シモーネ・カンタリーニの肖像画

シモーネ・カンタリーニの絵画:ギャラリーの視点で選ぶ、最も有名な27作品

11月 2026 更新 · 当サイトの人気スコア(各作品の検索数、閲覧数、注文数)に基づくランキング · 28点の シモーネ・カンタリーニの作品がカタログにあります

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ギャラリーの視点では、シモーネ・カンタリーニの最も有名な作品はMadonna and Child, worshipped by St Carlo Borromeo (1640)であり、その原画はフランクフルトのシュテデル美術館に展示されています。 Apollo (1650)とSaint John the Apostle (1630)が加わり、誰もが一度は目にしたことのある至高のトリオが完成します。 当カタログに含まれるシモーネ・カンタリーニの作品28点の中から、特に有名な27点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。

1612 – 1648, ペーザロ Baroque 最多収蔵館: エルミタージュ美術館

ギャラリーが選ぶシモーネ・カンタリーニのトップ10作品

1
Madonna and Child, worshipped by St Carlo Borromeo (1640) による シモーネ・カンタリーニ

Madonna and Child, worshipped by St Carlo Borromeo

1640 · Oil On Canvas · シュテデル美術館, フランクフルト

A heavy, dark atmosphere presses against the figures, pushing them forward into a soft, warm light. The Madonna sits with a quiet, maternal gravity, her form draped in deep blues and reds that hold the weight of the oil paint. Upon her knee, the Christ Child is a pale, luminous presence, his small body catching the light like polished marble. Below them, St. Carlo Borromeo kneels in a gesture of…

2
Apollo (1650) による シモーネ・カンタリーニ

Apollo

1650 · Oil On Canvas · エルミタージュ美術館, サンクトペテルブルク

The subject is a medium close-up portrait of the deity Apollo, positioned slightly off-center against a dark, atmospheric background. The figure is depicted from the upper torso upward, with skin rendered in pale, luminous tones that contrast against the deep browns and blacks of the surrounding space. In his hands, the subject holds a laurel branch and a lyre, objects associated with poetry and music. The hair is blonde and…

3
Saint John the Apostle (1630) による シモーネ・カンタリーニ

Saint John the Apostle

1630 · Oil · バイエルン州立絵画コレクション, ミュンヘン

In this intimate portrait of Saint John the Apostle, Simone Cantarini focuses the viewer's attention through a close-up composition that captures the subject from the chest up. The perspective is positioned slightly above, looking down upon the figure as he is deeply engaged in the act of writing. This angle invites a sense of quiet observation, as if we are witnessing a private moment of intellectual labor. The arrangement of…

4
Allegory of painting. (1625) による シモーネ・カンタリーニ

Allegory of painting.

1625 · Oil · ワルシャワ国立博物館, ワルシャワ

A young woman sits in the foreground, her body turned slightly toward the viewer. She wears a red gown with white puffed sleeves, and a heavy blue drapery falls over her shoulder. Her gaze is direct and serene. In her left hand, she holds a wooden palette coated with various colors, while her right hand grips several long-handled paintbrushes. Behind her, a small, nude cherub stands near an easel, interacting…

5
Allegory of painting. (1634) による シモーネ・カンタリーニ

Allegory of painting.

1634 · Oil On Canvas

In the work Allegory of painting. by Simone Cantarini, dating from about 1634, a single female figure is presented in a medium close-up. The subject is positioned slightly off-center, facing toward the viewer's left while her gaze is directed toward the observer. She holds a palette and brushes, objects that identify her as a symbol for the art of painting. The figure is set against a dark void of deep…

6
The Rest on the Flight into Egypt (1637) による シモーネ・カンタリーニ

The Rest on the Flight into Egypt

1637 · Oil

The scene unfolds in The Rest on the Flight into Egypt, a work by Simone Cantarini. In this quiet moment, the Holy Family pauses amidst their travels. Mary sits with the infant Jesus, her attention fixed entirely on the child held in her arms. Beside them, Joseph rests, his presence a steady anchor in the landscape as they seek refuge from the world.

7
Hagar and the angel (1650) による シモーネ・カンタリーニ

Hagar and the angel

1650 · Oil · Musée des Beaux-Arts de Pau, Pau

The oil painting Hagar and the angel by Simone Cantarini depicts a specific narrative from the Book of Genesis. The scene portrays the moment Hagar is cast into the desert of Beersheba. This biblical event follows the expulsion of Hagar and her son, Ishmael, from the household of Abraham. The composition focuses on the appearance of the archangel Saint Michael to Hagar and Ishmael during their time in the wilderness.

8
The Risen Christ (1650) による シモーネ・カンタリーニ

The Risen Christ

1650 · Oil · ボストン美術館, ボストン

In The Risen Christ, Simone Cantarini constructs a pyramidal composition that directs the eye upward. The luminous figure of Christ ascends through the upper center, creating a sharp vertical movement. Below this ascent, the horizontal arrangement of fallen soldiers anchors the base of the scene. This structural tension between the rising light and the heavy, earthbound figures defines the space. The subject matter is religious and triumphant, capturing a moment…

9
Lucretia (1630) による シモーネ・カンタリーニ

Lucretia

1630 · Oil · バイエルン州立絵画コレクション, ミュンヘン

In this work from about 1630, Simone Cantarini turns his attention to the tragic biblical figure of Lucretia. The Italian painter, who was born in Pesaro, Italy, captures the subject in a moment of profound emotional intensity. Rather than a distant historical figure, the woman is presented with a raw, immediate presence that draws the viewer into her private suffering. Her expression is one of deep anguish, with her head…

10
Holy Family (1650) による シモーネ・カンタリーニ

Holy Family

1650 · Oil On Canvas · エルミタージュ美術館, サンクトペテルブルク

The work before us is titled Holy Family, a significant piece of religious art by the Italian painter Simone Cantarini. Created in Italy, this oil on canvas captures a quiet, intimate moment of devotion. It belongs to the Baroque tradition, reflecting the stylistic shifts occurring in the mid-seventeenth century.

シモーネ・カンタリーニの絵画、ランキング11位から27位

シモーネ・カンタリーニが心を惹かれた主題

これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。

シモーネ・カンタリーニの原画を所蔵する美術館

このページに掲載されている絵画を最も多く所蔵している 8 の美術館

美術館 都市 シモーネ・カンタリーニの作品 このリストの絵画
エルミタージュ美術館, サンクトペテルブルクエルミタージュ美術館 サンクトペテルブルク 3 Apollo, Holy Family, Virgin and Child with St Francis of Assisi
ナショナル・ギャラリー・オブ・アート, ワシントンナショナル・ギャラリー・オブ・アート ワシントン 3 Saint Matthew and the Angel, Saint Matthew and the Angel, Saint Matthew and the Angel (detail)
バイエルン州立絵画コレクション, ミュンヘンバイエルン州立絵画コレクション ミュンヘン 2 Saint John the Apostle, Lucretia
シュテデル美術館, フランクフルトシュテデル美術館 フランクフルト 1 Madonna and Child, worshipped by St Carlo Borromeo
ワルシャワ国立博物館, ワルシャワワルシャワ国立博物館 ワルシャワ 1 Allegory of painting.
Musée des Beaux-Arts de Pau, PauMusée des Beaux-Arts de Pau Pau 1 Hagar and the angel
ボストン美術館, ボストンボストン美術館 ボストン 1 The Risen Christ
Kunstpalast, デュッセルドルフKunstpalast デュッセルドルフ 1 Study for the Figure of John the Baptist

シモーネ・カンタリーニ、10年ごとに1枚の代表作

年代別作品数

その時代を象徴する名作を見るために、年代を選択してください。

シモーネ・カンタリーニの絵画:ギャラリーの回答

シモーネ・カンタリーニの作品の中で、最も有名な絵画は何ですか?答えを見る

Madonna and Child, worshipped by St Carlo Borromeo (1640)(シュテデル美術館, フランクフルト)。次いでApollo (1650)、Saint John the Apostle (1630)が続きます。

シモーネ・カンタリーニがMadonna and Child, worshipped by St Carlo Borromeoを完成させた時の年齢は?答えを見る

28歳:Madonna and Child, worshipped by St Carlo Borromeoは1640年の作品で、シモーネ・カンタリーニの生年は1612年です。

シモーネ・カンタリーニの代表的な絵画トップ10は?答えを見る

Madonna and Child, worshipped by St Carlo Borromeo, Apollo, Saint John the Apostle, Allegory of painting., Allegory of painting., The Rest on the Flight into Egypt, Hagar and the angel, The Risen Christ, Lucretia と Holy Family。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。

シモーネ・カンタリーニの作品数は?答えを見る

当カタログには、1625年から1648年にかけて制作されたシモーネ・カンタリーニによる28点の作品が収められています。

シモーネ・カンタリーニの最も有名なオリジナル作品はどこに展示されていますか?答えを見る

主にエルミタージュ美術館 (サンクトペテルブルク), ナショナル・ギャラリー・オブ・アート (ワシントン) と バイエルン州立絵画コレクション (ミュンヘン)に所蔵されています。上記の美術館一覧にすべて記載されています。

シモーネ・カンタリーニが最も有名な作品を描いたのはいつですか?答えを見る

1630s年:このページにある全27作品のうち、5作品がその時期に制作されました。そのうちSaint John the Apostle作品が含まれます。

シモーネ・カンタリーニの初期および後期の代表作は何ですか?答えを見る

このページでは、最も古い作品はAllegory of painting. (1625)、最新の作品はSaint Matthew and the Angel (1648)です。

シモーネ・カンタリーニ が最も多く描いた主題は何ですか?答えを見る

このページに掲載されている27点の作品におけるMan (8), Woman (7) と Skin (5)

シモーネ・カンタリーニ が最も多く用いた技法は何ですか?答えを見る

このページに掲載されている全27作品のうち、9作品のOil

シモーネ・カンタリーニはどの芸術運動に関連していますか?答えを見る

このページに掲載されているオリジナル作品から判断すると、Baroqueです。

エルミタージュ美術館が所蔵するシモーネ・カンタリーニのオリジナル作品は何ですか?答えを見る

Apollo, Holy Family と Virgin and Child with St Francis of Assisi:エルミタージュ美術館, サンクトペテルブルクには、このページに掲載されている作品のうち3点が所蔵されています。

シモーネ・カンタリーニ:アーティスト

A Synthesis of Styles: The Life and Art of Simone Cantarini

Simone Cantarini, born in Pesaro in 1612 and tragically lost to mysterious circumstances in Mantua in 1648, remains a compelling figure within the Italian Baroque. Often referred to as Simone da Pesaro or *il Pesarese*, his brief but intensely productive career was marked by a remarkable ability to synthesize diverse artistic influences into a uniquely personal style. He wasn’t merely echoing the masters who came before him; he was actively engaging in a dialogue with them, forging a path that blended Bolognese classicism with the vibrant naturalism emerging from Venice and the dramatic intensity of Caravaggism. Cantarini's father, Girolamo, was a prosperous merchant, providing a stable foundation for his son’s artistic pursuits, though details of Simone’s early childhood remain scarce. What is clear is that he possessed an innate talent and a relentless drive to master his craft.

Formative Years: From Pesaro to Bologna

Cantarini's artistic journey began with likely tutelage under Giovanni Giacomo Pandolfi in Pesaro, absorbing the fundamentals of technique and the prevailing local aesthetic. However, it was a sojourn to Venice that truly broadened his horizons. There, he encountered the late-Mannerism of Sante Peranda and honed his draughtsmanship skills under Francesco Mingucci, immersing himself in the city’s rich artistic atmosphere. This Venetian exposure instilled within him an appreciation for color, texture, and dynamic composition – elements that would become hallmarks of his mature work. A pivotal period followed with Claudio Ridolfi, who guided Cantarini towards a deeper understanding of Venetian style and fostered an admiration for Federico Barocci's lyrical grace. Following Ridolfi’s departure, Cantarini embarked on a period of largely self-directed study, meticulously examining the works of the Carracci brothers, Orazio Gentileschi, and Giovanni Francesco Guerrieri. This independent exploration allowed him to refine his artistic vision and develop a distinctive voice. The turning point arrived with an encounter with Guido Reni’s *Madonna and Child with Saints Thomas and Jerome* in Pesaro Cathedral. Captivated by its elegance and spiritual depth, Cantarini traveled to Bologna around 1634 to study under the master himself. While he excelled within Reni's studio, particularly in etching, tensions arose due to his independent spirit and a growing critique of Reni’s later stylistic choices.

A Distinctive Artistic Voice: Paintings and Prints

Cantarini quickly established himself as a painter of considerable skill and originality. Early masterpieces like *St Peter Healing the Lame Man* (Fano) already demonstrate the influence of Guido Reni, yet possess a burgeoning naturalism that sets them apart. Notable paintings such as *The Immaculate Conception with Saints* (Pinacoteca Nazionale di Bologna), *Saint Rita of Cascia* (Pesaro), and *Allegory of Painting* (National Museum, Warsaw) showcase his mastery of composition, color, and expressive figuration. His canvases are characterized by a dynamic interplay between classical form and dramatic realism, often imbued with a palpable sense of emotion. However, Cantarini’s contributions extend far beyond painting. He was an exceptionally gifted etcher, renowned for the delicacy and luminosity of his prints. He produced numerous etchings after works by Reni and others, but also created original compositions that demonstrate his technical virtuosity and artistic sensibility. These etchings played a significant role in disseminating his style and contributed to the development of printmaking techniques during the 17th century.

Legacy and Shadows: A Complex Reputation

Simone Cantarini’s artistic legacy is one of innovation and synthesis. He carved out a unique space for himself within the Italian Baroque, blending diverse influences into a cohesive and compelling style. His ability to balance classical ideals with naturalistic observation, coupled with his exceptional etching skills, cemented his position as a significant figure in 17th-century art. However, his reputation was somewhat clouded by his contentious relationship with Guido Reni and reports of a scandalous death in Mantua – allegedly poisoned following a dispute over the Gonzaga collection. These stories, while adding an element of intrigue to his biography, should not overshadow his artistic achievements. While perhaps not as widely celebrated as some of his contemporaries, Cantarini’s work profoundly influenced later generations of Italian artists through its innovative style and technical mastery. He remains a testament to the power of individual vision and the enduring allure of Baroque art. His paintings and etchings continue to captivate viewers with their beauty, drama, and emotional depth, ensuring that his artistic voice will resonate for years to come.