تحديث نوفمبر 2026 · مُرتبة حسب مؤشر شعبيتنا (عمليات البحث، والزيارات، والطلبات لكل عمل فني) · 38 أعمال لـ Filippo Lauri في كتالوجنا
باختصار
من وجهة نظر المعرض، تُعد The Vision of Saint Anthony of Padua (1678) أشهر لوحات Filippo Lauri، والتي تُعرض لوحتها الأصلية في متحف إيزابيلا ستيوارت غاردنر، بوسطن. Decorative Panel ''Trophies and Cupids" (1650) و Circe and Ulysses (1640) يكملان الثلاثية التي تدركها كل عين. من بين 38 من أعمال Filippo Lauri في كتالوجنا، يعرض المعرض أدناه 38 من أشهرها، كل منها عمل أصلي مع سنة إنتاجه، والمتحف الذي يضمها، وما يجعلها فريدة من نوعها.
In this intimate oil on copper, we find ourselves witnessing a quiet, profound intersection between the earthly and the celestial. Saint Anthony of Padua is depicted in a moment of deep spiritual communion, kneeling with hands crossed over his chest in a gesture of humble reception. He wears a simple brown habit, his reddish-brown hair and short beard catching the soft light that seems to emanate from the figures themselves.…
The Decorative Panel ''Trophies and Cupids'' emerges from the shadows of the Roman Baroque, a work that carries the unmistakable touch of Filippo Lauri. This piece, which dates to about 1650, captures a moment of celestial play amidst ornamental grandeur. The artist, Filippo Lauri, brings a specific sense of light to this scene, a skill he refined throughout his life in Italy. Born in Rome, Italy, Lauri lived from 1623…
The air in the stone chamber feels heavy, thick with the scent of ancient magic and the weight of an impending transformation. Circe sits poised, her presence commanding the space from the left, her gaze locked upon the man who has dared to enter her domain. Ulysses stands at the center, a figure of muscular tension and resolve, his staff or spear cutting a sharp diagonal through the composition. Around…
The air in the courtyard feels heavy with the weight of ancient magic. Shadows stretch long across the stone floor, cast by imposing classical columns that reach toward a sky we cannot see. At the center of this theatrical stage, a woman leans toward a man, her presence commanding the space between them. They sit at a table draped in a white cloth, a focal point of tension amidst the…
Venus and Adonis in Ideal Landscape is an oil painting by Filippo Lauri, executed about 1658. The work presents a mythological scene centered on the figures of Venus and Adonis. This subject matter allows for a dramatic intersection of human emotion and the natural world.
Ideal Landscape of Italian Character with the Abduction of a Nymph is a work by the Roman Baroque painter Filippo Lauri. Created about 1658, the composition integrates mythological narrative within a structured, classical environment. The scene focuses on a central group of figures, including a male figure holding a staff and a female figure being lifted into a boat, set against a backdrop of rugged terrain and distant mountains.
A single, lunging figure dominates the frame. He is a warrior caught in a moment of violent exertion, his body a diagonal line of tension against a dark, textured void. He wears the armor of a classical Roman, a cuirass that catches a sharp, singular light, and a plumed helmet that marks his status. His hands are locked in a desperate, physical contest with a serpentine creature. The dragon's form…
In this 1658 oil painting, we find ourselves witnessing a singular, suspended moment from classical mythology. The scene focuses on Jason, the hero of the Argonauts, as he engages in a delicate, almost tender struggle with a serpentine dragon. Rather than a violent clash of steel, the composition emphasizes a sense of lullaby-like stillness. Jason is positioned in a dynamic, lunging stance, his body draped in a flowing white cloak…
The air in the painting feels heavy, thick with the scent of damp earth and the sudden, sharp presence of the divine. St. Francis sits in the lower corner, his body anchored to the ground by heavy, dark robes of ochre and deep green. He is a solid weight against the swirling movement above. His face is turned upward, catching a sudden, celestial light that carves his features out of…
The oil painting Apollo Flaying Marsyas captures a moment of divine retribution. Filippo Lauri, an artist born in Rome, Italy, rendered this scene with a focus on the tension between the celestial and the earthly. The work dates to about 1650, a period when the dramatic weight of the Baroque style defined the Roman landscape. Here, the myth is stripped of its abstraction and reduced to the physical reality of…
The Rest on the Flight into Egypt1669 · Royal Collection
12
The Baptism of Christ1666 · Statens Museum For Kunst
13
The Penitent Saint Mary Magdalene1666 · Statens Museum For Kunst
14
Jacob meets Rachel at the Well1666 · Statens Museum For Kunst
15
Alpheus Chasing Arethusa1671
16
Jacob Fleeing from Laban1686 · قصر باكنغهام
17
The Agony in the GardenFitzwilliam Museum
18
The Rest on the Flight into Egypt1650 · متحف الفنون التاريخية
19
Appearance of Christ to Mary Magdalene1674 · متحف الإرميتاج
20
Venus and Adonis1650 · Academy of Fine Arts Vienna
21
Endymion and Selene1650 · Academy of Fine Arts Vienna
22
Bacchus and AriadneStatens Museum For Kunst
23
Amor vincit omnia
24
Sleeping venus
25
Bacchanal in a Garden, with the Temple of Vesta and a Fountain
26
Apollo and MarsyasDulwich Picture Gallery
27
The Judgement of Paris
28
Pan and Diana
29
The holy family
30
An Allegory of the Transience of Life
31
Venus and Cupid in a LandscapePeckover House and Garden
32
Apollo with Nymphs and Satyrs, and Mercury Stealing the Cattle of AdmetusHatchlands Park
33
Diana and Her Nymphs Surprised by Actaeonمتحف الإرميتاج
34
The Martyrdom of St Stephen
35
Pan and Syrinx
36
Faun and Cupid in a Landscape
37
Saint Francis in Ecstasy
38
King Midas Judging the Musical Contest between Apollo and Pan
المواضيع الأربعة التي تتكرر باستمرار في هذه الأعمال الأصلية، مع تقديم أروع مثال لكل منها.
المتاحف الـ 8 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال Filippo Lauri | لوحات من هذه القائمة |
|---|---|---|---|
 Statens Museum For Kunst |
كوبنهاغن | 6 | Circe and Ulysses, Ulysses and Circe, The Baptism of Christ |
 مجموعات بافاريا الحكومية للرسم |
ميونخ | 4 | Venus and Adonis in Ideal Landscape, Ideal Landscape of Italian Character with the Abduction of a Nymph, Jason Pulls the Teeth from the Dragon |
 متحف الإرميتاج |
سانت بطرسبرغ | 3 | Decorative Panel ''Trophies and Cupids", Appearance of Christ to Mary Magdalene, Diana and Her Nymphs Surprised by Actaeon |
 Academy of Fine Arts Vienna |
فيينا | 2 | Venus and Adonis, Endymion and Selene |
 متحف إيزابيلا ستيوارت غاردنر |
بوسطن | 1 | The Vision of Saint Anthony of Padua |
 Royal Collection |
لندن | 1 | The Rest on the Flight into Egypt |
 قصر باكنغهام |
لندن | 1 | Jacob Fleeing from Laban |
 Fitzwilliam Museum |
1 | The Agony in the Garden |
اختر عقداً لتشاهد العمل الأصلي الذي يجسده.
The air in the stone chamber feels heavy, thick with the scent of ancient magic and the weight of an impending transformation. Circe sits poised, her presence commanding the space from the left, her gaze locked upon the man who has dared to enter her domain. Ulysses stands at the center, a figure of muscular tension and resolve, his staff or spear cutting a sharp diagonal through the composition. Around…
The Decorative Panel ''Trophies and Cupids'' emerges from the shadows of the Roman Baroque, a work that carries the unmistakable touch of Filippo Lauri. This piece, which dates to about 1650, captures a moment of celestial play amidst ornamental grandeur. The artist, Filippo Lauri, brings a specific sense of light to this scene, a skill he refined throughout his life in Italy. Born in Rome, Italy, Lauri lived from 1623…
In this 1650 oil on canvas, the Holy Family finds a brief respite during their flight into Egypt. The composition centers on a small, intimate group—a woman, an infant, and a young child—set against a dark, shadowy background that suggests a nocturnal or twilight setting. A donkey rests in the periphery, grounding the sacred figures in a moment of physical exhaustion. The scene is defined by a dramatic chiaroscuro, where…
In this intimate oil on copper, we find ourselves witnessing a quiet, profound intersection between the earthly and the celestial. Saint Anthony of Padua is depicted in a moment of deep spiritual communion, kneeling with hands crossed over his chest in a gesture of humble reception. He wears a simple brown habit, his reddish-brown hair and short beard catching the soft light that seems to emanate from the figures themselves.…
Jacob Fleeing from Laban is a religious oil on canvas painting by the artist Filippo Lauri. This work, which depicts the biblical narrative of Jacob's departure from his uncle Laban, dates to 1686. The composition captures a moment of movement involving various figures and livestock within a landscape.
The Vision of Saint Anthony of Padua (1678)، متحف إيزابيلا ستيوارت غاردنر, بوسطن. ويليها Decorative Panel ''Trophies and Cupids" (1650) وCirce and Ulysses (1640).
عمر 55 عاماً: يعود تاريخ The Vision of Saint Anthony of Padua إلى 1678، وقد وُلد Filippo Lauri في 1623.
The Vision of Saint Anthony of Padua, Decorative Panel ''Trophies and Cupids", Circe and Ulysses, Ulysses and Circe, Venus and Adonis in Ideal Landscape, Ideal Landscape of Italian Character with the Abduction of a Nymph, Jason Pulls the Teeth from the Dragon, Jason Lulls the Dragon to Sleep, St. Francis in Extasy و Apollo Flaying Marsyas. يوضح التصنيف أعلاه سنة كل لوحة والمتحف التابعة له.
يضم كتالوجنا 38 من أعمال Filippo Lauri، التي يعود تاريخها من 1640 إلى 1686.
توجد غالبيتها في Statens Museum For Kunst (كوبنهاغن), مجموعات بافاريا الحكومية للرسم (ميونخ) و متحف الإرميتاج (سانت بطرسبرغ). يدرج جدول المتاحف أعلاه جميعها.
في 1650s: تم إنجاز 10 من أصل 38 من الأعمال في هذه الصفحة خلال تلك الفترة، من بينها Decorative Panel ''Trophies and Cupids".
في هذه الصفحة، أقدم الأعمال يعود إلى Circe and Ulysses (1640) وأحدثها يعود إلى Jacob Fleeing from Laban (1686).
Man (10), Clouds (7) و Woman (7)، عبر 38 من الأعمال في هذه الصفحة.
Oil، لـ 11 من أصل 38 من الأعمال في هذه الصفحة.
Baroque، بناءً على الأعمال الأصلية في هذه الصفحة.
Circe and Ulysses, Ulysses and Circe و The Baptism of Christ: يضم Statens Museum For Kunst, كوبنهاغن 6 من الأعمال المعروضة في هذه الصفحة.
Filippo Lauri (August 25, 1623 – December 12, 1694) stands as a prominent figure within the Roman Baroque artistic landscape. Though largely overshadowed by contemporaries like Caravaggio and Bernini, Lauri’s distinctive style—characterized by luminous color palettes and masterful depictions of serene landscapes interwoven with mythological narratives—earned him recognition and enduring admiration.
Born in Rome to Balthasar Lauwers, a Flemish landscape painter who had emigrated from Antwerp under the patronage of Paul Bril, Lauri’s artistic lineage instilled in him an early appreciation for atmospheric perspective and tonal modulation. His formative years were spent studying under his father and subsequently with Francesco Lauri, whose own brother, Andrea Sacchi—a celebrated artist himself—served as a crucial mentor.
Joining the Accademia di San Luca in 1654 marked a pivotal moment in Lauri’s career. This prestigious institution fostered intellectual discourse and artistic experimentation, propelling him to positions of leadership where he championed innovation and oversaw the training of future generations of painters. Notably, Lauri collaborated closely with Filippo Gagliardi on “Celebrations for Christine of Sweden at Palazzo Barberini,” a monumental canvas that vividly captures the grandeur and theatricality of Baroque court celebrations.
Lauri’s artistic output spanned numerous genres, including religious paintings—particularly depictions of saints and biblical scenes—and landscapes imbued with classical ideals. He possessed an exceptional talent for capturing the subtle nuances of light and shadow, a technique honed through his collaborations with Claude Lorraine, whose influence is evident in Lauri's tranquil compositions.
His prolific output included numerous engravings, demonstrating his understanding of printmaking techniques and expanding the reach of his artistic vision. Lauri’s legacy resides not only in his individual masterpieces but also in his role as a catalyst for artistic development within Rome—a testament to his enduring contribution to the Baroque aesthetic.
Lauri’s style distinguishes itself through its emphasis on luminous color palettes—particularly blues and golds—and a meticulous attention to detail in landscape compositions. He skillfully employed atmospheric perspective, creating depth and realism that mirrored the artistic conventions of his time. His works embody the ideals of Renaissance Italy blended with Baroque dynamism.
Filippo Lauri’s contribution to Roman art history is significant as he represents a crucial link between Flemish landscape painting traditions and the burgeoning Baroque aesthetic in Rome. He upheld the Accademia di San Luca's role as a center for artistic excellence, shaping the future of Roman painting.
