.[1]
As he matured, Lorenzo's style transformed from one reminiscent ofGiotto's style to a more elegant and linear style that was more in line with the works of artists such asLorenzo Monaco. Together withNiccolò di Pietro Gerini, Lorenzo painted some frescoes in the Chapterhouse of the convent ofSan Francesco (Prato) and the panelCoronation of the Virgin, once inSanta Felicita. Lorenzo carried the subject ofCoronation of the Virgin into his work for the Medici Chapel inSanta Croce, Florence. This work, completed in 1409, can be found in the chapel'spredella. Today Lorenzo's painting for the Medici Chapel is split between its original location and theBagatti Valsecchi Museum in Milan.[2] Lorenzo's painting of theMadonna and Child Enthroned with Sts. Christopher, Blaise, Sebastian, and Francis (c. 1410-1412) is now exhibited in theSt Louis Museum of Art.[6] Furthermore, two salvers at theMetropolitan Museum of Art were attributed to the Studio of Lorenzo di Niccolò by art historiansElizabeth Gardner andFederico Zeri. It has been proposed that the subject of these salvers is a story fromBoccaccio'sComedia delle Ninfe Fiorentine.[7] The last dated work that is attributed to Lorenzo isVirgin and Child with Saints, a polyptych in Saint Lorenzo a Collina at Mezzomonte from 1412.[3]
S. Giovanni Gualberto and his enemy before the Crucifix in S. Miniato is emblematic ofproto-renaissance art through its decorative pattern and denial of modernQuattrocento naturalism.[1] 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.[1] The work depicts a popular legend of an 11th-century Florentine nobleman, and was a typical subject for lateTrecento period and earlyQuattrocento artists. Here San Giovanni Gualberto and his enemy are in the church ofSan Miniato al Monte, which is outside of Florence.[1] 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.[1] 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.[1] 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.[1]
Seven auction results for sales of Lorenzo's work between January 1998 and October 2016 are a matter of public record throughArtNet. These works, mostly consisting of tempera on panel, generally have sold far beyond their estimated prices. Lorenzo's works ultimately have sold between $40,250 and $870,596 based on these public records.[8]
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