Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 161 verk av Jacopo Palma i vår katalog
Kort fortalt
Av alle originalverkene Jacopo Palma etterlot seg, er det mest kjente The Crucifixion of St Peter (1614), som er en del av samlingen til Gallerie dell'Accademia di Venezia i Venezia. Like bak følger Pietà with Angels (1620) og Paolo Veronese (1600). Vår katalog inneholder 161 verk av Jacopo Palma; galleriet har bevart de 100 verkene som verden beundrer mest, hver vist med sin dato, sitt museum og sin historie.
Michelangelo Palma il Giovane’s “The Crucifixion of St Peter,” painted in 1614, is not merely a depiction of a pivotal moment in Christian history; it's a profound exploration of suffering, faith, and the raw emotion of martyrdom. This monumental canvas, measuring 170 x 135 cm, transports the viewer directly into the heart of the scene – a chaotic yet deeply moving tableau unfolding outdoors beneath a dramatic, stormy sky. Palma,…
A heavy, limp body rests across the lap of the Virgin Mary. The pale skin of Christ contrasts against the deep red of her tunic and the dark blue of her mantle. Shadows swallow the background, pushing the figures forward into a sharp, theatrical light. Two large angels flank the upper scene, their faces etched with grief. Below, small cherubs support the weight of the limbs, one near the arm…
A dark, shadow-filled void recedes behind the subject, stripping away the distractions of the physical world. This absence of background detail pushes the figure forward, creating a sudden sense of depth. The man emerges from this gloom, his presence anchored by a crisp white collar that catches the light. His gaze is direct, meeting the viewer with an unwavering eye contact that bridges the gap between the painted space and…
The air thickens with sudden, celestial violence as the scene erupts in a chaotic swirl of motion. Saul, once a persecutor of the faithful, is caught in a moment of profound physical and spiritual disorientation. He is thrown from his horse, a heavy, muscular form tumbling toward the earth, while the animal recoils in a tangle of limbs and frantic energy. Above this earthly commotion, a brilliant, piercing light breaks…
The composition reflects the transition from the High Renaissance to the burgeoning drama of the Baroque. The style is characterized by intense emotional weight and dynamic movement typical of the late Renaissance or Mannerist period. The texture appears smooth yet painterly, capturing the anatomical detail of Christ's torso and the heavy fabric of the mourning figures. Through the use of light as a narrative tool, the composition guides the eye…
The oil on canvas work titled Venus and Mars presents a mythological encounter between the personification of love and the god of war. Painted by Palma il Giovane, the scene captures these lovers in a moment of intimate proximity. The figures of Venus and Mars respond to one another through anticipatory gestures, their bodies arranged in a way that suggests a shared, private space. A small Cupid occupies the lower…
The oil painting The prophet Nathan admonishes King David presents an emotionally charged biblical scene set within a shallow, stage-like space. The composition centers on two primary figures engaged in an intense interaction. On the left, King David is depicted sitting in a large, ornate golden throne. He wears a red velvet robe trimmed with thick white ermine fur and a prominent gold crown, his posture heavy and dejected with…
The room falls into a heavy, quiet stillness as we gaze upon an elderly man, his face etched with the deep lines of a life spent in focused labor. He sits in a three-quarter view, caught in a moment of profound introspection. A sharp, directional light enters from the upper left, carving his features out of the surrounding darkness. This intense chiaroscuro pulls his weathered forehead and greyish-white beard into…
In this 1612 oil painting, we find ourselves drawn into the immediate, heavy atmosphere of the Lamentation. The composition centers on the pale, lifeless body of Christ, which lies horizontally across the lower half of the frame. There is a stillness here that feels almost physical, a quietude that contrasts with the intense emotional weight of the scene. To the left, a figure draped in deep red robes holds a…
In this etching print, we find ourselves witnessing a scene of profound, sudden movement. The composition centers on the aftermath of a decisive act: Judith is captured in the precise, heavy moment of placing the severed head of Holofernes onto a cloth. Another female figure assists, her hands steadying the fabric to catch the weight of the deed. There is a certain anatomical tension here, particularly in the foreshortened body…
Portrait of Niccolo da Ponte (1491-1585), Doge of Venice1580 · Kunsthistorisches Museum
12
The Pope allows Otto to go to his father to negotiate peace1582 · Dogepalasset
13
Pietá1611 · Museo del Prado
14
David with Goliath's Head1590 · Museo del Prado
15
Salomé with the Head of John the Baptist1599 · Kunsthistorisches Museum
16
Moses Brings the Tablets of the Law1586 · Bavarian State Painting Collections
17
St Sebastian1590 · Eremitasjen
18
Dead Christ Supported by an Angel1612 · Kunsthistorisches Museum
19
Adoration of the Shepherds1575 · Bavarian State Painting Collections
20
Flagellation of Christ1586 · Bavarian State Painting Collections
21
Christ calling Zacchaeus1575 · Fitzwilliam Museum
22
Elijah and the Angel1575 · Fitzwilliam Museum
23
Portrait of a Gentleman1590 · Art Institute of Chicago
24
Fighting soldiers1569
25
soldiers on horseback1569
26
Soldiers on horseback1569
27
supraporte: fighting soldiers1569
28
fighting soldiers1569
29
Battle - scene in landscape with town1569
30
soldiers on horseback1569
31
soldiers on horseback1569
32
six citizens after war scene1569
33
Gentlemen on horse - back1569
34
Victory of Francesco Bembo over Filippo Maria Visconti1578 · Dogepalasset
35
The Descent of Manna1575
36
Christ Deposed In The Sepulchre1575
37
Crucifix Between Our Lady And Saint John1575
38
The Paschal Lamb1575
39
St Lawrence Giving the Wealth to the Poor1575
40
Lamentation of Christ1586 · Bavarian State Painting Collections
41
Lamentation of Christ1586 · Bavarian State Painting Collections
42
Thetis on the Sea1586 · Bavarian State Painting Collections
43
Lamentation of Christ1586 · Bavarian State Painting Collections
44
Annunciation of Mary1585 · Bavarian State Painting Collections
45
Christ and the Samaritan Woman1586 · Bavarian State Painting Collections
46
Saint Sebastian1586 · Bavarian State Painting Collections
47
Ecce homo1586 · Bavarian State Painting Collections
48
The Expulsion of the Vices of the Church1582 · Royal Collection
49
Venus and Cupid1590 · Royal Collection
50
Prometheus Chained to the Caucasus1589 · Royal Collection
51
Massacre of the Inhabitants of Hippo1593 · Musée Fabre
52
Scene from the History of Joseph1587 · Isabella Stewart Gardner Museum
53
Scene from the History of Joseph1587 · Isabella Stewart Gardner Museum
54
Judas Cyriacus1593
55
Sant'elena Ritrova La Vera Croce1593
56
L'imperatore Eraclio Riporta La Croce Al Calvario1593
57
Pius II1593
58
Judith and Holofernes1600
59
The Virgin and Child, Saint Luke and a Donor1602 · Royal Collection
60
The Penitent Magdalene1600 · Royal Collection
61
Return of the Prodigal Son1595 · Gallerie dell'Accademia di Venezia
62
The Virgin and Child with Saints and Angels1620 · National Gallery of Ireland
63
Lamentation of Christ1620 · Bavarian State Painting Collections
64
Self Portrait1614
65
Studies of an Arm, and of the Heads of an Old Man and Young Woman1628
66
Seated Female Holding a Book, Two Heads of Bearded Men, Seated Male Nude, and Four Sketches for Christ Judging (recto); Studies for Cain Slaying Abel (verso)1628
67
Apostles at the Virgin's Tomb1582 · Eremitasjen
68
Cain and Abel1603 · Kunsthistorisches Museum
69
Annunciation1600 · Madonna dell'Orto
70
Martirio Di San Giovanni Battista Tra San Lanfranco Beccari E San Liberio1593
71
Washing of the Feet1591 · San Giovanni in Bragora
72
Lamentation1620 · National Gallery of Art
73
Joseph and Potiphar's WifeStatens Museum for Kunst
74
Allegory of the Victory over the League of Cambrai (detail)1590 · Dogepalasset
75
The Dead Christ Supported by An Angel with Two Putti Each Supporting a Cero1575
76
The Paschal Lamb1575
77
Eucharist Worshipped By The Four Evangelists1575
78
Elia Cibato From angel1575
79
The Parish Priest Da Ponte in front of the Virgin, Saint Mark, Saint Sylvester and Saint James1575
80
Red Sea Passage1575
81
The FlagellationMuseo del Prado
82
Papa Cleto1593
83
Elia nutrito dall'angelo1593
84
Lanfranco Beccari1593
85
David riceve dal sacerdote Achimelec i pani offerti nel santuario1593
86
Saint Helena1593
87
Il Serpente Di Bronzo1593
88
Alexander III confirms the Crucifixes and gives them the rule1593
89
Pope San Cleto Founds the Order of the Crucifer - St. Cyril's Bishop of Jerusalem Reaffirms the Order1593
90
David and Achimelech1590 · Santissimo Redentore
91
The Pool1592 · Collezione Molinari Pradelli
92
The Martyrdom of St Lawrence1581 · San Giacomo dall'Orio
93
Sketch for An Entablature1628
94
The Arrest of Christ, Christ and the Canaanite Woman, Seated Male Figures, and Head of a Child1628
95
Studies of Horsemen and Study of a Figure for a Deposition1628
96
Seated Female Holding a Book, Two Heads of Bearded Men, Seated Male Nude, and Four Sketches for Christ Judging (recto); Studies for Cain Slaying Abel (verso)1628
97
Sheet of Studies with St. Jerome, Seated at Right and Resting His Right Forearm on a Book, at Left An Ecclesiastical Figure Wearing a Cope and Miter, and at Bottom Two Putti1628
98
A Venetian SenatorMuseo del Prado
99
Amusements of the Prodigal Son1595 · Gallerie dell'Accademia di Venezia
100
Christ as TeacherBavarian State Painting Collections
De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Jacopo Palma | Malerier fra denne listen |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 14 | Moses Brings the Tablets of the Law, Adoration of the Shepherds, Flagellation of Christ |
 Kunsthistorisches Museum |
Wien | 8 | Pietà with Angels, The prophet Nathan admonishes King David, Portrait of a Sculptor |
 Museo del Prado |
Madrid | 5 | The Conversion of Saint Paul, Pietá, David with Goliath's Head |
 Royal Collection |
London | 5 | The Expulsion of the Vices of the Church, Venus and Cupid, Prometheus Chained to the Caucasus |
 Dogepalasset |
Venezia | 4 | The Pope allows Otto to go to his father to negotiate peace, Victory of Francesco Bembo over Filippo Maria Visconti, Allegory of the Victory over the League of Cambrai (detail) |
 Gallerie dell'Accademia di Venezia |
Venezia | 3 | The Crucifixion of St Peter, Return of the Prodigal Son, Amusements of the Prodigal Son |
 Eremitasjen |
St. Petersburg | 2 | St Sebastian, Apostles at the Virgin's Tomb |
 Fitzwilliam Museum |
2 | Christ calling Zacchaeus, Elijah and the Angel |
Velg et tiår for å se originalverket som definerer det.
In "Fighting soldiers" by Palma il Giovane, the air thickens with the immediate chaos of a historical or mythological battle. Painted about 1569, the scene pulls the viewer into a frantic melee where the boundaries between life and death blur. Soldiers clash in a desperate struggle, their bodies locked in the violent rhythm of combat. Every movement feels urgent, as if the clash of steel is a sound that still…
The work before us is titled Adoration of the Shepherds, a significant creation by the Venetian painter Palma il Giovane. Executed around 1575, this piece emerged during a transformative period in the Venetian School, as the artist navigated the transition from the High Renaissance into the more dramatic sensibilities of the early Baroque. The painting captures a profound moment of spiritual reverence through its specific handling of light and form.
A heavy silence hangs within the frame as Niccolò da Ponte meets the viewer's gaze. The elderly Doge sits in a three-quarter length pose, his presence commanding the space with a solemn, contemplative energy. Light pours from the upper left, striking the stark white of his ermine-lined mantle and illuminating the weathered textures of his face. This dramatic chiaroscuro carves his features out of the deep, shadowy background, creating a…
The air thickens with sudden, celestial violence as the scene erupts in a chaotic swirl of motion. Saul, once a persecutor of the faithful, is caught in a moment of profound physical and spiritual disorientation. He is thrown from his horse, a heavy, muscular form tumbling toward the earth, while the animal recoils in a tangle of limbs and frantic energy. Above this earthly commotion, a brilliant, piercing light breaks…
A dark, shadow-filled void recedes behind the subject, stripping away the distractions of the physical world. This absence of background detail pushes the figure forward, creating a sudden sense of depth. The man emerges from this gloom, his presence anchored by a crisp white collar that catches the light. His gaze is direct, meeting the viewer with an unwavering eye contact that bridges the gap between the painted space and…
Michelangelo Palma il Giovane’s “The Crucifixion of St Peter,” painted in 1614, is not merely a depiction of a pivotal moment in Christian history; it's a profound exploration of suffering, faith, and the raw emotion of martyrdom. This monumental canvas, measuring 170 x 135 cm, transports the viewer directly into the heart of the scene – a chaotic yet deeply moving tableau unfolding outdoors beneath a dramatic, stormy sky. Palma,…
A heavy, limp body rests across the lap of the Virgin Mary. The pale skin of Christ contrasts against the deep red of her tunic and the dark blue of her mantle. Shadows swallow the background, pushing the figures forward into a sharp, theatrical light. Two large angels flank the upper scene, their faces etched with grief. Below, small cherubs support the weight of the limbs, one near the arm…
The Crucifixion of St Peter (1614), Gallerie dell'Accademia di Venezia, Venezia. Deretter følger Pietà with Angels (1620) og Paolo Veronese (1600).
64 år gammel: The Crucifixion of St Peter er fra 1614, og Jacopo Palma ble født i 1550.
The Crucifixion of St Peter, Pietà with Angels, Paolo Veronese, The Conversion of Saint Paul, The Crucifixion, Venus and Mars, The prophet Nathan admonishes King David, Portrait of a Sculptor, Lamentation with angels og Judith Placing the Head of Holofernes onto a Cloth Held by Another Female Figure, the Foreshortened Body of Holofernes Gushes with Blood from the Neck. Rangeringen ovenfor viser årstall og museum for hvert verk.
Vår katalog inneholder 161 verk av Jacopo Palma, datert fra 1569 til 1628.
Hovedsakelig i Bavarian State Painting Collections (München), Kunsthistorisches Museum (Wien) og Museo del Prado (Madrid). Museumslisten ovenfor viser alle.
I 1590s: 27 av de 100 verkene på denne siden ble laget da, The Conversion of Saint Paul av dem.
På denne siden er det eldste Fighting soldiers (1569) og det nyeste Judith Placing the Head of Holofernes onto a Cloth Held by Another Female Figure, the Foreshortened Body of Holofernes Gushes with Blood from the Neck (1628).
Man (34), People (22) og Woman (21), fordelt på 100 verk på denne siden.
Oil, for 43 av de 100 verkene på denne siden.
Baroque og Renaissance, basert på originalene på denne siden.
Moses Brings the Tablets of the Law, Adoration of the Shepherds og Flagellation of Christ: Bavarian State Painting Collections, München har 13 av verkene på denne siden.
I den gylne skumringen av den venetianske renessansen, en periode definert av en uovertruffen mestring av farge og lys, vokste det frem en maler hvis penselstrøk bygget bro mellom høgrenessansens eleganse og barokkens spirende drama. Jacopo Palma il Giovane, født Iacopo Negretti rundt 1548, var ikke bare en etterfølger til de store mestrene, men et livsviktig bindeledd i den venetianske skolens kontinuitet. Som grandnevø av den berømte Palma Vecchio, ble han født inn i en slekt preget av kunstnerisk ekspertise, og arvet en dyp forståelse for den kromatiske rikdommen som definerer den venetianske tradisjonen. Hans liv og virke representerer en sømløs overgang, der han bar med seg sine forgjengeres lysende eleganse inn i en ny æra av emosjonell intensitet og teatralsk storhet.
Grunnlaget for Palmas kunstnerskap ble lagt i Venezias verksteder, hvor luften var mettet med arven fra Tizian og Tintoretto. Selv om historiske beretninger antyder at han kan ha foredlet sin teknikk gjennom studier av Tizians pustende vakre fargepaletter, var det Tintorettos dynamiske energi som virkelig formet hans modne visjon. Etter Tintorettos død i 1594, steg Palma il Giovane frem som en ledende skikkelse og ble den dominerende kunstneriske kraften i Venezia. Han besatt en sjelden evne til å syntetisere disse to ulike innflytelsene: fra Tizian hentet han en sofistikert kontroll over lys og hudtoner; fra Tintoretto adopterte han en følelse av bevegelse, dramatisk chiaroscuro og en narrativ hastighet som resonnerte dypt med motreformasjonens religiøse glød.
Palma il Giovanes samlede verker er et vitnesbyrd om hans evne til å forvandle bibelske og mytologiske temaer til gripende menneskelige erfaringer. Maleriene hans er sjelden statiske; de pulserer med en livskraft som drar betrakteren inn i dramaets hjerte. Enten han skildrer alvoret i et religiøst martyrium eller det livlige kaoset i en vertshusscene, bruker han lyset som et fortellerverktøy som leder øyet gjennom komplekse komposisjoner for å finne historiens emosjonelle kjerne. Hans mesterskap er særlig tydelig i verk som St. Katarina av Alexandrias martyrium, hvor samspillet mellom skygge og glans forsterker følelsen av guddommelig kamp, og Apostlene ved Jomfru Marias grav, som fanger et dypt øyeblikk av kollektiv sorg gjennom svepende, energiske penselstrøk.
Utover sine religiøse oppdrag, lot Palmas allsidighet ham utforske et bredt spekter av motiver. Hans talent for å fange menneskeånden er kanskje mest intimt synlig i hans Selvportrett, et verk som avslører en sjelelig introspeksjon og en teknisk dyktighet i stand til å gjengi de fineste nyanser i ansiktsuttrykk. Selv i mer verdslige eller anekdotiske scener, slik som Den svikefulle sønnens fornøyelser, opprettholder han en levende, rytmisk kvalitet som feirer teksturene og fargene i det venetianske livet. Denne evnen til å svinge mellom det dypsindige og det lekne sikret hans relevans i ulike maktkretser, fra de kirkelige myndighetene i Venezia til de keiserlige hoffene i Sentral-Europa.
Den historiske betydningen av Jacopo Palma il Giovane strekker seg langt utover den venetianske republikkens grenser. Hans innflytelse strålte utover og nådde så langt som Bergamo og hoffet til keiser Rudolf II i Praha, noe som markerte ham som en kunstner av internasjonal rang. Han kopierte ikke bare fortiden; han utviklet den, og beredte grunnen for de mer emosjonelle og dramatiske stilartene som skulle definere det 17. århundre. Ved å veilede påfølgende generasjoner, inkludert skikkelser som videreutviklet den venetianske estetikken, sørget han for at hans slekts tradisjoner forble levende og transformative.
I dag anerkjenner vi Palma il Giovane som en skjellsettende skikkelse hvis arbeid fungerer som en bro mellom epoker. Hans arv finnes i:
Gjennom sin uttrykksfulle pensel og mesterlige bruk av lys, fanget Palma il Giovane selve essensen av en verden i endring, og etterlot seg et kunstnerskap som fortsetter å fortrylle og bevege den moderne betrakteren.
