Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 33 del v našem katalogu avtorja Gherardo Starnina
Kratek opis
Med vsemi originali, ki jih je pustil Gherardo Starnina, je najbolj znan Dormition of the Virgin (1408), ki se nahaja v kolekciji Philadelphia Museum of Art, Filadelfija. Takoj za njima sta Archangel Michael (1404) in Christ as Salvator Mundi (1405). Naš katalog vsebuje 33 del umetnika Gherardo Starnina; galerija je ohranila 33 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
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 · Muzej fine arts
12
Saint Stephen1410 · Muzej fine arts
13
The Dormition of the Virgin1405 · Art Institute of Chicago
14
Two Seated Angels Making Music1400 · Museum Boijmans Van Beuningen
15
Two Evangelists1407 · Rijksmuseum
16
St. Matthew (Two Evangelists)1407 · Rijksmuseum
17
Saints Mary Magdalene, Lawrence and a donor/ Angelo Acciaiuolo1405 · Gemäldegalerie
18
The Assumption of the Virgin1406 · Harvard Art Museums
19
Madonna and Child with SS Victor and Octavian1451 · Pinacoteca Comunale
20
Madonna and Child with Musical Angels1410 · J. Paul Getty Museum
21
Saint Hugh of Lincoln Exorcises a Man Possessed by the Devil1407 · Museo Poldi Pezzoli
22
Thebaid (detail)1410 · Galleria degli Uffizi
23
Thebaid (detail)1410 · Galleria degli Uffizi
24
The Beheading of Saint MargaretNational Gallery
25
The Last JudgmentBavarske državne slikopisne zbirke
26
Head of an AngelBarnes Foundation
27
St Benedict and Bishop DonatusNationalmuseum
28
St Vincent1410 · Muzej fine arts
29
(88 x 48 CM) (1400)Narodni muzej umetnosti Katalonije
30
Bogorodnja z Otrokom Jezusom in SvetnikiGalleria dell'Accademia di Firenze
31
Madonna and child1403
32
Incoronazione della Vergine e angeliPalazzo della Pilotta
33
Thebaid1410 · Galleria degli Uffizi
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 Gherardo Starnina | Slike iz tega seznama |
|---|---|---|---|
 Städel Museum |
Frankfurt | 4 | Christ as Salvator Mundi, Archangel Gabriel, Virgin Annunciate |
 Muzej fine arts |
Boston | 4 | Jeremiah with Two Angels, Isaiah with Two Angels, Saint Stephen |
 Galleria degli Uffizi |
Firene | 3 | Thebaid (detail), Thebaid (detail), Thebaid |
 Rijksmuseum |
Amsterdam | 2 | Two Evangelists, St. Matthew (Two Evangelists) |
 Philadelphia Museum of Art |
Filadelfija | 1 | Dormition of the Virgin |
 Museo Nazionale di Villa Guinigi |
Lucca | 1 | Archangel Michael |
 The Nelson-Atkins Museum of Art |
Kansas City | 1 | Adoration of the Magi |
 Cleveland Museum of Art |
Cleveland | 1 | Madonna and Child |
V obdobju necelo desetletja, od 1400 do 1410, je ta izdelek temโลกu ponudil vsako datirano originalno delo umetnika Gherardo Starnina v tej izbiri: tukaj je, leto za letom.
Izberite leto in oglej originale.
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), Philadelphia Museum of Art, Filadelfija. Zatem sledeta Archangel Michael (1404) in Christ as Salvator Mundi (1405).
54 let: delo Dormition of the Virgin iz leta 1408, Gherardo Starnina pa je bil/a rojen/a leta 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 in Jeremiah with Two Angels. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 33 del avtorja Gherardo Starnina, datiranih od 1400 do 1410.
Večini v Städel Museum (Frankfurt), Muzej fine arts (Boston) in Galleria degli Uffizi (Firene). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1410: 8 od 33 del na tej strani je bilo izdelovanih takrat, med njimi pa Jeremiah with Two Angels.
Na tej strani je najstarejše delo iz Madonna and Child (1400) in najstarejše iz Jeremiah with Two Angels (1410).
People (3), Figures (2) in Medieval art (2), na 33 delih na tej strani.
Tempera On Panel, za 5 od 33 del na tej strani.
Christ as Salvator Mundi, Archangel Gabriel in Virgin Annunciate: v muzeju Städel Museum, Frankfurt se nahaja 4 del z te strani.
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.
