Claudia Ciotti

Madonna and Child with Musician Angels

Artist: Claudia Ciotti (Italy)

Title: Madonna and Child with Musician Angels

Date: 2009

Medium: entirely hand-painted ceramic on a refractory plate, with ceramic oxides and with matt and glossy platinum and pure gold finishes

Dimension (cm):

L 64


H 76


W 5

Weight (kg): 10,6

Shipping method: Ships in a Crate



Shipping included: No
Money Back: Yes

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Madonna and Child with Musician Angels is an artwork belonging to Claudia Ciotti’s collection.

Claudia Ciotti here has created a wonderful work inspired by a similar one performed by Pietro Lorenzetti (Siena, circa 1280/85 – circa 1348) was an Italian painter of the fourteenth century, one of the masters of the Sienese school. He was the elder brother of Ambrogio Lorenzetti. Certain information on the life of Pietro Lorenzetti is very scarce and is limited, for the most part, to the dates that he placed on his works (four received) and to some documents. Neither the date of birth nor the date of death are known, which can only be calculated in an approximate way. Nor does the biography that Giorgio Vasari wrote of him, the first, offers substantial help, since although the historian from Arezzo dwells in praise of Lorenzetti’s work, he made some macro-errors starting from the name, which he misrepresented in “Pietro Laurati “(misreading the Madonna’s signature” Petrus Laurentii “today in the Uffizi) and never relating the artist to his brother Ambrogio, despite the fact that he could have read their signatures as a frater in the lost frescoes on the facade of the hospital of Santa Maria della Scala in Siena. Furthermore, he did not assign him his most important work, namely the frescoes in the left transept of the lower basilica of Assisi, assigning them to Puccio Capanna, Pietro Cavallini and Giotto. Finally he mistakenly believed that the Thebaid in the monumental Cemetery of Pisa was by his hand. Lorenzo Ghiberti, on the other hand, never mentioned Pietro, even assigning the frescoes of Santa Maria della Scala to Ambrose alone and demonstrating that even he had not read his signature. His training had to take place under Duccio di Buoninsegna, together with his contemporary Simone Martini. Obviously, it is not a simple makeover, but the skill of an artisan-artist who knows how to retrace the wonders of the history of art, through absolutely different execution techniques. Here it is no longer the brushstroke on a canvas, but the one on refractory stone, which involves countless executive and design difficulties.
The artist intends to give those who know how to appreciate this artistic genre a unique work both for quality and realization. Technique: entirely hand-painted ceramic on a white porcelain ground plate, with ceramic oxides and with polished pure gold finishes

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