Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 53 works by Francesco Bacchiacca in our catalogue
In short
Of all the originals Francesco Bacchiacca left, the most famous is Joseph Pardons His Brothers (1515). Close behind it come Sibylle (1530) and Portrait of an Old Man with a Skull (1525). Our catalog holds 53 works by Francesco Bacchiacca; the gallery has kept the 50 the world admires most, each shown with its date, its museum and its story.
In this religious scene, titled Joseph Pardons His Brothers, Francesco Bacchiacca explores a moment of profound reconciliation. Created about 1515, the work captures a significant biblical encounter through a crowded, lively gathering. The artist, Francesco Bacchiacca, focuses on the human element of this spiritual narrative, placing the figures within a natural setting that feels immediate and lived-in.
The artwork titled Sibylle is a painting by the Florentine artist Francesco Bacchiacca, also known as Francesco Ubertini, gen. Bacchiacca. This work is identified in various records by the names Sibyl or La sibylle. The piece is dated to about 1530.
The gaze of the subject meets the viewer in Portrait of an Old Man with a Skull, a work that captures a heavy, contemplative stillness. This oil on panel creation emerges from the hand of Francesco Bacchiacca, an artist whose life was deeply rooted in the artistic traditions of Florence, Italy. Born in 1494, the painter navigates the transition between the late Renaissance and the burgeoning Mannerist style, bringing a…
In this oil on panel work from 1525, we find ourselves in a dense, shadowed woodland. The composition centers on the first family, arranged in a way that feels intimate and slightly unsettled. On the left, a seated male figure anchors the scene, while on the right, a standing female figure holds an infant. Between them, a small child moves through the space, creating a sense of quiet, organic movement.…
The Agony in the Garden is a religious work by the Florentine painter Francesco Bacchiacca. Executed as an oil on wood tondo, the piece captures a moment of spiritual tension within a landscape setting. The composition centers on the biblical scene of Christ's prayer in the Garden of Gethsemane, framed by the circular constraints of the wooden panel.
The Portrait of a Woman and Child / Allegory of Liberality is a refined Renaissance portrait characterized by a smooth finish and a vibrant color palette. The composition features a half-length portrait of a woman in profile facing left, accompanied by a young child positioned in the lower left foreground. The scene is set against a muted, dark neutral background, which serves to highlight the subjects. The color palette is…
The composition is organized into two distinct vertical registers, separated by a layer of soft, white and pink clouds. In the upper register, the Annunciation occurs within a pale, divine glow. God the Father presides above this scene, occupying the highest point of the vertical axis. Below the clouds, a triad of saints occupies the terrestrial plane. The central figure is positioned frontally and appears slightly larger than the others,…
The Crucifixion by Francesco Bacchiacca captures a moment of profound spiritual weight. Created about 1550, this work focuses on the central, vertical figure of Jesus Christ upon the cross. The subject matter is the Crucifixion of Jesus Christ, rendered with a focus on the physical and spiritual suffering of the figure. A vast, hilly landscape stretches into a deep background under a cloudy sky, providing a silent stage for the…
Madonna and Child with Saint Joseph and Infant Saint John is a work by Francesco Bacchiacca. Dated about 1550, this piece originates from the Florentine tradition. The artist, born on 1 March 1494 in Florence, remained active in this city until his death on 5 October 1557.
A young woman occupies the center of this Renaissance portrait, her form emerging from a deep, muted olive green background. She wears a garment of intense yellow, a color that catches the light falling from the upper left. Her reddish-blonde hair is woven into intricate braids, catching the light alongside the soft pink and light blue accents of her headpiece. Beneath her hands, a cat rests, its fur rendered with…
Leda and the Swan1519 · Museum Boijmans Van Beuningen
12
Portrait of a Woman with a Book of Music1540 · J. Paul Getty Museum
13
Madonna and Child with St. John1525 · Dallas Museum of Art
14
A Lady with a Nosegay1525 · Isabella Stewart Gardner Museum
15
Christ Appearing to the Magdalen1517 · Christ Church
16
Scenes from the Story of Joseph: The Discovery of the Stolen Cup (detail)1515 · Galleria Borghese
17
The Preaching of Saint John the Baptist1520 · Szépművészeti Múzeum
18
Joseph Receives His Brothers on Their Second Visit to Egypt1515
19
The Flagellation of Christ1515 · National Gallery of Art
20
Eve with Cain and Abel1525 · Metropolitan Museum of Art
21
Madonna and Child1520 · Metropolitan Museum of Art
22
Moses Striking the Rock1525 · Scottish National Gallery
23
Madonna with Child, St Elisabeth and the Infant St John the Baptist1530 · Christian Museum
24
Mary Magdalene1545 · Palazzo Pitti
25
The Gathering of Manna1555 · National Gallery of Art
26
Deposition1518 · Galleria degli Uffizi
27
Baptism of Christ1520 · Academy of Fine Arts Vienna
28
The Virgin and Child with Saint John the BaptistNational Gallery of Ireland
29
Adoration of the ShepherdsPhoenix Art Museum
30
The three FatesCa' Rezzonico – Museum of the 18th Century Venice
31
Baptism of Christ
32
Beheading of John the BaptistGemäldegalerie
33
Saint John the Baptist in the WildernessDetroit Institute of Arts
34
Baptism of Christ with SaintsBadia
35
Woman with a Cat1540 · Staatliche Museen zu Berlin
36
Scenes from the Story of Joseph The Arrest of His Brethren (detail)
37
Scenes from the Story of Joseph The Search for the Cup (detail)
38
The Preaching of Saint John the Baptist (detail)
39
Saint SebastianBirmingham Museum of Art
40
Leda and the SwanMetropolitan Museum of Art
41
Mary with the Infant Jesus and John
42
Madonna and Child in a LandscapeThe Baltimore Museum of Art
43
Madonna and Child with St. Elizabeth and St. JohnThe Frick Pittsburgh
44
Baptism of Christ1523 · Gemäldegalerie
45
Scenes from the Story of Joseph The Arrest of His BrethrenGalleria Borghese
46
Scenes from the Story of Joseph The Search for the CupGalleria Borghese
47
Scenes from the Story of Joseph Joseph Sold by His BrethrenGalleria Borghese
48
Scenes from the Story of Joseph The Discovery of the Stolen CupGalleria Borghese
49
Marcus curtiusNational Gallery
50
The Legend of the King's Sons1523 · Staatliche Kunstsammlungen Dresden
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Francesco Bacchiacca | Paintings from this list |
|---|---|---|---|
 Galleria Borghese |
Rome | 5 | Scenes from the Story of Joseph: The Discovery of the Stolen Cup (detail), Scenes from the Story of Joseph The Arrest of His Brethren, Scenes from the Story of Joseph The Search for the Cup |
 Metropolitan Museum of Art |
New York | 3 | Eve with Cain and Abel, Madonna and Child, Leda and the Swan |
 National Gallery of Art |
Washington | 2 | The Flagellation of Christ, The Gathering of Manna |
 Gemäldegalerie |
Berlin | 2 | Beheading of John the Baptist, Baptism of Christ |
 Kunsthistorisches Museum |
Vienna | 1 | Sibylle |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
Kassel | 1 | Portrait of an Old Man with a Skull |
 Philadelphia Museum of Art |
Philadelphia | 1 | Adam and Eve with Cain and Abel |
 Йоркський художній музей |
York | 1 | The Agony in the Garden |
Pick a decade to see the original that defines it.
In this religious scene, titled Joseph Pardons His Brothers, Francesco Bacchiacca explores a moment of profound reconciliation. Created about 1515, the work captures a significant biblical encounter through a crowded, lively gathering. The artist, Francesco Bacchiacca, focuses on the human element of this spiritual narrative, placing the figures within a natural setting that feels immediate and lived-in.
The gaze of the subject meets the viewer in Portrait of an Old Man with a Skull, a work that captures a heavy, contemplative stillness. This oil on panel creation emerges from the hand of Francesco Bacchiacca, an artist whose life was deeply rooted in the artistic traditions of Florence, Italy. Born in 1494, the painter navigates the transition between the late Renaissance and the burgeoning Mannerist style, bringing a…
The artwork titled Sibylle is a painting by the Florentine artist Francesco Bacchiacca, also known as Francesco Ubertini, gen. Bacchiacca. This work is identified in various records by the names Sibyl or La sibylle. The piece is dated to about 1530.
The Portrait of a Woman with a Book of Music presents us with a quiet, poised moment frozen in time. Created by the Florentine painter Francesco Bacchiacca, also known as Francesco Ubertini or il Bacchiacca, this work emerges from the artistic atmosphere of the sixteenth century. The scene centers on an unidentified woman, whose elegant presence suggests a life of refinement and high social standing. Some observers wonder if she…
The composition is organized into two distinct vertical registers, separated by a layer of soft, white and pink clouds. In the upper register, the Annunciation occurs within a pale, divine glow. God the Father presides above this scene, occupying the highest point of the vertical axis. Below the clouds, a triad of saints occupies the terrestrial plane. The central figure is positioned frontally and appears slightly larger than the others,…
Joseph Pardons His Brothers (1515). Sibylle (1530) and Portrait of an Old Man with a Skull (1525) come next.
21 years old: Joseph Pardons His Brothers dates from 1515, and Francesco Bacchiacca was born in 1494.
Joseph Pardons His Brothers, Sibylle, Portrait of an Old Man with a Skull, Adam and Eve with Cain and Abel, The Agony in the Garden, Portrait of a Woman and Child / Allegory of Liberality, Annunciation with God the Father and Saints Sebastian, Nicholas and Rocco, Crucifixion, Madonna and Child with Saint Joseph and Infant Saint John and Portrait of a young lady holding a cat. The ranking above gives each one's year and museum.
Our catalog holds 53 works by Francesco Bacchiacca, dated from 1515 to 1555.
Mostly in Galleria Borghese (Rome), Metropolitan Museum of Art (New York) and National Gallery of Art (Washington). The museum table above lists them all.
In 1520s: 11 of the 50 works on this page were made then, Portrait of an Old Man with a Skull among them.
On this page, the earliest is Joseph Pardons His Brothers (1515) and the latest The Gathering of Manna (1555).
Woman (11), Man (8) and Arts (6), across the 50 works on this page.
Oil On Panel, for 15 of the 50 works on this page.
Mannerism, judging by the originals on this page.
Scenes from the Story of Joseph: The Discovery of the Stolen Cup (detail), Scenes from the Story of Joseph The Arrest of His Brethren and Scenes from the Story of Joseph The Search for the Cup: the Galleria Borghese, Rome holds 5 of the works on this page.
Born Francesco d’Ubertino Verdi in Florence on March 1, 1494, and known universally as il Bacchiacca (meaning “the hunchback” – a nickname referencing his prominent nose), this Italian painter stands as a pivotal figure bridging the late Renaissance and the burgeoning Mannerism. His life was inextricably linked to the vibrant artistic milieu of Florence, a city renowned for its patronage and innovative spirit. Bacchiacca’s career unfolded within a family already steeped in artistic tradition; his father, Ubertino di Bartolomeo, was a skilled goldsmith, while older brother Bartolomeo d'Ubertino Verdi (Baccio) was himself a painter. This familial legacy undoubtedly shaped his early training and provided a fertile ground for artistic exploration.
Early influences were deeply rooted in the Florentine school of painting. He apprenticed under Perugino, a master known for his serene compositions and refined technique, gaining invaluable experience in fresco painting and understanding classical principles. However, Bacchiacca quickly distinguished himself through a distinctly personal style – one characterized by intense emotion, dynamic movement, and a willingness to challenge conventional artistic norms. He wasn't simply replicating the idealized beauty of the High Renaissance; instead, he sought to capture the raw energy and psychological depth of human experience.
Bacchiacca’s distinctive style is immediately recognizable through its dramatic use of color, bold brushstrokes, and a pronounced sense of movement. Unlike the balanced compositions favored by his contemporaries, Bacchiacca often employed asymmetrical arrangements, creating a feeling of instability and tension. His figures are frequently depicted in moments of intense emotion – grief, ecstasy, violence – rendered with remarkable realism and psychological acuity. He was particularly adept at portraying women, imbuing them with a captivating blend of vulnerability and strength.
His technique involved layering colors to create rich textures and luminous effects. He utilized a technique known as “impasto,” applying paint thickly to the canvas to build up three-dimensional forms and heighten visual impact. Bacchiacca’s compositions are often crowded with figures, creating a sense of immediacy and immersing the viewer in the scene. He frequently incorporated elements from contemporary prints – particularly Venetian scenes – into his paintings, reflecting the artistic exchange that characterized Renaissance Florence.
In 1540, Bacchiacca secured a prestigious position as an artist at the court of Duke Cosimo I de’ Medici in Florence. This appointment marked a significant turning point in his career, providing him with access to considerable wealth and influence. He became a valued member of the Medici circle, collaborating with other leading artists such as Andrea del Sarto, Jacopo Pontormo, and Francesco Granacci. The Duke commissioned Bacchiacca to decorate the walls and ceiling of his private study, a project that showcased his ability to create complex allegorical scenes filled with plants, animals, and landscapes – reflecting Cosimo’s interest in natural history.
Beyond the court, Bacchiacca was involved in various artistic projects, including the decoration of cassone (chest) panels and spalliera (wainscot), as well as designing tapestries for the Medici tapestry workshops. His work during this period demonstrates a remarkable versatility and an ability to adapt his style to different commissions and patrons.
Among Bacchiacca’s most celebrated works are “The Beheading of St. John the Baptist,” now housed in Berlin, and “Ghismonda with Heart of Guiscardo,” a dramatic portrayal of a tragic love story displayed at the Lowe Art Museum in Miami. His "Madonna and Child" is held by the Metropolitan Museum of Art in New York, a painting that exemplifies his ability to infuse religious subjects with intense emotion and psychological depth.
Bacchiacca’s influence extended beyond his own lifetime. He was a mentor to several younger artists, including his brother Antonio d'Ubertino Verdi (who also used the name Bachiacca), and his work served as an inspiration for later Mannerist painters. Despite the relatively small number of surviving paintings attributed to him, Bacchiacca’s contribution to the development of Renaissance art is undeniable. He remains a compelling figure – a master of dramatic emotion who pushed the boundaries of artistic convention and left an enduring legacy on the Florentine school.
It's crucial to understand that Bacchiacca’s artistic lineage was part of a larger, interconnected family. The Verdi brothers – Francesco, Bartolomeo, and Antonio – all shared a passion for art and worked together in various capacities. This familial collaboration created a unique artistic environment where ideas were exchanged, techniques were refined, and a distinctive style emerged. The family’s involvement extended beyond painting; Antonio was also an embroiderer, further diversifying their creative output.
Tracing the lineage of Bacchiacca's work reveals a complex network of apprenticeships, collaborations, and stylistic influences. The Verdi family’s artistic legacy continued for generations, with subsequent members carrying on the tradition of painting and embroidery. This familial dedication to art ensured that Bacchiacca’s influence would endure long after his death in 1557.
