Ενημερωμένο Οκτώβριος 2026 · κατάταξη βάσει του σκορ δημοφιλίας μας (αναζητήσεις, επισκέψεις και παραγγελίες για κάθε έργο) · 33 έργα του Gherardo Starnina στον κατάλογό μας
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Από όλα τα πρωτότυπα έργα που άφησε ο Gherardo Starnina, το πιο διάσημο είναι το Dormition of the Virgin (1408), το οποίο βρίσκεται στη συλλογή του Philadelphia Museum of Art, Φιλαδέλφεια. Ακολουθούν στενά η Archangel Michael (1404) και η Christ as Salvator Mundi (1405). Ο κατάλογός μας περιλαμβάνει 33 έργα του Gherardo Starnina· η γκαλερί έχει διατηρήσει τα 33 κομμάτια που θαυμάζει ο κόσμος, το καθένα με την ημερομηνία, το μουσείο και την ιστορία του.
The scene depicts the Dormition of the Virgin Mary, a crowded assembly of figures gathered around a central reclining form. The composition is dense, with bodies layered closely together against a flat, patterned gold background. Deep blues, vibrant reds, and ochre tones define the garments of the apostles and angels. Each figure is marked by a circular golden halo, creating a rhythmic repetition of shapes across the panel. The lighting…
Isaiah with Two Angels1410 · Μουσείο Τέχνης Βοστώνης
12
Saint Stephen1410 · Μουσείο Τέχνης Βοστώνης
13
The Dormition of the Virgin1405 · Art Institute of Chicago
14
Two Seated Angels Making Music1400 · Museum Boijmans Van Beuningen
15
Two Evangelists1407 · Rijksmuseum
16
St. Matthew (Two Evangelists)1407 · Rijksmuseum
17
Saints Mary Magdalene, Lawrence and a donor/ Angelo Acciaiuolo1405 · Gemäldegalerie
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The Assumption of the Virgin1406 · Μουσεία Τέχνης του Χάρβαρντ
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Madonna and Child with SS Victor and Octavian1451 · Pinacoteca Comunale
20
Madonna and Child with Musical Angels1410 · Μουσείο J. Paul Getty
21
Saint Hugh of Lincoln Exorcises a Man Possessed by the Devil1407 · Museo Poldi Pezzoli
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Thebaid (detail)1410 · Galleria degli Uffizi
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Thebaid (detail)1410 · Galleria degli Uffizi
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The Beheading of Saint MargaretΕθνική Πινακοθήκη Λονδίνου
25
The Last JudgmentBavarian State Painting Collections
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Head of an AngelBarnes Foundation
27
St Benedict and Bishop DonatusNationalmuseum
28
St Vincent1410 · Μουσείο Τέχνης Βοστώνης
29
(88 x 48 CM) (1400)Μουσείο Εθνικής Τέχνης της Καταλονίας
30
Η Παρθένος με τον Θυμό και τους ΆγιουςGalleria dell'Accademia di Firenze
31
Madonna and child1403
32
Incoronazione della Vergine e angeliPalazzo della Pilotta
33
Thebaid1410 · Galleria degli Uffizi
Τα τέσσερα θέματα που εμφανίζονται πιο συχνά σε αυτά τα πρωτότυπα έργα, το καθένα με το εξαιρετικό του παράδειγμα.
Τα 8 μουσεία που φιλοξενούν το μεγαλύτερο μέρος των έργων σε αυτήν τη σελίδα.
| Μουσείο | Πόλη | Έργα του Gherardo Starnina | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Städel Museum |
Φρανκφούρτη | 4 | Christ as Salvator Mundi, Archangel Gabriel, Virgin Annunciate |
 Μουσείο Τέχνης Βοστώνης |
Μπόσττον | 4 | Jeremiah with Two Angels, Isaiah with Two Angels, Saint Stephen |
 Galleria degli Uffizi |
Φλωρεντία | 3 | Thebaid (detail), Thebaid (detail), Thebaid |
 Rijksmuseum |
Άμστερνταμ | 2 | Two Evangelists, St. Matthew (Two Evangelists) |
 Philadelphia Museum of Art |
Φιλαδέλφεια | 1 | Dormition of the Virgin |
 Museo Nazionale di Villa Guinigi |
Lucca | 1 | Archangel Michael |
 The Nelson-Atkins Museum of Art |
Κάνσας Σίτι | 1 | Adoration of the Magi |
 Μουσείο Τέχνης Κλίβελαντ |
Κλίβελαντ | 1 | Madonna and Child |
Μόλις μια δεκαετία, από το 1400 έως το 1410, προσέφερε στον κόσμο κάθε ημερομηνισμένο πρωτότυπο έργο του Gherardo Starnina σε αυτή την επιλογή: ορίστε, πλάγια πλάγια, χάρη σε κάθε έτος.
Επιλέξτε μια χρονιά για να δείτε τα πρωτότυπα έργα της.
The scene depicts the Dormition of the Virgin Mary, a crowded assembly of figures gathered around a central reclining form. The composition is dense, with bodies layered closely together against a flat, patterned gold background. Deep blues, vibrant reds, and ochre tones define the garments of the apostles and angels. Each figure is marked by a circular golden halo, creating a rhythmic repetition of shapes across the panel. The lighting…
Dormition of the Virgin (1408), Philadelphia Museum of Art, Φιλαδέλφεια. Στη συνέχεια ακολουθούν το Archangel Michael (1404) και το Christ as Salvator Mundi (1405).
54 ετών: το έργο Dormition of the Virgin είναι του 1408, και ο/η Gherardo Starnina γεννήθηκε το 1354.
Dormition of the Virgin, Archangel Michael, Christ as Salvator Mundi, Archangel Gabriel, Virgin Annunciate, Salvator Mundi, The Angel of the Annunciation and the Virgin Annunciate, Adoration of the Magi, Madonna and Child, A Bishop Saint and Saint Lawrence και Jeremiah with Two Angels. Η κατάταξη παραπάνω αναγράφει το έτος και το μουσείο για το κάθε έργο.
Ο κατάλογός μας περιλαμβάνει 33 έργα του Gherardo Starnina, με ημερομηνίες από 1400 έως 1410.
Κυρίως σε Städel Museum (Φρανκφούρτη), Μουσείο Τέχνης Βοστώνης (Μπόσττον) και Galleria degli Uffizi (Φλωρεντία). Ο πίνακας μουσείου παραπάνω τους περιλαμβάνει όλους.
Κατά την περίοδο 1410: 8 από τα 33 έργα σε αυτήν τη σελίδα δημιουργήθηκαν τότε, με Jeremiah with Two Angels από αυτά να είναι μοναδικά.
Σε αυτήν τη σελίδα, το παλαιότερο είναι Madonna and Child (1400) και το νεότερο Jeremiah with Two Angels (1410).
People (3), Figures (2) και Saints (2), σε συνολικά 33 έργα σε αυτήν τη σελίδα.
Tempera On Panel, για 5 από τα 33 έργα σε αυτήν τη σελίδα.
Christ as Salvator Mundi, Archangel Gabriel και Virgin Annunciate: το Städel Museum, Φρανκφούρτη διαθέτει 4 από τα έργα σε αυτήν τη σελίδα.
In the golden twilight of the Middle Ages, as the rigid structures of the Gothic era began to soften under the warmth of burgeoning humanism, there emerged a painter whose brush captured the very essence of spiritual devotion and intricate beauty. Gherardo di Jacopo Starnina, known to history by the affectionate moniker “Starnina,” stands as a vital bridge in the evolution of Italian art. Born in Florence around 1354, his early years were steeped in the prestigious traditions of the Florentine school. As an apprentice to the renowned Agnolo Gaddi, Starnina was immersed in a world where the emotional depth of Giotto met the delicate, lyrical elegance of Simone Martini. This formative period instilled in him a lifelong duality: a profound commitment to realistic observation paired with an unwavering devotion to the spiritual narrative.
The trajectory of Starnina’s life took a transformative turn when he migrated toward Venice around 1380. This move was not merely a change in geography but a shift in artistic atmosphere. In Venice, the light was different, more luminous and atmospheric, and the burgeoning trade brought new textures and colors to the artist's palette. It was here that Starnina truly found his voice, establishing himself as a master of detail and a painter of profound faith. His work began to reflect the unique Venetian sensibility—a blend of rich, decorative splendor and a deep, contemplative stillness that invited the viewer into a state of prayerful meditation.
To gaze upon a Starnina masterpiece is to enter a world where every fold of fabric and every subtle gesture carries weight. He was not an artist preoccupied solely with grand, sweeping movements; rather, he found the divine in the minute. His technique was characterized by a remarkable attention to texture and nuance, a hallmark that would define the Venetian Renaissance style. In works such as Virgin with Child and Saints, one can witness his ability to weave together angelic figures and holy saints within a composition that feels both mathematically structured and emotionally fluid. He utilized color not just as a means of representation, but as a tool to convey the sanctity of his subjects.
His contributions to sacred spaces remain some of his most enduring legacies. The frescoes adorning the Basilica di San Frediano and the collections within the Museo di Bassano serve as windows into a lost era of craftsmanship. Starnina’s ability to render the Thebaid—the desert landscapes inhabited by hermits—demonstrates his skill in blending landscape with spiritual struggle, using light and shadow to evoke the isolation and piety of the saints. His work on the façades and interiors of religious institutions showcased a mastery of perspective that, while still rooted in Gothic tradition, pointed toward the revolutionary advancements of the coming centuries.
While the names of later Venetian giants like Titian or Tintoretto often dominate the historical discourse, the significance of Starnina cannot be overstated. He provided the essential foundation upon which the later masters built their triumphs. By integrating the emotional intensity of his Florentine training with the luminous, decorative richness of Venice, he helped create a new visual language for the Renaissance. His life’s work represents a period of transition, where the symbolic rigidity of the past was gracefully yielding to a more human-centric, observant way of seeing the world.
The enduring impact of Gherardo di Jacopo Starnina can be summarized through several key artistic contributions:
Today, when we study the works of Starnina, we are not merely looking at relics of the 15th century; we are witnessing the birth of a new way of perceiving the divine through the lens of human beauty and meticulous artistry.
