Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 63 obras de Francesco Trevisani em nosso catálogo
Em resumo
Aos olhos da galeria, a pintura mais famosa de Francesco Trevisani é The Madonna and Child (1700). Study for 'The Massacre of the Innocents' (1710) e Christ Supported by Angels (1720) completam o trio que todos reconhecem. Dos 63 trabalhos de Francesco Trevisani em nosso catálogo, a galeria apresenta abaixo as 61 obras mais famosas, cada uma original, com seu ano, seu museu e o que a torna única.
The Virgin Mary cradles her sleeping child in a moment of profound stillness. She sits with a gentle weight, her form draped in soft fabrics that catch the light. A veil rests upon her head, and a single strand of pearls encircles her neck, catching a glint of the room's soft illumination. Behind them, the silhouette of a chair anchors the composition, providing a sense of domestic depth to this…
A man hangs upside down, his legs grasping the air, while a hand tightens around his throat. The scene unfolds before a structure of cold, pale columns. Shadows stretch across the ground where figures sit and stand in a state of sudden, jarring motion. In the periphery, two dogs watch the unfolding chaos, their presence grounding the frantic energy of the central struggle. A single infant is visible, a small…
In this oil on canvas, Francesco Trevisani presents Christ Supported by Angels. The work is a profound meditation on religious sacrifice and grief. It captures a moment of quiet, heavy sorrow through its focused subject matter. The composition centers on the physical and spiritual weight of the scene.
The night air hangs heavy over the garden, a dark landscape that presses against the central figures. In the center of this gloom, a man in red robes and a blue cloak bends forward, his body heavy with the weight of prayer. He is in a state of distress, his posture a silent cry for strength. Behind him, a woman reaches out, her hand gently cradling his head in a…
The canvas presents a vertical arrangement centered on the figure of Christ upon a wooden cross. The lighting follows a chiaroscuro method, casting deep shadows in the background while illuminating the pale skin of the central figure and the faces of those gathered below. The color palette relies on dark tones, including blacks, browns, and umber, which contrast with the red and blue fabrics worn by the mourning figures. The…
The painting, titled The Prophet Baruch, immediately draws the viewer into an atmosphere of profound stillness. We encounter a figure seated upon the ground, his posture speaking volumes without uttering a single word. With his head bowed into his hands, he embodies a moment of deep introspection or perhaps prayer. The subject is rendered with such palpable humanity that one feels they are witnessing a private communion between man and…
L'Enfant Jésus endormi is a religious oil painting by Francesco Trevisani. Created circa 1695, the work focuses on the Infant Jesus in a state of repose. This composition belongs to the genre of the nativity scene, capturing a moment of sacred stillness.
In this oil painting from 1710, a woman identified as Mary Magdalene is depicted in profile, her body oriented toward the right side of the frame. She is shown in a moment of religious reflection, with her gaze directed upward. Her hands are clasped near her chest, and her long, auburn hair falls in wavy textures over her shoulders. She wears a white chemise and a garment with subtle pink…
In this quiet corner of the late Baroque, we find ourselves face to face with a profound moment of grief and divinity. The composition is tightly focused, drawing us into an intimate encounter with the lifeless body of Christ. He rests upon a winding-sheet, his pale, limp form emerging from a deep, heavy shadow that swallows much of the background. Two angels attend to him, their presence providing both physical…
In the quietude of Francesco Trevisani’s “Le Sommeil de l'Enfant Jésus”, the viewer is invited into a moment of profound celestial intimacy. Painted during the first decade of the eighteenth century, this masterpiece serves as a breathtaking window into the Venetian Baroque, a period defined by its ability to marry dramatic tension with tender devotion. The scene captures the Holy Family in a state of sacred repose, where the weight…
Lucretia1687
12
Lucretia1681
13
Body of Christ, held by angels1707 · Kunsthistorisches Museum
14
The Holy Family1701 · Bavarian State Painting Collections
15
Christ with the Disciples on the Way to Emmaus1701 · Bavarian State Painting Collections
16
Archangel Michael1701 · Bavarian State Painting Collections
17
Saint Sebastian1701 · Bavarian State Painting Collections
18
Christ at Emmaus1701 · Bavarian State Painting Collections
19
Hl. Sebastian1701 · Bavarian State Painting Collections
20
The Infant Jesus Sleeping1709
21
The Infant Jesus Pointing Out the Flowers of the Passion to the Virgin1701
22
Christ Before Caiaphas1707
23
Tobias Curing His Father's Blindness1712 · Museum Boijmans Van Beuningen
24
Prince James Francis Edward Stuart (1688-1766)1719 · Royal Collection
25
Portrait of Thomas Coke, 1st Earl of Leicester, 1697-1759 (fifth creation).1717 · Holkham Hall
26
Presentation Sketch for "The Holy Family with Saints Anne, Joachim, and John the Baptist" (for Santa Maria in Via Lata, Roma)1729 · Cleveland Museum of Art
27
The Ecstasy of Saint Francis1725 · Staatliche Kunstsammlungen Dresden
28
Elector Clemens August1750 · Bavarian State Painting Collections
29
Crucifixion of Saint Andrew1746 · Musée des Beaux-Arts de Strasbourg
30
Christ on the Cross1746 · Musée des Beaux-Arts de Strasbourg
31
A NunNationalmuseum
32
The Virgin and Child1709 · Museu do Prado
33
Diana and EndymionGemäldegalerie Alte Meister im Schloss Wilhelmshöhe
34
Philippe de Vendome1700
35
The Martyrdom of the Seven Sons of Saint Felicity, Francesco Trevisani, 17091709 · Rijksmuseum
36
Prince James Francis Edward Stuart (1688–1766), Son of James VII and II1720 · Galeria Nacional de Retratos de Escócia
37
St. Francis in Penitence1700 · Patrick and Beatrice Haggerty Museum of Art
38
Christ mort porté par des angesMuseu do Louvre
39
The Agony in the GardenFitzwilliam Museum
40
Portrait of Captain Daniel Pain of Welford
41
The Madonna and Child with the infant Saint John the Baptist
42
The Appearance of the Virgin to St. MauriceTe Whare O Rehua Sarjeant Gallery
43
Pity
44
La Mort d'Alexandre le Grand
45
Sainte Geneviève
46
Annonciation
47
L'ENFANT JESUS DESIGNANT A LA VIERGE LES FLEURS DE LA PASSIONMuseu do Louvre
48
La famille de Darius aux pieds d'AlexandreMuseu do Louvre
49
A Virgem apresentando o Filho para São António1730 · Palácio Nacional de Mafra
50
Apollo and DaphneMuseu Hermitage
51
Latona and the Frogs
52
Portrait of Cardinal Pietro Ottoboni
53
Portrait of Maria Clementina Sobieska.Galeria Nacional de Retratos de Escócia
54
penitent Magdalen
55
The Raising of Lazarus
56
Madonna and Child with Infant St. John the Baptist and St. JosephArt Institute of Chicago
57
Dead Christ Supported by Angels
58
Frances, Wife of John, 6th Earl of Mar, Daughter of Evelyn, 1st Duke of KingstonNational Trust For Scotland
59
An Angel Holding the ColumnNational Trust
60
Angels carrying the corpse of Christ
61
An Angel Holding Veronica's VeilNational Trust
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 8 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Francesco Trevisani | Pinturas desta lista |
|---|---|---|---|
 Bavarian State Painting Collections |
Munique | 7 | The Holy Family, Christ with the Disciples on the Way to Emmaus, Archangel Michael |
 Museu do Louvre |
Paris | 4 | LE SOMMEIL DE L'ENFANT JESUS, Christ mort porté par des anges, L'ENFANT JESUS DESIGNANT A LA VIERGE LES FLEURS DE LA PASSION |
 Kunsthistorisches Museum |
Viena | 2 | Penitent Mary Magdalene, Body of Christ, held by angels |
 Musée des Beaux-Arts de Strasbourg |
Estrasburgo | 2 | Crucifixion of Saint Andrew, Christ on the Cross |
 Galeria Nacional de Retratos de Escócia |
Edimburgo | 2 | Prince James Francis Edward Stuart (1688–1766), Son of James VII and II, Portrait of Maria Clementina Sobieska. |
 National Trust |
Guildford | 2 | An Angel Holding the Column, An Angel Holding Veronica's Veil |
 Museu Fitzwilliam |
Cambridge | 1 | Study for 'The Massacre of the Innocents' |
 Bristol Museum - Art Gallery |
Bristol | 1 | Christ Supported by Angels |
Escolha uma década para ver a obra original que a define.
In this oil painting, the tragic figure of Lucretia confronts her final, desperate moment. Francesco Trevisani captures the woman at the very precipice of her end, focusing on the heavy weight of her decision. The scene centers on the precise instant of her suicide, a moment of profound personal agony. She gazes upward, her eyes searching the heavens for a mercy that seems to elude her, even as she holds…
L'Enfant Jésus endormi is a religious oil painting by Francesco Trevisani. Created circa 1695, the work focuses on the Infant Jesus in a state of repose. This composition belongs to the genre of the nativity scene, capturing a moment of sacred stillness.
The Virgin Mary cradles her sleeping child in a moment of profound stillness. She sits with a gentle weight, her form draped in soft fabrics that catch the light. A veil rests upon her head, and a single strand of pearls encircles her neck, catching a glint of the room's soft illumination. Behind them, the silhouette of a chair anchors the composition, providing a sense of domestic depth to this…
A man hangs upside down, his legs grasping the air, while a hand tightens around his throat. The scene unfolds before a structure of cold, pale columns. Shadows stretch across the ground where figures sit and stand in a state of sudden, jarring motion. In the periphery, two dogs watch the unfolding chaos, their presence grounding the frantic energy of the central struggle. A single infant is visible, a small…
In this oil on canvas, Francesco Trevisani presents Christ Supported by Angels. The work is a profound meditation on religious sacrifice and grief. It captures a moment of quiet, heavy sorrow through its focused subject matter. The composition centers on the physical and spiritual weight of the scene.
A Elegância Silenciosa da Fé: Uma Análise Sobre “A Virgem Apresentando o Filho a São António” de Francesco Trevisani Francesco Trevisani, um nome que ressoa na história da pintura barroca italiana, é celebrado hoje não apenas pela quantidade de obras produzidas – cerca de mil pinturas –, mas principalmente pela qualidade excepcional com que capturou a beleza e a profundidade emocional das cenas religiosas. Sua obra “A Virgem Apresentando o…
The night air hangs heavy over the garden, a dark landscape that presses against the central figures. In the center of this gloom, a man in red robes and a blue cloak bends forward, his body heavy with the weight of prayer. He is in a state of distress, his posture a silent cry for strength. Behind him, a woman reaches out, her hand gently cradling his head in a…
The Madonna and Child (1700). Study for 'The Massacre of the Innocents' (1710) e Christ Supported by Angels (1720) vêm a seguir.
44 anos: The Madonna and Child data de 1700, e Francesco Trevisani nasceu em 1656.
The Madonna and Child, Study for 'The Massacre of the Innocents', Christ Supported by Angels, The Agony in the Garden, The Crucifixion, The Prophet Baruch, L'Enfant Jésus endormi, Penitent Mary Magdalene, Dead Christ Supported by Angels e LE SOMMEIL DE L'ENFANT JESUS. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 63 obras de Francesco Trevisani, datadas de 1681 a 1746.
Principalmente em Bavarian State Painting Collections (Munique), Museu do Louvre (Paris) e Kunsthistorisches Museum (Viena). A tabela de museus acima lista todos eles.
Em 1700s: 15 das 61 obras nesta página foram feitas então, sendo The Madonna and Child delas.
Nesta página, a mais antiga é Lucretia (1681) e a mais recente é Crucifixion of Saint Andrew (1746).
Woman (14), Man (13) e Drapery (9), entre as 61 obras nesta página.
Oil On Canvas, para 26 das 61 obras nesta página.
Baroque, a julgar pelos originais nesta página.
The Holy Family, Christ with the Disciples on the Way to Emmaus e Archangel Michael: o Bavarian State Painting Collections, Munique detém 7 das obras desta página.
Francesco Trevisani ergue-se como uma figura luminosa na transição entre a intensidade dramática do Barroco tardio e a elegância emergente do início do Rococó, um período frequentemente referido como barochetto. Nascido em Capodistria, Ístria, sua jornada artística foi moldada pelas ricas tradições de Veneza e Roma. Como filho de um arquiteto, aprendeu primeiramente os princípios fundamentais do desenho sob a orientação de seu pai, Antonio Trevisani. Esta base precoce em estrutura e composição permitiria, mais tarde, que ele dominasse os arranjos complexos e teatrais que definem suas obras mais célebres.
Sua formação estava profundamente enraizada nos mestres de sua era, estudando sob figuras como Antonio Zanchi e Joseph Heintz, o Jovem. Essas influências proporcionaram-lhe um vocabulário técnico que fundia o movimento vigoroso com uma sensibilidade refinada. Ao percorrer os centros artísticos de Veneza e Roma, Trevisani desenvolveu um estilo capaz de capturar tanto a profunda dor do martírio religioso quanto a terna e celestial graça dos encontros divinos. Sua habilidade em navegar por esses extremos emocionais tornou-o um pintor muito requisitado para importantes encomendas eclesiásticas e privadas.
As obras de Trevisani são caracterizadas por um compromisso inabalável com a profundidade emocional e um uso arrebatador da luz. Em suas composições religiosas, as fronteiras entre o terreno e o divino parecem frequentemente se dissolver. Pode-se observar isso em suas representações de cenas sagradas, onde o silêncio pesado e sagrado de um momento é palpável. Seja retratando o corpo sem vida de Cristo sendo carregado por anjos ou a devoção pungente dos santos, Trevisani utilizava uma paleta e pinceladas que enfatizavam o fervor espiritual da época.
Sua destreza técnica é particularmente evidente em sua capacidade de renderizar textura e atmosfera. Em obras como O Martírio dos Sete Filhos de Santa Felicidade, ele entrelaça narrativas complexas que envolvem imperadores romanos, estátuas pagãs e mensageiros celestiais. Através de detalhes meticulosos, ele direciona o olhar do espectador pela tela, usando a luz para destacar a agonia dos mártires e a esperança oferecida pelas coroas celestiais. Este domínio da pintura narrativa permitiu-lhe criar obras que não eram meramente decorativas, mas que serviam como profundos instrumentos de devoção.
Ao longo de sua longa carreira, a influência de Trevisani foi sentida profundamente na cena artística romana, particularmente através de sua conexão com patronos influentes, como o Cardeal Ottoboni. Sua obra-prima, os afrescos em San Silvestro in Capite, serve como um testemunho de sua capacidade de transformar espaços arquitetônicos com narrativas grandiosas e abrangentes. Seu estilo, fortemente influenciado por Carlo Maratta, ajudou a definir a estética do Barroco tardio, construindo uma ponte entre as sombras densas do século anterior e as composições mais leves e aéreas da era Rococo que viria.
A importância histórica de Francesco Trevisani reside em seu papel como um elo entre eras. Ele manteve a grandiosidade e a tensão dramática exigidas pela Contrarreforma, ao mesmo tempo em que introduziu uma doçura e uma graça que anteciparam o próximo movimento na arte europeia. Sua habilidade em equilibrar o monumental com o íntimo garante que suas pinturas permaneçam janelas poderosas para a alma espiritual e artística do início do século dezoito.
