განახლდა ნოემბერი 2026 · დალაგებულია ჩვენი პოპულარობის ქულების მიხედვით (ძიება, ნახვა და შეკვეთები თითოეული ნამუშწაროსთვის) · 22 ნამუშევარი Giuseppe Nogari ჩვენს კატალოგში
მოკლედ რომ ვთქვათ
The miser (1721) არის Giuseppe Nogari-ის ის ნამუშწარო, რომელიც ყველაზე მეტ ყურადღებას იქცევს; ორიგინალი იმყოფება დრეზდენის სახელმწიფო ხელოვნების კოლექციები-ში, დრეზდენი. ამის შემდეგ, მზერა გადადის Old Lady with a crutch (1750)-სა და Portrait of a seated man holding a cup (1700)-ზე. ჩვენს კატალოგში არსებული Giuseppe Nogari-ის 22 ნამუშწაროდან ეს 22 ყველაზე ცნობილია; თითოეული მათგანი წარმოადგენს უნიკალურ ორიგინალს, რომელიც წარმოდგენილია წელით, მუზეუმითა და იმ მიზეზით, რის გამოც ის დღემდე ცოცხლობს.
The room is thick with a heavy, silent tension as an elderly man hunches over a small, precious bundle. He exists in a private world of shadow and light, his attention entirely consumed by the object clutched in his weathered hands. A single, directional light source spills from the upper left, carving the deep lines of his forehead and the coarse, white texture of his beard out of the surrounding…
Old Lady with a crutch is an oil on canvas by Giuseppe Nogari. Created during the 18th century, the work is currently held in the Museo del Prado. The painting is also known by its Spanish title, Vieja con una muleta.
In this portrait from 1700, we find ourselves in the presence of a man who commands attention through stillness rather than gesture. He sits with a certain gravity, his features marked by a thick mustache and a beard that frame a face of distinguished character. There is a specific, quiet dignity in his posture as he holds a small, handleless cup—a vessel that suggests the presence of coffee or perhaps…
Jacopo Bassano (c. 1510/1518-1592)1740 · Royal Collection
12
Carlo Cignani (1628-1719)1740 · Royal Collection
13
Paolo Veronese (1528-88)1740 · Royal Collection
14
An Old Woman Warming her Hands1745 · Royal Collection
15
A Man Holding Spectacles1745 · Royal Collection
16
Archimedes1750 · პუშკინის სახელმწიფო ხელოვნების მუზეუმი
17
Archimedes1766
18
A Boy with a Basket of Fruit1725 · Statens Museum For Kunst
19
Peter the Apostle1743 · Gemäldegalerie
20
Young GirlNationalmuseum
21
An old woman with a distaffFinnish National Gallery
22
Girl with VegetablesNationalmuseum
ამ ორიგინალებში ყველაზე ხშირად განმეორებადი არის 네 თემა, რომელთაგან თითოეულს თავისი საუკეთესო ნიმუში წარმოგვიდგება.
ამ გვერდზე წარმოდგენილი მხატვრობის შედეგების უმეტესობას 8 მუზეუმი ინახავს.
| მუზეუმი | ქალაქი | Giuseppe Nogari შემოქმედებაలు | ამ სიიდან მოპოვებული ნახატები |
|---|---|---|---|
 Royal Collection |
ლონდონი | 9 | Rubens (1577-1640), Titian (c. 1487/90-1576), Inigo Jones (1573-1652) |
 დრეზდენის სახელმწიფო ხელოვნების კოლექციები |
დრეზდენი | 2 | The miser, Scientist |
 Statens Museum For Kunst |
კობენჰაგენი | 2 | A Girl with a Chicken, A Boy with a Basket of Fruit |
 Nationalmuseum |
სტოქჰოლმი | 2 | Young Girl, Girl with Vegetables |
 პრადოს მუზეუმი |
მადრიდი | 1 | Old Lady with a crutch |
 Mudec - Museum of Cultures |
მილანი | 1 | Portrait of a seated man holding a cup |
 პუშკინის სახელმწიფო ხელოვნების მუზეუმი |
მოსკოვი | 1 | Archimedes |
 Gemäldegalerie |
დრეზდენი | 1 | Peter the Apostle |
შეარჩიეთ ათწლეული, რათა ნახოთ ის ორიგინალი ნამუშევარი, რომელიც მას განსაზღვრავს.
The room is thick with a heavy, silent tension as an elderly man hunches over a small, precious bundle. He exists in a private world of shadow and light, his attention entirely consumed by the object clutched in his weathered hands. A single, directional light source spills from the upper left, carving the deep lines of his forehead and the coarse, white texture of his beard out of the surrounding…
Old Lady with a crutch is an oil on canvas by Giuseppe Nogari. Created during the 18th century, the work is currently held in the Museo del Prado. The painting is also known by its Spanish title, Vieja con una muleta.
The miser (1721), დრეზდენის სახელმწიფო ხელოვნების კოლექციები, დრეზდენი. შემდეგ მოდიან Old Lady with a crutch (1750) და Portrait of a seated man holding a cup (1700).
22 წლის: The miser შექმნილია 1721 წელს, ხოლო Giuseppe Nogari დაიბადა 1699 წელს.
The miser, Old Lady with a crutch, Portrait of a seated man holding a cup, Scientist, A Girl with a Chicken, old woman, Rubens (1577-1640), Titian (c. 1487/90-1576), Inigo Jones (1573-1652) და Van Dyck (1599-1641). ზემოთ მოცემული რეიტინგი ასახავს თითოეულის შემოქმედების წელსა და მუზეუმს.
ჩვენს კატალოგში წარმოდგენილია 22 ნამუშწევრი Giuseppe Nogari-ისგან, დათარიღებული 1721-დან 1766-მდე.
ძირითადად Royal Collection (ლონდონი), დრეზდენის სახელმწიფო ხელოვნების კოლექციები (დრეზდენი) და Statens Museum For Kunst (კობენჰაგენი)-ში. ზემოთ მოცემულ მუზეუმების ცხრილში ისინი ყველა listed.
1740s-ში: ამ გვერდზე წარმოდგენილი 22 ნამუშწარwerksიდან 10 შეიქმნა მაშინ, მათგან Rubens (1577-1640).
ამ გვერდზე ყველაზე ადრეული არის The miser (1721), ხოლო ყველაზე გვიანდელი — Archimedes (1766).
Dark background (4), Man (3) და Beard (3), ამ გვერდზე წარმოდგენილ 22 ნამუშწარეს შორის.
Oil On Canvas, ამ გვერდზე არსებული 22 ნამუშწაროსგან 4 ცალიდან.
Rococo, ამ გვერდზე წარმოდგენილი ორიგინალების მიხედვით.
Rubens (1577-1640), Titian (c. 1487/90-1576) და Inigo Jones (1573-1652): Royal Collection, ლონდონი-ში წარმოდგენილია ამ გვერდზე მოცემული ნამუშევრების 9 ცალი.
In the vibrant, water-bound world of eighteenth-century Venice, few artists captured the quiet, introspective dignity of the human condition as poignantly as Giuseppe Nogari. Born in 1699, Nogari emerged during a transformative era when the heavy, dramatic shadows of the Baroque were beginning to yield to the light, airy grace of the Rococo. While many of his contemporaries sought to dazzle the eye with opulent displays of wealth and grandeur, Nogari carved out a unique niche within the Venetian school. His work serves as a profound meditation on character, often focusing on the weathered faces and humble attire of aged individuals, rendered with a psychological depth that transcends mere portraiture.
The foundation of Nogari’s mastery was laid in the prestigious ateliers of Venice, where he absorbed the diverse currents of Italian art. He is believed to have studied under Antonio Balestra, whose influence provided him with a solid grounding in classical tradition, but it was likely his time under Giovanni Battista Piazzetta that truly ignited his creative spirit. From Piazzetta, Nogari inherited a penchant for dramatic chiaroscuro and an ability to imbue subjects with a palpable sense of emotion. This lineage, combined with the delicate pastel sensibilities of Rosalba Carriera and the sophisticated elegance of Jacopo Amigoni, allowed him to weave together a style that was simultaneously much more grounded than the typical Rococo flourish and yet exquisitely refined.
Nogari’s oeuvre is most celebrated for its distinctive approach to the half-body portrait. Rather than presenting his subjects in a vacuum of aristocratic splendor, he often placed them against dark, unobtrusive backgrounds that forced the viewer to confront the subject's humanity directly. His technique was characterized by a subtle use of color and soft, fluid brushstrokes that lent a lifelike texture to skin and fabric alike. There is a certain melancholy beauty in his depictions; he had a remarkable gift for capturing the dignity found in simplicity, often portraying historical, religious, or everyday figures in somewhat shabby or unassuming clothing.
This focus on the internal life of his subjects suggests an admiration for the Dutch master Rembrandt, whose influence can be seen in Nogari’s use of light to sculpt form and evoke mood. Whether he was painting a saint or a commoner, the artist sought to reveal the underlying narrative written in the lines of a face or the fold of a sleeve. His ability to balance the decorative lightness of the Rococo with a profound, almost somber realism made his work stand out in an era often criticized for its superficiality.
While much of his heart remained in the intimate settings of Venetian portraiture, Nogari’s reputation earned him significant opportunities far beyond the canals of his birthplace. His talent attracted the attention of powerful international patrons, most notably the German nobility residing in Venice, such as Sigismund Streit and Johann Matthias von der Schulenburg. These connections eventually facilitated his move to Turin, where he undertook some of his most monumental decorative projects.
During his tenure in Turin between 1739 and 1742, Nogari demonstrated his versatility by working for the prestigious House of Savoy. His contributions to the Royal Palace of Turin and the breathtaking hunting lodge at Stupinigi showcased an ability to handle large-scale compositions and grand architectural integration. These commissions proved that he could command the scale of royal splendor just as effectively as he could master the intimacy of a small portrait.
By the time of his death in 1766, Giuseppe Nogari had secured his place in the annals of art history. His legacy is defined by several key artistic contributions:
Today, Nogari’s works remain vital touchstones for understanding the complexity of eighteenth-century art, reminding us that even within the most decorative movements, there exists a profound capacity for truth and human connection.
