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Iz perspektive galerije, najpoznatije djelo umjetnika Francesco Trevisani je The Madonna and Child (1700). Study for 'The Massacre of the Innocents' (1710) i Christ Supported by Angels (1720) upotpunjuju triju koju svako oko prepoznaje. Od 63 djela umjetnika Francesco Trevisani u našem katalogu, galerija u nastavku prikazuje 61 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
The Virgin Mary cradles her sleeping child in a moment of profound stillness. She sits with a gentle weight, her form draped in soft fabrics that catch the light. A veil rests upon her head, and a single strand of pearls encircles her neck, catching a glint of the room's soft illumination. Behind them, the silhouette of a chair anchors the composition, providing a sense of domestic depth to this…
A man hangs upside down, his legs grasping the air, while a hand tightens around his throat. The scene unfolds before a structure of cold, pale columns. Shadows stretch across the ground where figures sit and stand in a state of sudden, jarring motion. In the periphery, two dogs watch the unfolding chaos, their presence grounding the frantic energy of the central struggle. A single infant is visible, a small…
In this oil on canvas, Francesco Trevisani presents Christ Supported by Angels. The work is a profound meditation on religious sacrifice and grief. It captures a moment of quiet, heavy sorrow through its focused subject matter. The composition centers on the physical and spiritual weight of the scene.
The night air hangs heavy over the garden, a dark landscape that presses against the central figures. In the center of this gloom, a man in red robes and a blue cloak bends forward, his body heavy with the weight of prayer. He is in a state of distress, his posture a silent cry for strength. Behind him, a woman reaches out, her hand gently cradling his head in a…
The canvas presents a vertical arrangement centered on the figure of Christ upon a wooden cross. The lighting follows a chiaroscuro method, casting deep shadows in the background while illuminating the pale skin of the central figure and the faces of those gathered below. The color palette relies on dark tones, including blacks, browns, and umber, which contrast with the red and blue fabrics worn by the mourning figures. The…
The painting, titled The Prophet Baruch, immediately draws the viewer into an atmosphere of profound stillness. We encounter a figure seated upon the ground, his posture speaking volumes without uttering a single word. With his head bowed into his hands, he embodies a moment of deep introspection or perhaps prayer. The subject is rendered with such palpable humanity that one feels they are witnessing a private communion between man and…
L'Enfant Jésus endormi is a religious oil painting by Francesco Trevisani. Created circa 1695, the work focuses on the Infant Jesus in a state of repose. This composition belongs to the genre of the nativity scene, capturing a moment of sacred stillness.
In this oil painting from 1710, a woman identified as Mary Magdalene is depicted in profile, her body oriented toward the right side of the frame. She is shown in a moment of religious reflection, with her gaze directed upward. Her hands are clasped near her chest, and her long, auburn hair falls in wavy textures over her shoulders. She wears a white chemise and a garment with subtle pink…
In this quiet corner of the late Baroque, we find ourselves face to face with a profound moment of grief and divinity. The composition is tightly focused, drawing us into an intimate encounter with the lifeless body of Christ. He rests upon a winding-sheet, his pale, limp form emerging from a deep, heavy shadow that swallows much of the background. Two angels attend to him, their presence providing both physical…
In the quietude of Francesco Trevisani’s “Le Sommeil de l'Enfant Jésus”, the viewer is invited into a moment of profound celestial intimacy. Painted during the first decade of the eighteenth century, this masterpiece serves as a breathtaking window into the Venetian Baroque, a period defined by its ability to marry dramatic tension with tender devotion. The scene captures the Holy Family in a state of sacred repose, where the weight…
Lucretia1687
12
Lucretia1681
13
Body of Christ, held by angels1707 · Kunsthistorisches Museum
14
The Holy Family1701 · Bavarske državne slikopisne zbirke
15
Christ with the Disciples on the Way to Emmaus1701 · Bavarske državne slikopisne zbirke
16
Archangel Michael1701 · Bavarske državne slikopisne zbirke
17
Saint Sebastian1701 · Bavarske državne slikopisne zbirke
18
Christ at Emmaus1701 · Bavarske državne slikopisne zbirke
19
Hl. Sebastian1701 · Bavarske državne slikopisne zbirke
20
The Infant Jesus Sleeping1709
21
The Infant Jesus Pointing Out the Flowers of the Passion to the Virgin1701
22
Christ Before Caiaphas1707
23
Tobias Curing His Father's Blindness1712 · Museum Boijmans Van Beuningen
24
Prince James Francis Edward Stuart (1688-1766)1719 · Royal Collection
25
Portrait of Thomas Coke, 1st Earl of Leicester, 1697-1759 (fifth creation).1717 · Holkham Hall
26
Presentation Sketch for "The Holy Family with Saints Anne, Joachim, and John the Baptist" (for Santa Maria in Via Lata, Roma)1729 · Cleveland Museum of Art
27
The Ecstasy of Saint Francis1725 · Staatliche Kunstsammlungen Dresden
28
Elector Clemens August1750 · Bavarske državne slikopisne zbirke
29
Crucifixion of Saint Andrew1746 · Musée des Beaux-Arts de Strasbourg
30
Christ on the Cross1746 · Musée des Beaux-Arts de Strasbourg
31
A NunNationalmuseum
32
The Virgin and Child1709 · Muzej Prado
33
Diana and EndymionGemäldegalerie Alte Meister im Schloss Wilhelmshöhe
34
Philippe de Vendome1700
35
The Martyrdom of the Seven Sons of Saint Felicity, Francesco Trevisani, 17091709 · Rijksmuseum
36
Prince James Francis Edward Stuart (1688–1766), Son of James VII and II1720 · Skotska nacionalna galerija portreta
37
St. Francis in Penitence1700 · Patrick and Beatrice Haggerty Museum of Art
38
Christ mort porté par des angesLouvre
39
The Agony in the GardenFitzwilliam Museum
40
Portrait of Captain Daniel Pain of Welford
41
The Madonna and Child with the infant Saint John the Baptist
42
The Appearance of the Virgin to St. MauriceTe Whare O Rehua Sarjeant Gallery
43
Pity
44
La Mort d'Alexandre le Grand
45
Sainte Geneviève
46
Annonciation
47
L'ENFANT JESUS DESIGNANT A LA VIERGE LES FLEURS DE LA PASSIONLouvre
48
La famille de Darius aux pieds d'AlexandreLouvre
49
Najsvetiša Majka Božja i dijete1730 · Palača Mafra
50
Apollo and DaphneErmitaž
51
Latona and the Frogs
52
Portrait of Cardinal Pietro Ottoboni
53
Portrait of Maria Clementina Sobieska.Skotska nacionalna galerija portreta
54
penitent Magdalen
55
The Raising of Lazarus
56
Madonna and Child with Infant St. John the Baptist and St. JosephArt Institute of Chicago
57
Dead Christ Supported by Angels
58
Frances, Wife of John, 6th Earl of Mar, Daughter of Evelyn, 1st Duke of KingstonNational Trust For Scotland
59
An Angel Holding the ColumnNational Trust
60
Angels carrying the corpse of Christ
61
An Angel Holding Veronica's VeilNational Trust
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Francesco Trevisani | Slike iz ovog popisa |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 7 | The Holy Family, Christ with the Disciples on the Way to Emmaus, Archangel Michael |
 Louvre |
Pariz | 4 | LE SOMMEIL DE L'ENFANT JESUS, Christ mort porté par des anges, L'ENFANT JESUS DESIGNANT A LA VIERGE LES FLEURS DE LA PASSION |
 Kunsthistorisches Museum |
Beč | 2 | Penitent Mary Magdalene, Body of Christ, held by angels |
 Musée des Beaux-Arts de Strasbourg |
Strasbourg | 2 | Crucifixion of Saint Andrew, Christ on the Cross |
 Skotska nacionalna galerija portreta |
Edinburgh | 2 | Prince James Francis Edward Stuart (1688–1766), Son of James VII and II, Portrait of Maria Clementina Sobieska. |
 National Trust |
Guildford | 2 | An Angel Holding the Column, An Angel Holding Veronica's Veil |
 Fitzwilliam College |
Cambridge | 1 | Study for 'The Massacre of the Innocents' |
 Bristol Museum - Art Gallery |
Bristol | 1 | Christ Supported by Angels |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In this oil painting, the tragic figure of Lucretia confronts her final, desperate moment. Francesco Trevisani captures the woman at the very precipice of her end, focusing on the heavy weight of her decision. The scene centers on the precise instant of her suicide, a moment of profound personal agony. She gazes upward, her eyes searching the heavens for a mercy that seems to elude her, even as she holds…
L'Enfant Jésus endormi is a religious oil painting by Francesco Trevisani. Created circa 1695, the work focuses on the Infant Jesus in a state of repose. This composition belongs to the genre of the nativity scene, capturing a moment of sacred stillness.
The Virgin Mary cradles her sleeping child in a moment of profound stillness. She sits with a gentle weight, her form draped in soft fabrics that catch the light. A veil rests upon her head, and a single strand of pearls encircles her neck, catching a glint of the room's soft illumination. Behind them, the silhouette of a chair anchors the composition, providing a sense of domestic depth to this…
A man hangs upside down, his legs grasping the air, while a hand tightens around his throat. The scene unfolds before a structure of cold, pale columns. Shadows stretch across the ground where figures sit and stand in a state of sudden, jarring motion. In the periphery, two dogs watch the unfolding chaos, their presence grounding the frantic energy of the central struggle. A single infant is visible, a small…
In this oil on canvas, Francesco Trevisani presents Christ Supported by Angels. The work is a profound meditation on religious sacrifice and grief. It captures a moment of quiet, heavy sorrow through its focused subject matter. The composition centers on the physical and spiritual weight of the scene.
Francesco Trevisani, jedan od najpoznatijih umjetnika svoje ere, ostavio je nezaboravno djelo koje danas fascinira ljubitelje umjetnosti i dekoracije interijera – Fresko “Čudno Pojavljenja Marije i Dijete Sv. Antonija”. Ova veličanstvena kompozicija iz godine 1730., smještena u Bazilici Mafra, Portugalskoj zemlji, nije samo prekrasna vizualna priča već i simbolički bogato ukrašena umjetničkim postupcima koji pričaju svoju vlastitu priču o vjeri i kulturi tog vremena.
The night air hangs heavy over the garden, a dark landscape that presses against the central figures. In the center of this gloom, a man in red robes and a blue cloak bends forward, his body heavy with the weight of prayer. He is in a state of distress, his posture a silent cry for strength. Behind him, a woman reaches out, her hand gently cradling his head in a…
The Madonna and Child (1700). Sljedeći su Study for 'The Massacre of the Innocents' (1710) i Christ Supported by Angels (1720).
44 godina: The Madonna and Child datira iz 1700, a Francesco Trevisani je rođen/a 1656.
The Madonna and Child, Study for 'The Massacre of the Innocents', Christ Supported by Angels, The Agony in the Garden, The Crucifixion, The Prophet Baruch, L'Enfant Jésus endormi, Penitent Mary Magdalene, Dead Christ Supported by Angels i LE SOMMEIL DE L'ENFANT JESUS. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 63 djela umjetnika Francesco Trevisani, datiranih od 1681 do 1746.
Većinom u Bavarske državne slikopisne zbirke (München), Louvre (Pariz) i Kunsthistorisches Museum (Beč). Gornja tablica muzeja navodi sve njih.
U 1700s: 15 od 61 djela na ovoj stranici nastalo je tada, od čega je The Madonna and Child The Madonna and Child.
Na ovoj stranici najstarije djelo je iz Lucretia (1681), a najnovije iz Crucifixion of Saint Andrew (1746).
Man (16), Woman (15) i Drapery (9), kroz svih 61 djela na ovoj stranici.
Oil On Canvas, za 29 od 61 djela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
The Holy Family, Christ with the Disciples on the Way to Emmaus i Archangel Michael: Bavarske državne slikopisne zbirke, München posjeduje 7 djela s ove stranice.
Francesco Trevisani stoji kao blistava figura u prijelaznom razdoblju između dramatičnog intenziteta kasnog baroka i rađajuće elegancije ranog rokokoa, razdoblja koje se često naziva barochetto. Rođen u Capodistriji, na Istri, njegov je umjetnički put oblikovan bogatim tradicijama Venecije i Rima. Kao sin arhitekta, prvo je usvojio temeljne principe dizajna pod vodstvom svog oca, Antonia Trevisanija. To rano utemeljenje u strukturi i kompoziciji kasnije mu je omogućilo da ovlada složenim, teatralnim aranžmanima koji obilježavaju njegova najslavnija djela.
Njegovo školovanje bilo je duboko ukorijenjeno u majstorima svog doba, studirajući pod figurama kao što su Antonio Zanchi i Joseph Heintz mlađi. Ovi su utjecaji pružili njegovom umjetničkom jeziku tehničku vještinu koja je spajala snažno kretanje s rafiniranom senzibilitetnošću. Krećući se kroz umjetnička središta Venecije i Rima, Trevisani je razvio stil koji je mogao uhvatiti kako duboku tugu vjerskog mučeništva, tako i nježnu, nebesku milost božanskih susreta. Njegova sposobnost navigacije kroz ove emocionalne ekstremne vrijednosti učinila ga je traženim slikarom za značajne crkvene i privatne narudžbe.
Trevisanijeva djela odlikuje nepokolebljiva posvećenost emocionalnoj dubini i nevjerojatna upotreba svjetla. U njegovim religioznim kompozicijama granice između zemaljskog i božanskog često kao da se rastapaju. To se može primijetiti u njegovim prikazima svetih scena, gdje je teška, sveta tišina trenutka gotovo opipljiva. Bilo da je portretirao beživotno tijelo Krista koje nose anđeli ili dirljivu odanost svetaca, Trevisani je koristio paletu i poteze četkicom koji su naglašavali duhovni žar tog doba.
Njegova tehnička izvrsnost posebno je evidentna u sposobnosti prikazivanja teksture i atmosfere. U djelima poput Mučeništva sedmorice sinova svete Felicitas, on prepliće složene narative koji uključuju rimske carove, paganske statue i nebeske glasnike. Kroz pedantne detalje, on usmjerava oko promatrača preko platna, koristeći svjetlo kako bi istaknuo agoniju mučenika i nadu koju nude nebeski vjenci. Ovo majstorstvo narativnog slikarstva omogućilo mu je stvaranje djela koja nisu bila samo dekorativna, već su služila kao duboki instrumenti pobožnosti.
Tijekom cijele svoje duge karijere, Trevisanijev utjecaj bio je duboko osjetan u rimskoj umjetničkoj sceni, posebno kroz njegovu povezanost s utjecajnim pokroviteljima poput kardinala Ottobonija. Njegovo remek-djelo, freske u crkvi San Silvestro in Capite, služi kao svjedočanstvo njegove sposobnosti da transformira arhitektonske prostore velikim, sveobuhvatnim narativima. Njegov stil, pod snažnim utjecajem Carla Maratte, pomogao je u definiranju estetike kasnog baroka, premošćujući jaz između teških sjena prethodnog stoljeća i svjetlijih, prozračnijih kompozicija nadolazeće ere rokokoa.
Povijesni značaj Francesco Trevisanija leži u njegovoj ulozi mosta između era. Održao je veličanstvenost i dramatičnu napetost koju je zahtijevala protireformacija, istovremeno uvodeći slatkoću i milost koja je anticipirala sljedeći pokret u europskoj umjetnosti. Njegova sposobnost uravnotežiti monumentalno s intimnim osigurava da njegove slike ostanu moćni prozori u duhovnu i umjetničku dušu ranog osamnaestog stoljeća.
