洛伦泽蒂给予了高度的影响都拜占庭艺术和古典艺术形式，并利用这些创造绘画的独特个性和风格。他的工作是非常原始的。个性在这个时候是不寻常的，由于乘客对艺术的影响。由于画作往往委托，个人主义在艺术中很少看到。据了解，洛伦泽蒂从事这被认为有文艺复兴时期，在他们的起源，如与视角和地貌实验和研究古代经典艺术追求。[2]他的作品的身体清楚地表明，随后的艺术家选择了效仿的创新。

他的工作，虽然比较自然，显示了影响西蒙娜马提尼。锡耶纳画家的最早日期的作品是麦当娜和儿童（1319，教区博物馆，圣卡斯西诺）。他的存在是在记录佛罗伦萨，直到1321他将花费数年后回到那里锡耶纳。

后来他画好的和坏的政府的寓言。九，在客房（撒拉族棣诺夫），或间和平（撒拉族德拉PACE）的墙上壁画锡耶纳共和宫是文艺复兴早期绘画世俗的杰作之一。“九”是那管辖共和国公会和货币利益oligarchal组装。三面墙都画着组成的庞大装配在美德寓言人物的壁画好政府的寓言。[4]在另外两个相对的面板，安布罗编织的愿景全景关于城乡好政府的影响，以及寓言坏政府及其城乡效应（也称为“病态支配的城镇和乡村”）。保存较好的“管理良好的城市和乡村”，是在一个和平的中世纪“博尔戈”和乡村事故无与伦比的图案百科全书。

对存在的第一个证据沙漏可以在壁画中找到，坏政府的寓言及其对城镇和乡村的影响。

像他的兄弟，他被认为已经死亡的鼠疫在1348 瓦萨里包括洛伦泽蒂在他的传记生活。

报喜，1344洛伦泽蒂的最后一块，讲的故事圣母玛利亚从天使接到记者关于婴儿耶稣的到来，包括首次使用明确的线性透视。虽然它并不完美，而黄金的背景下，是对传统的一次呈现一个扁平的感觉，在地板上创建的对角线确实创造深度。

在麦当娜和儿童，有一个明确的债务拜占庭艺术。所述的图像麦当娜指出其frontality，这是拜占庭技术的典型特征。的麦当娜面向观看者，如儿童在她的凝视起来。虽然没有像情绪激烈随后的圣母，在洛伦泽蒂的麦当娜和儿童，对圣母玛利亚掩饰情感的微妙的水平，她面对观众。这种差异可能是由于靠山对文体的愿望麦当娜和儿童，或可能表明风格洛伦泽蒂的演变。但是，即使在这种早期的工作，有一个洛伦泽蒂的人才输送的数字纪念碑，而不应用证据明暗对比。明暗对比常用来潜移默化的影响拜占庭艺术中描绘的空间深度。安布罗代替颜色和图案向前移动的数字，在看到麦当娜和儿童。

在这幅壁画，圣 路易斯正在迎接教皇博尼法斯八世，他被授予称号图卢兹的主教。这是之一，一系列的壁画画与他的兄弟，彼得洛伦泽蒂，对于圣弗朗西斯德阿西西。[5]这是壁画为建筑环境内的深度感和真实感特别众所周知，由于洛伦泽蒂的令人信服呈现三维空间。此外，他的数字定位在一个非常自然和熟悉的方式，引进的认识自然的艺术。空间视角的洛伦泽蒂的命令被认为预示了意大利文艺复兴时期。这幅壁画也显示了他的才华，描绘情感，因为我们看到国王的见证儿子的拒绝物质产品和功率时国王查理二世的脸。[6]这种对细节的关注可能表示求知欲。瓦萨里，在生活最优秀的，画家，雕塑家和建筑师的写洛伦泽蒂的智力能力，他说，他的举止“是[...]更多的绅士和哲学家比一个艺术家的。”

在他Maestà，1335完成了，他用寓言预示在市坏政府的影响。寓言元素引用但丁，表明文学的兴趣。此外，此可能指向的开始话文文献在这个时候，一个前体为本想法。在Maestà，洛伦泽蒂遵循艺术传统的其他画家锡耶纳，如西蒙尼集，虽然增加了一个强烈的母性合的场面对他Maestà，这是不寻常的当代锡耶纳艺术。在画中，圣母凝视着她的孩子有强烈的情感，因为他抓住她的衣服，回到她的目光。通过这种方式个性化的圣母玛利亚，洛伦泽蒂使她显得更加人性化，从而创造给观众深刻的心理影响。这凸显了在这个时候，其中洛伦泽蒂是一个主要倡导者，通过他的绘画风格独特的锡耶纳艺术的世俗性增加。应该注意的是，与圣母描绘圣徒的人群是拜占庭艺术传统，用来指示证人的集合。[8]因此，洛伦泽蒂的艺术可以被看作是拜占庭和文艺复兴时期的艺术风格之间的过渡。洛伦泽蒂的兴趣古代经典中可以看到Maestà，特别是在慈善的写照。在他的回忆录，我Commentarii，雕塑家洛伦佐吉贝尔蒂提到洛伦泽蒂在当时锡耶纳的挖掘过程中发现一个古董雕像的兴趣，归因希腊雕塑家，利西波斯。
 

Loren Ze Siti gave a high degree of influence both Byzantine art and classical art forms, and used these to create the unique personality and style of painting. His work is very primitive. Personality at this time is unusual because of the impact of passengers on the arts. Because paintings are often commissioned, individualism is rarely seen in art. It is understood that the work of Los Angeles is considered to have a renaissance in their origins, such as with the perspective and geomorphology of the experimental and study of classical art pursuit. [2] the body of his work clearly shows that subsequent artists chose to follow the example of innovation.
His work, though more natural, shows the influence of Simone Martini. Siena painter of the earliest date works of Madonna and children (1319, the diocese Museum, San Casciano). His presence was recorded in Florence until 1321 years after he would return to Siena.
Then he drew the good and bad government's fables. Nine, in the guest room (Sala Dei nove), or peace (Sala della PACE) wall murals of the Republic of Siena palace is one of the masterpieces of the early Renaissance secular painting. "Nine" is the assembly of the Republic and the monetary interests of the oligarchal. The three walls are painted with a large set of murals in the parable of the good character of the parable of the good government. [4] in the other two opposite panel, influence on urban and rural panoramic vision had woven and allegory of good government, bad government and rural effect (also known as the "sick domination of town and country"). Well preserved "good management of city and countryside", the encyclopedia is in a peaceful medieval "Borgo" incomparable and rural accident pattern.
The first evidence of the existence of the hourglass can be found in the mural, the fable of the bad government and its impact on towns and villages.
Like his brother, he is believed to have died of plague including Lorenzetti in his biography in 1348 vasari.

Good news, 1344 Lorenzetti the last piece, the story of the virgin Maria from the angel reporter received a baby Jesus's arrival, including for the first time using explicit linear perspective. Although it is not perfect, while the gold background is a traditional presentation of a flat feeling, the diagonal created on the floor does create depth.
In Madonna and children, there is a clear debt to Byzantine art. The image Madonna points to its Frontality, which is a typical feature of Byzantine technology. Madonna faces the viewer, as the child stares at her. Although not as intense emotion later in Notre Dame, Madonna Lorenzetti and children of the virgin Maria hide emotional subtle level, she faced the audience. This difference may be due to the desire of Madonna style patron and children, or may indicate that the evolution of the style of lorenzetti. However, even in this early work, there is a Loren Ze Siti talent delivery of digital monuments, without the use of evidence of light and shade contrast. The use of light and shade is often used to subtly influence the depth of space depicted in Byzantine art. Ambro instead of color and pattern to move forward in numbers, see Madonna and children.
In this picture, Saint Louis is to greet Pope Boniface VIII, he was awarded the title of bishop of Toulouse. This is one of a series of mural paintings with his brother, Peter Loren Ze Siti, for San Franci Sid Assisi. [5] this is the mural for the construction of the environment inside the sense of depth and realism is particularly well known, due to Loren Ze Siti's convincing presentation of three-dimensional space. In addition, his digital positioning in a very natural and familiar way, the introduction of the understanding of the nature of art. Loren Ze Siti's command from the spatial perspective is thought to herald the Italy renaissance. The mural also shows his talent, depicting emotions, as we see the king's testimony of his son's rejection of material products and power when King Charlie S's face. [6]'s attention to detail may indicate a desire for knowledge. Vasari, the painter in the lives of the most excellent, and intellectual ability, writing Lorenzetti sculptor and architect he said, his behavior is "[...] more than a gentleman philosopher and artist."
In 1335, he Maest, finished, he foreshadowed in the influence of bad government in parables. Allegorical elements refer to Dante, indicating the interest of literature. In addition, this may point to the beginning of the discourse literature at this time, a precursor for this idea. In Maest, Siena, other artists Lorenzetti follow art tradition, such as the Simonyi set, while the addition of a strong maternal the scene on his Maest, and it is not unusual for contemporary art in Siena. In the painting, the Madonna gazed at her child with a strong emotion as he grabbed her clothes and returned to her eyes. In this way the personalized mother Maria Lorenzetti, which makes her more humane, thus creating a profound psychological impact to the audience. This highlights the secular increase in the unique art of Siena at this time, where Loren Ze Siti is a major advocate of his painting style. It should be noted that the people with whom the virgin painted the saints were the Byzantine art tradition, used to indicate the collection of witnesses. [8] therefore, Loren Ze Siti's art can be seen as a transition between Byzantine and Renaissance art styles. Loren Ze Siti's interest in the ancient classic can be seen in Maest, especially in the portrayal of charity. In his memoirs, I mentioned Commentarii, sculptor Lorenzo Gio Berti Lorenzetti found an antique statue of interest in the mining process in Siena at that time, the Greek sculptor lysippus attribution.