Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 24 Alessandro Algardi darbai mūsų kataloge
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St Philip Neri (1636) yra viena矚 most žiūrėlių pritraukiančių Alessandro Algardi tapierių; originalas saugomas Santa Maria in Vallicella, Roma. Po to akmuo patenka į Sleep (1635) ir Beheading of St Paul (1650). Iš 24 Alessandro Algardi darbų mūsų kataloge šios 24 yra garsiausios – kiekvienas yra unikali originali dai̇lia, pateikta su jos metais, muziejumi ir priežastimi, kodėl ji išlieka per amžius.
The marble sculpture depicts a bearded man, identified as St Philip Neri, positioned within an architectural niche. He is shown in a standing posture, with his right arm raised toward the viewer in a gesture of instruction or blessing. His left hand holds a tablet containing inscribed text. At his feet, a young boy kneels on the ground, looking upward toward the standing figure. The figures are framed by vertical…
To gaze upon this marble rendition of Sleep is to encounter a moment suspended outside the relentless current of time. The figure reclines with an exquisite languor, one arm supporting the head in a gesture both utterly relaxed and profoundly thoughtful. It is not merely a depiction of unconsciousness; rather, it captures that liminal space between wakefulness and dream—a state of profound, beautiful surrender. Alessandro Algardi, master sculptor of the…
The Beheading of St Paul by Alessandro Algardi captures a moment of profound tension and spiritual weight. This marble group, commissioned in 1634, brings the dramatic scene of martyrdom to life through the hands of the Bolognese sculptor Alessandro Algardi. The work exists as a powerful sculptural tableau, frozen at the precise instant of the saint's sacrifice. It was created to occupy the high altar of the Barnabite Church, San…
In the heart of Rome’s St. Peter's Basilica, amidst the overwhelming grandeur of the Baroque era, lies a moment frozen in eternal marble. Alessandro Algardi’s The Meeting of Leo I and Attila is not merely a historical reconstruction; it is a profound psychological drama captured in relief. This monumental work invites the viewer into an intimate, tension-filled space where the spiritual authority of the Papacy meets the raw, unbridered force…
Alessandro Algardi (1598–1654) stands as a remarkable testament to the artistic fervor of 17th-century Rome—a city consumed by grandeur and theatrical innovation under the patronage of papal courts. Yet, amidst the flamboyant sculptures of Bernini, Algardi carved out his own distinctive path: one characterized by meticulous realism, restrained emotion, and an unwavering devotion to classical ideals. Often overshadowed by his rival, Algardi nevertheless achieved considerable renown for his portraits and…
Within the quiet sanctuary of San Silvestro al Quirinale in Rome, Italy, a figure emerges from the architecture to meet the gaze of the faithful. This is St Mary Magdalene, a stucco sculpture brought into being by the hands of Alessandro Algardi. Created about 1629, the work captures a moment of profound stillness amidst the movement of the Baroque era. The material itself, a soft and malleable stucco, allows for…
In the heart of Rome’s St. Peter's Basilica, amidst the grandeur of the Baroque era, lies a moment frozen in eternal marble. Alessandro Algardi’s The Meeting of Leo I and Attila is not merely a historical reconstruction; it is a profound psychological drama captured in relief. This particular detail invites the viewer into the intimate, tension-filled space where the spiritual authority of the Papacy meets the raw, unbrided force of…
A young man emerges from a marble niche, caught in a moment of quietude. He holds a book and a goblet, the heavy symbols of a scholar and a witness. The stone is white, polished to a soft sheen that mimics the warmth of skin. Light catches the smooth contours of his limbs, casting shadows that give the figure a sudden, breathing presence. He stands in a contrapposto pose, a…
In the quiet sanctuary of San Silvestro al Quirinale in Rome, Italy, one encounters St Mary Magdalene. This stucco sculpture, created by Alessandro Algardi, offers a profound study of a woman caught in a private moment of contemplation or grief. It is a work that demands a slower pace of observation to truly register its presence within the architectural fabric of the church.
The marble bust of St John the Evangelist by Alessandro Algardi presents the subject in a three-quarter view. The composition is centered on the head and shoulders of the figure, focusing the viewer's attention on the facial features and the texture of the hair and beard. The subject matter is religious, portraying the figure of St John the Evangelist. This work dates to about 1640.
Bust of Donna Olimpia Maidalchini1646 · Galleria Doria Pamphilj
12
Bust of Cardinal Giovanni Garzia Mellini1637 · Santa Maria del Popolo
13
Bust of Bishop Ulpiano Volpi1640 · Museo Poldi Pezzoli
14
Vision of St Nicholas1651 · San Nicola da Tolentino
15
Monument of Pope Leo XI1634 · Šv. Petro bazilika
16
Bust of Monsignor Antonio Cerri1637 · Mančesterio meno galerija
17
The Meeting of Leo I and Attila1646 · Šv. Petro bazilika
18
The Meeting of Leo I and Attila (detail)1646 · Šv. Petro bazilika
19
The Flagellation1620 · Art Gallery of South Australia
20
Bust of Donna Olimpia Maidalchini1646 · Galleria Doria Pamphilj
21
The Meeting of Leo I and Attila (detail)1646 · Šv. Petro bazilika
22
Monument of Pope Leo XI1634 · Šv. Petro bazilika
23
Heracles and the HydraSzépművészeti Múzeum
24
Bust of Pope Innocent XGalleria Doria Pamphilj
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Alessandro Algardi darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Šv. Petro bazilika |
Vaticano miestas | 7 | The Meeting of Leo I and Attila, The Meeting of Leo I and Attila (detail), Monument of Pope Leo XI |
 Galleria Doria Pamphilj |
Roma | 3 | Bust of Donna Olimpia Maidalchini, Bust of Donna Olimpia Maidalchini, Bust of Pope Innocent X |
 San Silvestro al Quirinale |
Rome | 2 | St Mary Magdalene, St John the Evangelist |
 Chiesa di SS. Vittore e Carlo |
Genova | 2 | St Mary Magdalene, St John the Evangelist |
 Santa Maria in Vallicella |
Roma | 1 | St Philip Neri |
 Galleria Borghese |
Roma | 1 | Sleep |
 San Paolo Maggiore |
Bolonija | 1 | Beheading of St Paul |
 Staatliche Museen zu Berlin |
Berlinas | 1 | Laudivio Zacchia |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
Alessandro Algardi (1598–1654) stands as a remarkable testament to the artistic fervor of 17th-century Rome—a city consumed by grandeur and theatrical innovation under the patronage of papal courts. Yet, amidst the flamboyant sculptures of Bernini, Algardi carved out his own distinctive path: one characterized by meticulous realism, restrained emotion, and an unwavering devotion to classical ideals. Often overshadowed by his rival, Algardi nevertheless achieved considerable renown for his portraits and…
The marble sculpture depicts a bearded man, identified as St Philip Neri, positioned within an architectural niche. He is shown in a standing posture, with his right arm raised toward the viewer in a gesture of instruction or blessing. His left hand holds a tablet containing inscribed text. At his feet, a young boy kneels on the ground, looking upward toward the standing figure. The figures are framed by vertical…
In the heart of Rome’s St. Peter's Basilica, amidst the overwhelming grandeur of the Baroque era, lies a moment frozen in eternal marble. Alessandro Algardi’s The Meeting of Leo I and Attila is not merely a historical reconstruction; it is a profound psychological drama captured in relief. This monumental work invites the viewer into an intimate, tension-filled space where the spiritual authority of the Papacy meets the raw, unbridered force…
The Beheading of St Paul by Alessandro Algardi captures a moment of profound tension and spiritual weight. This marble group, commissioned in 1634, brings the dramatic scene of martyrdom to life through the hands of the Bolognese sculptor Alessandro Algardi. The work exists as a powerful sculptural tableau, frozen at the precise instant of the saint's sacrifice. It was created to occupy the high altar of the Barnabite Church, San…
St Philip Neri (1636), Santa Maria in Vallicella, Roma. Toliau seka Sleep (1635) ir Beheading of St Paul (1650).
38 metų amžiaus: St Philip Neri sukurta 1636 m. Nr. Alessandro Algardi gimė 1598.
St Philip Neri, Sleep, Beheading of St Paul, The Meeting of Leo I and Attila, Laudivio Zacchia, St Mary Magdalene, The Meeting of Leo I and Attila (detail), St John the Evangelist, St Mary Magdalene ir St John the Evangelist. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 24 Alessandro Algardi darbų, skirtų laikotarpiui nuo 1620 iki 1651.
Daugiausia – Šv. Petro bazilika (Vaticano miestas), Galleria Doria Pamphilj (Roma) ir San Silvestro al Quirinale (Rome). Viršuje esančiame muziejų sąraše yra visi jie.
1640s laikotarpiu: 10 iš 24 šioje pusėje esančių darbų buvo sukurtos tada, iš jų The Meeting of Leo I and Attila.
Šioje pusėje seniausias darbas yra The Flagellation (1620), o naujausias – Vision of St Nicholas (1651).
Marble (11), Bust (6) ir Man (5) iš 24 šioje pusėje esamų darbų.
Marble, iš 24 šios puslapio darbų – 17.
Baroque sculpture ir Baroque, vadovaujantis šios puslapio originalais kūriniais.
The Meeting of Leo I and Attila, The Meeting of Leo I and Attila (detail) ir Monument of Pope Leo XI: Šv. Petro bazilika, Vaticano miestas kolekcijoje yra 7 šioje pusėje esančių darbų.
