Saint John the Baptist (1355) is het beroemdste schilderij van Orcagna, in de collectie van het Yale University Art Gallery in New Haven. The Calling of St. Matthew (1367) en Throne of Grace (1400) zijn de volgende twee werken die de wereld het beste kent. Van de 13 werken van Orcagna in onze catalogus zijn dit de 13 meest bekeken werken door verzamelaars en museumbezoekers, inclusief het jaar, het museum en het verhaal achter elk werk.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in oktober 2026. Elk meesterwerk op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting.
Triangle with Mary and child and saints. On the middle panel is Mary with the child of Christ sitting on the left knee, on both sides a kneeling…
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De vier onderwerpen die het meest voorkomen in deze meesterwerken, met van elk het mooiste voorbeeld.
De 5 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Orcagna | Schilderijen uit deze lijst |
|---|---|---|---|
 Cappella Strozzi |
Florence | 2 | View of the Chapel, The Strozzi Altarpiece |
 Yale University Art Gallery |
New Haven | 1 | Saint John the Baptist |
 Nationaal Museum Warschau |
Warschau | 1 | Throne of Grace |
 Palazzo Vecchio |
Florence | 1 | The Expulsion of the Duke of Athens |
 Rijksmuseum |
Amsterdam | 1 | Triptych with the Virgin and Child, and Saints Mary Magdalene and Ansanus, Andrea di Cione named Orcagna, 1350 |
Saint John the Baptist (1355), Yale University Art Gallery, New Haven. Daarna volgen The Calling of St. Matthew (1367) en Throne of Grace (1400).
40 jaar oud: Saint John the Baptist dateert uit 1355 en Orcagna werd geboren in 1315.
Saint John the Baptist, The Calling of St. Matthew, Throne of Grace, The Burial of the Virgin, Tabernacle (detail), Tabernacle, Dormition and Assumption of the Virgin, detail of the Tabernacle, View of the Chapel, Hell (fragment) en The Expulsion of the Duke of Athens. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 13 werken van Orcagna, gedateerd van 1343 tot 1367.
De meeste bevinden zich in Cappella Strozzi (Florence), Yale University Art Gallery (New Haven) en Nationaal Museum Warschau (Warschau). De bovenstaande tabel somt de musea één voor één op.
In 1350s: 8 van de 13 werken op deze pagina dateren uit die periode, waaronder Saint John the Baptist.
De oudste op deze pagina is The Expulsion of the Duke of Athens (1343), de nieuwste The Calling of St. Matthew (1367).
View of the Chapel en The Strozzi Altarpiece behoren tot de 2 werken op deze pagina die in het Cappella Strozzi, Florence worden bewaard.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting, via de eigen pagina van het schilderij.
The name Orcagna—a moniker bestowed upon him by local artisans—encompasses a remarkable figure in the history of Italian art: Andrea di Cione, a painter, sculptor, architect, and master craftsman who dominated the artistic landscape of Florence during the latter half of the 14th century. Born around 1308 within the bustling heart of the city, Orcagna’s life was inextricably linked to its burgeoning wealth, political intrigue, and fervent religious devotion—elements that profoundly shaped his distinctive style and enduring legacy. His story isn't one of solitary genius, but rather a testament to collaborative artistry, meticulous planning, and an unwavering commitment to both technical mastery and expressive power.
Orcagna’s early life remains shrouded in some mystery, though it is believed he apprenticed under the renowned sculptor Andrea Pisano. This formative experience instilled within him a deep appreciation for classical forms and a sophisticated understanding of three-dimensional space—qualities that would later manifest in his monumental marble tabernacle for Orsanmichele. However, Orcagna’s artistic trajectory quickly diverged from his master's, developing a distinctly Florentine style characterized by dramatic figures, vibrant colors, and an innovative approach to composition. He was formally admitted into the painter’s guild in 1343-44 and later joined the stonemasons’ guild in 1352, demonstrating his versatility and ambition across multiple artistic disciplines.
Orcagna's most celebrated achievement undoubtedly lies in his contribution to the magnificent façade of the cathedral in Orvieto. Commissioned in 1358, this project demanded a level of technical skill and artistic vision that pushed Orcagna to the very limits of his abilities. He oversaw the creation of an extensive mosaic decoration, including a breathtaking rose window—a masterpiece of Byzantine-inspired design that exemplifies the lavishness and spiritual intensity characteristic of the period. The mosaics themselves are characterized by their rich palette, intricate detailing, and powerful emotional impact, reflecting Orcagna’s mastery of color theory and his ability to imbue religious subjects with palpable drama.
The scale of this undertaking was immense, requiring meticulous planning and coordination. Orcagna's role extended beyond mere execution; he served as a consultant, guiding the work of numerous skilled artisans and ensuring that every element harmonized within the overall design. The Orvieto mosaics stand as a testament to his organizational prowess and his ability to synthesize diverse artistic talents into a cohesive whole.
Perhaps Orcagna's most enduring legacy resides in the monumental marble tabernacle he designed and oversaw for the Orsanmichele, a former confraternity hall now serving as a public art gallery. Completed between 1352 and 1359, this architectural marvel is a complex and ambitious undertaking that showcases Orcagna’s exceptional skill as an architect and sculptor. The tabernacle's intricate façade is adorned with a multitude of sculpted figures—a veritable encyclopedia of biblical narratives, allegorical symbols, and classical motifs. Each figure is rendered with remarkable detail and expressive power, reflecting Orcagna’s deep understanding of human anatomy and his ability to convey complex emotions through gesture and expression.
The tabernacle's design incorporates a sophisticated system of arches, vaults, and niches, creating a dynamic interplay of light and shadow. The use of color—particularly the vibrant hues of the inlaid marble—further enhances its visual impact. Orcagna’s work on Orsanmichele demonstrates his mastery of both architectural form and sculptural technique, solidifying his reputation as one of Florence's most accomplished artists.
Orcagna’s influence extended far beyond the immediate commissions he undertook. His innovative approach to composition—characterized by dynamic figures, dramatic lighting, and a heightened sense of realism—helped to shape the course of Florentine painting in the late 14th century. He bridged the gap between the Gothic traditions inherited from his predecessors and the emerging Renaissance style, paving the way for future generations of artists. His work served as an inspiration to many of Florence’s leading painters, including Jacopo di Cione, his brother, who continued Orcagna's artistic legacy after his death in 1368.
Orcagna’s untimely death at the age of sixty is a poignant reminder of the fragility of life and the immense loss suffered by the Florentine art world. Despite his relatively short career, he left behind a remarkable body of work that continues to captivate audiences today—a testament to his extraordinary talent, unwavering dedication, and enduring vision.
