Обновлено Ноябрь 2026 · рейтинг на основе нашего показателя популярности (количество поисковых запросов, посещений и заказов для каждой работы) · 33 работ Герardo Старнина в нашем каталоге
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Из всех оригинальных работ, оставленных Герardo Старнина, самой известной является Dormition of the Virgin (1408) из коллекции Филадельфийский музей искусства, Филадельфия. Сразу за ними следуют Archangel Michael (1404) и Christ as Salvator Mundi (1405). В нашем каталоге представлено 33 работ Герardo Старнина; галерея сохранила 33 самых почитаемых в мире произведений, каждое из которых сопровождается датой создания, информацией о музее и своей историей.
The scene depicts the Dormition of the Virgin Mary, a crowded assembly of figures gathered around a central reclining form. The composition is dense, with bodies layered closely together against a flat, patterned gold background. Deep blues, vibrant reds, and ochre tones define the garments of the apostles and angels. Each figure is marked by a circular golden halo, creating a rhythmic repetition of shapes across the panel. The lighting…
Isaiah with Two Angels1410 · Музей изящных искусств
12
Saint Stephen1410 · Музей изящных искусств
13
The Dormition of the Virgin1405 · Институт искусств Чикаго
14
Two Seated Angels Making Music1400 · Музей Бойманса-ван-Бёунхина
15
Two Evangelists1407 · Рейксмюзеум
16
St. Matthew (Two Evangelists)1407 · Рейксмюзеум
17
Saints Mary Magdalene, Lawrence and a donor/ Angelo Acciaiuolo1405 · Gemäldegalerie
18
The Assumption of the Virgin1406 · Музеи изобразительных искусств Гарварда
19
Madonna and Child with SS Victor and Octavian1451 · Pinacoteca Comunale
20
Madonna and Child with Musical Angels1410 · Музей Дж. Пола Гетти
21
Saint Hugh of Lincoln Exorcises a Man Possessed by the Devil1407 · Museo Poldi Pezzoli
22
Thebaid (detail)1410 · Галерея Уффици
23
Thebaid (detail)1410 · Галерея Уффици
24
The Beheading of Saint MargaretНациональная галерея
25
The Last JudgmentБаварские государственные живописные коллекции
26
Head of an AngelФонд Барнс
27
St Benedict and Bishop DonatusНациональный музей Швеции
28
St Vincent1410 · Музей изящных искусств
29
(88 x 48 CM) (1400)Национальный музей искусства Каталонии
30
Верующая Дева с Младенцем и СвятымиГалерея Академии
31
Madonna and child1403
32
Incoronazione della Vergine e angeliПалаццо делла Pilotta
33
Thebaid1410 · Галерея Уффици
Четыре темы, которые чаще всего встречаются в этих оригиналах, каждая из которых представлена своим лучшим образцом.
8 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Герardo Старнина | Картины из этого списка |
|---|---|---|---|
 Штедель-Музей |
Франкфурт | 4 | Christ as Salvator Mundi, Archangel Gabriel, Virgin Annunciate |
 Музей изящных искусств |
Бостон | 4 | Jeremiah with Two Angels, Isaiah with Two Angels, Saint Stephen |
 Галерея Уффици |
Флоренция | 3 | Thebaid (detail), Thebaid (detail), Thebaid |
 Рейксмюзеум |
Амстердам | 2 | Two Evangelists, St. Matthew (Two Evangelists) |
 Филадельфийский музей искусства |
Филадельфия | 1 | Dormition of the Virgin |
 Museo Nazionale di Villa Guinigi |
Lucca | 1 | Archangel Michael |
 Художественный музей Нельсона-Аткинса |
Канзас-Сити | 1 | Adoration of the Magi |
 Кливлендский музей искусств |
Кливленд | 1 | Madonna and Child |
Всего за одно десятилетие, с 1400 по 1410, этот период подарил миру все оригинальные работы Герardo Старнина, представленные в этой подборке: перед вами — по годам.
Выберите год, чтобы увидеть оригиналы.
The scene depicts the Dormition of the Virgin Mary, a crowded assembly of figures gathered around a central reclining form. The composition is dense, with bodies layered closely together against a flat, patterned gold background. Deep blues, vibrant reds, and ochre tones define the garments of the apostles and angels. Each figure is marked by a circular golden halo, creating a rhythmic repetition of shapes across the panel. The lighting…
Dormition of the Virgin (1408), Филадельфийский музей искусства, Филадельфия. Далее следуют Archangel Michael (1404) и Christ as Salvator Mundi (1405).
54 лет: Dormition of the Virgin датируется 1408 годом, а Герardo Старнина родился в 1354.
Dormition of the Virgin, Archangel Michael, Christ as Salvator Mundi, Archangel Gabriel, Virgin Annunciate, Salvator Mundi, The Angel of the Annunciation and the Virgin Annunciate, Adoration of the Magi, Madonna and Child, A Bishop Saint and Saint Lawrence и Jeremiah with Two Angels. В рейтинге выше указаны год создания и музей для каждой работы.
В нашем каталоге представлено 33 работ Герardo Старнина, созданных в период с 1400 по 1410.
В основном в Штедель-Музей (Франкфурт), Музей изящных искусств (Бостон) и Галерея Уффици (Флоренция). В таблице выше перечислены все музеи.
В 1410: 8 из 33 работ на этой странице были созданы в этот период, Jeremiah with Two Angels из них.
На этой странице самая ранняя работа датирована Madonna and Child (1400), а самая поздняя — Jeremiah with Two Angels (1410).
People (3), Figures (2) и Medieval art (2) в 33 работах на этой странице.
Tempera On Panel, для 5 из 33 работ на этой странице.
Christ as Salvator Mundi, Archangel Gabriel и Virgin Annunciate: в коллекции Штедель-Музей, Франкфурт находится 4 работ со страницы.
In the golden twilight of the Middle Ages, as the rigid structures of the Gothic era began to soften under the warmth of burgeoning humanism, there emerged a painter whose brush captured the very essence of spiritual devotion and intricate beauty. Gherardo di Jacopo Starnina, known to history by the affectionate moniker “Starnina,” stands as a vital bridge in the evolution of Italian art. Born in Florence around 1354, his early years were steeped in the prestigious traditions of the Florentine school. As an apprentice to the renowned Agnolo Gaddi, Starnina was immersed in a world where the emotional depth of Giotto met the delicate, lyrical elegance of Simone Martini. This formative period instilled in him a lifelong duality: a profound commitment to realistic observation paired with an unwavering devotion to the spiritual narrative.
The trajectory of Starnina’s life took a transformative turn when he migrated toward Venice around 1380. This move was not merely a change in geography but a shift in artistic atmosphere. In Venice, the light was different, more luminous and atmospheric, and the burgeoning trade brought new textures and colors to the artist's palette. It was here that Starnina truly found his voice, establishing himself as a master of detail and a painter of profound faith. His work began to reflect the unique Venetian sensibility—a blend of rich, decorative splendor and a deep, contemplative stillness that invited the viewer into a state of prayerful meditation.
To gaze upon a Starnina masterpiece is to enter a world where every fold of fabric and every subtle gesture carries weight. He was not an artist preoccupied solely with grand, sweeping movements; rather, he found the divine in the minute. His technique was characterized by a remarkable attention to texture and nuance, a hallmark that would define the Venetian Renaissance style. In works such as Virgin with Child and Saints, one can witness his ability to weave together angelic figures and holy saints within a composition that feels both mathematically structured and emotionally fluid. He utilized color not just as a means of representation, but as a tool to convey the sanctity of his subjects.
His contributions to sacred spaces remain some of his most enduring legacies. The frescoes adorning the Basilica di San Frediano and the collections within the Museo di Bassano serve as windows into a lost era of craftsmanship. Starnina’s ability to render the Thebaid—the desert landscapes inhabited by hermits—demonstrates his skill in blending landscape with spiritual struggle, using light and shadow to evoke the isolation and piety of the saints. His work on the façades and interiors of religious institutions showcased a mastery of perspective that, while still rooted in Gothic tradition, pointed toward the revolutionary advancements of the coming centuries.
While the names of later Venetian giants like Titian or Tintoretto often dominate the historical discourse, the significance of Starnina cannot be overstated. He provided the essential foundation upon which the later masters built their triumphs. By integrating the emotional intensity of his Florentine training with the luminous, decorative richness of Venice, he helped create a new visual language for the Renaissance. His life’s work represents a period of transition, where the symbolic rigidity of the past was gracefully yielding to a more human-centric, observant way of seeing the world.
The enduring impact of Gherardo di Jacopo Starnina can be summarized through several key artistic contributions:
Today, when we study the works of Starnina, we are not merely looking at relics of the 15th century; we are witnessing the birth of a new way of perceiving the divine through the lens of human beauty and meticulous artistry.
