Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 63 teost Francesco Trevisani meie kataloogis
Lühidalt
Galleriile on Francesco Trevisani kõige kuulsam teos The Madonna and Child (1700). Study for 'The Massacre of the Innocents' (1710) ja Christ Supported by Angels (1720) täidavad kolmikut, mille iga silm tunnistab. Kunstnii Francesco Trevisani 63 teose põhjal esitleb galeriis allpool 61 kõige kuulsumat, kus iga originaal on märgitud aastaga, muuseumiga ja kirjeldatud, mis teeb selle unikaalseks.
The Virgin Mary cradles her sleeping child in a moment of profound stillness. She sits with a gentle weight, her form draped in soft fabrics that catch the light. A veil rests upon her head, and a single strand of pearls encircles her neck, catching a glint of the room's soft illumination. Behind them, the silhouette of a chair anchors the composition, providing a sense of domestic depth to this…
A man hangs upside down, his legs grasping the air, while a hand tightens around his throat. The scene unfolds before a structure of cold, pale columns. Shadows stretch across the ground where figures sit and stand in a state of sudden, jarring motion. In the periphery, two dogs watch the unfolding chaos, their presence grounding the frantic energy of the central struggle. A single infant is visible, a small…
In this oil on canvas, Francesco Trevisani presents Christ Supported by Angels. The work is a profound meditation on religious sacrifice and grief. It captures a moment of quiet, heavy sorrow through its focused subject matter. The composition centers on the physical and spiritual weight of the scene.
The night air hangs heavy over the garden, a dark landscape that presses against the central figures. In the center of this gloom, a man in red robes and a blue cloak bends forward, his body heavy with the weight of prayer. He is in a state of distress, his posture a silent cry for strength. Behind him, a woman reaches out, her hand gently cradling his head in a…
The canvas presents a vertical arrangement centered on the figure of Christ upon a wooden cross. The lighting follows a chiaroscuro method, casting deep shadows in the background while illuminating the pale skin of the central figure and the faces of those gathered below. The color palette relies on dark tones, including blacks, browns, and umber, which contrast with the red and blue fabrics worn by the mourning figures. The…
The painting, titled The Prophet Baruch, immediately draws the viewer into an atmosphere of profound stillness. We encounter a figure seated upon the ground, his posture speaking volumes without uttering a single word. With his head bowed into his hands, he embodies a moment of deep introspection or perhaps prayer. The subject is rendered with such palpable humanity that one feels they are witnessing a private communion between man and…
L'Enfant Jésus endormi is a religious oil painting by Francesco Trevisani. Created circa 1695, the work focuses on the Infant Jesus in a state of repose. This composition belongs to the genre of the nativity scene, capturing a moment of sacred stillness.
In this oil painting from 1710, a woman identified as Mary Magdalene is depicted in profile, her body oriented toward the right side of the frame. She is shown in a moment of religious reflection, with her gaze directed upward. Her hands are clasped near her chest, and her long, auburn hair falls in wavy textures over her shoulders. She wears a white chemise and a garment with subtle pink…
In this quiet corner of the late Baroque, we find ourselves face to face with a profound moment of grief and divinity. The composition is tightly focused, drawing us into an intimate encounter with the lifeless body of Christ. He rests upon a winding-sheet, his pale, limp form emerging from a deep, heavy shadow that swallows much of the background. Two angels attend to him, their presence providing both physical…
In the quietude of Francesco Trevisani’s “Le Sommeil de l'Enfant Jésus”, the viewer is invited into a moment of profound celestial intimacy. Painted during the first decade of the eighteenth century, this masterpiece serves as a breathtaking window into the Venetian Baroque, a period defined by its ability to marry dramatic tension with tender devotion. The scene captures the Holy Family in a state of sacred repose, where the weight…
Lucretia1687
12
Lucretia1681
13
Body of Christ, held by angels1707 · Kunsthistorisches Museum
14
The Holy Family1701 · Bavaria riiklikud maalidema kogumikud
15
Christ with the Disciples on the Way to Emmaus1701 · Bavaria riiklikud maalidema kogumikud
16
Archangel Michael1701 · Bavaria riiklikud maalidema kogumikud
17
Saint Sebastian1701 · Bavaria riiklikud maalidema kogumikud
18
Christ at Emmaus1701 · Bavaria riiklikud maalidema kogumikud
19
Hl. Sebastian1701 · Bavaria riiklikud maalidema kogumikud
20
The Infant Jesus Sleeping1709
21
The Infant Jesus Pointing Out the Flowers of the Passion to the Virgin1701
22
Christ Before Caiaphas1707
23
Tobias Curing His Father's Blindness1712 · Museum Boijmans Van Beuningen
24
Prince James Francis Edward Stuart (1688-1766)1719 · Royal Collection
25
Portrait of Thomas Coke, 1st Earl of Leicester, 1697-1759 (fifth creation).1717 · Holkham Hall
26
Presentation Sketch for "The Holy Family with Saints Anne, Joachim, and John the Baptist" (for Santa Maria in Via Lata, Roma)1729 · Cleveland Museum of Art
27
The Ecstasy of Saint Francis1725 · Staatliche Kunstsammlungen Dresden
28
Elector Clemens August1750 · Bavaria riiklikud maalidema kogumikud
29
Crucifixion of Saint Andrew1746 · Musée des Beaux-Arts de Strasbourg
30
Christ on the Cross1746 · Musée des Beaux-Arts de Strasbourg
31
A NunNationalmuseum
32
The Virgin and Child1709 · Museo del Prado
33
Diana and EndymionGemäldegalerie Alte Meister im Schloss Wilhelmshöhe
34
Philippe de Vendome1700
35
The Martyrdom of the Seven Sons of Saint Felicity, Francesco Trevisani, 17091709 · Rijksmuseum
36
Prince James Francis Edward Stuart (1688–1766), Son of James VII and II1720 · Šoti Rahvusportreegalerii
37
St. Francis in Penitence1700 · Patrick and Beatrice Haggerty Museum of Art
38
Christ mort porté par des angesLouvre'i muuseum
39
The Agony in the GardenFitzwilliam Museum
40
Portrait of Captain Daniel Pain of Welford
41
The Madonna and Child with the infant Saint John the Baptist
42
The Appearance of the Virgin to St. MauriceTe Whare O Rehua Sarjeant Gallery
43
Pity
44
La Mort d'Alexandre le Grand
45
Sainte Geneviève
46
Annonciation
47
L'ENFANT JESUS DESIGNANT A LA VIERGE LES FLEURS DE LA PASSIONLouvre'i muuseum
48
La famille de Darius aux pieds d'AlexandreLouvre'i muuseum
49
Neiu Mari ja lapse kujutamine St Anthoniusele1730 · Palácio de Mafra
50
Apollo and DaphneHermitage muuseum
51
Latona and the Frogs
52
Portrait of Cardinal Pietro Ottoboni
53
Portrait of Maria Clementina Sobieska.Šoti Rahvusportreegalerii
54
penitent Magdalen
55
The Raising of Lazarus
56
Madonna and Child with Infant St. John the Baptist and St. JosephArt Institute of Chicago
57
Dead Christ Supported by Angels
58
Frances, Wife of John, 6th Earl of Mar, Daughter of Evelyn, 1st Duke of KingstonNational Trust For Scotland
59
An Angel Holding the ColumnNational Trust
60
Angels carrying the corpse of Christ
61
An Angel Holding Veronica's VeilNational Trust
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Francesco Trevisani teosid | Selle nimekirja maalid |
|---|---|---|---|
 Bavaria riiklikud maalidema kogumikud |
München | 7 | The Holy Family, Christ with the Disciples on the Way to Emmaus, Archangel Michael |
 Louvre'i muuseum |
Pariis | 4 | LE SOMMEIL DE L'ENFANT JESUS, Christ mort porté par des anges, L'ENFANT JESUS DESIGNANT A LA VIERGE LES FLEURS DE LA PASSION |
 Kunsthistorisches Museum |
Viin | 2 | Penitent Mary Magdalene, Body of Christ, held by angels |
 Musée des Beaux-Arts de Strasbourg |
Strasbourg | 2 | Crucifixion of Saint Andrew, Christ on the Cross |
 Šoti Rahvusportreegalerii |
Edinburgh | 2 | Prince James Francis Edward Stuart (1688–1766), Son of James VII and II, Portrait of Maria Clementina Sobieska. |
 National Trust |
Guildford | 2 | An Angel Holding the Column, An Angel Holding Veronica's Veil |
 Fitzwilliam College |
Cambridge | 1 | Study for 'The Massacre of the Innocents' |
 Bristol Museum - Art Gallery |
Bristol | 1 | Christ Supported by Angels |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
In this oil painting, the tragic figure of Lucretia confronts her final, desperate moment. Francesco Trevisani captures the woman at the very precipice of her end, focusing on the heavy weight of her decision. The scene centers on the precise instant of her suicide, a moment of profound personal agony. She gazes upward, her eyes searching the heavens for a mercy that seems to elude her, even as she holds…
L'Enfant Jésus endormi is a religious oil painting by Francesco Trevisani. Created circa 1695, the work focuses on the Infant Jesus in a state of repose. This composition belongs to the genre of the nativity scene, capturing a moment of sacred stillness.
The Virgin Mary cradles her sleeping child in a moment of profound stillness. She sits with a gentle weight, her form draped in soft fabrics that catch the light. A veil rests upon her head, and a single strand of pearls encircles her neck, catching a glint of the room's soft illumination. Behind them, the silhouette of a chair anchors the composition, providing a sense of domestic depth to this…
A man hangs upside down, his legs grasping the air, while a hand tightens around his throat. The scene unfolds before a structure of cold, pale columns. Shadows stretch across the ground where figures sit and stand in a state of sudden, jarring motion. In the periphery, two dogs watch the unfolding chaos, their presence grounding the frantic energy of the central struggle. A single infant is visible, a small…
In this oil on canvas, Francesco Trevisani presents Christ Supported by Angels. The work is a profound meditation on religious sacrifice and grief. It captures a moment of quiet, heavy sorrow through its focused subject matter. The composition centers on the physical and spiritual weight of the scene.
Francesco Trevisani: A Master of Gentle Portraits Francesco Trevisani (1656–1746) stands as an enduring testament to the Baroque aesthetic, particularly its capacity for conveying profound emotion and capturing the nuanced beauty of human experience. Born in Pordenone, Italy, Trevisani’s artistic journey began in Antwerp under Antoine Goubeau, where he absorbed the influences of Flemish masters—a formative period that instilled within him a meticulous attention to detail and an unwavering commitment…
The night air hangs heavy over the garden, a dark landscape that presses against the central figures. In the center of this gloom, a man in red robes and a blue cloak bends forward, his body heavy with the weight of prayer. He is in a state of distress, his posture a silent cry for strength. Behind him, a woman reaches out, her hand gently cradling his head in a…
The Madonna and Child (1700). Järgnevad Study for 'The Massacre of the Innocents' (1710) ja Christ Supported by Angels (1720).
44 aastat vanus: teos The Madonna and Child on pärinev aastast 1700 ning Francesco Trevisani sündis aastal 1656.
The Madonna and Child, Study for 'The Massacre of the Innocents', Christ Supported by Angels, The Agony in the Garden, The Crucifixion, The Prophet Baruch, L'Enfant Jésus endormi, Penitent Mary Magdalene, Dead Christ Supported by Angels ja LE SOMMEIL DE L'ENFANT JESUS. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 63 teost kunstnikult Francesco Trevisani, mis on pärinevad ajastust 1681 kuni 1746.
Peamiselt Bavaria riiklikud maalidema kogumikud (München), Louvre'i muuseum (Pariis) ja Kunsthistorisches Museum (Viin) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1700s: 15 61 sellel lehel olevat teost on sellel perioodil loodud, მათart közül The Madonna and Child.
Sellel lehel on kõige vanem teos Lucretia (1681) ja kõige värskeim Crucifixion of Saint Andrew (1746).
Man (16), Woman (15) ja Drapery (9), kogu selle lehekülje 61 teose kohta.
Oil On Canvas, 29 teoseks 61 töödelt sellel lehel.
Baroque, seda lähtudes selle lehe originaalteostest.
The Holy Family, Christ with the Disciples on the Way to Emmaus ja Archangel Michael: Bavaria riiklikud maalidema kogumikud, München säilitab 7 selle lehel olevat teost.
Francesco Trevisani astub ajalukku kui särav tegelane üleminekuperioodil, kus kohtuvad lõppbaroki draamatiline intensiivsus ja alguse Rococo koiduvaimne elegants – ajastu, mida kutsutakse sageli nimega barochetto. Istria Capodistrias sündinud kunstniku loomingulist teekonda kujundasid Veneetsia ja Rooma rikked traditsioonid. Arhitekti pojana õppis ta disaini põhimõtteid esmalt oma isa, Antonio Trevisani, juhendisel. See varalne alus kompositsioonile ja struktuurile võimaldas tal hiljem saavutada täiuslik kontroll keeruliste ja teatraalsete lavastuste üle, mis on tema kuulsaimate teoste üks peamisi tunnustusi.
Tema õppimine oli sügavalt juurdunud oma ajastu meistrite hulka, õppides selliste autorite kädest nagu Antonio Zanchi ja Joseph Heintz noorem. Need mõjutid pakkusid talle tehnilist keelepudulust, mis ühendas vaima ja jõulise liikumuse peenelt kohandatud tundlikkusega. Liikudes läbi kunstikeskuste Veneetsias ja Roomas, arendas Trevisani stiili, mis suutas tabada nii religioosnse martyriumi sügavat kurbust kui ka jumalalikud kohtumised täis õrna, taevalist armu. Tema võime navigeerida selliste emotsionaalsete äärmite vahel tegi temast enim soovitud maalari nii olulisteks kirjalikuks kui ka eraomistustest koostunud tellimusteks.
Trevisani teoseid iseloomustab kompromissitu pühendumus emotsionaalsele sügavusele ja hingust võtlev valguskasutus. Tema religioossetes kompositsioonides piirid maalistuse ja jumaliku vahel sageli hävanevad. Seda on nähtav tema pühisutatud stseenide kujutamistel, kus hetke raske, sakraalne vaikus on peaaudlikult kättesaadav. Olgu siis tegemist Kristuse elutuluta kehal, mida inglid kannavad, või pühade võragutusega, Trevisani kasutas värvipaletti ja pintooni, mis rõhutas selle ajastu vaimset põletust.
Tema tehniline täiuslikkus on eriti ilmne võimes tekstuure ja atmosfääri loovalt esitada. Teostes nagu Püha Felicity tujuhapoja martyriumi kootab ta kokku keerulised narratiivid, kus osallevad Rooma keisrid, paganlikud kujud ja taevalikud sõnimessid. Täpsete detailide abil juhib ta vaataja pilgu üle lina, kasutades valgust, et rõhutada martyride kannatust ja taevalistest kroonidest pakutavat lootust. See narratiivse maali kunstiline meisterlikkus võimaldas tal luua teoseid, mis ei olnud pelgalt dekoratiivsed, vaid toimisid sügavate pühendumuse instrumentidena.
Kogu oma pika karjääri jooksul tundus Trevisani mõju sügavalt Roma kunstimaastikul, eriti läbi tema sidemete mõjuvate patroonidega nagu kardinaal Ottoboni. Tema meistriteos – freskod San Silvestro in Capites – on tunnistus tema võimekusele muuta arhitektuurilised ruumid suurepäraste ja laialgsete jutustustega. Tema stiil, millele mõjutas tugevalt Carlo Maratta, aitas määrata lõppbaroki esteetikat, sildades tühimikku eelnevate sajandite rasketest varjudest tulevase Rococo ajastu kergemate ja õhusamate kompositsioonideni.
Francesco Trevisani ajalooline väärtus peitub tema rollis kui sild ajastute vahel. Ta säilitas vastureformatsiooni nõudlik suurepärasus ja draamatiline pinge, samas kui ta tõi kaasa magususe ja õrguse, mis ennustas järgmist suundumust Euroopa kunstis. Tema võime tasakaalutada monumentaalset ja intiimset tagab, et tema maalid jäävad võimsateks aknaid,est vaatamiseks XVIII sajandi alguse vaimsesse ja kunstilisse hinge.
