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3 kulubumatamatumat Pasquale Ottini maalist, millist on vaid üks
Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 3 teost Pasquale Ottini meie kataloogis
Lühidalt
Mary Magdalen (1600) on Pasquale Ottini maalide kõige silmapaistvam teos; originaal kuulub museumi Minneapolis Institute of Art, Minneapolis. Pärast seda suunatakse pilk The Madonna with Saint Lorenzo Giustiniani and a Venetian Nobleman (1630) ja Saint Lucy suunas. Meie kataloogis olevatest Pasquale Ottini 3 teosest on need 3 kõige kuulsumat, millist igaüks on esitatud koos aasta, muuseumi ja põhjusega, miks teos on püsiv.
1578 – 1630, Verona
Enamama teoseid: Minneapolis Institute of Art
Pasquale Ottini top 10 maalist galeriist vaatenurgast
Muuseumid, kus on säilitatud Pasquale Ottini originaalteosed
Kümne 2 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Pasquale Ottini teosid | Selle nimekirja maalid |
|---|---|---|---|
 Minneapolis Institute of Art |
Minneapolis | 1 | Mary Magdalen |
 Dulwichi Pildigalerii |
London | 1 | The Madonna with Saint Lorenzo Giustiniani and a Venetian Nobleman |
Pasquale Ottini aastate jooksul: iga teose unikaalsed originaalid
Pikk karjäär 31 aastat, aastast 1600 aastani 1630: Pasquale Ottini kõige kuulsamad originaalteosed, esitatud aastaaeglaadul.
Teosed aasta kaupa
Vali aasta, et näha originaale.
Pasquale Ottini maalid: küsimused galeriile
Mis on Pasquale Ottini kõige kuulsam teos?Paljasta vastus
Mary Magdalen (1600), Minneapolis Institute of Art, Minneapolis. Järgnevad The Madonna with Saint Lorenzo Giustiniani and a Venetian Nobleman (1630) ja Saint Lucy.
Mis vanuses luunud Pasquale Ottini teos Mary Magdalen?Paljasta vastus
22 aastat vanus: teos Mary Magdalen on pärinev aastast 1600 ning Pasquale Ottini sündis aastal 1578.
Kui palju teoseid kunstniku Pasquale Ottini kohta on teada?Paljasta vastus
Meie kataloogist leiate 3 teost kunstnikult Pasquale Ottini, mis on pärinevad ajastust 1600 kuni 1630.
Kust saab näha kõige kuulsamaid Pasquale Ottini originaalteoseid?Paljasta vastus
Peamiselt Minneapolis Institute of Art (Minneapolis) ja Dulwichi Pildigalerii (London) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Milline kuuls Pasquale Ottini maal on kõige varasem ja milline kõige hiljema?Paljasta vastus
Sellel lehel on kõige vanem teos Mary Magdalen (1600) ja kõige värskeim The Madonna with Saint Lorenzo Giustiniani and a Venetian Nobleman (1630).
Pasquale Ottini: kunstniku portree
The Studio of Brusasorci
In the quiet workshops of Verona, a young man named Pasquale Ottini began to find his voice under the watchful eye of Felice Brusasorci. He was not alone in this pursuit of craft; alongside him, Alessandro Turchi shared the same lessons and the same air. These early years were defined by the discipline of the studio, where the brush was guided by the traditions of a master. When Brusasorci passed away in 1605, the weight of unfinished business fell upon the young pupils. Ottini and Turchi stepped forward to complete a large canvas of the Fall of Manna for the church of San Giorgio in Braida, ensuring their teacher's vision reached its conclusion.
The early works of this period reveal a hand steeped in the Mannerist style. There is a certain tension in those first compositions, a lingering influence of the complex forms and stylized grace that characterized the era. While his path was largely centered in his hometown, whispers of a journey to Rome around 1615 suggest a life that reached beyond the borders of Verona. Whether he traveled with Turchi and Marcantonio Bassetti or remained close to the familiar streets of his birth, his presence in the artistic landscape of the seventeenth century remained steady.
A Life in Verona
Ottini’s career was marked by a devotion to the sacred spaces of his city. His hands worked upon many subjects that sought to bring the divine into the physical realm of the viewer. He left his mark upon the churches of San Stefano and San Giorgio, painting scenes such as the Massacre of the Innocents and San Niccolo. His ability to handle various media and subjects allowed him to move between the grand scale of church altarpieces and more intimate works, such as the Deposition completed for the church of San Francesco di Paola.
The shadows of history eventually caught up to the painter. In 1630, as the plague swept through Verona, Ottini’s own life reached its end. He died in the same city where he had learned his trade, leaving behind a body of work that reflected the shifting tastes of his time. His legacy survives through the paintings he left in the hands of the faithful and the collections that hold his depictions of the Assumption of the Virgin and the Lamentation of Christ.