Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 22 teost Stradanus meie kataloogis
Lühidalt
Kõigist Stradanus jäetud originaalteostest on kõige kuulsam An Alchemist's Laboratory (1570), mis kuulub Palazzo Vecchio kogele linnas Firenze. Järgnevad sellest Color Olivi (Invention of Oil Painting), plate 14 in the Nova Reperta (New Inventions of Modern Times) (1596) ja Crucifixion (1569). Meie kataloogist löytyb 22 teost kunstnikult Stradanus; galeriist on säilitatud 20 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
An Alchemist's Laboratory is an oil on slate painting created by the artist Stradanus in 1570. The work depicts the laboratory of Francesco I de' Medici, who was the son of Cosimo I de' Medici and Eleonora di Toledo. This specific laboratory space was originally set up by Cosimo I between 1519 and 1574.
The print titled Color Olivi (Invention of Oil Painting), plate 14 in the Nova Reperta (New Inventions of Modern Times) emerges from the workshop of Jan van der Straet, known as Stradanus. This specific plate captures a moment of creation within a busy studio. It was brought into being in Antwerp, Netherlands, around 1596. The ink traces the vision of Stradanus, a Flemish artist who moved between the traditions of…
The painting titled Crucifixion was executed by Jan van der Straet, an artist also known as Stradanus or Giovanni Stradano. Created in 1569, this work originated in Firenze. The piece is located within the Basilica della Santissima Annunziata in Florence. Stradanus, who lived from 1523 to 1605, produced this oil on panel composition during his time in Italy.
In Stradanus's Lamentation of Christ, a crowded arrangement of elongated figures creates a sense of heavy, overlapping movement. The scene unfolds within a dark, nocturnal environment, illuminated by a pale moon and an unseen light source. This light strikes the musculature of Christ and the heavy folds of draped fabrics, carving deep shadows across the composition. A single ladder rises vertically in the background, providing a sharp structural contrast to…
The enlargement of the city of Florence by Stradanus presents a panoramic view of a sprawling urban landscape. The composition is split into two distinct realms. In the foreground, a crowded assembly of figures engages in various activities, their forms grounded in a detailed, immediate space. Beyond them, the scene opens into a vast, elevated background where the dense architecture of the city rises against a backdrop of rolling hills.…
The work Allegory, dated 1572, is a representation of a historic brick building's exterior. The composition centers on a large, arched black doorway. This entrance is flanked by two windows featuring dark shutters. The structure is composed of reddish-brown bricks, while light-colored stone masonry defines the window frames, the door surround, and various decorative elements. The architectural style follows Renaissance or Mannerist principles, utilizing symmetrical elements and classical ornamentation. Vertical…
A heavy, monochrome stillness settles over the scene. Inside a dim warehouse or cellar, the air feels thick with the scent of crushed fruit and damp earth. Figures move through a crowded landscape of wooden shelves and ladders, their bodies bent under the gravity of the season. It is a world of labor, where every hand is occupied. Women reach into the shadows of vines, while men empty heavy baskets…
The air within the frame feels heavy with the scent of damp earth and crushed leaves. In this monochromatic world, a greenhouse becomes a stage for the quiet labor of survival. Figures move through a crowded architecture of shelves and windows, their limbs elongated in the Mannerist style, stretching toward the light. Women bend over baskets, their hands busy with the delicate task of tending to plants, while a man…
The Discovery of America, plate 1 from the by Stradanus unfolds as a complex allegorical scene where history and symbolism collide. Created about 1590, this engraving captures a moment of profound encounter between European exploration and the landscapes of a new world. A central figure, presumably Christopher Columbus, stands upon a shore, his gaze fixed upon a reclining nude woman amidst lush, heavy vegetation. Nearby, a ship rests offshore, its…
In the quiet, dramatic shadows of the late sixteenth century, Johannes Stradanus captured a profound tension between the ephemeral beauty of life and the inevitable approach of the end. His masterpiece, “Vanity, Modesty and Death,” serves as a hauntingly beautiful allegory, inviting the viewer into a deeply personal contemplation of human nature. Created around 1569, this work is not merely a painting but a philosophical dialogue rendered in oil, where…
Cavemen Chasing Elephants, plate 3 from the Venationes Ferarum, Avium, Piscium series1596
12
Esther Receiving the Crown from Ahasuerus1561 · Palazzo Vecchio
13
Reeling of the Silk1580 · Royal Collection
14
St. Peter in prison1590
15
Ferdinandes Magalanes Lusitanus, plate 4 from1580
16
Page of a sketchbook: Ulysses passes the Sirens (recto); Ulysses in the Underworld (verso)1590
17
Odysseus in the Cave of the Winds.
18
The Current of the Republic in Firenze, before the nineteenth-century gutting.Palazzo Vecchio
19
Francesco I nel suo laboratorio alchemico(detail)
20
Death visits the paupers' house
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 6 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Stradanus teosid | Selle nimekirja maalid |
|---|---|---|---|
 Palazzo Vecchio |
Firenze | 4 | An Alchemist's Laboratory, The enlargement of the city of Florence, Esther Receiving the Crown from Ahasuerus |
 Royal Collection |
London | 3 | Silkworm Farm, Silkworm Farm, Reeling of the Silk |
 Santissima Annunziata |
Firenze | 1 | Crucifixion |
 Bavaria riiklikud maalidema kogumikud |
München | 1 | Lamentation of Christ |
 Art Museum |
Seattle | 1 | Allegory |
 Louvre'i muuseum |
Pariis | 1 | Vanity, Modesty and Death |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The painting titled Crucifixion was executed by Jan van der Straet, an artist also known as Stradanus or Giovanni Stradano. Created in 1569, this work originated in Firenze. The piece is located within the Basilica della Santissima Annunziata in Florence. Stradanus, who lived from 1523 to 1605, produced this oil on panel composition during his time in Italy.
An Alchemist's Laboratory is an oil on slate painting created by the artist Stradanus in 1570. The work depicts the laboratory of Francesco I de' Medici, who was the son of Cosimo I de' Medici and Eleonora di Toledo. This specific laboratory space was originally set up by Cosimo I between 1519 and 1574.
A heavy, monochrome stillness settles over the scene. Inside a dim warehouse or cellar, the air feels thick with the scent of crushed fruit and damp earth. Figures move through a crowded landscape of wooden shelves and ladders, their bodies bent under the gravity of the season. It is a world of labor, where every hand is occupied. Women reach into the shadows of vines, while men empty heavy baskets…
The print titled Color Olivi (Invention of Oil Painting), plate 14 in the Nova Reperta (New Inventions of Modern Times) emerges from the workshop of Jan van der Straet, known as Stradanus. This specific plate captures a moment of creation within a busy studio. It was brought into being in Antwerp, Netherlands, around 1596. The ink traces the vision of Stradanus, a Flemish artist who moved between the traditions of…
An Alchemist's Laboratory (1570), Palazzo Vecchio, Firenze. Järgnevad Color Olivi (Invention of Oil Painting), plate 14 in the Nova Reperta (New Inventions of Modern Times) (1596) ja Crucifixion (1569).
47 aastat vanus: teos An Alchemist's Laboratory on pärinev aastast 1570 ning Stradanus sündis aastal 1523.
An Alchemist's Laboratory, Color Olivi (Invention of Oil Painting), plate 14 in the Nova Reperta (New Inventions of Modern Times), Crucifixion, Lamentation of Christ, The enlargement of the city of Florence, Allegory, Silkworm Farm, Silkworm Farm, The Discovery of America, plate 1 from the ja Vanity, Modesty and Death. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 22 teost kunstnikult Stradanus, mis on pärinevad ajastust 1561 kuni 1596.
Peamiselt Palazzo Vecchio (Firenze), Royal Collection (London) ja Santissima Annunziata (Firenze) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1560s: 5 20 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Crucifixion.
Sellel lehel on kõige vanem teos Esther Receiving the Crown from Ahasuerus (1561) ja kõige värskeim Color Olivi (Invention of Oil Painting), plate 14 in the Nova Reperta (New Inventions of Modern Times) (1596).
People (5), Figures (3) ja Shelves (2), kogu selle lehekülje 20 teose kohta.
Engraving, 4 teoseks 20 töödelt sellel lehel.
Mannerism, seda lähtudes selle lehe originaalteostest.
An Alchemist's Laboratory, The enlargement of the city of Florence ja Esther Receiving the Crown from Ahasuerus: Palazzo Vecchio, Firenze säilitab 4 selle lehel olevat teost.
1550. aastal alustas Stradanus oma murdilist reisi Firentesse, kus ta astus Medici familii teenistusse – to damal kevadse Euroopa ühe võimsama ja mõjuvaima dynastiia juurde. Tema saabumine kokkutas tolise ajaga, mil õliuid ebatavaline kunstiline mecenat ja eksperimenteerimine, mida juhtis Grand-härra Cosimo I de’ Medici koos oma nõuandaja Giorgio Vasari. Stradanus become quickly ühe loovsuse ökosüsteemi lahutuselaks osaks, aidates märkimisväärselt pühaks panna lühikeseid ning pidukaid palatse, luues elaboratseid tapiseid ja lootes sügavate detailidega keerukaid veidrikke. Ta ei olnud pelgalt dekorator; ta oli konseptuaalne uuendaja, kes suutis oskuslikult ühendada klassikalist mütholoogiat tänapäevaste teemadega, integreerides oma loomingutes humanistliku filosoofia elemente.
Tema koostöö Vasari-ga on eriti tähelepanuväärne. Üahas koos jälgasid nad ambitsiootseid projekte, nagu freskod Palazzo Vecchios ja dekoratiivsed lahendused Poggio a Caianos juures, demonstreerides Stradanuse mitmekülgsust disainerina ning tema võimet tõlkida keerulised ideed visuaaliselt lummavaks narratiiviks. Ta mängis olulist rolli ka 1563. aastal Accademia e Compagnia delle Arti del Disegno asutamisel – murdmuteeritud kunstiakadeemias, mille eesmärk oli edastada koostööd ja uuendust kunstikate Firentes, mis on tõestus tema suurest mõjust Firente kunsti maailmas. Stradanuse tööd selle perioodi jooksul iseloomustab peen elegants, ülimaline täpne detailide rikkus ning värvi ja kompositsiooni meistlik valdkond, mis peegeldas Medici õliuid sofistikatsiooni ja esteetilist tundlikkust.
