Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 99 teosta taiteilijalta Mattia Preti luettelossamme
Lyhyesti
The Marriage at Cana (1655) on se Mattia Preti -maalaus, joka herättää eniten huomiota; alkuperäisteos kuuluu museolle National Gallery, Lontoo. Sen jälkeen katse siirtyy kohteisiin Tribute Money (1640) ja St. John the Baptist Preaching. Mattia Pretiin 99 teoksemme joukosta nämä 98 ovat kuuluisimpia; jokainen on ainutlaatuinen alkuperäisteos, joka on esitelty vuosiluvun, museon ja sen syyn kera, miksi teos on säilyttänyt suosionsa.
The air in the room feels heavy, thick with the scent of spilled wine and the heat of a crowded celebration. At the center of this bustling gathering, a miracle unfolds in silence. A long banquet table, draped in a stark white cloth, cuts through the darkness, acting as a stage for a divine transformation. Figures press against one another, their bodies overlapping in a dense, rhythmic movement that pulls…
To stand before Mattia Preti's Tribute Money is to step directly into the charged atmosphere of 17th-century Italian devotion. This magnificent oil on canvas, executed in 1640, pulses with the dramatic energy characteristic of the Baroque period. It is not merely a depiction of an event; it is an immersive experience, masterfully orchestrated by Preti’s hand. The scene gathers a group of men around a central table, their gestures and…
To stand before this depiction of St. John the Baptist is to be enveloped by the very breath of divine revelation. The scene pulses with an almost palpable energy, capturing that electrifying moment when sacred truth breaks through the mundane. At the heart of the composition stands St. John, a figure radiating both ascetic power and profound spiritual authority. He commands attention not merely through his central placement, but through…
A Triumph of Baroque Faith: Exploring Mattia Preti’s ‘Christ in Glory’ Mattia Preti, a Calabrian Knight of the Baroque, stands as an emblem of artistic dynamism and fervent devotion during his era. Born in Taverna, Calabria, on February 24, 1613, his journey was marked by absorbing diverse influences—primarily from Caravaggio—resulting in a uniquely expressive style characterized by dramatic chiaroscuro and meticulous realism that would define his oeuvre. Before 1630, he…
The air in the painting feels heavy, thick with the scent of iron and dust. A single, theatrical light cuts through the murky atmosphere, striking the pale skin of a woman seated on the right. She is the center of a storm, a figure of vulnerability amidst a crowded, muscular arrangement of limbs and steel. Around her, the composition erupts in a series of sweeping diagonals. Weapons and reaching arms…
In this treatment of Ecce Homo, Mattia Preti employs a highly theatrical arrangement to command the viewer's attention. The composition is built upon a balcony placed transversely, a clever spatial device that pushes the figure of Christ into the immediate foreground. This positioning creates an intimate, almost confrontational proximity between the subject and the observer. The artist’s style here is both dramatic and heroic, moving beyond simple naturalism to imbue…
The shadows press in from every corner, leaving only a sliver of light to illuminate the weathered face of Saint Paul the Hermit. He sits in a profound, heavy silence, his body a map of ascetic devotion. Every line etched into his skin tells a story of years spent in the desert, away from the clamor of the world. His eyes are turned upward, searching the darkness for a light…
Mattia Preti’s Wedding at Cana captures the first miracle of Christ during a wedding feast in Galilee. The scene brings together Christ, his mother, and the disciples within a crowded, festive setting. A long banquet table, draped in a white cloth, serves as the central stage for the unfolding event. Amidst the gathering, Mary directs the servants, while the steward observes the transformation of the liquid with astonishment.
In this oil on canvas, we find ourselves pulled into an intimate, almost uncomfortable proximity to a profound biblical encounter. The scene captures the precise second when the apostle Thomas seeks physical verification of the resurrection, reaching out to touch the wound in Christ's side. There is a heavy, palpable tension in the way the figures are arranged along a diagonal axis, guiding our gaze directly toward that central point…
The crucifixion of St Andrew is an oil on canvas work by Mattia Preti. Created about 1651, this piece belongs to the Baroque movement of seventeenth-century Italy. The scene captures a moment of profound religious significance, focusing on the martyrdom of the saint. It is a heavy, physical depiction of faith under the weight of wood and shadow.
St John the Baptist before Herod1665
12
Saint Veronica with the Veil1657 · Los Angelesin maakunnallinen taidemuseo
13
Portrait of a Grand Master of the Knights of Malta, Martin de Redin1660 · Art Institute of Chicago
14
Belisarius Receiving Alms1660 · Museum Boijmans Van Beuningen
15
The Game of Draughts1630 · Ashmolean Museum
16
Ecce homo
17
Dice Players1635 · Krakovan kansallismuseo
18
The Beheading of Saint John the Baptist1640 · National Gallery of Ireland
19
The Pardon of St. John Chrysostom1640 · Cincinnati Art Museum
20
Clorinda rescues Olindo and Sophronia1646 · Musei di Strada Nuova
21
Vocation of the Apostle Matthew1637 · Kunsthistorisches Museum
22
The Adoration of the Shepherds1645 · National Museum in Warsaw
23
the head of St. John presented to the king1638
24
Bearded Old Man's Head1656 · Bavarian State Painting Collections
25
Return of the Prodigal Son1656 · Bavarian State Painting Collections
26
Mary Magdalene1656 · Bavarian State Painting Collections
27
Tobias and the Angel1656 · Bavarian State Painting Collections
28
Saint Andrew1656 · Bavarian State Painting Collections
29
The Feast of Absalom1658 · National Gallery of Canada
30
Salomé with the Head of St. John before Herod1658 · Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe
31
An Angel shows Hagar the Way1656 · Bavarian State Painting Collections
32
Paul of Thebes1675 · National Museum of Ancient Art
33
Self-portrait1695
34
The Vision of Saint Paul1700
35
The Martyrdom of Saint Catherine1700 · MUŻA
36
The Denial of Saint Peter1700 · Musée des Beaux-Arts
37
The Raising of Lazarus1650 · Galleria Nazionale d'Arte Antica
38
The Concert1630 · Thyssen-Bornemisza Museum
39
A Man Cutting Tobacco1660
40
Herodin juhla1661 · Toledo Museum of Art
41
Apelle painting Campaspe1600 · Pinacoteca Stuard
42
The Baptism of Christ1661 · Pyhän Johanneksen konventtikirkko
43
The Roman Empress Faustina Visiting Saint Catherine of Alexandria in Prison1643 · The Dayton Art Institute
44
Queen Tomyris Receiving the Head of Cyrus, King of Persia1670
45
St. George Victorious over the Dragon1678 · Collegiate Basilica of St. George
46
St John Reproaching Herod1662 · Museo de Bellas Artes de Sevilla
47
Christ and the Money Changers1600 · Museo di Capodimonte
48
Concert (detail)1630 · Hermitage-museo
49
Lennokkivaanki1630 · Kunstpalast
50
The Adoration of the Shepherds1699 · Walker Art Gallery
51
Christ and the Woman Taken in AdulterySaint Louis Art Museum
52
The Martyrdom of Saint PaulMuseum of Fine Arts
53
Tobias Healing His Father's BlindnessMuseum of Fine Arts
54
Martyrdom of Saint ErasmusBavarian State Painting Collections
55
Martyrdom of Saint Andrew
56
St. Paul the HermitClevelandin taidemuseo
57
Concert in the family
58
Zachary on his knees, and studies of his head
59
Old man sitting, holding a book, speaking to a young man
60
Musical angels, studies for a ceiling compartment
61
A Group of Saints and Angels
62
God the Father surrounded by angels
63
The Release of St Peter from PrisonAcademy of Fine Arts Vienna
64
Käynti (The Visitation)1649 · Virginia Museum of Fine Arts
65
Pilate Washing his Hands1663 · Metropolitan Museum of Art
66
The Martyrdom of Saint Gennaro1685 · National Gallery of Art
67
The Martyrdom of St. BartholomewPokrajinski muzej Ptuj- Ormož
68
Saint John the Baptist Preaching1650 · Metropolitan Museum of Art
69
St John Cast into Prison1661 · Pyhän Johanneksen konventtikirkko
70
Seated Bishop with Arms Extended and Three Attendant Figures
71
Salomeen päässä Johannes ApostoliRinglingin taidemuseo
72
Design for the Decoration of a Cupola with a Prophet, King David and Two Putti
73
A Mother Entrusting Her Sons to ChristPinacoteca di Brera
74
Beheading of St. CatherineNational Museum of Fine Arts
75
Holy martyr (Saint Stephan?)Civic Museums of Reggio Emilia
76
Flying Angel1699 · Kunstpalast
77
St Sebastian1660 · Museo di Capodimonte
78
Sophonisba vastaanottaa maljan1670 · Musée des Beaux-Arts de Lyon
79
St. Nicholas of Bari1653 · Museo di Capodimonte
80
Aeneas, Anchises and Ascanius Fleeing Troy1630 · Galleria Nazionale d'Arte Antica
81
Saint John the BaptistMuseo di Capodimonte
82
Judith and HolofernesMuseo di Capodimonte
83
The Return of the Prodigal Son
84
The Martyrdom of Saint Peter1630 · Musée de Grenoble
85
Saint Anthony Abbot1628
86
Vanitas1650
87
The Return of the Prodigal Son1658 · Royal Palace of Naples
88
The Four Evangelists1650 · Galleria Regionale di Palazzo Abatellis
89
Concert1630 · Hermitage-museo
90
The Banquet Of Baldassare
91
Absalom's Feast1653 · Museo di Capodimonte
92
The Madonna of Costantinople1656 · Museo di Capodimonte
93
Christ and the Woman Taken in AdulteryGalleria Regionale di Palazzo Abatellis
94
St. George on Horseback1658 · Pyhän Johanneksen konventtikirkko
95
Saint John the Baptist Wearing the Red Tabard of the Order of Saint John1671 · MUŻA
96
The Banquet of the Rich Glutton1685 · Galleria Nazionale d'Arte Antica
97
Tomyris Plunges the Head of the Dead Cyrus Into a Vessel of Blood1685
98
Plato and Diogenes1690 · Capitoline Museums
Nämä neljä aihetta toistuvat näissä alkuperäisteoksissa useimmin, jokaisesta löytyy hienoin esimerkki.
Tämän sivun teoksista eniten sisältävät 8 museota.
| Museo | Kaupunki | Mattia Preti teokset | Tämän listan maalaukset |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 7 | Bearded Old Man's Head, Return of the Prodigal Son, Mary Magdalene |
 Museo di Capodimonte |
Napoli | 7 | Christ and the Money Changers, St Sebastian, St. Nicholas of Bari |
 Pyhän Johanneksen konventtikirkko |
Valletta | 3 | The Baptism of Christ, St John Cast into Prison, St. George on Horseback |
 National Gallery |
Lontoo | 2 | The Marriage at Cana, Wedding at Cana |
 Pinacoteca di Brera |
Milano | 2 | Tribute Money, A Mother Entrusting Her Sons to Christ |
 Kunsthistorisches Museum |
Wien | 2 | Doubting Thomas, Vocation of the Apostle Matthew |
 MUŻA |
Valletta | 2 | The Martyrdom of Saint Catherine, Saint John the Baptist Wearing the Red Tabard of the Order of Saint John |
 Galleria Nazionale d'Arte Antica |
Rooma | 2 | The Raising of Lazarus, Aeneas, Anchises and Ascanius Fleeing Troy |
Valitse vuosikymmen nähdäksesi sen määrittäneen alkuperäisteoksen.
The air in the room feels heavy, thick with the scent of old wood and the quiet tension of a contest in progress. Three figures lean into a shared circle of focus, their bodies forming a tight, intimate triangle around a simple game board. Light spills from an unseen source to the left, cutting through the gloom to catch the curve of a cheek, the edge of a white sleeve,…
To stand before Mattia Preti's Tribute Money is to step directly into the charged atmosphere of 17th-century Italian devotion. This magnificent oil on canvas, executed in 1640, pulses with the dramatic energy characteristic of the Baroque period. It is not merely a depiction of an event; it is an immersive experience, masterfully orchestrated by Preti’s hand. The scene gathers a group of men around a central table, their gestures and…
The air in the room feels heavy, thick with the scent of spilled wine and the heat of a crowded celebration. At the center of this bustling gathering, a miracle unfolds in silence. A long banquet table, draped in a stark white cloth, cuts through the darkness, acting as a stage for a divine transformation. Figures press against one another, their bodies overlapping in a dense, rhythmic movement that pulls…
A Triumph of Baroque Faith: Exploring Mattia Preti’s ‘Christ in Glory’ Mattia Preti, a Calabrian Knight of the Baroque, stands as an emblem of artistic dynamism and fervent devotion during his era. Born in Taverna, Calabria, on February 24, 1613, his journey was marked by absorbing diverse influences—primarily from Caravaggio—resulting in a uniquely expressive style characterized by dramatic chiaroscuro and meticulous realism that would define his oeuvre. Before 1630, he…
This oil painting, titled Paul of Thebes, was executed by the Italian Baroque artist Mattia Preti. The work dates to about 1675. The subject of the composition is a bearded man, identified as Saint Paul of Thebes, who is depicted in a moment of spiritual focus. He is shown holding a rosary within his hands.
Four men and one woman gather around a dead man who is dressed in a bright honey-gold cape and pointed hat, his stone-gray face resting on a stump or column in this dark vertical painting. All the people have peachy skin or light skin tinged with green. Shown from the knees up, Saint Gennaro, the dead man, twists and slumps to our right. On the stump, his eyes are closed…
The oil on canvas titled Self-portrait by Mattia Preti captures a quiet moment of introspection. Created about 1695, the work presents an older man, presumably the artist himself, caught in a state of solemn preparation. He sits amidst a heavy, dark atmosphere, his presence defined by the weight of his own gaze and the tools of his trade.
The Marriage at Cana (1655), National Gallery, Lontoo. Seuraavina ovat Tribute Money (1640) ja St. John the Baptist Preaching.
42 vuotta vanha: The Marriage at Cana on peräisin vuodelta 1655, ja Mattia Preti on syntynyt vuonna 1613.
The Marriage at Cana, Tribute Money, St. John the Baptist Preaching, Christ in Glory, Clorinda Rescuing Sofronia and Olindo, Ecce Homo, Saint Paul the Hermit, Wedding at Cana, Doubting Thomas ja The crucifixion of St Andrew. Yllä oleva sijoitus kertoo kunkin teoksen vuosiluvun ja museon.
Katalogissamme on 99 teosta taiteilijalta Mattia Preti, aikaväliltä 1628–1699.
Pääasiassa Bavarian State Painting Collections (München), Museo di Capodimonte (Napoli) ja Pyhän Johanneksen konventtikirkko (Valletta). Yllä oleva museotaulukko listaa ne kaikki.
Aikakaudella 1650s: 22 sivun 98 teoksista on tehty silloin, joista The Marriage at Cana.
Tällä sivulla vanhin on Saint Anthony Abbot (1628) ja uusin The Adoration of the Shepherds (1699).
Man (31), Woman (15) ja Drapery (14), yhteensä 98 teosta tällä sivulla.
Oil On Canvas, 53 teoksesta sivun 98 teoksesta.
Baroque dramatic lighting, tämän sivun alkuperäisteosten perusteella.
Bearded Old Man's Head, Return of the Prodigal Son ja Mary Magdalene: Bavarian State Painting Collections, München -ssä on 7 tämän sivun teoksista.
Mattia Preti, known as *Il Cavalier Calabrese* – the Calabrian Knight – stands as a monumental figure in 17th-century Italian Baroque painting. Born in Taverna, Calabria, on February 24, 1613, his artistic journey was one of remarkable transformation and evolution, absorbing diverse influences and culminating in a uniquely expressive style that profoundly impacted the art world, particularly in Malta where he spent much of his later life. Preti’s early training began under Giovanni Battista Caracciolo, a painter deeply rooted in the Caravaggist movement – a lineage that would forever shape his artistic vision. This foundational exposure instilled within him an acute understanding of dramatic *chiaroscuro* – the intense interplay of light and shadow – and a commitment to realistic depiction that remained central to his work throughout his career.
Before 1630, he joined his brother Gregorio in Rome, immersing himself completely in the vibrant artistic atmosphere of the city. Here, he studied under the masters who defined the era: Caravaggio, Guercino, Rubens, Guido Reni, and Giovanni Lanfranco. This period wasn’t merely about imitation; it was a crucial process of synthesis, where Preti absorbed the techniques and philosophies of these giants, gradually forging his own distinctive voice.
Preti's artistic development wasn't simply a mimicry of his predecessors; it was a masterful integration of diverse influences into a style uniquely his own. While initially deeply influenced by Caravaggism, he skillfully moved beyond its strict confines, embracing the dynamism and emotional intensity that characterized the High Baroque. His time in Naples further refined this evolution, exposing him to the vibrant work of Luca Giordano – a painter known for his exuberant color palettes and dramatic compositions.
This period saw Preti’s canvases swell with energetic movement, complex compositions, and a heightened sense of drama. He masterfully employed dramatic contrasts of light and shadow, inherited from Caravaggio, not simply as a technical device but as a means of intensifying emotional impact and guiding the viewer's eye. His figures are imbued with palpable emotion – piety, anguish, ecstasy – conveyed through expressive faces and dynamic body language. This ability to evoke powerful feelings became a defining characteristic of his oeuvre. He wasn’t content merely to depict scenes; he sought to *animate* them, breathing life into biblical narratives and religious iconography.
Mattia Preti's exceptional talent quickly garnered recognition, leading to a series of significant commissions throughout Italy. Early in his career, he created impressive fresco cycles for Roman churches like Sant’Andrea della Valle and San Carlo ai Catinari, demonstrating an aptitude for large-scale decorative painting. His work at the church of San Biagio in Modena showcased his ability to adapt his style to different architectural settings.
However, some of his most ambitious – though sadly lost – works were the frescoes he painted on seven city gates in Naples depicting the Virgin or saints delivering people from the plague. Though only sketches remain today, they testify to the scale and impact of these monumental creations. These commissions weren’t simply about fulfilling a patron's request; they were opportunities for Preti to engage with the religious and cultural life of the communities he served, imbuing his art with meaning and purpose.
It was in Malta, however, that Mattia Preti reached the pinnacle of his artistic achievement. Appointed a Knight of the Order of Saint John in 1660, he embarked on a transformative project: the complete redecoration of the interior of St. John’s Co-Cathedral in Valletta. This undertaking – arguably his most significant legacy – involved an astonishing series of paintings depicting the life and martyrdom of Saint John the Baptist.
The sheer scale of the project is breathtaking; Preti essentially created a visual narrative that enveloped the viewer, immersing them in the story of the saint. The opulent Baroque setting provided the perfect canvas for his dramatic style, and the resulting artwork cemented his reputation as one of Europe’s leading painters. His work at St. John's wasn’t merely decorative; it was an act of devotion, a testament to his faith, and a powerful expression of the Order’s religious identity.
Mattia Preti continued to receive commissions from across Europe following his success in Malta, solidifying his position as a leading figure in Italian Baroque art. He died in 1699, leaving behind a rich artistic legacy that continues to inspire and captivate audiences today. His masterful use of light and shadow, dynamic compositions, and ability to convey intense emotion remain hallmarks of his style. His contributions are preserved in museums such as the Capodimonte Museum in Naples, and through reproductions made available by platforms like OriginalUniqueArt.com, ensuring that his art continues to reach new generations. The enduring impact of Preti’s work is perhaps most vividly felt within the walls of St. John's Co-Cathedral, a breathtaking testament to his artistic genius and unwavering dedication to the Baroque aesthetic.
