Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 29 dzieł Francesco Zugno w naszym katalogu
W skrócie
Spośród wszystkich dzieł oryginalnych, które pozostawił Francesco Zugno, najsłynniejszym jest Sacrifice of Iphigenia (1747), znajdujący się w kolekcji Bawarskie Państwowe Zbiory Malarstwa w Monachium. Tuż za nimi znajdują się Iphigenia is Led to the Temple (1747) oraz Saint Thomas Aquinas (1750). Nasz katalog zawiera 29 dzieł autorstwa Francesco Zugno; galeria zachowała 29 najbardziej podziwianych na świecie prac, z których każda została przedstawiona wraz z datą powstania, informacją o muzeum oraz jej historią.
The canvas presents a scene of mythological sacrifice through a vertical arrangement of figures and light. In the upper register, a celestial figure emerges from a mass of white and grey clouds, accompanied by a small cherub. This divine presence looks down upon the earthly plane below. The middle register is occupied by a group of figures dressed in classical drapery, their bodies arranged in a diagonal movement from the…
In this dramatic composition from 1747, we find ourselves witnessing a moment of profound tension drawn from Greek tragedy. The scene depicts Iphigenia being escorted toward her inevitable fate at the temple. A central female figure, draped in flowing, elegant garments, moves through a crowded procession. She is surrounded by men, some clad in armor, whose presence suggests a formal, perhaps even ceremonial, military movement. Above this earthly struggle, the…
In this mid-18th-century oil on canvas, a moment of spiritual illumination is captured through the dynamic language of the Venetian Rococo. The composition follows a sharp diagonal, drawing the eye from the kneeling figure of Saint Thomas Aquinas toward a celestial opening in the clouds. A dramatic chiaroscuro effect defines the scene, as a divine light source from the upper right illuminates the saint's face and his open book, leaving…
The oil painting titled 'Allegory of Wise Counsel' presents a central figure of an elderly man seated in a relaxed, commanding posture. He possesses a white beard and is draped in voluminous robes of orange and red. These garments catch a strong light source, creating deep folds and shadows. To the left of the figure, an ornate golden pedestal supports a small sculptural head. Below the seated man, a small,…
Abraham And The Three AngelsRijksmuseum
12
The Finding Of MosesNational Gallery
13
Habacuc Et Saint Michel Archange
14
Fresques De L'église D'istrana
15
Saint Grégoire Baptisant Le Roi D'arménie
16
Martyre Des Saints Pierre Et Paul
17
Allegorie Der Astronomie, Öl Auf Leinwand
18
Apothéose Des Saints Pierre Et Paul
19
Fresques Du Plafond De La Nef De L'église D'istrana
20
Continence Of ScipioMuzeum Sztuki w São Paulo Assis Chateaubriand (MASP)
21
Allégorie De La Foi
22
Apothéose De Saint Laurent Giustiniani
23
Saint Maurice Refusant De Sacrifier Aux Dieux
24
Les Pères De L'eglise Occidentale
25
Saint Antoine Abbé Résistant À La Tentation
26
Adoration Des Bergers
27
Fresque Du Peintre Francesco Zugno
28
Allégorie De La Foi Et De La Confiance
29
Le Christ Devant Pilate
Cztery motywy najczęściej powracające w tych oryginałach, z których każdy doczekał się swojego najdoskonalszego przykładu.
7 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Francesco Zugno | Obrazy z tej listy |
|---|---|---|---|
 Bawarskie Państwowe Zbiory Malarstwa |
Monachium | 2 | Sacrifice of Iphigenia, Iphigenia is Led to the Temple |
 Rijksmuseum |
Amsterdam | 2 | The Sleeping Rinaldo, Abraham And The Three Angels |
 Musée des Beaux-Arts |
Troyes | 1 | Saint Thomas Aquinas |
 Musée Des Beaux |
Strasburg | 1 | Allegory of Wise Counsel |
 Fitzwilliam Museum |
1 | The Apotheosis Of St Zeno | |
 National Gallery |
Londyn | 1 | The Finding Of Moses |
 Muzeum Sztuki w São Paulo Assis Chateaubriand (MASP) |
São Paulo | 1 | Continence Of Scipio |
Datowane dzieła Francesco Zugno w tym zestawieniu obejmują zaledwie 4 lat, od 1747 do 1750: krótka kariera, przedstawiona tutaj rok po roku.
Wybierz rok, aby zobaczyć oryginały.
The canvas presents a scene of mythological sacrifice through a vertical arrangement of figures and light. In the upper register, a celestial figure emerges from a mass of white and grey clouds, accompanied by a small cherub. This divine presence looks down upon the earthly plane below. The middle register is occupied by a group of figures dressed in classical drapery, their bodies arranged in a diagonal movement from the…
Więcej od 1747
The oil painting titled 'Allegory of Wise Counsel' presents a central figure of an elderly man seated in a relaxed, commanding posture. He possesses a white beard and is draped in voluminous robes of orange and red. These garments catch a strong light source, creating deep folds and shadows. To the left of the figure, an ornate golden pedestal supports a small sculptural head. Below the seated man, a small,…
In this mid-18th-century oil on canvas, a moment of spiritual illumination is captured through the dynamic language of the Venetian Rococo. The composition follows a sharp diagonal, drawing the eye from the kneeling figure of Saint Thomas Aquinas toward a celestial opening in the clouds. A dramatic chiaroscuro effect defines the scene, as a divine light source from the upper right illuminates the saint's face and his open book, leaving…
Sacrifice of Iphigenia (1747), Bawarskie Państwowe Zbiory Malarstwa, Monachium. Następne są Iphigenia is Led to the Temple (1747) oraz Saint Thomas Aquinas (1750).
39 lat: Sacrifice of Iphigenia pochodzi z 1747, a Francesco Zugno urodził(a) się w 1708.
Sacrifice of Iphigenia, Iphigenia is Led to the Temple, Saint Thomas Aquinas, Allegory of Wise Counsel, Gravure Représentant Le Peintre Francesco Zugno, Madonna And Child With Saints, Apollon Et Daphné, Guérison Du Paralytique, The Apotheosis Of St Zeno i The Sleeping Rinaldo. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 29 dzieł artysty Francesco Zugno, datowanych od 1747 do 1750.
W większości znajdują się w Bawarskie Państwowe Zbiory Malarstwa (Monachium), Rijksmuseum (Amsterdam) i Musée des Beaux-Arts (Troyes). Powyższa tabela muzeów zawiera ich pełną listę.
W 1747: 2 z 29 dzieł na tej stronie powstało w tym czasie, w tym Sacrifice of Iphigenia.
Na tej stronie najwcześniejszy to Sacrifice of Iphigenia (1747), a najpóźniejszy Saint Thomas Aquinas (1750).
Saints (7), Clouds (4) i Drapery (2), w ramach 29 dzieł na tej stronie.
Oil On Canvas, dla 3 z 29 dzieł na tej stronie.
Rococo, sądząc po oryginałach na tej stronie.
Sacrifice of Iphigenia i Iphigenia is Led to the Temple: Bawarskie Państwowe Zbiory Malarstwa, Monachium posiada 2 dzieł widocznych na tej stronie.
Within the luminous and often overwhelming splendor of eighteenth-century Venice, the name Francesco Zugno emerges as a vital, if somewhat enigmatic, thread in the tapestry of the Rococo era. Born into an ancient Venetian family with a deep-rooted artistic lineage, Zugno was destined for the brush. His early years were shaped by the prestigious traditions of his ancestors, including the fifteenth-century painter Giambattista Zugno, and he received formal training at the Academy of Painting and Sculpture of Venice. This rigorous academic foundation provided him with the technical mastery required to navigate the complex demands of Venetian decorative arts, yet it was his subsequent immersion into the workshop of the legendary Giovanni Battista Tiepolo that would truly define his artistic soul.
Entering Tiepolo's studio around 1730, Zugno did not merely act as a student but evolved into a skilled collaborator. This partnership allowed him to contribute to some of the most breathtaking fresco cycles of the period, most notably the magnificent works within the Palazzo Labia. Through this association, Zugno mastered the art of capturing light, movement, and the airy, theatrical elegance that characterizes the Rococo style. His work often mirrored the grandiosity of his mentor, yet he possessed a unique ability to blend high-drama mythological scenes with a delicate, almost courtly charm.
Zugno’s technical prowess was perhaps most evident in his command of quadratura—the art of illusionistic architectural painting. He achieved remarkable success with a series of wall frescoes featuring figures perched upon seemingly infinite balconies, a feat that blurred the boundaries between the physical room and the painted heavens. These works served as a brilliant intersection of genre painting and sophisticated courtly conceit, inviting viewers to lose themselves in a world of staged grandeur. His ability to manipulate perspective and light made him a sought-after master for both religious and secular commissions.
Beyond the grand scale of frescoes, Zugno’s oeuvre includes significant contributions to sacred spaces, such as his early commissions for the convent church of San Lazzaro degli Armeni in Venice. His talent extended into the creation of complete cycles, including a notable fresco project for the Villa Soderini-Berti near Treviso. While his brushwork often echoed the brilliance of the Venetian School, there remained an intimate quality to his compositions that spoke to his individual skill. Despite his professional triumphs and his role as a founding academic of the Accademia of Venice, contemporary accounts, such as those by Alessandro Longhi, suggest a man prone to melancholy and solitude, a poignant contrast to the vibrant, celebratory nature of his art.
The legacy of Francesco Zugno remains inextricably linked to the golden age of Venetian Rococo. He stands as a testament to the power of apprenticeship and the enduring influence of the Tiepolo workshop. Through his mastery of light, his architectural illusions, and his dedication to the decorative splendor of his city, Zugno helped sustain the visual magic of Venice during one of its most culturally significant epochs.
