Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 20 werken van Antonio Vivarini in onze catalogus
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Van alle originele werken die Antonio Vivarini heeft nagelaten, is Polyptych of the Body of Christ (1443) het bekendst, in de collectie van het San Zaccaria, Venetië. Direct daarna volgen Triptych (detail) (1446) en Marriage of St Monica (1441). Onze catalogus bevat 20 werken van Antonio Vivarini; de galerie heeft de 20 meest bewonderde werken ter wereld bewaard, elk voorzien van de datum, het museum en het verhaal erachter.
The heavy gold frame holds a world of divided light. Within these carved borders, the Polyptych of the Body of Christ unfolds across two registers of wood and pigment. In the upper register, a sudden movement breaks the stillness: Christ rises from his sarcophagus. Soldiers freeze in a state of shock, their faces caught in the transition from sleep to terror. Beside them, the two Marys watch an angel pull…
Created in 1446, this tempera on panel detail captures a transitional moment in Venetian art. The work bridges the ornate elegance of the International Gothic tradition with the emerging structural clarity of the Renaissance. Two figures occupy the foreground, their presence defined by a careful balance of color and form. On the left, a figure in red robes and a hood holds a manuscript, looking directly toward the viewer. Beside…
To gaze upon this depiction of the Marriage of St Monica is to step directly into a moment suspended between earthly celebration and divine grace. Painted in 1441, this work by Antonio Vivarini captures not merely a ceremony, but the profound confluence of spiritual devotion and human connection. The scene unfolds with an immediate sense of solemnity, yet it is warmed by the rich hues and palpable interaction among its…
Saint Jerome (347–420) is identified by his Cardinal"s robes and the lion at his feet. He holds in his right hand the model of a church symbolizing his status as one of the four doctors of the Church, and in his left hand a book of his own writings. This exquisitely painted work is probably from the pilaster of a large, Gothic altarpiece.
The fresco depicts a large-scale assembly centered on the figure of Mary, who is seated upon a throne. She occupies the central axis of the composition, surrounded by a multitude of figures that create a sense of depth through their varied postures. Some individuals are positioned in a kneeling stance, while others stand in the periphery, creating a layered arrangement of bodies. The scene is set against a backdrop containing…
Een Gebedvolle Aanblik op Hemelse Glorie: Een Analyse van Antonio Vivarini’s ‘Adoration of the Magi’ De fresco ‘Adoration of the Magi’, uitgevoerd door Antonio Vivarini rond 1445, is een kunstwerk dat niet alleen prachtige kleuren en vormen biedt maar ook een diepe historische en symbolische boodschap draagt. Het werk werd geplaatst in Murano, Italië, waar Vivarini actief was als een bekroonde kunstenaar binnen de Dominicaanse orde – een combinatie die…
Step into the luminous atmosphere of the mid-15th century with this breathtaking detail from a monumental triptych by Antonio Vivarini. This masterpiece, dating back to 1446, serves as a window into the heart of the Italian Renaissance, where the boundaries between the earthly and the divine were painted with unparalleled precision. The scene unfolds with a profound sense of ceremony, capturing three figures whose presence commands the viewer's attention through…
Triptych (detail)1446 · Gallerie dell'Accademia di Venezia
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Sts Jerome, Bernardino of Siena, and Louis of Toulouse1451 · San Francesco della Vigna
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Virgin and Child Blessing1441 · Gallerie dell'Accademia di Venezia
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Triptych (detail) (12)1446 · Gallerie dell'Accademia di Venezia
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Triptych (detail)1446 · Gallerie dell'Accademia di Venezia
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Triptych (detail)1446 · Gallerie dell'Accademia di Venezia
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Polyptych of the Virgin1444 · San Zaccaria
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Saints Peter and JeromeNational Gallery
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Saints Francis and MarkNational Gallery
20
Triptych1446 · Gallerie dell'Accademia di Venezia
De vier onderwerpen die het meest voorkomen in deze originelen, elk met zijn mooiste voorbeeld.
De 6 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Antonio Vivarini | Schilderijen uit deze lijst |
|---|---|---|---|
 Gallerie dell'Accademia di Venezia |
Venetië | 9 | Triptych (detail), Marriage of St Monica, Triptych (detail) |
 San Zaccaria |
Venetië | 3 | Polyptych of the Body of Christ, Santa Sabina Polyptych, Polyptych of the Virgin |
 National Gallery |
Londen | 2 | Saints Peter and Jerome, Saints Francis and Mark |
 San Pantalon |
Venetië | 1 | Coronation of the Virgin |
 Staatliche Museen zu Berlin |
Berlijn | 1 | Verering van de Magi |
 San Francesco della Vigna |
Venetië | 1 | Sts Jerome, Bernardino of Siena, and Louis of Toulouse |
1451 is het jaar van elk gedateerd werk van Antonio Vivarini in deze selectie: hier zijn ze, gerangschikt op bekendheid.
Selecteer een jaar om de originele werken te bekijken.
Polyptych of the Body of Christ (1443), San Zaccaria, Venetië. Triptych (detail) (1446) en Marriage of St Monica (1441) volgen.
Polyptych of the Body of Christ, Triptych (detail), Marriage of St Monica, Saint Jerome, Coronation of the Virgin, Verering van de Magi, Passion Polyptych, Passion Polyptych (detail), Triptych (detail) en Santa Sabina Polyptych. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 20 werken van Antonio Vivarini.
Voornamelijk in Gallerie dell'Accademia di Venezia (Venetië), San Zaccaria (Venetië) en National Gallery (Londen). De bovenstaande museumtabel bevat een volledig overzicht.
Religious art (4), People (3) en Medieval art (3), verspreid over de 20 werken op deze pagina.
Tempera On Panel, voor 4 van de 20 werken op deze pagina.
Early renaissance, te oordelen aan de originelen op deze pagina.
Triptych (detail), Marriage of St Monica en Triptych (detail): het Gallerie dell'Accademia di Venezia, Venetië herbergt 9 van de werken op deze pagina.
In the shimmering atmosphere of the mid-15th century, amidst the legendary glassworks of Murano, Antonio Vivarini emerged as a pivotal figure in the Venetian artistic landscape. As a member of a distinguished family of painters descended from Murano glassworkers, his very identity was intertwined with the luminous and translucent traditions of his home. Working primarily within the Republic of Venice, Vivarini occupied a unique historical space, bridging the transition between the ornate elegance of the late Gothic period and the burgeoning humanism of the early Renaissance.
His artistic journey began under the guidance of Andrea da Murano, a training that instilled in him a profound respect for precision and detail. The influence of Gentile da Fabriano is also clearly discernible in his compositions, lending his work a sense of rhythmic vitality and a delicate, decorative grace. This fusion of styles allowed Vivarini to create works that were both spiritually profound and visually opulent, capturing the religious fervor of an era through a lens of exquisite craftsmanship.
Vivarini’s oeuvre is characterized by a deep devotion to sacred themes, often utilizing the triptych format to guide the faithful through complex theological journeys. His ability to transform wood and pigment into windows of divine vision is perhaps most evident in his monumental altarpieances. In these works, he masterfully orchestrated sacra conversazione, arranging holy figures in a way that suggests both a celestial hierarchy and an intimate, communal experience of faith.
His technique often employed vibrant pigments and precise linework, hallmarks of the Murano school, which lent his figures a sense of architectural grandeur. Whether depicting the tender intimacy of the Virgin Mary cradling the infant Jesus or the crowded, harmonious assembly of the Adoration of the Magi, Vivarini possessed a rare ability to imbue his subjects with a soft, luminous glow. This mastery of light served to elevate the earthly scenes into the realm of the divine, making the spiritual palpable to the viewer.
Beyond his individual achievements, Antonio Vivarini stands as the progenitor of a significant painting dynasty that would shape Venetian art for generations. His influence extended through his family members, including:
The historical significance of Antonio Vivarini lies not only in his personal stylistic contributions but in his role as a foundational pillar for the subsequent generations of the Vivarini family. By blending the decorative traditions of the Gothic style with the emerging structural clarity of the Renaissance, he helped establish a visual language that would define the Republic of Venice's artistic identity during one of its most culturally fertile epochs.
