Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 161 teost Jacopo Palma Il Giovane meie kataloogis
Lühidalt
Kõigist Jacopo Palma Il Giovane jäetud originaalteostest on kõige kuulsam The Crucifixion of St Peter (1614), mis kuulub Gallerie dell'Accademia di Venezia kogele linnas Veneetsia. Järgnevad sellest Pietà with Angels (1620) ja Paolo Veronese (1600). Meie kataloogist löytyb 161 teost kunstnikult Jacopo Palma Il Giovane; galeriist on säilitatud 100 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
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 dark, shadow-filled void recedes behind the subject, stripping away the distractions of the physical world. This absence of background detail pushes the figure forward, creating a sudden sense of depth. The man emerges from this gloom, his presence anchored by a crisp white collar that catches the light. His gaze is direct, meeting the viewer with an unwavering eye contact that bridges the gap between the painted space and…
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 · Doge'i palee
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 · Bavaria riiklikud maalidema kogumikud
17
St Sebastian1590 · Hermitage muuseum
18
Dead Christ Supported by an Angel1612 · Kunsthistorisches Museum
19
Adoration of the Shepherds1575 · Bavaria riiklikud maalidema kogumikud
20
Flagellation of Christ1586 · Bavaria riiklikud maalidema kogumikud
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
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soldiers on horseback1569
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Soldiers on horseback1569
27
supraporte: fighting soldiers1569
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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 · Doge'i palee
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 · Bavaria riiklikud maalidema kogumikud
41
Lamentation of Christ1586 · Bavaria riiklikud maalidema kogumikud
42
Thetis on the Sea1586 · Bavaria riiklikud maalidema kogumikud
43
Lamentation of Christ1586 · Bavaria riiklikud maalidema kogumikud
44
Annunciation of Mary1585 · Bavaria riiklikud maalidema kogumikud
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Christ and the Samaritan Woman1586 · Bavaria riiklikud maalidema kogumikud
46
Saint Sebastian1586 · Bavaria riiklikud maalidema kogumikud
47
Ecce homo1586 · Bavaria riiklikud maalidema kogumikud
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 Gardneri muuseum
53
Scene from the History of Joseph1587 · Isabella Stewart Gardneri muuseum
54
Judas Cyriacus1593
55
Sant'elena Ritrova La Vera Croce1593
56
L'imperatore Eraclio Riporta La Croce Al Calvario1593
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Pius II1593
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Judith and Holofernes1600
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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
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The Virgin and Child with Saints and Angels1620 · National Gallery of Ireland
63
Lamentation of Christ1620 · Bavaria riiklikud maalidema kogumikud
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 muuseum
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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
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Lamentation1620 · National Gallery of Art
73
Joseph and Potiphar's WifeStatens Museum For Kunst
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Allegory of the Victory over the League of Cambrai (detail)1590 · Doge'i palee
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 TeacherBavaria riiklikud maalidema kogumikud
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 | Jacopo Palma Il Giovane teosid | Selle nimekirja maalid |
|---|---|---|---|
 Bavaria riiklikud maalidema kogumikud |
München | 14 | Moses Brings the Tablets of the Law, Adoration of the Shepherds, Flagellation of Christ |
 Kunsthistorisches Museum |
Viin | 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 |
 Doge'i palee |
Venetsia | 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 |
Veneetsia | 3 | The Crucifixion of St Peter, Return of the Prodigal Son, Amusements of the Prodigal Son |
 Hermitage muuseum |
Stiiitlinburg | 2 | St Sebastian, Apostles at the Virgin's Tomb |
 Fitzwilliam Museum |
2 | Christ calling Zacchaeus, Elijah and the Angel |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
In "Fighting soldiers" by Palma il Giovane, the air thickens with the immediate chaos of a historical or mythological battle. Painted about 1569, the scene pulls the viewer into a frantic melee where the boundaries between life and death blur. Soldiers clash in a desperate struggle, their bodies locked in the violent rhythm of combat. Every movement feels urgent, as if the clash of steel is a sound that still…
The work before us is titled Adoration of the Shepherds, a significant creation by the Venetian painter Palma il Giovane. Executed around 1575, this piece emerged during a transformative period in the Venetian School, as the artist navigated the transition from the High Renaissance into the more dramatic sensibilities of the early Baroque. The painting captures a profound moment of spiritual reverence through its specific handling of light and form.
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 dark, shadow-filled void recedes behind the subject, stripping away the distractions of the physical world. This absence of background detail pushes the figure forward, creating a sudden sense of depth. The man emerges from this gloom, his presence anchored by a crisp white collar that catches the light. His gaze is direct, meeting the viewer with an unwavering eye contact that bridges the gap between the painted space and…
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, Veneetsia. Järgnevad Pietà with Angels (1620) ja Paolo Veronese (1600).
64 aastat vanus: teos The Crucifixion of St Peter on pärinev aastast 1614 ning Jacopo Palma Il Giovane sündis aastal 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 ja 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. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 161 teost kunstnikult Jacopo Palma Il Giovane, mis on pärinevad ajastust 1569 kuni 1628.
Peamiselt Bavaria riiklikud maalidema kogumikud (München), Kunsthistorisches Museum (Viin) ja Museo del Prado (Madrid) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1590s: 27 100 sellel lehel olevat teost on sellel perioodil loodud, მათart közül The Conversion of Saint Paul.
Sellel lehel on kõige vanem teos Fighting soldiers (1569) ja kõige värskeim 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 (30), Woman (20) ja People (19), kogu selle lehekülje 100 teose kohta.
Oil, 39 teoseks 100 töödelt sellel lehel.
Baroque ja Renaissance, seda lähtudes selle lehe originaalteostest.
Moses Brings the Tablets of the Law, Adoration of the Shepherds ja Flagellation of Christ: Bavaria riiklikud maalidema kogumikud, München säilitab 13 selle lehel olevat teost.
Veneetsia renessanss, seda perioodi iseloomust märksis võrratu värvi ja valguse meisterlikkus, jõudis oma kuldsesse hämardusse kunstnik, kelle pintstrook tõid üle sildid kõrge renessanssi ja alguse sainud baroki draamale. Jacopo Palma il Giovane, kes sündis umbes 1548. aastal nimega Iacopo Negretti, ei olnud pelgalt suurte meistrite järglane, vaid elutähtis side veneetslase kooli pidevuses. Kuna ta oli kuulsuse nimega Palma Vecchio suurpoja laps, sündis ta kunstilise suurepärasuse pärimusse, pärides endale sügava arusaame kromaatilisest rikkusest, mis on veneetsia traditsiooni alustala. Tema elu ja looming representanavad sujuvat üleminekut, kandudes oma esisate luminööset elegantsi uusi ajastutesse, kus domineerivad emotsionaalne intensiivsus ja teatraalne grandioossus.
Palma kunstilise meistri aluseid pandi Veneetsia tööbaid, kus õhk oli täidetud Tiziani ja Tintoretto pärandiga. Kuigi ajaloolised andmed viitavad sellele, et ta võib olla oma tehnikat lihvinud Tiziani hingustavate värvipalettide õppimise kaudu, oli just Tintoretto dünaamiline energia see, mis kujundas tema täiskasvanud visiooni. Pärast Tintoretto surma 1eks 1594. aastal tõusis Palma il Giovane juhtivasse positsiooni, muutudes Veneetsias domineerivaks kunstiliseks jõuks. Ta omastas haruldast võimet sünteesida neid kahte erinevat mõjutust: Tizianilt tõid ta endale sofisteeritud valgusjuhtimise ja naha toonide kontrolli; Tintoretto käest aga õppis liikumistundlikkust, draamatilist chiaroscuro't ja narratiivset kiirust, mis leidis sügava resonansi vastureformatsiooni usulise põletusega.
Palma il Giovane teos on tunnistus tema võimekusele muuta piiblimulised ja müütilised teemad visuaalseks inimlikuks kogemuseks. Tema maalid ei ole kunagi staatilised; nad pulseerivad elujõuga, mis tõmbab vaatajat draama südamesse. Olgu tegemist usulise martyriumi solemnusega või taverna stseenide elav chaosiga, kasutab tema töö valgust narratiivina, juhatades silma läbi keeruliste kompositsioonide, et leida loo emotsionaalne tuum. Tema meisterlikkus on eriti ilmne teosetes nagu Aleksandria sveta Katariina martyrimum, kus varjude ja sära vaheldus suurendab jumaliku võitluse tunnet, ning apostlid Neitsi surukohas, mis tabab kollektiivse kurbuse sügavust läbi laia ja energilise pintstroki.
Lisaks usulistele tellimustele võimaldas Palma mitmekülgsus tema loomist uutes teemade valdkondades. Tema talent inimvaimu tabamisel on kaugeimalt intiimne tema Autoportreet, teos, mis paljastab hingliku eneseanalüüsi ja tehnilise võimekuse, mis suudab kujundada avaldustuste peeneid nüansse. Isegi sekulaarsemates või anekdootilistes stseenides, nagu Kaduva poja meeldis, säilitab ta vibratust ja rütmi, mis tähistab veneetsia elu tekstuure ja värve. See võime kõlada sügavuse ja mängulisuse vahel tagas, et tema kunst oleks olnud asjakohane erinevates toetajate ringides, alates Veneetsia kirjaautoritest kuni Kesk-Euroopa keislikudest kohtadest.
Jacopo Palma il Giovane ajalooline tähtsus ulatub kaugele Veneetsia Vabariigi piiridest. Tema mõju levis väljapoole, ulatudes Bergamoni kuni Pragi keiser Rudolf II õukondadeni, tähistades teda rahvusvahelise tasemega kunstnikuna. Ta ei kordanud lihtsalt minevikku; ta arendas seda edasi, valmistades ette maad kütisevamatele ja draamatilistele stiilidele, mis määrasid 17. sajandit. Juhtides järgmisi põlvkondi, sealhulgas isikuid, kes täiendavalt täpsustasid veneetsia esteetikat, tagas ta oma pärandi traditsioonide elujõulisuse ja uuenduslikkuse.
Tänapäeval tunnustame Palma il Giovane'i kui võtmefiguret, kelle töö toimib sildina ajastute vahel. Tema pärand on leitav järgmistest elementidest:
Läbi oma ekspressiivse pintstroki ja valgusest meistraluse tabas Palma il Giovane muutva maailma olemuse, jättes järele teoskogumi, mis paneb ka tänapäeva vaatajat endiselt võluma ja liigutama.
