Portræt af Timoteo Viti

De 4 mest berømte Timoteo Viti-malerier, en galleriselektion

Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 4 værker af Timoteo Viti i vores katalog

Kort sagt

Af alle de originale værker, som Timoteo Viti efterlod, er det mest berømte Madonna and Child (1488), som er en del af samlingen på Hermitage Museum i Sankt Petersborg. Lige efter følger Madonna and Child with the Infant St John the Baptist (1500) og The Holy Trinity with Saint John the Baptist and Saint Sebastian. Vores katalog indeholder 4 værker af Timoteo Viti; galleriet har bevaret de 4 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.

1469 – 1523, Urbino Flest værker: Hermitage Museum

Timoteo Vitis top 10 malerier: galleriets udvalg

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Madonna and Child (1488) af Timoteo Viti

Madonna and Child

1488 · Oil On Panel · Hermitage Museum, Sankt Petersborg

This intimate portrait, titled Madonna and Child, was painted by Timoteo Viti. Created in Italy, the work offers a quiet moment of maternal connection. It is a piece that reflects the specific artistic sensibilities of the late fifteenth century.

De museer, der udstiller Timoteo Vitis originalværker

De 3 museer, der rummer flest af malerierne på denne side.

Museum By Værker af Timoteo Viti Malerier fra denne liste
Hermitage Museum, Sankt PetersborgHermitage Museum Sankt Petersborg 1 Madonna and Child
Minneapolis Institute of Art, MinneapolisMinneapolis Institute of Art Minneapolis 1 The Holy Trinity with Saint John the Baptist and Saint Sebastian
Worcester Art Museum, WorcesterWorcester Art Museum Worcester 1 Northbrook Madonna

Timoteo Viti år for år: de originale værker, der definerer hvert år

Fra 1488 til 1505 arbejdede Timoteo Viti i 18 år: udvalget følger denne lange karriere år for år, gennem de fineste originalværker.

Værker per år

Vælg et årstal for at se de originale værker.

Samleres spørgsmål om Timoteo Vitis malerier

Hvilket værk er Timoteo Viti mest kendt for?Vis svaret

Madonna and Child (1488), Hermitage Museum, Sankt Petersborg. Derefter følger Madonna and Child with the Infant St John the Baptist (1500) og The Holy Trinity with Saint John the Baptist and Saint Sebastian.

Hvor gammel var Timoteo Viti, da Madonna and Child blev skabt?Vis svaret

19 år gammel: Madonna and Child er fra 1488, og Timoteo Viti blev født i 1469.

Hvor mange malerier efterlod Timoteo Viti?Vis svaret

Vores katalog indeholder 4 værker af Timoteo Viti, dateret fra 1488 til 1505.

I hvilke museer udstilles Timoteo Viti's mesterværker?Vis svaret

Primært i Hermitage Museum (Sankt Petersborg), Minneapolis Institute of Art (Minneapolis) og Worcester Art Museum (Worcester). Museumslisten ovenfor viser dem alle.

Hvad er de første og de sidste berømte originaler af Timoteo Viti?Vis svaret

På denne side er det tidligste Madonna and Child (1488) og det seneste Northbrook Madonna (1505).

Timoteo Viti: liv og værk

The Painter of Urbino: The Life and Legacy of Timoteo Viti

Timoteo Viti, a name often whispered in the shadow of giants, remains one of the most compelling figures of the Italian Renaissance. Born in the vibrant intellectual hub of Urbino around 1469, Viti was not merely a witness to the golden age of the Quattrocento but a vital participant in its unfolding drama. As the grandson of the painter Antonio Alberti and the son of a fellow artist, his destiny was woven into the very fabric of the Florentine and Marches traditions from birth. His early years were defined by a profound connection to the local court, eventually leading him to step into the monumental role of successor to Giovanni Santi, the deceased father of the legendary Raphael. In doing so, Viti became more than just a painter; he became a custodian of the artistic soul of Urbino, completing unfinished masterpieces like the Muses in the Ducal Palace and ensuring that the lineage of local excellence remained unbroken.

A Journey Through Light and Line: Influences and Evolution

The aesthetic journey of Viti was shaped by a masterful blend of apprenticeship and companionship. His formative years were spent under the tutelage of Francesco Francia in Bologna, an experience that infused his work with a distinctive clarity and a luminous color palette. From Francia, Viti inherited a devotion to disegno—the meticulous observation of natural form—and a delicate touch that allowed him to imbally his subjects with a serene, almost ethereal grace. However, the most transformative chapter of his career was undoubtedly his relationship with Raphael. Though Raphael was fourteen years his junior, the two shared an intellectual and artistic bond that transcended age. Viti did not merely follow the rising star; he engaged in a profound dialogue with the High Renaissance style. While some scholars point to his later works as a conscious departure from Raphael’s increasingly complex aesthetic, it is more accurate to view Viti as an artist who navigated the tension between the graceful simplicity of his youth and the monumental grandeur of the Roman school.

Mastery in Motion: Achievements and Historical Significance

Viti's career was marked by a remarkable versatility that saw him moving seamlessly between delicate altarpieces and grand-scale fresco cycles. His ability to navigate the turbulent political waters of the era—working under the banners of Cesare Borgia one moment and decorating the sacred spaces of the Montefeltro court the next—speaks to his standing as a respected master of his craft. One of his most significant contributions lies in his collaborative spirit, notably his work alongside Girolamo Genga in the decoration of the Arrivabene Chapel and his participation in the massive team assembled by Raphael for the Chigi Chapel in Santa Maria della Pace. His works, such as the evocative Madonna and Child with the Infant St John the Baptist, demonstrate a profound ability to marry religious devotion with human emotion. Beyond the canvas, Viti’s historical significance is cemented by his role as a bridge between eras. He carried the meticulous traditions of the late 15th century into the transformative landscape of the 16th century, providing a sense of continuity in an age of rapid artistic upheaval. His legacy is found not only in the surviving pigments on plaster and wood but in the very way he helped define the visual identity of Urbino. Through his hands, the spiritual and the classical were harmonized, leaving behind a body of work that continues to resonate with the quiet dignity and enduring beauty of the Renaissance spirit.