Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 161 værker af Palma Giovane i vores katalog
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Af alle de originale værker, som Palma Giovane efterlod, er det mest berømte The Crucifixion of St Peter (1614), som er en del af samlingen på Gallerie dell'Accademia di Venezia i Venedig. Lige efter følger Pietà with Angels (1620) og Paolo Veronese (1600). Vores katalog indeholder 161 værker af Palma Giovane; galleriet har bevaret de 100 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
Michelangelo Palma il Giovane’s “The Crucifixion of St Peter,” painted in 1614, is not merely a depiction of a pivotal moment in Christian history; it's a profound exploration of suffering, faith, and the raw emotion of martyrdom. This monumental canvas, measuring 170 x 135 cm, transports the viewer directly into the heart of the scene – a chaotic yet deeply moving tableau unfolding outdoors beneath a dramatic, stormy sky. Palma,…
A heavy, limp body rests across the lap of the Virgin Mary. The pale skin of Christ contrasts against the deep red of her tunic and the dark blue of her mantle. Shadows swallow the background, pushing the figures forward into a sharp, theatrical light. Two large angels flank the upper scene, their faces etched with grief. Below, small cherubs support the weight of the limbs, one near the arm…
A Venetian Synthesis: Palma il Giovane’s Portrait of Saint Philip Jacopo Palma il Giovane, a pivotal figure in the Venetian Renaissance, stands as a testament to the artistic dynamism that flourished during his lifetime. Born in Venice in 1548 and tragically deceased in 1628, he inherited a legacy from his father, Jacopo Palma Vecchio—a lineage steeped in tradition yet driven by an unwavering pursuit of innovation. His formative years were…
The air thickens with sudden, celestial violence as the scene erupts in a chaotic swirl of motion. Saul, once a persecutor of the faithful, is caught in a moment of profound physical and spiritual disorientation. He is thrown from his horse, a heavy, muscular form tumbling toward the earth, while the animal recoils in a tangle of limbs and frantic energy. Above this earthly commotion, a brilliant, piercing light breaks…
The composition reflects the transition from the High Renaissance to the burgeoning drama of the Baroque. The style is characterized by intense emotional weight and dynamic movement typical of the late Renaissance or Mannerist period. The texture appears smooth yet painterly, capturing the anatomical detail of Christ's torso and the heavy fabric of the mourning figures. Through the use of light as a narrative tool, the composition guides the eye…
The oil on canvas work titled Venus and Mars presents a mythological encounter between the personification of love and the god of war. Painted by Palma il Giovane, the scene captures these lovers in a moment of intimate proximity. The figures of Venus and Mars respond to one another through anticipatory gestures, their bodies arranged in a way that suggests a shared, private space. A small Cupid occupies the lower…
The oil painting The prophet Nathan admonishes King David presents an emotionally charged biblical scene set within a shallow, stage-like space. The composition centers on two primary figures engaged in an intense interaction. On the left, King David is depicted sitting in a large, ornate golden throne. He wears a red velvet robe trimmed with thick white ermine fur and a prominent gold crown, his posture heavy and dejected with…
The room falls into a heavy, quiet stillness as we gaze upon an elderly man, his face etched with the deep lines of a life spent in focused labor. He sits in a three-quarter view, caught in a moment of profound introspection. A sharp, directional light enters from the upper left, carving his features out of the surrounding darkness. This intense chiaroscuro pulls his weathered forehead and greyish-white beard into…
In this 1612 oil painting, we find ourselves drawn into the immediate, heavy atmosphere of the Lamentation. The composition centers on the pale, lifeless body of Christ, which lies horizontally across the lower half of the frame. There is a stillness here that feels almost physical, a quietude that contrasts with the intense emotional weight of the scene. To the left, a figure draped in deep red robes holds a…
In this etching print, we find ourselves witnessing a scene of profound, sudden movement. The composition centers on the aftermath of a decisive act: Judith is captured in the precise, heavy moment of placing the severed head of Holofernes onto a cloth. Another female figure assists, her hands steadying the fabric to catch the weight of the deed. There is a certain anatomical tension here, particularly in the foreshortened body…
Portrait of Niccolo da Ponte (1491-1585), Doge of Venice1580 · Kunsthistorisches Museum
12
The Pope allows Otto to go to his father to negotiate peace1582 · Dogepaladset
13
Pietá1611 · Museo del Prado
14
David with Goliath's Head1590 · Museo del Prado
15
Salomé with the Head of John the Baptist1599 · Kunsthistorisches Museum
16
Moses Brings the Tablets of the Law1586 · Bavarian State Painting Collections
17
St Sebastian1590 · Hermitage Museum
18
Dead Christ Supported by an Angel1612 · Kunsthistorisches Museum
19
Adoration of the Shepherds1575 · Bavarian State Painting Collections
20
Flagellation of Christ1586 · Bavarian State Painting Collections
21
Christ calling Zacchaeus1575 · Fitzwilliam Museum
22
Elijah and the Angel1575 · Fitzwilliam Museum
23
Portrait of a Gentleman1590 · Art Institute of Chicago
24
Fighting soldiers1569
25
soldiers on horseback1569
26
Soldiers on horseback1569
27
supraporte: fighting soldiers1569
28
fighting soldiers1569
29
Battle - scene in landscape with town1569
30
soldiers on horseback1569
31
soldiers on horseback1569
32
six citizens after war scene1569
33
Gentlemen on horse - back1569
34
Victory of Francesco Bembo over Filippo Maria Visconti1578 · Dogepaladset
35
The Descent of Manna1575
36
Christ Deposed In The Sepulchre1575
37
Crucifix Between Our Lady And Saint John1575
38
The Paschal Lamb1575
39
St Lawrence Giving the Wealth to the Poor1575
40
Lamentation of Christ1586 · Bavarian State Painting Collections
41
Lamentation of Christ1586 · Bavarian State Painting Collections
42
Thetis on the Sea1586 · Bavarian State Painting Collections
43
Lamentation of Christ1586 · Bavarian State Painting Collections
44
Annunciation of Mary1585 · Bavarian State Painting Collections
45
Christ and the Samaritan Woman1586 · Bavarian State Painting Collections
46
Saint Sebastian1586 · Bavarian State Painting Collections
47
Ecce homo1586 · Bavarian State Painting Collections
48
The Expulsion of the Vices of the Church1582 · Royal Collection
49
Venus and Cupid1590 · Royal Collection
50
Prometheus Chained to the Caucasus1589 · Royal Collection
51
Massacre of the Inhabitants of Hippo1593 · Musée Fabre
52
Scene from the History of Joseph1587 · Isabella Stewart Gardner Museum
53
Scene from the History of Joseph1587 · Isabella Stewart Gardner Museum
54
Judas Cyriacus1593
55
Sant'elena Ritrova La Vera Croce1593
56
L'imperatore Eraclio Riporta La Croce Al Calvario1593
57
Pius II1593
58
Judith and Holofernes1600
59
The Virgin and Child, Saint Luke and a Donor1602 · Royal Collection
60
The Penitent Magdalene1600 · Royal Collection
61
Return of the Prodigal Son1595 · Gallerie dell'Accademia di Venezia
62
The Virgin and Child with Saints and Angels1620 · National Gallery of Ireland
63
Lamentation of Christ1620 · Bavarian State Painting Collections
64
Self Portrait1614
65
Studies of an Arm, and of the Heads of an Old Man and Young Woman1628
66
Seated Female Holding a Book, Two Heads of Bearded Men, Seated Male Nude, and Four Sketches for Christ Judging (recto); Studies for Cain Slaying Abel (verso)1628
67
Apostles at the Virgin's Tomb1582 · Hermitage Museum
68
Cain and Abel1603 · Kunsthistorisches Museum
69
Annunciation1600 · Madonna dell'Orto
70
Martirio Di San Giovanni Battista Tra San Lanfranco Beccari E San Liberio1593
71
Washing of the Feet1591 · San Giovanni in Bragora
72
Lamentation1620 · National Gallery of Art
73
Joseph and Potiphar's WifeStatens Museum for Kunst
74
Allegory of the Victory over the League of Cambrai (detail)1590 · Dogepaladset
75
The Dead Christ Supported by An Angel with Two Putti Each Supporting a Cero1575
76
The Paschal Lamb1575
77
Eucharist Worshipped By The Four Evangelists1575
78
Elia Cibato From angel1575
79
The Parish Priest Da Ponte in front of the Virgin, Saint Mark, Saint Sylvester and Saint James1575
80
Red Sea Passage1575
81
The FlagellationMuseo del Prado
82
Papa Cleto1593
83
Elia nutrito dall'angelo1593
84
Lanfranco Beccari1593
85
David riceve dal sacerdote Achimelec i pani offerti nel santuario1593
86
Saint Helena1593
87
Il Serpente Di Bronzo1593
88
Alexander III confirms the Crucifixes and gives them the rule1593
89
Pope San Cleto Founds the Order of the Crucifer - St. Cyril's Bishop of Jerusalem Reaffirms the Order1593
90
David and Achimelech1590 · Santissimo Redentore
91
The Pool1592 · Collezione Molinari Pradelli
92
The Martyrdom of St Lawrence1581 · San Giacomo dall'Orio
93
Sketch for An Entablature1628
94
The Arrest of Christ, Christ and the Canaanite Woman, Seated Male Figures, and Head of a Child1628
95
Studies of Horsemen and Study of a Figure for a Deposition1628
96
Seated Female Holding a Book, Two Heads of Bearded Men, Seated Male Nude, and Four Sketches for Christ Judging (recto); Studies for Cain Slaying Abel (verso)1628
97
Sheet of Studies with St. Jerome, Seated at Right and Resting His Right Forearm on a Book, at Left An Ecclesiastical Figure Wearing a Cope and Miter, and at Bottom Two Putti1628
98
A Venetian SenatorMuseo del Prado
99
Amusements of the Prodigal Son1595 · Gallerie dell'Accademia di Venezia
100
Christ as TeacherBavarian State Painting Collections
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 Palma Giovane | Malerier fra denne liste |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 14 | Moses Brings the Tablets of the Law, Adoration of the Shepherds, Flagellation of Christ |
 Kunsthistorisches Museum |
Wien | 8 | Pietà with Angels, The prophet Nathan admonishes King David, Portrait of a Sculptor |
 Museo del Prado |
Madrid | 5 | The Conversion of Saint Paul, Pietá, David with Goliath's Head |
 Royal Collection |
London | 5 | The Expulsion of the Vices of the Church, Venus and Cupid, Prometheus Chained to the Caucasus |
 Dogepaladset |
Venedig | 4 | The Pope allows Otto to go to his father to negotiate peace, Victory of Francesco Bembo over Filippo Maria Visconti, Allegory of the Victory over the League of Cambrai (detail) |
 Gallerie dell'Accademia di Venezia |
Venedig | 3 | The Crucifixion of St Peter, Return of the Prodigal Son, Amusements of the Prodigal Son |
 Hermitage Museum |
Sankt Petersborg | 2 | St Sebastian, Apostles at the Virgin's Tomb |
 Fitzwilliam Museum |
2 | Christ calling Zacchaeus, Elijah and the Angel |
Vælg et årti for at se det originale værk, der definerer det.
A heavy silence hangs within the frame as Niccolò da Ponte meets the viewer's gaze. The elderly Doge sits in a three-quarter length pose, his presence commanding the space with a solemn, contemplative energy. Light pours from the upper left, striking the stark white of his ermine-lined mantle and illuminating the weathered textures of his face. This dramatic chiaroscuro carves his features out of the deep, shadowy background, creating a…
The air thickens with sudden, celestial violence as the scene erupts in a chaotic swirl of motion. Saul, once a persecutor of the faithful, is caught in a moment of profound physical and spiritual disorientation. He is thrown from his horse, a heavy, muscular form tumbling toward the earth, while the animal recoils in a tangle of limbs and frantic energy. Above this earthly commotion, a brilliant, piercing light breaks…
A Venetian Synthesis: Palma il Giovane’s Portrait of Saint Philip Jacopo Palma il Giovane, a pivotal figure in the Venetian Renaissance, stands as a testament to the artistic dynamism that flourished during his lifetime. Born in Venice in 1548 and tragically deceased in 1628, he inherited a legacy from his father, Jacopo Palma Vecchio—a lineage steeped in tradition yet driven by an unwavering pursuit of innovation. His formative years were…
Michelangelo Palma il Giovane’s “The Crucifixion of St Peter,” painted in 1614, is not merely a depiction of a pivotal moment in Christian history; it's a profound exploration of suffering, faith, and the raw emotion of martyrdom. This monumental canvas, measuring 170 x 135 cm, transports the viewer directly into the heart of the scene – a chaotic yet deeply moving tableau unfolding outdoors beneath a dramatic, stormy sky. Palma,…
A heavy, limp body rests across the lap of the Virgin Mary. The pale skin of Christ contrasts against the deep red of her tunic and the dark blue of her mantle. Shadows swallow the background, pushing the figures forward into a sharp, theatrical light. Two large angels flank the upper scene, their faces etched with grief. Below, small cherubs support the weight of the limbs, one near the arm…
The Crucifixion of St Peter (1614), Gallerie dell'Accademia di Venezia, Venedig. Derefter følger Pietà with Angels (1620) og Paolo Veronese (1600).
64 år gammel: The Crucifixion of St Peter er fra 1614, og Palma Giovane blev født i 1550.
The Crucifixion of St Peter, Pietà with Angels, Paolo Veronese, The Conversion of Saint Paul, The Crucifixion, Venus and Mars, The prophet Nathan admonishes King David, Portrait of a Sculptor, Lamentation with angels og Judith Placing the Head of Holofernes onto a Cloth Held by Another Female Figure, the Foreshortened Body of Holofernes Gushes with Blood from the Neck. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 161 værker af Palma Giovane, dateret fra 1569 til 1628.
Primært i Bavarian State Painting Collections (München), Kunsthistorisches Museum (Wien) og Museo del Prado (Madrid). Museumslisten ovenfor viser dem alle.
I 1590s: 27 af de 100 værker på denne side blev skabt dengang, herunder The Conversion of Saint Paul.
På denne side er det tidligste Fighting soldiers (1569) og det seneste Judith Placing the Head of Holofernes onto a Cloth Held by Another Female Figure, the Foreshortened Body of Holofernes Gushes with Blood from the Neck (1628).
Man (14), Woman (8) og People (7), fordelt på de 100 værker på denne side.
Oil On Canvas, for 20 af de 100 værker på denne side.
Renaissance og Baroque, baseret på originalerne på denne side.
Moses Brings the Tablets of the Law, Adoration of the Shepherds og Flagellation of Christ: Bavarian State Painting Collections, München har 13 af værkerne på denne side.
Ja, som reproduktion: det originale værk bliver i sit museum, men ethvert maleri på denne side kan males i hånden til dig, bestilt efter behov og malet ét ad gangen, direkte fra maleriets egen side.
I den venetianske renæssances gyldne skumring, en periode defineret af en uovertruffen beherskelse af farve og lys, trådte en maler frem, hvis penselstrøg byggede bro mellem højrenæssancen og barokkens spirende drama. Jacopo Palma il Giovane, født som Iacopo Negretti omkring 1548, var ikke blot en efterfølger til de store mestre, men et livsvigtigt led i den venetianske skoles kontinuitet. Som grandnevø til den berømte Palma Vecchio blev han født ind i en slægt af kunstnerisk ekspertise og arvede en dyb forståelse for den kromatiske rigdom, der kendetegner den venetianske tradition. Hans liv og virke repræsenterer en sømløs overgang, der førte forgængernes lysende elegance ind i en ny æra af følelsesmæssig intensitet og teatralsk storhed.
Fundamentet for Palmas kunstneriske virke blev lagt i Venedigs værksteder, hvor luften var tyk af arven fra Tizian og Tintoretto. Selvom historiske beretninger antyder, at han kan have forfinet sin teknik gennem studiet af Tizians betagende farvepaletter, var det Tintorettos dynamiske energi, der for alligent formede hans modne vision. Efter Tintorettos død i 1594 steg Palma il Giovane til en position af fremtrædenhed og blev den dominerende kunstneriske kraft i Venedig. Han besad en sjælden evne til at syntetisere disse to vidt forskellige indflydelser: Fra Tizian hentede han en sofistikeret kontrol over lys og hudtoner, mens han fra Tintoretto adopterede en følelse af bevægelse, dramatisk chiaroscuro og en narrativ hastighed, der resonerede dybt med modreformationens religiøse iver.
Palma il Giovanes værk er et vidnesbyrd om hans evne til at transformere bibelske og mytologiske temaer til sanselige menneskelige erfaringer. Hans malerier er sjældent statiske; de pulserer med en livskraft, der drager beskueren ind i dramaets hjerte. Uanset om han skildrer alvoren i et religiøst martyrium eller det livlige kaos i en værtshusscene, bruger hans arbejde lyset som et fortællerværktøj, der guider øjet gennem komplekse kompositioner for at finde historiens følelsesmæssige kerne. Hans mesterskab er særligt tydeligt i værker som Sankt Catharina af Alexandrias martyrium, hvor samspillet mellem skygge og glans forstærker følelsen af guddommelig kamp, og Apostlene ved Jomfruens grav, som indfanger et dybt øjeblik af kollektiv sorg gennem svungne, energiske penselstrøg.
Udover sine religiøse bestillingsværker tillod Palmas alsidighed ham at udforske et bredt spektrum af emner. Hans talent for at indfange den menneskelige ånd ses måske mest intimt i hans Selvportræt, et værk der afslører en sjælfuld introspektion og en teknisk kunnen, der er i stand til at gengive de fineste nuancer i ansigtsudtrykket. Selv i mere verdslige eller anekdotiske scener, såsom Den fortabte søns fornøjelser, opretholder han en levende, rytmisk kvalitet, der fejrer teksturerne og farverne i det venetianske liv. Denne evne til at svinge mellem det dybsindige og det legende sikrede hans relevans i forskellige mæcenatkredse, fra de kirkelige myndigheder i Venedig til de kejserlige hoffer i Centraleuropa.
Jacopo Palma il Giovanes historiske betydning rækker langt ud over Den Venetianske Republiks grænser. Hans indflydelse spredte sig udad og nåede helt til Bergamo og hoffet hos kejser Rudolf II i Prag, hvilket markerede ham som en kunstner af international rang. Han blot kopierede ikke fortiden; han udviklede den og forberedte jorden for de mere følelsesladede og dramatiske stilarter, der skulle definere det 17. århundrede. Ved at vejlede efterfølgende generationer, herunder skikkelser der yderligere ville forfine den venetianske æstetik, sikrede han, at hans slægts traditioner forblev levende og transformative.
I dag anerkender vi Palma il Giovane som en skelsættende figur, hvis arbejde fungerer som en bro mellem epoker. Hans eftermæle findes i:
Gennem sin ekspressive pensel og mesterlige brug af lys indfangede Palma il Giovane selve essensen af en verden i forandring, og efterlod sig et værk, der fortsat betager og bevæger den moderne beskuer.
