Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 15 værker af Jacopino del Conte i vores katalog
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I galleriets øjne er Jacopino del Contes mest berømte maleri Portrait of Cardinal Jacopo Sadoleto (1536), hvis original hænger på Hermitage Museum i Sankt Petersborg. Portrait of Pico di Mirandola (1527) og Madonna with Child and Saint John the Baptist on clouds (1532) fuldender trioen, som ethvert øje genkender. Ud af de 15 værker af Jacopino del Conte i vores katalog præsenterer galleriet herunder de 15 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
The Portrait of Cardinal Jacopo Sadoleto was executed in 1536 by the Italian and Florentine artist Jacopino del Conte. This oil on canvas work captures the likeness of Jacopo Sadoleto, a prominent figure of the sixteenth century. The portrait functions as a formal record of the subject's status and presence during the Renaissance.
In this three-quarter length portrait, we encounter a man of considerable age, his face etched with the deep lines of a life lived in the service of the Church. He sits with a quiet, heavy presence, his gaze meeting ours with an intensity that suggests both a profound confidence and a subtle weariness. There is a certain weight to his posture, a stillness that commands the space around him. The…
The world of Renaissance art is replete with portraits, yet few possess the arresting intensity and subtle psychological depth of Jacopino del Conte’s “Portrait of Michelangelo,” painted circa 1540. This captivating work transcends a simple likeness; it's an intimate encounter with a titan of artistic genius, capturing not just his physical form but also the profound contemplation that defined his spirit. Del Conte, a Florentine artist deeply influenced by Andrea…
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Jacopino del Conte | Malerier fra denne liste |
|---|---|---|---|
 Metropolitan Museum of Art |
New York | 2 | Portrait of Michelangelo, Holy Family |
 Hermitage Museum |
Sankt Petersborg | 1 | Portrait of Cardinal Jacopo Sadoleto |
 Gemäldegalerie |
Berlin | 1 | Madonna with Child and Saint John the Baptist on clouds |
 Musée Condé |
Chantilly | 1 | Entombment of Christ |
 Museum of Fine Arts |
Boston | 1 | Portrait of a Prelate |
 Nationalmuseet i Warszawa |
Warszawa | 1 | Madonna and Child with St. John and angels |
 National Gallery of Art |
Washington | 1 | Madonna and Child with Saint Elizabeth and Saint John the Baptist |
 Fitzwilliam-museet |
Cambridge | 1 | Virgin and Child with St Elizabeth and the Infant Baptist |
Vælg et årti for at se det originale værk, der definerer det.
The Portrait of Cardinal Jacopo Sadoleto was executed in 1536 by the Italian and Florentine artist Jacopino del Conte. This oil on canvas work captures the likeness of Jacopo Sadoleto, a prominent figure of the sixteenth century. The portrait functions as a formal record of the subject's status and presence during the Renaissance.
Portrait of Cardinal Jacopo Sadoleto (1536), Hermitage Museum, Sankt Petersborg. Derefter følger Portrait of Pico di Mirandola (1527) og Madonna with Child and Saint John the Baptist on clouds (1532).
26 år gammel: Portrait of Cardinal Jacopo Sadoleto er fra 1536, og Jacopino del Conte blev født i 1510.
Portrait of Cardinal Jacopo Sadoleto, Portrait of Pico di Mirandola, Madonna with Child and Saint John the Baptist on clouds, Entombment of Christ, Portrait of a Prelate, Madonna and Child with St. John and angels, Madonna and Child with Saint Elizabeth and Saint John the Baptist, Virgin and Child with St Elizabeth and the Infant Baptist, Portrait of a Cardinal og Portrait of Michelangelo. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 15 værker af Jacopino del Conte, dateret fra 1527 til 1550.
Primært i Metropolitan Museum of Art (New York), Hermitage Museum (Sankt Petersborg) og Gemäldegalerie (Berlin). Museumslisten ovenfor viser dem alle.
I 1540s: 4 af de 15 værker på denne side blev skabt dengang, herunder Entombment of Christ.
På denne side er det tidligste Portrait of Pico di Mirandola (1527) og det seneste Virgin and Child with St Elizabeth and the Infant Baptist (1550).
Man (4), Religious (2) og Beard (2), fordelt på de 15 værker på denne side.
Oil On Canvas, for 2 af de 15 værker på denne side.
Mannerism, baseret på originalerne på denne side.
Portrait of Michelangelo og Holy Family: Metropolitan Museum of Art, New York har 2 af værkerne på denne side.
Jacopino del Conte (c. 1510 – 1598) stands as a compelling figure within the vibrant tapestry of 16th-century Italian art, a painter whose career unfolded across both the artistic heartland of Florence and the papal seat of Rome. Born in Florence during a period of intense artistic innovation, Conte’s life was marked by apprenticeship under the esteemed Andrea del Sarto, a master who profoundly shaped his early style. Yet, unlike many of his contemporaries, Conte didn't simply replicate his teacher’s techniques; he forged a distinct path, developing a unique Mannerist voice characterized by dramatic compositions, intricate detail, and a subtle emotional depth.
Conte’s formative years were spent absorbing the principles of Florentine Renaissance art. His initial training with Andrea del Sarto instilled in him a meticulous approach to drawing and an understanding of classical forms. However, it was through his early commissions – frescoes like the “Annunciation to Zachariah” (1536), the “Preaching of Saint John the Baptist” (1538), and the “Baptism of Christ” (1541) – that Conte truly began to establish his own artistic identity. These works, executed in the Oratory of San Giovanni Decollato in Rome, showcased a burgeoning talent for narrative storytelling and a growing interest in complex spatial arrangements— hallmarks of the emerging Mannerist style. Notably, the “Preaching” fresco drew inspiration from the masterful drawing of Perin del Vaga, demonstrating Conte’s willingness to learn from and incorporate the work of other accomplished artists.
Conte's career took a significant turn in 1547-48 when he joined forces with Siciolante da Sermoneta on the ambitious fresco decoration of the chapel of San Remigio in San Luigi dei Francesi. This collaboration provided Conte with invaluable experience working on large-scale projects and exposed him to new techniques and compositional strategies. The resulting frescoes, though sometimes debated in terms of authorship, reveal a shared interest in dramatic lighting, dynamic figures, and intricate details—elements that would become increasingly prominent in Conte’s later work.
His time in Rome proved particularly influential. He continued to receive commissions for altarpieces and devotional paintings, often exploring themes of religious ecstasy and profound emotional states. The “Deposition” (1552), painted for the Oratory of San Giovanni Decollato, exemplifies this shift towards a more emotionally charged style. While some scholars attribute aspects of this painting to Daniele da Volterra, Conte’s distinctive use of color, drapery, and expressive gestures firmly establish his presence as the primary artist. The work demonstrates a growing departure from the idealized forms of High Renaissance art, embracing a greater sense of dynamism and psychological complexity.
Beyond his fresco cycles, Conte also produced a series of individual portraits, most notably his portrait of Michelangelo (c. 1540). This painting offers a fascinating glimpse into the artist’s ability to capture not only physical likeness but also the personality and inner life of his subject. The portrait is characterized by its dramatic lighting, intense gaze, and subtle gestures—elements that reflect Conte's growing mastery of chiaroscuro and his increasing interest in psychological realism.
Later in his career, Conte continued to refine his style, incorporating elements of both Mannerism and the emerging Baroque. His works from this period are marked by a heightened sense of drama, intense color palettes, and dynamic compositions. The “Virgin and Child with Saint Elizabeth and John the Baptist” (1535), now housed in the Uffizi Gallery, exemplifies this evolution, showcasing a masterful command of perspective, drapery, and emotional expression.
Jacopino del Conte’s legacy lies not only in his individual works but also in his role as a pivotal figure in the transition between Mannerism and the Baroque. He bridged the gap between the refined elegance of the High Renaissance and the dramatic intensity of the new style, leaving behind a body of work that continues to captivate art historians and collectors alike. His paintings offer a valuable insight into the artistic currents of 16th-century Italy, revealing the complex interplay of influences and innovations that shaped the course of Western art history. His works are testament to his skill as both a draftsman and painter, and his ability to imbue religious scenes with profound emotional resonance.
