Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 161 obras de Jacopo Palma, o Jovem em nosso catálogo
Em resumo
De todas as obras originais deixadas por Jacopo Palma, o Jovem, a mais famosa é The Crucifixion of St Peter (1614), da coleção do Gallerie dell'Accademia di Venezia, em Veneza. Logo atrás vêm Pietà with Angels (1620) e Paolo Veronese (1600). Nosso catálogo contém 161 obras de Jacopo Palma, o Jovem; a galeria preservou as 100 que o mundo mais admira, cada uma exibida com sua data, seu museu e sua história.
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 · Palácio Ducal
13
Pietá1611 · Museu do Prado
14
David with Goliath's Head1590 · Museu do 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 · Museu Hermitage
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 · Palácio Ducal
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 · Museu Hermitage
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 · Palácio Ducal
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 FlagellationMuseu do 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 SenatorMuseu do Prado
99
Amusements of the Prodigal Son1595 · Gallerie dell'Accademia di Venezia
100
Christ as TeacherBavarian State Painting Collections
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 Jacopo Palma, o Jovem | Pinturas desta lista |
|---|---|---|---|
 Bavarian State Painting Collections |
Munique | 14 | Moses Brings the Tablets of the Law, Adoration of the Shepherds, Flagellation of Christ |
 Kunsthistorisches Museum |
Viena | 8 | Pietà with Angels, The prophet Nathan admonishes King David, Portrait of a Sculptor |
 Museu do Prado |
Madrid | 5 | The Conversion of Saint Paul, Pietá, David with Goliath's Head |
 Royal Collection |
Londres | 5 | The Expulsion of the Vices of the Church, Venus and Cupid, Prometheus Chained to the Caucasus |
 Palácio Ducal |
Veneza | 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 |
Veneza | 3 | The Crucifixion of St Peter, Return of the Prodigal Son, Amusements of the Prodigal Son |
 Museu Hermitage |
São Petersburgo | 2 | St Sebastian, Apostles at the Virgin's Tomb |
 Fitzwilliam Museum |
2 | Christ calling Zacchaeus, Elijah and the Angel |
Escolha uma década para ver a obra original que a define.
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, Veneza. Pietà with Angels (1620) e Paolo Veronese (1600) vêm a seguir.
64 anos: The Crucifixion of St Peter data de 1614, e Jacopo Palma, o Jovem nasceu em 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 e 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. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 161 obras de Jacopo Palma, o Jovem, datadas de 1569 a 1628.
Principalmente em Bavarian State Painting Collections (Munique), Kunsthistorisches Museum (Viena) e Museu do Prado (Madrid). A tabela de museus acima lista todos eles.
Em 1590s: 27 das 100 obras nesta página foram feitas então, sendo The Conversion of Saint Paul delas.
Nesta página, a mais antiga é Fighting soldiers (1569) e a mais recente é 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 (26), Woman (19) e People (15), entre as 100 obras nesta página.
Oil On Canvas, para 36 das 100 obras nesta página.
Baroque e Renaissance, a julgar pelos originais nesta página.
Moses Brings the Tablets of the Law, Adoration of the Shepherds e Flagellation of Christ: o Bavarian State Painting Collections, Munique detém 13 das obras desta página.
No crepúsculo dourado do Renascimento veneziano, um período definido pelo domínio inigualável da cor e da luz, surgiu um pintor cujo pincel construiu uma ponte entre o Alto Renascimento e o drama emergente do Barroco. Jacopo Palma il Giovane, nascido Iacopo Negretti por volta de 1548, não foi apenas um sucessor dos grandes mestres, mas um elo vital na continuidade da Escola Veneziana. Como sobrinho-neto do célebre Palma Vecchio, ele nasceu em uma linhagem de excelência artística, herdando uma compreensão profunda da riqueza cromática que define a tradição veneziana. Sua vida e obra representam uma transição fluida, transportando a elegância luminosa de seus predecessores para uma nova era de intensidade emocional e grandeza teatral.
Os fundamentos do fazer artístico de Palma foram lançados nos ateliês de Veneza, onde o ar era impregnado pelos legados de Ticiano e Tintoretto. Embora relatos históricos sugiram que ele possa ter refinado sua técnica através do estudo das deslumbrantes paletas de cores de Ticiano, foi a energia dinâmica de Tintoretto que verdadeiramente moldou sua visão madura. Após a morte de Tintoretto em 1594, Palma il Giovane ascendeu a uma posição de preeminência, tornando-se a força artística dominante em Veneza. Ele possuía uma habilidade rara de sintetizar essas duas influências distintas: de Ticiano, extraiu um comando sofisticado da luz e dos tons de pele; de Tintoretto, adotou um senso de movimento, o chiaroscuro dramático e uma urgência narrativa que ressoava profundamente com o fervor religioso da Contrarreforma.
A obra de Palma il Giovane é um testemunho de sua capacidade de transformar temas bíblicos e mitológicos em experiências humanas viscerais. Suas pinturas raramente são estáticas; elas pulsam com uma força vital que atrai o espectador para o coração do drama. Seja retratando a solenidade de um martírio religioso ou o caos vívido de uma cena de taverna, seu trabalho utiliza a luz como ferramenta narrativa, guiando o olhar através de composições complexas para encontrar o núcleo emocional da história. Sua maestria é particularmente evidente em obras como o Martírio de Santa Catarina de Alexandria, onde o jogo entre sombra e brilho intensifica a sensação de luta divina, e Apóstolos no Túmulo da Virgem, que captura um momento profundo de luto coletivo através de pinceladas amplas e enérgicas.
Além de seus encargos religiosos, a versatilidade de Palma permitiu-lhe explorar um vasto espectro de temas. Seu talento para capturar o espírito humano é talvez visto de forma mais íntima em seu Autorretrato, uma obra que revela uma introspecção profunda e uma destreza técnica capaz de renderizar as sutis nuances da expressão. Mesmo em cenas mais seculares ou anedóticas, como os Divertimentos do Filho Pródigo, ele mantém uma qualidade vibrante e rítmica que celebra as texturas e cores da vida veneziana. Essa capacidade de oscilar entre o profundo e o lúdico garantiu sua relevância em diversos círculos de patronato, desde as autoridades eclesiásticas de Veneza até as cortes imperiais da Europa Central.
A importância histórica de Jacopo Palma il Giovane estende-se muito além das fronteiras da República de Veneza. Sua influência irradiou para fora, alcançando regiões como Bérgamo e a corte do Imperador Rodolfo II em Praga, marcando-o como um artista de estatura internacional. Ele não apenas replicou o passado; ele o evoluiu, preparando o terreno para os estilos mais emotivos e dramáticos que definiriam o século XVII. Ao mentorar gerações subsequentes, incluindo figuras que refinariam ainda mais a estética veneziana, ele garantiu que as tradições de sua linhagem permanecem vibrantes e transformadoras.
Hoje, reconhecemos Palma il Giovane como uma figura fundamental cuja obra serve como uma ponte entre eras. Seu legado encontra-se na:
Através de seu pincel expressivo e uso magistral da luz, Palma il Giovane capturou a própria essência de um mundo em transformação, deixando para trás um corpo de obras que continua a encantar e emocionar o observador moderno.
