Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 75 værker af Benvenuto Tisi i vores katalog
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Saint Lucy (1540) er det maleri af Benvenuto Tisi, der vækker mest opsigt; originalen findes på Capitoline Museums, Rom. Derefter falder blikket på Christ and the Samaritan Woman (1500) og Resurrection of Christ (1520). Blandt de 75 værker af Benvenuto Tisi i vores katalog er disse 75 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
In this portrait from 1540, we encounter Saint Lucy in a moment of profound stillness. She is positioned centrally, framed by the heavy, cool grey of a stone architectural column and a soft, atmospheric landscape that recedes into the distance. There is a certain dignity in her posture, a composure that suggests a soul at peace despite the weight of her iconography. She wears voluminous, layered garments; a deep green…
In this oil on poplar panel, we find ourselves at Jacob's Well, witnessing a moment of profound spiritual dialogue. The composition is anchored by two figures positioned on either side of a weathered stone well, which is detailed with subtle relief carvings. On the left, Jesus is seated in a relaxed, contemplative pose, his form draped in deep red and dark blue robes. He looks toward the woman, whose presence…
In this 1520 oil painting, we witness a profound transition between the earthly and the celestial. The composition is structured around a powerful vertical axis, drawing the eye from the heavy, shadowed reality of the tomb upward toward the luminous figure of Christ. He rises with a sense of effortless movement, his white robe billowing in soft, dynamic curves that contrast against the pale blues and yellows of the sky.…
In "The Virgin and Child" by Benvenuto Tisi, the arrangement follows a strict verticality. The figures of Mary and the infant Christ occupy the immediate foreground, anchored in a centered composition that directs the eye upward. A subtle golden halo encircles Mary’s head, marking her divinity against the soft light. This central focus is framed by a layered perspective. Behind the holy pair, architectural elements and small figures inhabit a…
In The Division of the Cloak of Saint Martin, Benvenuto Tisi presents a profound moment of religious and heroic significance. Known to many as Il Garofalo, the artist captures the biblical scene where Saint Martin performs the act of dividing his cloak. This specific gesture transforms a simple piece of fabric into a profound symbol of charity and compassion. The work focuses on the physical act of cutting the cloth,…
In this Renaissance-style oil painting, Benvenuto Tisi captures a quiet moment of divine interruption. The work, titled Annunciation to the Shepherds, depicts a sacred biblical narrative set against the stillness of a nocturnal landscape. A celestial light breaks through the heavy clouds to reach the figures below, piercing the dark sky to signal a heavenly message. The scene focuses on the intersection of the earthly and the divine, where the…
The Adoration of the Shepherd, with the Annunciation to the Shepherds beyond is a religious oil painting by the Italian artist Benvenuto Tisi. Created in 1516, this work belongs to the period when Tisi was establishing his presence within the artistic circles of the Italian Renaissance. The piece captures a quiet moment of devotion, focusing on the intimate interaction between the Holy Family and the figures gathered around the manger.
A quiet, close-up portrait captures the tender connection between Mary and the Christ Child. Positioned slightly off-center, the two figures emerge from a dark, shadowy background, a technique that creates a sense of depth through chiaroscuro. The composition focuses on the upper bodies, drawing the viewer into a private, sacred moment. Soft, directional light illuminates their faces and the front of the child's body, casting gentle shadows that provide a…
We are looking at Noli me tangere, a significant work by Benvenuto Tisi, known to history as Garofalo. This painting, dating to 1527, captures a quiet, profound moment of recognition. It depicts the biblical encounter between Jesus Christ and Mary Magdalene, a scene that requires a delicate touch to convey the weight of their interaction.
In this work, titled Circumcision, Benvenuto Tisi presents a scene of profound ritual and religious significance. Painted in 1512, the composition captures a moment of intense ceremonial focus. Tisi, who was a master of the School of Ferrara, brings a particular sense of weight to the figures gathered in this sacred space. His approach to the subject matter reflects the sophisticated understanding of form and narrative that defined his presence…
The Holy Family with Saints1515 · Northants
12
Madonna and Child (855.3.9)1510 · Musée Massey
13
Madonna with Saint Michael1520 · Bavarian State Painting Collections
14
Pietà1520 · Bavarian State Painting Collections
15
The Virgin, the Christ Child and Saint Joseph with Saint Elizabeth and the young Saint John the Baptist1525
16
The Agony In The Garden1524 · Birmingham Museum and Art Gallery
17
Madonna and Child and St. Jerome1530 · Dallas Museum of Art
18
Holy Family with St. Anne1530 · Detroit Institute of Arts
19
The Holy Family1525
20
Judith with the Head of Holofernes1525 · Knole House
21
The Conversion of Saint Paul1525 · Yale University Art Gallery
22
Mary with Child1520 · Bavarian State Painting Collections
23
Annunciation1520 · Bavarian State Painting Collections
24
Annunciation1528 · Capitoline Museums
25
Portrait of a Man1520 · Smithsonian American Art Museum
26
The Baptism of Christ1525 · Birmingham Museum of Art
27
The Flagellation of Christ1527 · Musée des Beaux-Arts
28
The penitent saint Jerome1524 · Gemäldegalerie
29
The Stoning of Saint Stephen1540 · Gemäldegalerie
30
Madonna and Child in Glory1535 · Lowe Gallery
31
Christ and the Woman of Samaria1536 · Israel Museum
32
Adoration of the Shepherds1536 · Capitoline Museums
33
Christ Driving the Money-changers from the Temple1545 · Scottish National Gallery
34
Holy Family1535 · Rijksmuseum
35
The Sleep of the Child Jesus1550
36
Saint James the Greater1550 · Los Angeles County Museum of Art
37
Saint Christopher1550
38
Saint Cecilia1550
39
Ascension of Christ
40
Holy Family with the Infant Saint John and Saint Elizabeth1520 · Courtauld Gallery
41
Saint Nicholas of Tolentino Reviving the Birds1530 · Metropolitan Museum of Art
42
Madonna and Child, Garofalo, 1515 - 15401540 · Rijksmuseum
43
Holy Kinship1520 · Bavarian State Painting Collections
44
Christ Washing the Disciples' Feet1525 · National Gallery of Art
45
An Allegory of LoveNational Gallery
46
The Vision of Saint AugustineNational Gallery
47
Saint Nicholas of Tolentino Reviving a Child1530 · Metropolitan Museum of Art
48
Madonna and ChildNational Gallery of Armenia
49
The Holy FamilyRoyal Collection
50
God Blessing the EarthNationalmuseum
51
Saint Roch and Saint LaurenceWellcome Collection
52
Christ and the AdulteressSzépművészeti Múzeum
53
Saint MaureliusCathedral Museum of Ferrara
54
Madonna with the Child and St. JohnCapitoline Museums
55
Virgin and Child with Saints (detail)
56
The annunciation
57
Virgin and Child with Saints
58
The Agony in the GardenNational Gallery
59
An Allegory of Love
60
The Holy Family with SaintsNational Gallery
61
A pagan sacrifice
62
The Madonna and Child enthroned with SaintsNational Gallery
63
A pagan sacrificeNational Gallery
64
The Virgin and Child with Saints
65
The Virgin and Child with SaintsNational Gallery
66
Saint Catherine of AlexandriaNational Gallery
67
Madonna with the Child and St. JohnCapitoline Museums
68
Entombment1525 · Hermitage Museum
69
Allegory of Old and New Testament (Synagogue and Christ Church)1529 · Hermitage Museum
70
Marriage at Cana1531 · Hermitage Museum
71
Adoration of the Magi1530 · Rijksmuseum
72
Carrying of the Cross1529 · Hermitage Museum
73
Miracle of bread and fish1530
74
The Vestal Claudia Towing the Ship Bearing the Statue of Cybele1527 · Galleria Nazionale d'Arte Antica
75
Adoration of the Child, with the instruments of the Passion1550 · Musée des Beaux-Arts
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 Benvenuto Tisi | Malerier fra denne liste |
|---|---|---|---|
 National Gallery |
London | 8 | An Allegory of Love, The Vision of Saint Augustine, The Agony in the Garden |
 Bavarian State Painting Collections |
München | 6 | The Division of the Cloak of Saint Martin, Madonna with Saint Michael, Pietà |
 Capitoline Museums |
Rom | 5 | Saint Lucy, Annunciation, Adoration of the Shepherds |
 Hermitage Museum |
Sankt Petersborg | 5 | Christ and the Samaritan Woman, Entombment, Allegory of Old and New Testament (Synagogue and Christ Church) |
 Rijksmuseum |
Amsterdam | 3 | Holy Family, Madonna and Child, Garofalo, 1515 - 1540, Adoration of the Magi |
 Kunsthistorisches Museum |
Wien | 2 | Resurrection of Christ, Noli me tangere |
 Gemäldegalerie |
Berlin | 2 | The penitent saint Jerome, The Stoning of Saint Stephen |
 Metropolitan Museum of Art |
New York | 2 | Saint Nicholas of Tolentino Reviving the Birds, Saint Nicholas of Tolentino Reviving a Child |
Vælg et årti for at se det originale værk, der definerer det.
In this oil on poplar panel, we find ourselves at Jacob's Well, witnessing a moment of profound spiritual dialogue. The composition is anchored by two figures positioned on either side of a weathered stone well, which is detailed with subtle relief carvings. On the left, Jesus is seated in a relaxed, contemplative pose, his form draped in deep red and dark blue robes. He looks toward the woman, whose presence…
In The Division of the Cloak of Saint Martin, Benvenuto Tisi presents a profound moment of religious and heroic significance. Known to many as Il Garofalo, the artist captures the biblical scene where Saint Martin performs the act of dividing his cloak. This specific gesture transforms a simple piece of fabric into a profound symbol of charity and compassion. The work focuses on the physical act of cutting the cloth,…
In this 1520 oil painting, we witness a profound transition between the earthly and the celestial. The composition is structured around a powerful vertical axis, drawing the eye from the heavy, shadowed reality of the tomb upward toward the luminous figure of Christ. He rises with a sense of effortless movement, his white robe billowing in soft, dynamic curves that contrast against the pale blues and yellows of the sky.…
Madonna and Child and St. Jerome is an oil on panel created by Benvenuto Tisi. Dating to about 1530, the work belongs to the period when the artist was establishing his presence within the School of Ferrara.
In this portrait from 1540, we encounter Saint Lucy in a moment of profound stillness. She is positioned centrally, framed by the heavy, cool grey of a stone architectural column and a soft, atmospheric landscape that recedes into the distance. There is a certain dignity in her posture, a composure that suggests a soul at peace despite the weight of her iconography. She wears voluminous, layered garments; a deep green…
The scene rests in a soft, pyramidal stillness. At the apex, the Virgin Mary leans forward, her form a gentle curve of devotion. She watches over the infant Christ, who lies asleep in a cradle. Her tunic is a deep, saturated red, while her mantle falls in heavy, blue folds that frame the pale, luminous skin of the child. A soft light enters from the upper left, casting gentle shadows…
Saint Lucy (1540), Capitoline Museums, Rom. Derefter følger Christ and the Samaritan Woman (1500) og Resurrection of Christ (1520).
59 år gammel: Saint Lucy er fra 1540, og Benvenuto Tisi blev født i 1481.
Saint Lucy, Christ and the Samaritan Woman, Resurrection of Christ, The Virgin and Child, The Division of the Cloak of Saint Martin, Annunciation to the Shepherds, The Adoration of the Shepherd, with the Annunciation to the Shepherds beyond, Mary with the Christ-child, Noli me tangere og Circumcision. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 75 værker af Benvenuto Tisi, dateret fra 1500 til 1550.
Primært i National Gallery (London), Bavarian State Painting Collections (München) og Capitoline Museums (Rom). Museumslisten ovenfor viser dem alle.
I 1520s: 23 af de 75 værker på denne side blev skabt dengang, herunder Resurrection of Christ.
På denne side er det tidligste Christ and the Samaritan Woman (1500) og det seneste The Sleep of the Child Jesus (1550).
Woman (29), Man (25) og Child (18), fordelt på de 75 værker på denne side.
Oil, for 27 af de 75 værker på denne side.
High renaissance og Mannerism, baseret på originalerne på denne side.
An Allegory of Love, The Vision of Saint Augustine og The Agony in the Garden: National Gallery, London har 8 af værkerne på denne side.
Benvenuto Tisi, født i Canaro nær Ferrara i 1481 og tragisk bortgået i 1559, står som en central skikkelse inden for Ferraras skole – en livlig kunstnerisk bevægelse, der blomstrede under den sene italienske renæssance. Mere end blot en maler var Tisi en omhyggelig håndværker, en dygtig historiefortæller og en skarp iagttager af menneskelige følelser, hvis værker tilbyder et fængslende indblik i det 16. århundredes Italiens raffinerede smag og komplekse sensitivitet. Hans karriere begyndte som lærling ved hoffet hos hertug d’Este, hvilket hurtigt etablerede ham i en kreds af kunstnere, der var kendt for deres overdådige bestillinger og indviklede motiver. Selvom hans tidlige værker ofte beskrives som idylle, der afspejler de luksuriøse omgivelser i Ferrara, udviser de en sofistikeret forståelse for perspektiv og farve, som ville udvikle sig dramatisk over tid.
Hans øgenavn, "Il Garofalo", stammer sandsynligvis fra hans vane med at signere visse værker med en afbildning af en nellike (garofano på italiensk). Denne tilsyneladende lille detalje fortæller meget om kunstnerens personlighed – et strejf af personlig stil inden for et stærkt struktureret kunstnerisk miljø. Hans tidlige karriere var præget af samarbejder, især med Dosso Dossi, og han nød stor gavn af vejledningen fra Boccaccino, som introducerede ham til venetianske maleteknikker, hvilket påvirkede hans senere stilistiske valg. Perioden i Rom mellem 1509 og 1512 viste sig at være særligt transformativ, da den eksponerede ham for indflydelsen fra Giulio Romanos klassiske stil – et skift, der ville få en dybdegående betydning for hans tilgang til komposition og motivvalg.
Da Benvenuto Tisi vendte tilbage til Ferrara efter sit ophold i Rom, blev han dybt engageret i udsmykningen af flere paladser for hertug Alfonso I. “Delizia di Belriguardo”, et overdådigt dekoreret rum i Palazzo del Belvedere, står som et af hans mest fejrede mesterværker. Dette projekt fremviste hans mesterskab inden for freskomaleri og hans evne til sømløst at integrere klassiske motiver med den fremherskende manieristiske stil. Sammen med Dosso Dossi skabte Benvenuto Tisi en række scener, der skildrede mytologiske emner, hvilket vidnede om en bemærkelsesværdig detaljegrad og en dyb værdsættelse af den menneskelige forms skønhed. Hertugens mæcenat sikrede ham et konstant arbejde, hvilket gav ham mulighed for at forfine sine færdigheder og udforske nye kunstneriske veje.
Hans produktion strakte sig langt ud over paladsets mure; Benvenuto Tisi malede omfattende i både olie og fresko og skabte værker som “Massakren på de uskyldige” (1519) i kirken S. Francesco og det kraftfuldt evokative “Kristi forræderi” (1524). Det er bemærkelsesværdigt, hvordan han benyttede lerfigurer til studier – et vidnesbyrd om hans dedikation til anatomisk nøjagtighed og kompositionel planlægning. Særligt “Massakren på de uskyldige” afslører Benvenuto Tisis omhyggelige tilgang; han skabte detaljerede lerfigurer for at analysere perspektiv, draperinger og den følelsesmæssige slagkraft i hver enkelt scene.
Garofalos stil beskrives ofte som en syntese af mange forskellige indflydelser. Den lombardiske indflydelse er tydelig i hans brug af rige farvepaletter og dynamiske kompositioner. Romersk kunst gav ham et fundament i klassisk mytologi og portrætkunst, mens den venetianske malerkunst indpodede en forståelse for atmosfærisk perspektiv og de subtile nuancer i lys og skygge. Hans værker afspejler dette komplekse samspil mellem stilarter og skaber et unikt visuelt sprog, der er både elegant og følelsesmæssigt resonant.
Årene i Rom var særligt formative og eksponerede Garofalo for de nyskabelser, som Raphael og Giulio Romano repræsenterede. Han opsugede deres fokus på illusionistisk rumlighed, dramatisk lyssætning og indviklede detaljer, og han inkorporerede disse elementer i sit eget virke. Hans senere malerier vidner om en voksende interesse for manierismens konventioner – de langstrakte figurer, de forvridne perspektiver og de overdrevne gestus – hvilket afspejler et bevidst brud med højrenæssancens mere afbalancerede proportioner.
Garofalo fortsatte med at male helt frem til 1550, hvor blindhed tvang ham til at søge arbejde i klostre. Drevet af en dyb religiøs overbevisning dedikerede han sine resterende år til skabelsen af andægtige malerier. Han blev gift i en alder af 48 år og døde i Ferrara den 6. (eller 16.) september 1559, efterladende sig to børn. Hans liv blev tragisk afbrudt, men hans kunstneriske eftermæle lever videre gennem hans mesterlige skildringer af religiøse motiver, hans innovative brug af farver og komposition, samt hans dybe forståelse for det menneskelige vilkår.
Historien om Garofalo er en fortælling om kunstnerisk genialitet tempereret af personlige modgang. Han forbliver en betydningsfuld skikkelse i den italienske malerkunsts historie, hvor han repræsenterer kulminationen på den særegne stil fra Ferrara-skolen og personificerer den sene renæssances komplekse æstetiske følsomhed.
