Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 63 del v našem katalogu avtorja Francesco Trevisani
Kratek opis
Izpostavljeno v galeriji je najbolj znano sliko umetnika Francesco Trevisani, ki je The Madonna and Child (1700). Study for 'The Massacre of the Innocents' (1710) in Christ Supported by Angels (1720) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 63 del avtorja Francesco Trevisani v našem katalogu galerija spodaj predstavlja 61 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
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 · Bavarske državne slikopisne zbirke
15
Christ with the Disciples on the Way to Emmaus1701 · Bavarske državne slikopisne zbirke
16
Archangel Michael1701 · Bavarske državne slikopisne zbirke
17
Saint Sebastian1701 · Bavarske državne slikopisne zbirke
18
Christ at Emmaus1701 · Bavarske državne slikopisne zbirke
19
Hl. Sebastian1701 · Bavarske državne slikopisne zbirke
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 · Kraljeva zbirka
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 · Bavarske državne slikopisne zbirke
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 · Muzej 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 · Scottish National Portrait Gallery
37
St. Francis in Penitence1700 · Patrick and Beatrice Haggerty Museum of Art
38
Christ mort porté par des angesLouvre
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 PASSIONLouvre
48
La famille de Darius aux pieds d'AlexandreLouvre
49
Devica Marija prikazuje otroka sv. Antoniju1730 · Palacio Nacional de Mafra
50
Apollo and DaphneErmitaž
51
Latona and the Frogs
52
Portrait of Cardinal Pietro Ottoboni
53
Portrait of Maria Clementina Sobieska.Scottish National Portrait Gallery
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
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Francesco Trevisani | Slike iz tega seznama |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 7 | The Holy Family, Christ with the Disciples on the Way to Emmaus, Archangel Michael |
 Louvre |
Pariz | 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 |
Dunaj | 2 | Penitent Mary Magdalene, Body of Christ, held by angels |
 Musée des Beaux-Arts de Strasbourg |
Strazburg | 2 | Crucifixion of Saint Andrew, Christ on the Cross |
 Scottish National Portrait Gallery |
Edinburgh | 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 |
 Fitzwilliam College |
Cambridge | 1 | Study for 'The Massacre of the Innocents' |
 Bristol Museum - Art Gallery |
Bristol | 1 | Christ Supported by Angels |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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.
The Virgin presenting the Child to St. Anthony – A Masterpiece of Baroque Devotion Francesco Trevisani’s “The Virgin presenting the Child to St. Anthony” is more than just a beautiful painting; it's a testament to the artistic fervor and spiritual piety that characterized the Baroque era in Rome. Executed around 1730, this monumental canvas – measuring 549 x 247 cm – resides prominently within the Basilica of Mafra, Portugal, serving…
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). Zatem sledeta Study for 'The Massacre of the Innocents' (1710) in Christ Supported by Angels (1720).
44 let: delo The Madonna and Child iz leta 1700, Francesco Trevisani pa je bil/a rojen/a leta 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 in LE SOMMEIL DE L'ENFANT JESUS. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 63 del avtorja Francesco Trevisani, datiranih od 1681 do 1746.
Večini v Bavarske državne slikopisne zbirke (München), Louvre (Pariz) in Kunsthistorisches Museum (Dunaj). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1700s: 15 od 61 del na tej strani je bilo izdelovanih takrat, med njimi pa The Madonna and Child.
Na tej strani je najstarejše delo iz Lucretia (1681) in najstarejše iz Crucifixion of Saint Andrew (1746).
Woman (14), Man (13) in Drapery (9), na 61 delih na tej strani.
Oil On Canvas, za 26 od 61 del na tej strani.
Baroque, glede na originala na tej strani.
The Holy Family, Christ with the Disciples on the Way to Emmaus in Archangel Michael: v muzeju Bavarske državne slikopisne zbirke, München se nahaja 7 del z te strani.
Francesco Trevisani stoji kot svetlobna figura v obdobju prehodu med dramatično intenzivnostjo poznega baroka in prihajajočo eleganco zgodnjega rokoka, obdobja, ki mu pogosto pravimo barochetto. Rodjen v Koperu na Istri, je njegovo umetniško pot oblikovala bogata tradicija tako Benetke kot Rima. Kot sin arhitekta je je osnovne principe oblikovanja najprej spoznal pod vodstvom svojega očeta, Antonia Trevisanija. Ta zgodnja podlaga v strukturi in kompoziciji mu je kasneje omogočila mojstren prevlad nad kompleksnimi, teatralnimi postavitvami, ki zaznamujejo njegova najslavnejša dela.
Njegova izobrazba je bila globoko zakoreninjena v mojstrov njegove dobe, saj je študiral pri umetnikih, kot so Antonio Zanchi in Joseph Heintz mlajši. Ti vplivi so mu podarili tehnični jezik, ki je združeval močno gibanje z nežno senzibilnostjo. Ko se je premikal skozi umetniška središča Benetke in Rima, je Trevisani razvil slog, ki je znal zajeti tako globoko žalost religijskega mučeništva kot nežno, nebesno milost božanskih srečanj. Njegova sposobnost navigiranja med temi čustvenimi ekstremoma je v njem vzbudila željo po pomembnih cerkvenih in zasebnih naročilih.
Trevisanijeva dela zaznamuje neomajna predanost čustveni globini in osupljiva uporaba svetlobe. V njegovih religioznih kompozicijah se meje med zemljipisnim in božanskim pogosto zdijo kot da se raztapljajo. To lahko opazimo v njegovih pripovedih o svetih scenah, kjer je težko, sveto tišino trenutka skoraj mogoče rovnati. Ne glede na to, ali je portretiral brezživo telo Kristovega, ki ga nosijo angelov, ali ganjivo pobožnost svetih, je Trevisani uporabljal paleto barv in poteze, ki so poudarile duhovno vročino tistega časa.
Njegova tehnična dovršenost je posebej očitna v sposobnosti prikazovanja teksture in atmosfere. V delih, kot je Mučeništvo sedmih sinov svetice Felicije, prepleta kompleksne zgodbe, ki vključujejo rimske cesarje, poganske kipove in nebesne glasnike. Skozi drobničke podrobnosti usmerja oko gledalca po platnu, pri čemer uporablja svetlobo za izpostavljanje agonije mučencev in upanja, ki ga ponujajo nebesni venči. To mojstrovstvo pri pripovedni slikarstvu mu je omogočilo ustvarjanje del, ki niso bili le dekorativna, temveč so služila kot globoki instrumenti pobožnosti.
skozi svojo dolgo kariero je Trevisanijev vpliv močno čutil v rimski umetniški sceni, še posebej skozi njegovo povezavo z vplivnimi skrbniki, kot je bil kardinal Ottoboni. Njegovo vrhunsko delo, freske v cerkvi San Silvestro in Capite, služi kot dokaz njegove sposobnosti transformacije arhitekturnih prostorov z grandioznimi, širimi pripovedmi. Njegov slog, močno vplivno pod vplivom Carla Maratte, je pomagal definirati estetiko poznega baroka ter premostiti vrzel med težkimi senčami prejšnjega stoletja in lažjimi, bolj zračno prostimi kompozicijami prihajajoče dobe rokoka.
Zgodovinski pomen Francesco Trevisanija leži v njegovi vlogi mostu med obdobji. Ohranil je veličastnost in dramatično napetost, ki sta zahtevala protireformacija, hkrati pa je vnesel sladkost in eleganco, ki sta napovedovali naslednji gib v evropski umetnosti. Njegova sposobnost uravnoteženja monumentalnega z intimnim zagotavlja, da njegove slike ostajajo močna okna v duhovno in umetniško dušo zgodnjega osemnajstega stoletja.
