Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 40 Pietro Liberi darbai mūsų kataloge
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Iš visų paliktų originalų kūrinių Pietro Liberi garsiausias yra Sleeping Endymion (1660), esantis Ermitažas kolekcijoje, Šv. Peterburgas. Tiesiog už jų seka Diana and Callisto (1655) ir The apotheosis of Emperor Leopold I (1658). Mūsų kataloge yra 40 darbų autoriaus Pietro Liberi; galerija išsaugojo 39 labiausiai pasaulyje žyminiausių kūrinių – kiekvienas jų pateikiamas su datos, muziejaus ir istorijos aprašymu.
To gaze upon Pietro Liberi's Sleeping Endymion is to step across the threshold of time and into a realm suspended by divine grace. This magnificent oil on canvas, executed in 1660, does more than merely depict a scene; it captures an exquisite moment—a breath held between worlds. The painting centers around Endymion, the eternally youthful figure from Greek mythology, whose beauty was so profound that Zeus himself intervened to grant…
In this 1655 oil on canvas, the lush, wooded landscape becomes a stage for a complex mythological drama. The composition follows a dynamic pyramidal structure, drawing the eye through a gathering of nymphs toward the central figure of Diana. She is identified by her crescent moon headpiece and spear, her presence commanding the space as she interacts with Callisto. The scene captures a moment of profound transition, where the divine…
The apotheosis of Emperor Leopold I is an oil on canvas painting by Pietro Liberi. Created around 1658/1659, this work reflects the artist's presence in the Venetian sphere during the mid-seventeenth century. Liberi, who was born in Padua in 1605 and later died in Venice in 1687, brought a specific sensibility to his compositions that emerged from his training and his movements through the Italian peninsula.
The oil painting Joseph and Potiphar's wife by Pietro Liberi captures a moment of sudden, sharp friction. Created about 1626, the work focuses on the biblical narrative of Joseph and Potiphar's wife. It is a scene of collision between two figures. One figure recoils while the other lunges, a physical manifestation of the tension inherent in the story. The canvas holds the weight of a moral struggle. It is a…
The oil painting titled Venus was created by the artist Pietro Liberi. This work emerged around 1630, a period during which the artist was establishing his presence. Liberi, born in Padua, would eventually become a significant figure in the Venetian Baroque era. His life spanned from 1605 until 1687.
The composition is organized in a pyramidal structure, with figures arranged in a swirling, upward movement that suggests ethereal motion. Four female figures occupy the center of the scene, positioned amidst a mass of billowing clouds. These women are depicted with soft, curvilinear lines that define the flowing drapery of their garments and the rounded forms of their bodies. A small, winged putto, often identified as Amor, interacts with the…
A Loving Faun by Pietro Liberi presents a mythological scene centered on an intimate encounter. Dating to about 1646, this Baroque-style oil painting captures a female figure and a satyr, or faun, in a moment of close connection. The subject matter draws from classical allegory, utilizing the figures to explore themes of desire and physical closeness through a mythological lens.
In this dramatic Baroque oil painting by Pietro Liberi, the canvas captures a moment of mythic violence. Created about 1646, the work centers on the tragic figure of Evadne and her husband, Kapaneus. The scene is a collision of flesh and flame, a classical narrative frozen in a state of sudden, terrible motion. Kapaneus lies grounded, his form caught in the immediate grip of fire and smoke, while Evadne reacts…
The oil painting titled Caritas belongs to the hand of Pietro Liberi. This work emerged from the era of the Baroque, a period defined by dramatic light and shadow. The artist, born in 1605, brought a specific Venetian sensibility to the canvas, capturing a moment of profound human connection. His brush moved through the mid-seventeenth century until his death on 18 October 1687.
The composition centers on a reclining woman, her skin rendered in warm, luminous tones that contrast sharply against a backdrop of deep, shadowed drapery. This use of chiaroscuro creates a theatrical atmosphere, pulling the viewer into a semi-enclosed space defined by classical architectural elements and heavy fabric. To the left, a figure holds a golden basin, while in the upper right, a man watches from the darkness, his presence a…
Deianeira and Nessus1656 · Knole House
12
Lot and His Daughters1660 · Szépművészeti Múzeum
13
Venus and Amor1660 · Kunsthistorisches Museum
14
The Great Flood1661
15
Allegory of Virtue and Fidelity1671 · Szépművészeti Múzeum
16
A Mythological Subject1662 · Royal Collection
17
Diana and Callisto1670 · Ermitažas
18
Allegory of peace and justice1665
19
Allegory with Two Female Figures1687
20
The Three Graces1675 · Royal Collection
21
The Holy Family1683 · Royal Collection
22
Portrait of Giambattista Donà dressed as a bailiff1682 · Korero muziejus
23
Jupiter in the Guise of Diana Seduces Callisto1670 · John and Mable Ringling Museum of Art
24
Time Being Overcome by Truth1665
25
Bathsheba Bathing (?) or: Gyges Sights the Wife of CandaulesBavarijos valstybinės paveikslų kolekcijos
26
Bathsheba
27
Diana and Callisto
28
Venus in the clouds with cupidCa' Rezzonico – XVIII amžiaus Venecijos muziejus
29
Venus, Cupid and the Three Graces
30
Saint Mary MagdaleneKunsthistorisches Museum
31
The birth of love
32
Portrait of boy
33
Diana and ActeónGemäldegalerie
34
Allegory of Temperance
35
Crucifixion and the MagdaleneBasilica dei Santi Giovanni e Paolo
36
Venus adored by the Graces
37
Antiquity SceneSlovėnijos nacionalinė galerija
38
Angelica and Medor1646 · Bavarijos valstybinės paveikslų kolekcijos
39
Great Flood1661
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Pietro Liberi darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Bavarijos valstybinės paveikslų kolekcijos |
Miunchas | 5 | A Loving Faun, Evadne and Kapaneus, Caritas |
 Ermitažas |
Šv. Peterburgas | 3 | Sleeping Endymion, Diana and Callisto, Diana and Callisto |
 Kunsthistorisches Museum |
Viena | 3 | The apotheosis of Emperor Leopold I, Venus and Amor, Saint Mary Magdalene |
 Royal Collection |
Londonas | 3 | A Mythological Subject, The Three Graces, The Holy Family |
 Szépművészeti Múzeum |
Budapeštas | 2 | Lot and His Daughters, Allegory of Virtue and Fidelity |
 Nacionalinis muziejus Varšuvoje |
Varšuva | 1 | Joseph and Potiphar's wife |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
Kaselio | 1 | Bathsheba at her Bath |
 Knole House |
Sevenoaks | 1 | Deianeira and Nessus |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
The oil painting Joseph and Potiphar's wife by Pietro Liberi captures a moment of sudden, sharp friction. Created about 1626, the work focuses on the biblical narrative of Joseph and Potiphar's wife. It is a scene of collision between two figures. One figure recoils while the other lunges, a physical manifestation of the tension inherent in the story. The canvas holds the weight of a moral struggle. It is a…
The oil painting titled Venus was created by the artist Pietro Liberi. This work emerged around 1630, a period during which the artist was establishing his presence. Liberi, born in Padua, would eventually become a significant figure in the Venetian Baroque era. His life spanned from 1605 until 1687.
A Loving Faun by Pietro Liberi presents a mythological scene centered on an intimate encounter. Dating to about 1646, this Baroque-style oil painting captures a female figure and a satyr, or faun, in a moment of close connection. The subject matter draws from classical allegory, utilizing the figures to explore themes of desire and physical closeness through a mythological lens.
In this 1655 oil on canvas, the lush, wooded landscape becomes a stage for a complex mythological drama. The composition follows a dynamic pyramidal structure, drawing the eye through a gathering of nymphs toward the central figure of Diana. She is identified by her crescent moon headpiece and spear, her presence commanding the space as she interacts with Callisto. The scene captures a moment of profound transition, where the divine…
To gaze upon Pietro Liberi's Sleeping Endymion is to step across the threshold of time and into a realm suspended by divine grace. This magnificent oil on canvas, executed in 1660, does more than merely depict a scene; it captures an exquisite moment—a breath held between worlds. The painting centers around Endymion, the eternally youthful figure from Greek mythology, whose beauty was so profound that Zeus himself intervened to grant…
The oil painting titled Allegory of Virtue and Fidelity by the artist Pietro Liberi presents a quiet, heavy stillness. Created about 1671, the work captures a moment of profound connection between two human forms. These figures, rendered with a soft and tactile presence, act as vessels for abstract concepts. They likely represent the virtues of Virtue and Fidelity through their intimate, reclining embrace.
In "Allegory with Two Female Figures" by Pietro Liberi, a quiet intimacy unfolds between two women. The composition is tight, drawing the eye immediately to the upper bodies of the subjects as they occupy a shared, crowded space. On the left, a woman gazes upward, her expression caught in a moment of longing or deep contemplation. She wears a wide-bruly hat that frames her face against the shadows. Beside her,…
Sleeping Endymion (1660), Ermitažas, Šv. Peterburgas. Toliau seka Diana and Callisto (1655) ir The apotheosis of Emperor Leopold I (1658).
55 metų amžiaus: Sleeping Endymion sukurta 1660 m. Nr. Pietro Liberi gimė 1605.
Sleeping Endymion, Diana and Callisto, The apotheosis of Emperor Leopold I, Joseph and Potiphar's wife, Venus, 4 women on clouds with Amor, putto, A Loving Faun, Evadne and Kapaneus, Caritas ir Bathsheba at her Bath. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 40 Pietro Liberi darbų, skirtų laikotarpiui nuo 1626 iki 1687.
Daugiausia – Bavarijos valstybinės paveikslų kolekcijos (Miunchas), Ermitažas (Šv. Peterburgas) ir Kunsthistorisches Museum (Viena). Viršuje esančiame muziejų sąraše yra visi jie.
1660s laikotarpiu: 8 iš 39 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Sleeping Endymion.
Šioje pusėje seniausias darbas yra Joseph and Potiphar's wife (1626), o naujausias – Allegory with Two Female Figures (1687).
Woman (19), Skin (12) ir Drapery (9) iš 39 šioje pusėje esamų darbų.
Oil On Canvas, iš 39 šios puslapio darbų – 14.
Baroque, vadovaujantis šios puslapio originalais kūriniais.
A Loving Faun, Evadne and Kapaneus ir Caritas: Bavarijos valstybinės paveikslų kolekcijos, Miunchas kolekcijoje yra 5 šioje pusėje esančių darbų.
Born in Bruges around 1523 and passing away in Florence in 1605, Johannes Stradanus – also known as Jan van der Straet or Giovanni Stradano – stands as a pivotal figure bridging the artistic currents of the Northern Renaissance with the burgeoning dynamism of Italian Mannerism. His life was one of constant movement, reflecting a deep engagement with diverse artistic traditions and a remarkable versatility that encompassed painting, design for tapestries, printmaking, and even pottery decoration. Stradanus’s career unfolded across Europe – from his early training in Flanders to his eventual establishment as a court artist in Florence, a city he profoundly shaped through his work.
Stradanus's artistic journey began with formal training within the workshop of his father, a painter in Bruges, and subsequently continued under the tutelage of Pieter Aertsen in Antwerp. This early exposure to the Flemish school instilled in him a foundational understanding of realistic representation, meticulous detail, and a penchant for depicting everyday scenes – skills that would later inform his broader artistic pursuits. However, it was his relocation to Italy, specifically Florence, that truly ignited his creative spirit and propelled him toward a uniquely hybrid style. The Romanist movement, characterized by its embrace of Italian Renaissance ideals, exerted a significant influence on Stradanus’s development, encouraging him to move beyond the traditional Northern conventions and adopt a more expressive and dynamic approach to composition.
Stradanus's arrival in Florence coincided with a period of intense artistic activity fueled by the patronage of the Medici family. He quickly established himself as a highly sought-after artist, becoming a key figure within the Accademia e Compagnia delle Arti del Disegno – one of the earliest and most influential art academies in Europe. This association provided him with access to a vibrant network of artists, critics, and collectors, fostering an environment of experimentation and intellectual exchange. His work for the Medici court encompassed a remarkably diverse range of subjects: history paintings depicting grand narratives, mythological scenes brimming with allegorical symbolism, portraits capturing the likenesses of prominent figures, architectural studies showcasing his technical skill, and even lively genre scenes offering glimpses into everyday life.
Stradanus’s artistic output during this period was characterized by a masterful synthesis of Northern realism and Italian Mannerism. He retained a meticulous attention to detail inherited from his Flemish training, yet infused his compositions with the dynamism, elegance, and psychological depth that were hallmarks of Florentine art. His use of color was particularly noteworthy – he skillfully employed subtle gradations and atmospheric effects to create a sense of space and volume, while simultaneously capturing the nuances of light and shadow. His ability to seamlessly blend these diverse influences resulted in a uniquely sophisticated style that resonated with audiences across Europe.
Beyond his easel paintings, Stradanus made significant contributions to the burgeoning field of printmaking. He was not merely a copier of existing works; rather, he developed innovative techniques that combined engraving and etching on the same plate, creating images with unprecedented richness and detail. This technique, which became increasingly popular in subsequent decades, allowed him to achieve a remarkable level of tonal variation and textural complexity – qualities previously unattainable through traditional printmaking methods. Stradanus’s prints were widely circulated throughout Europe, serving as both independent works of art and valuable illustrations for books and manuscripts.
His printmaking career was inextricably linked to his role as a designer for tapestries. He created elaborate designs for the Medici workshop, employing his artistic skills to translate complex visual narratives into intricate patterns suitable for weaving. These tapestries, often depicting historical events or mythological scenes, served as both decorative objects and powerful propaganda tools, reflecting the wealth and prestige of the Florentine court.
Johannes Stradanus’s legacy extends far beyond his individual works. He played a crucial role in facilitating the exchange of artistic ideas between Northern and Southern Europe, contributing to the development of both Flemish and Italian painting styles. His innovative printmaking techniques influenced generations of artists, while his courtly commissions helped shape the visual culture of Florence during a period of immense artistic and political significance. Stradanus’s life exemplifies the dynamism and interconnectedness of the Renaissance world – a testament to an artist who skillfully navigated diverse traditions and left an enduring mark on the history of European art.
