Atualizado em Outubro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 56 obras de Stefano di Giovanni em nosso catálogo
Em resumo
Madonna of Humility (1432) é a pintura de Stefano di Giovanni que mais atrai olhares; a obra original pertence ao Staatliche Museen zu Berlin, Berlim. Depois disso, o olhar recai sobre Virgin with Child and Four Saints (detail) (1435) e Saint Francis and the Poor Knight, and Francis's Vision (1437). Entre as 56 obras de Stefano di Giovanni em nosso catálogo, estas 56 são as mais famosas, cada uma uma original única apresentada com o seu ano, o seu museu e a razão pela qual perdura.
In the quiet sanctity of the early fifteenth century, few images capture the profound intimacy of the divine as gracefully as Sassetta’s Madonna of Humility. Painted around 1432, this masterpiece serves as a breathtaking window into a period where the ethereal meets the earthly. The composition centers on the Virgin Mary, not seated upon a distant, golden throne, but nestled in a posture of profound humility that defines her very…
The panel titled Saint Francis and the Poor Knight, and Francis's Vision emerges from the hand of the artist Sassetta. Created about 1437, this work exists as the first of eight distinct paintings that once formed the back of a large, richly coloured and elaborate altarpiece. It belongs to the larger San Sepolcro Altarpiece, a significant assembly of devotional imagery.
The work is titled The Funeral of Saint Francis and Verification of the Stigmata. It was executed by the artist Sassetta (Stefano Di Giovanni) between 1437 and 1444. This panel functions as the final movement in a larger narrative cycle, serving as the eighth and concluding scene in a series of eight depictions of the life of Saint Francis.
The Agony in the Garden is a poignant and spiritually charged tempera painting from the Early Renaissance period. The composition depicts the biblical scene of Christ's agony in the Garden of Gethsemane, set against a dark, star-studded nocturnal sky and a landscape of rolling hills and a winding path. In the foreground, several apostles are shown in various states of deep sleep, their bodies slumped and heads bowed in a…
The work titled Saint Francis before the Sultan is a creation of the artist Sassetta. It emerged from the studio between 1437 and 1444. This panel was originally conceived as part of the San Sepolcro Altarpiece, a large and complex structure commissioned for the Franciscans of Borgo Sansepolcro, Italy. The piece functioned as part of a double-sided polyptych, a structural arrangement that allowed the sacred narrative to unfold on both…
In Saint John the Evangelist by Sassetta, a single, elongated figure commands the entire vertical space. The saint occupies the center of the panel, his presence exerting a heavy spiritual gravity that anchors the viewer's gaze. He stands upon a small, rocky ground adorned with intricate patterns, a modest stage for such a monumental figure. The saint holds a book and a stylus, the tools of his sacred vocation, which…
The air feels heavy with the scent of woodsmoke and the weight of a gathering crowd. In this 1423 tempera work, a public execution unfolds under a deep blue sky, framed by the soft, rolling hills of the Italian landscape. At the center of the chaos, a figure is bound to a stake, consumed by bright orange flames that lick upward against the dark, charred tones of the victim. The…
This tempera on poplar panel, dating to c. 1435, presents a solitary figure of Saint Margaret against a shimmering gold ground. The composition is vertical and centered, emphasizing a sense of stillness and spiritual focus. She is draped in a heavy, dark mantle over a deep crimson tunic, her head tilted with a gentle, serene expression. At her feet, a dark, dragon-like creature is visible, a symbolic representation of her…
In this vertical composition, Sassetta presents Saint Apollonia as a single, centered figure. The saint is positioned against a flat, decorative gold background that emphasizes her presence through a sense of divine stillness. Her expression remains calm and contemplative, a quietude that contrasts with the heavy symbolism of her attributes. She holds the pincers used in her martyrdom, a specific detail that identifies her within the religious tradition. This object,…
St. Nicholas of Bari1430
12
Madonna of the Snow Altarpiece1432
13
St Anthony the Hermit Tortured by the Devils1423
14
The Ecstasy of St Francis (detail)1437 · Villa i Tatti
15
The Procession to Calvary1441 · Detroit Institute of Arts
16
The Betrayal of Christ1437 · Detroit Institute of Arts
17
Madonna of Humility1437 · National Gallery of Art
18
St. Anthony of Padua1450
19
Madonna and Child with Angels1437
20
St Matthew1437 · Collezione Vittorio Cini
21
Assumption of Mary with Angel Choirs1450 · Gemäldegalerie
22
The Wolf of Gubbio1450 · National Gallery
23
Virgin of Humility1440 · Collezione Vittorio Cini
24
St Thomas Inspired by the Dove of the Holy Ghost1423 · Szépművészeti Múzeum
25
Damnation of the Soul of the Miser of Citerna1437 · Museu do Louvre
26
The Ecstasy of St Francis1437 · Villa i Tatti
27
St Thomas Inspired by the Dove of the Holy Ghost1423 · Szépművészeti Múzeum
28
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
29
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
30
Miracle of the Eucharist1423 · Bowes Museum
31
Death of the Heretic on the Bonfire1423 · National Gallery of Victoria
32
St Jerome (detail)1423 · Pinacoteca Nazionale
33
Founding of Santa Maria Maggiore1430
34
The mystical marriage of Saint Francis of Assisi1444
35
The Annunciation "1435 · Metropolitan Museum of Art
36
Virgin with Child and Four Saints (detail)1435 · Museo Diocesano
37
The Stigmatisation of St Francis1437 · National Gallery
38
The Blessed Ranieri Frees the Poor from a Prison in Florence1437 · Museu do Louvre
39
Virgin with Child and Four Saints (detail)1435 · Museo Diocesano
40
Virgin and Child with Saints1437 · Museu do Louvre
41
The Blessed Ranieri Frees the Poor from a Jail in Florence1444 · Museu do Louvre
42
St Thomas Before the Cross1423 · Pinacoteca Vaticana
43
The Blessed Raniero of Borgo San Sepolcro Appearing to a Cardinal in a Dream1444 · Staatliche Museen zu Berlin
44
St. Francis Kneeling before Christ on the CrossCleveland Museum of Art
45
The Last Supper1423 · Pinacoteca Nazionale
46
St Anthony the Hermit Tortured by the Devils1423 · Pinacoteca Nazionale
47
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
48
Madonna and Child with AngelsMetropolitan Museum of Art
49
The Annunciation
50
The Meeting of St. Anthony and St. PaulNational Gallery of Art
51
The Journey of the Magi1435 · Metropolitan Museum of Art
52
Casamento de São Francisco com a Virgem Pobre1437 · Musée Condé
53
Saint Francis renounces his Earthly Father1437 · National Gallery
54
St. Anthony Beaten by Devils1423 · Pinacoteca Nazionale
55
Madonna of Humility with Four Saints1435 · Museo Diocesano
56
The Virgin and Child with Saints1430 · Galleria degli Uffizi
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.
| Museu | Cidade | Obras de Stefano di Giovanni | Pinturas desta lista |
|---|---|---|---|
 National Gallery |
Londres | 6 | Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis, Saint Francis before the Sultan |
 Szépművészeti Múzeum |
Budapeste | 5 | St Thomas Inspired by the Dove of the Holy Ghost, St Thomas Inspired by the Dove of the Holy Ghost, St Thomas Inspired by the Dove of the Holy Ghost (detail) |
 Museo Diocesano |
Cortona | 4 | Virgin with Child and Four Saints (detail), Virgin with Child and Four Saints (detail), Virgin with Child and Four Saints (detail) |
 National Gallery of Art |
Washington | 4 | Saint Margaret, Saint Apollonia, Madonna of Humility |
 Museu do Louvre |
Paris | 4 | Damnation of the Soul of the Miser of Citerna, The Blessed Ranieri Frees the Poor from a Prison in Florence, Virgin and Child with Saints |
 Pinacoteca Nazionale |
Siena | 4 | St Jerome (detail), The Last Supper, St Anthony the Hermit Tortured by the Devils |
 Detroit Institute of Arts |
Detroit | 3 | The Agony in the Garden, The Procession to Calvary, The Betrayal of Christ |
 Metropolitan Museum of Art |
Nova York | 3 | The Annunciation ", Madonna and Child with Angels, The Journey of the Magi |
Escolha uma década para ver a obra original que a define.
In Saint John the Evangelist by Sassetta, a single, elongated figure commands the entire vertical space. The saint occupies the center of the panel, his presence exerting a heavy spiritual gravity that anchors the viewer's gaze. He stands upon a small, rocky ground adorned with intricate patterns, a modest stage for such a monumental figure. The saint holds a book and a stylus, the tools of his sacred vocation, which…
The air feels heavy with the scent of woodsmoke and the weight of a gathering crowd. In this 1423 tempera work, a public execution unfolds under a deep blue sky, framed by the soft, rolling hills of the Italian landscape. At the center of the chaos, a figure is bound to a stake, consumed by bright orange flames that lick upward against the dark, charred tones of the victim. The…
In the quiet sanctity of the early fifteenth century, few images capture the profound intimacy of the divine as gracefully as Sassetta’s Madonna of Humility. Painted around 1432, this masterpiece serves as a breathtaking window into a period where the ethereal meets the earthly. The composition centers on the Virgin Mary, not seated upon a distant, golden throne, but nestled in a posture of profound humility that defines her very…
The work is titled The Funeral of Saint Francis and Verification of the Stigmata. It was executed by the artist Sassetta (Stefano Di Giovanni) between 1437 and 1444. This panel functions as the final movement in a larger narrative cycle, serving as the eighth and concluding scene in a series of eight depictions of the life of Saint Francis.
The work titled Saint Francis before the Sultan is a creation of the artist Sassetta. It emerged from the studio between 1437 and 1444. This panel was originally conceived as part of the San Sepolcro Altarpiece, a large and complex structure commissioned for the Franciscans of Borgo Sansepolcro, Italy. The piece functioned as part of a double-sided polyptych, a structural arrangement that allowed the sacred narrative to unfold on both…
Madonna of Humility (1432), Staatliche Museen zu Berlin, Berlim. Virgin with Child and Four Saints (detail) (1435) e Saint Francis and the Poor Knight, and Francis's Vision (1437) vêm a seguir.
40 anos: Madonna of Humility data de 1432, e Stefano di Giovanni nasceu em 1392.
Madonna of Humility, Virgin with Child and Four Saints (detail), Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis, The Agony in the Garden, Saint Francis before the Sultan, Saint John the Evangelist, The burning of a heretic, Saint Margaret e Saint Apollonia. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 56 obras de Stefano di Giovanni, datadas de 1412 a 1450.
Principalmente em National Gallery (Londres), Szépművészeti Múzeum (Budapeste) e Museo Diocesano (Cortona). A tabela de museus acima lista todos eles.
Em 1430s: 27 das 56 obras nesta página foram feitas então, sendo Madonna of Humility delas.
Nesta página, a mais antiga é Saint John the Evangelist (1412) e a mais recente é Saint Francis before the Sultan (1450).
People (8), Saints (6) e Religious scene (6), entre as 56 obras nesta página.
Tempera On Panel, para 20 das 56 obras nesta página.
Early renaissance, a julgar pelos originais nesta página.
Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis e Saint Francis before the Sultan: o National Gallery, Londres detém 6 das obras desta página.
Sim, como uma reprodução: a obra original permanece no seu museu, mas qualquer pintura desta página pode ser pintada à mão para você, feita sob encomenda uma a uma, a partir da própria página da pintura.
Na era luminosa do Quattrocento italiano, poucos nomes evocam a delicada transição do medieval para o moderno de forma tão pungente quanto Stefano di Giovanni, conhecido mais afetuosamente pela história como Sassetta (Stefano Di Giovanni). Figura central da Escola Sienense, sua arte representa uma ponte profunda entre a elegância decorativa do período Gótico Tardio e o realismo emergente do Renascimento. Embora as origens exatas de sua vida permaneçam envoltas nas névoas do tempo — com estudiosos debatendo se ele nasceu em Siena ou talvez em Cortona — sua presença na paisagem toscana é inegável. Sua obra carrega a alma rítmica e lírica de Siena, mas respira com uma nova vitalidade observacional que sugere um artista profundamente engajado com os ventos de mudança de sua era.
A jornada criativa de Sassetta (Stefano Di Giovanni) foi uma de síntese sofisticada. Ele possuía a rara habilidade de honrar o estilo tradicional sienense — caracterizado por seu detalhamento intrincado e profundidade espiritual — enquanto absorvia, simultaneamente, as inovações revolucionárias que surgiam de Florença. A influência de mestres como Masaccio, Masolino e Gentile da Fabriano pode ser sentida em seu domínio evolutivo sobre as relações espaciais e o uso da luz. Ele não apenas copiou essas novas técnicas; em vez disso, ele as integrou para infundir suas figuras com um brilho naturalista, permitindo que a luz moldasse convincentemente suas formas e criasse uma sensação de espaço coeso e pulsante em suas composições.
A obra de Sassetta (Stefano Di Giovanni) é um testemunho de seu domínio da pintura narrativa, onde cada pincelada serve a um propósito espiritual superior. Suas obras funcionam frequentemente como janelas para o divino, utilizando uma paleta de cores sofisticada e composições rítmicas para guiar o espectador através de histórias sagradas. Em obras-primas como A Última Ceia, ele demonstra uma habilidade extraordinária para capturar estados emocionais complexos, utilizando tons terrosos e uma perspectiva cuidadosa para ancorar a profunda narrativa religiosa em uma realidade palpável e sombria. Sua capacidade de equilibrar a beleza ornamental da tradição gótica com um crescente senso de drama humano torna seus painéis unicamente cativantes.
Além da escala íntima de seus painéis menores, Sassetta (Stefano Di Giovanni) alcançou grande renome através de retábulos e polípticos significativos que definiram a paisagem religiosa de seu tempo. Entre seus feitos artísticos mais notáveis, destacam-se:
A importância histórica de Sassetta (Stefano Di Giovanni) reside em seu papel como guardião e inovador. Ele garantiu que a identidade única da Escola Sienense não desaparecesse diante do domínio florentino, mas que, em vez disso, evoluísse para incluir a nova linguagem de realismo e profundidade. Suas pinturas não são meras relíquias de uma era passada; são diálogos vivos entre o velho mundo e o novo. Através de seu manuseio delicado da luz, seu domínio da iconografia simbólica e sua profunda empatia por seus temas, Sassetta (Stefano Di Giovanni) deixou uma marca indelével na história da arte italiana, assegurando seu lugar como um dos representantes mais importantes do Renascimento Sienense.
