Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 161 teosta taiteilijalta Jacopo Palma Il Giovane luettelossamme
Lyhyesti
Kaikista Jacopo Palma Il Giovane jättämistä alkuperäisteoksista kuuluisin on The Crucifixion of St Peter (1614), joka kuuluu Gallerie dell'Accademia di Venezia -kokoelmaan, Venetsia. Heti perässä tulevat Pietà with Angels (1620) ja Paolo Veronese (1600). Katalogissamme on 161 teosta taiteilijalta Jacopo Palma Il Giovane; galleria on säilyttänyt 100 maailman ihailluimmista teoksista, ja jokaisesta on esitetty sen päivämäärä, museo sekä tarina.
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 · Dogen palatsi
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 · Bavarian State Painting Collections
17
St Sebastian1590 · Hermitage-museo
18
Dead Christ Supported by an Angel1612 · Kunsthistorisches Museum
19
Adoration of the Shepherds1575 · Bavarian State Painting Collections
20
Flagellation of Christ1586 · Bavarian State Painting Collections
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
25
soldiers on horseback1569
26
Soldiers on horseback1569
27
supraporte: fighting soldiers1569
28
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 · Dogen palatsi
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 · Bavarian State Painting Collections
41
Lamentation of Christ1586 · Bavarian State Painting Collections
42
Thetis on the Sea1586 · Bavarian State Painting Collections
43
Lamentation of Christ1586 · Bavarian State Painting Collections
44
Annunciation of Mary1585 · Bavarian State Painting Collections
45
Christ and the Samaritan Woman1586 · Bavarian State Painting Collections
46
Saint Sebastian1586 · Bavarian State Painting Collections
47
Ecce homo1586 · Bavarian State Painting Collections
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 Gardner Museum
53
Scene from the History of Joseph1587 · Isabella Stewart Gardner Museum
54
Judas Cyriacus1593
55
Sant'elena Ritrova La Vera Croce1593
56
L'imperatore Eraclio Riporta La Croce Al Calvario1593
57
Pius II1593
58
Judith and Holofernes1600
59
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
62
The Virgin and Child with Saints and Angels1620 · National Gallery of Ireland
63
Lamentation of Christ1620 · Bavarian State Painting Collections
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-museo
68
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
72
Lamentation1620 · National Gallery of Art
73
Joseph and Potiphar's WifeStatens Museum for Kunst
74
Allegory of the Victory over the League of Cambrai (detail)1590 · Dogen palatsi
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 TeacherBavarian State Painting Collections
Nämä neljä aihetta toistuvat näissä alkuperäisteoksissa useimmin, jokaisesta löytyy hienoin esimerkki.
Tämän sivun teoksista eniten sisältävät 8 museota.
| Museo | Kaupunki | Jacopo Palma Il Giovane teokset | Tämän listan maalaukset |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 14 | Moses Brings the Tablets of the Law, Adoration of the Shepherds, Flagellation of Christ |
 Kunsthistorisches Museum |
Wien | 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 |
Lontoo | 5 | The Expulsion of the Vices of the Church, Venus and Cupid, Prometheus Chained to the Caucasus |
 Dogen palatsi |
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 |
Venetsia | 3 | The Crucifixion of St Peter, Return of the Prodigal Son, Amusements of the Prodigal Son |
 Hermitage-museo |
Pietari | 2 | St Sebastian, Apostles at the Virgin's Tomb |
 Fitzwilliam Museum |
2 | Christ calling Zacchaeus, Elijah and the Angel |
Valitse vuosikymmen nähdäksesi sen määrittäneen alkuperäisteoksen.
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, Venetsia. Seuraavina ovat Pietà with Angels (1620) ja Paolo Veronese (1600).
64 vuotta vanha: The Crucifixion of St Peter on peräisin vuodelta 1614, ja Jacopo Palma Il Giovane on syntynyt vuonna 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. Yllä oleva sijoitus kertoo kunkin teoksen vuosiluvun ja museon.
Katalogissamme on 161 teosta taiteilijalta Jacopo Palma Il Giovane, aikaväliltä 1569–1628.
Pääasiassa Bavarian State Painting Collections (München), Kunsthistorisches Museum (Wien) ja Museo del Prado (Madrid). Yllä oleva museotaulukko listaa ne kaikki.
Aikakaudella 1590s: 27 sivun 100 teoksista on tehty silloin, joista The Conversion of Saint Paul.
Tällä sivulla vanhin on Fighting soldiers (1569) ja uusin 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 (26), Woman (19) ja People (15), yhteensä 100 teosta tällä sivulla.
Oil On Canvas, 36 teoksesta sivun 100 teoksesta.
Baroque ja Renaissance, tämän sivun alkuperäisteosten perusteella.
Moses Brings the Tablets of the Law, Adoration of the Shepherds ja Flagellation of Christ: Bavarian State Painting Collections, München -ssä on 13 tämän sivun teoksista.
Venetsialaisen renessanssin kultaisessa hämärässä, aikakaudella, jota määritteli vertaansa vailla oleva värin ja valon mestaruus, astui esiin maalarit, jonka sivellin loi sillan korkearenessanssin ja barokin nousevan draaman välille. Jacopo Palma il Giovane, syntyjään Iacopo Negretti noin vuonna 1548, ei ollut ainoastaan suurten mestareiden seuraaja, vaan elintärkeä lenkki venetsialaisen koulukunnan jatkuvuudessa. Koska hän oli kuuluisan Palma Vecchion isoveljenpoika, hän syntyi taiteellisen erinomaisuuden perintöön ja peri syvän ymmärryksen kromaattisesta rikkaudesta, joka määrittelee venetsialaisen perinteen. Hänen elämänsä ja työnsä edustavat saumatonta siirtymää, tuoden edeltäjiensä valoisan eleganssin uuteen aikakauteen, jota leimasivat emotionaalinen intensiteetti ja teatraalinen loisto.
Palman taiteelliset perusteet muovautuivat Venetsian työpajoissa, missä ilma oli täynnä Tizianin ja Tintoretton perintöä. Vaikka historialliset lähteet viittaavat siihen, että hän saattoi hioa tekniikkaansa opiskellessaan Tizianin henkeäsalpaavia väripaletteja, juuri Tintoretton dynaaminen energia muovasi hänen kypsää visiotaan. Tintoretton kuoleman jälkeen vuonna 1594 Palma il Giovane nousi merkittävimpään asemaan jaestä Venetsian hallitsevaksi taiteelliseksi voimaksi. Hänellä oli harvinainen kyky yhdistää nämä kaksi erilaista vaikutetta: Tizianilta hän omaksui hienostuneen hallinnan valosta ja ihon sävyistä, kun taas Tintoretolta hän otti liikkeen tunnun, dramaattisen chiaroscuro-tekniikan sekä narratiivisen kiireellisyyden, joka resonoi syvästi vastauksen uskonnollisen herätyksen intohimon kanssa.
Palma il Giovannen tuotanto on todistus hänen kyvystään muuttaa raamatulliset ja mytologiset teemat käsinkosketeltaviksi inhimillisiksi kokemuksuden. Hänen maalauksensa eivät ole harvoin staattisia; ne sykkivät elinvoimaa, joka vetää katsojan draaman ytimeen. Olipa kyseessä uskonnollisen marttyyrikuoleman juhlallisuus tai tavernan kohtauksen eläväinen kaaos, hänen työnsä käyttää valoa kerronnallisena välineenä, ohjaten silmää monimutkaisten sommitelmien läpi löytämään tarinan emotionaalisen ytimen. Hänen mestaruutensa näkyy erityisen selvästi teoksissa kuten Pyhän Katariina Aleksandalaisen marttyyrikuolema, jossa varjon ja loiston vuoropuhelu voimistaa jumalallisen kamppailun tuntua, sekä Apostolit Neitsyen haudalla, joka vangitsee kollektiivisen surun syvän hetken leveillä, energisillä siveltimenvedoilla.
Uskonnollisten tilausten lisäksi Palman monipuolisuus antoi hänelle mahdollisuuden tutkia laajaa aihepiiriä. Hänen kykynsä vangita ihmishenki näkyy kenties intiimeimmin hänen itseportretissaan, teoksessa, joka paljastaa sielukkaan itsetutkiskelun ja teknisen taidon, joka kykenee välittämään ilmeiden hienovaraisimmatkin vivahteet. Jopa maallisemmissa tai anekdoottisissa kohtauksissa, kuten Kadonnut poika viihteissään, hän säilyttää eloisan, rytmisen laadun, joka juhlistaa venetsialaisen elämän tekstuureja ja värejä. Tämä kyky heilahdella syvällisen ja leikkisän välillä varmisti hänen merkityksensä eri suojelijapiireissä, Venetsian kirkollisista viranomaisista aina Keski-Euroopan keisarillisiin hoveihin saakka.
Jacopo Palma il Giovannen historiallinen merkitys ulottuu kauas Venetsian tasavallan rajojen ulkopuolelle. Hänen vaikutuksensa säteili laajalle, yltäen Bergamoon ja Prahan keisari Rudolf II:n hoviin, mikä teki hänestä kansainvälisen tason taiteilijan. Hän ei ainoastaan toistanut menneisyyttä, vaan kehitti sitä valmistellen maaperää emotioniivisemmille ja dramaattisemmille tyyleille, jotka määrittivät 1600-lukua. Toimimalla mentorina seuraaville sukupolville, mukaan lukien hahmot, jotka hioivat venetsialaista estetiikkaa edelleen, hän varmisti, että hänen linjansa perinteet pysyivät elinvoimaisina ja muutosvoimaisina.
Nykyään tunnustamme Palma il Giovannen keskeisenä hahmona, jonka työ toimii siltana aikakausien välillä. Hänen perintönsä löytyy seuraavista asioista:
Ilmaisuvoimaisen siveltimensä ja mestarillisen valon käytön kautta Palma il Giovane vangitsi muuttuvan maailman olemuksen, jättäen jälkeensä teoskokonaisuuden, joka jatkaa lumoamista ja liikuttavaa nykyajan tarkkailijaa.
