The world of Pietro da RiminiGold background, condensed pain and gestures of great humanity make Pietro da Rimini an original voice of the Trecento riminese school.
active around 1324 -1333Life and career
Rimini, Emilia-Romagna, Franciscan churches and dissemination of Giotto's legacyMain homes
°150Panels, crucifixes, altarpieces, frescoes, fragments, preparatory drawings, lost works and created works, overall estimate
Hand paintedReal oil painting, no print.
Formats of your choiceA composition adapted to the dimensions ordered.
Photo validationExamine your board before shipping.
Possible alterationsRequest adjustments before sending.
active around 1324 -1333 · Rimini and legacy of Giotto
Gold background, condensed pain and gestures of great humanity make Pietro da Rimini an original voice of the Trecento riminese school.
Pietro da Rimini was active in the first half of the 14th century, mainly around 1324 -1333. His life remains almost entirely unknown, but the works attributed to his hand place him among the most expressive painters of the Rimini school. This school developed after Giotto's passage and commissions in the city, notably his great Crucifix for San Francesco. Pietro assimilates the bodily construction, the weight of the draperies and the emotional intensity of the Florentine master, then adapts them to a more fragile and linear sensitivity. The crucified Christ preserves the monumentality of a large crucifix suspended above an altar or choir fence. The body sagging, the inclined head and the golden background make suffering immediately readable. The Deposition from the Cross, painted around 1325 -1350 on poplar, tightens the gestures around the descended body: the hands support, touch and accompany the pain. Nativity and Announcement to the Shepherds juxtaposes several moments of the story according to a medieval logic where the same panel deploys sacred time. Pietro does not seek the naturalist space of the future Renaissance. He does not seek the naturalist space of the future Renaissance. He uses gold, color, contour and inclination of bodies to establish a spiritual and emotional hierarchy. His preserved corpus is rare and sometimes discussed, but its influence can be read in the following Riminese generation, in particular at Giovanni Baronzio. The "Pietro da Rimini" selection notably compares The Crucified Christ and The Deposition from the Cross. His reading favors drawing.
Pietro da Rimini gives weight to the golden background: the sacred surface remains motionless, while bodies, hands and eyes bring all human pain into it.
Course & style
Journey, subjects and pictorial language
Pietro da Rimini was active in the first half of the 14th century, mainly around 1324 -1333. His life remains almost entirely unknown, but the works attributed to his hand place him among the most expressive painters of the Rimini school. This school developed after Giotto's passage and commissions in the city, notably his great Crucifix for San Francesco. Pietro assimilates the bodily construction, the weight of the draperies and the emotional intensity of the Florentine master, then adapts them to a more fragile and linear sensitivity. The crucified Christ preserves the monumentality of a large crucifix suspended above an altar or choir fence. The body sagging, the inclined head and the golden background make suffering immediately readable. The Deposition from the Cross, painted around 1325 -1350 on poplar, tightens the gestures around the descended body: the hands support, touch and accompany the pain. Nativity and Announcement to the Shepherds juxtaposes several moments of the story according to a medieval logic where the same panel deploys sacred time. Pietro does not seek the naturalist space of the future Renaissance. He does not seek the naturalist space of the future Renaissance. He uses gold, color, contour and inclination of bodies to establish a spiritual and emotional hierarchy. His preserved corpus is rare and sometimes discussed, but its influence can be read in the following Riminese generation, in particular at Giovanni Baronzio's.
Rimini and Giotto's shock
The Florentine master's works offer a new model of volume, narrative and emotion to local painters. This milestone sheds light on the "Pietro da Rimini" collection by favoring drawing.
Crucifix, panels and expressive maturity
Heavy bodies, golden backgrounds and tight gestures build a Passion of great human intensity.
Riminese school and heritage
Fragments, scattered altarpieces and disciples extend a language whose reconstruction remains delicate.
01
Spiritual gold
The background abolishes the everyday place and places the story in a continuous sacred presence. This line guides a reading of "Pietro da Rimini" centered on drawing.
02
Heavy body
The collapse of Christ makes visible gravity, suffering and physical reality.
03
Consoling hand
Touching, supporting and surrounding reflect pain more strongly than complex decor.
04
Juxtaposed time
Multiple episodes can share the panel so the eye can wander through holy history.
Explore by universe
Six readings specific to Pietro da Rimini
Works, visual language and historical landmarks make up a route exclusively devoted to Pietro da Rimini.
Crucifix and legacy of Giotto01
Christ crucified
The inclined body and the golden background condense liturgical monumentality and human suffering.
Landmark work by Pietro da Rimini. Reading "Pietro da Rimini" through drawing.Passion and gestures of pain02
The Deposition from the Cross
The hands that support Christ organize a collective, dense and silent pain.
Landmark work by Pietro da RiminiSacred story in several stages03
Nativity and Announcement to the shepherds
Two moments from holy history coexist on the panel, connected by the gold, color and rhythm of the figures.
Landmark work by Pietro da RiminiStyle04
Spiritual gold
The background abolishes the everyday place and places the story in a continuous sacred presence. This line guides a reading of "Pietro da Rimini" centered on drawing.
Reading key for Pietro da RiminiStyle05
Heavy body
The collapse of Christ makes visible gravity, suffering and physical reality.
Reading key for Pietro da RiminiStyle06
Consoling hand
Touching, supporting and surrounding reflect pain more strongly than complex decor.
Reading key for Pietro da Rimini
Works to discover
Works by Pietro da Rimini
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