Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 161 del v našem katalogu avtorja Jacopo Giovine Palma
Kratek opis
Med vsemi originali, ki jih je pustil Jacopo Giovine Palma, je najbolj znan The Crucifixion of St Peter (1614), ki se nahaja v kolekciji Gallerie dell'Accademia di Venezia, Venecija. Takoj za njima sta Pietà with Angels (1620) in Paolo Veronese (1600). Naš katalog vsebuje 161 del umetnika Jacopo Giovine Palma; galerija je ohranila 100 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
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 · Dogejeva palača
13
Pietá1611 · Muzej Prado
14
David with Goliath's Head1590 · Muzej Prado
15
Salomé with the Head of John the Baptist1599 · Kunsthistorisches Museum
16
Moses Brings the Tablets of the Law1586 · Bavarske državne slikopisne zbirke
17
St Sebastian1590 · Ermitaž
18
Dead Christ Supported by an Angel1612 · Kunsthistorisches Museum
19
Adoration of the Shepherds1575 · Bavarske državne slikopisne zbirke
20
Flagellation of Christ1586 · Bavarske državne slikopisne zbirke
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 · Dogejeva palača
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 · Bavarske državne slikopisne zbirke
41
Lamentation of Christ1586 · Bavarske državne slikopisne zbirke
42
Thetis on the Sea1586 · Bavarske državne slikopisne zbirke
43
Lamentation of Christ1586 · Bavarske državne slikopisne zbirke
44
Annunciation of Mary1585 · Bavarske državne slikopisne zbirke
45
Christ and the Samaritan Woman1586 · Bavarske državne slikopisne zbirke
46
Saint Sebastian1586 · Bavarske državne slikopisne zbirke
47
Ecce homo1586 · Bavarske državne slikopisne zbirke
48
The Expulsion of the Vices of the Church1582 · Kraljeva zbirka
49
Venus and Cupid1590 · Kraljeva zbirka
50
Prometheus Chained to the Caucasus1589 · Kraljeva zbirka
51
Massacre of the Inhabitants of Hippo1593 · Musée Fabre
52
Scene from the History of Joseph1587 · Isabella Stewart Gardner Museum
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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
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Pius II1593
58
Judith and Holofernes1600
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The Virgin and Child, Saint Luke and a Donor1602 · Kraljeva zbirka
60
The Penitent Magdalene1600 · Kraljeva zbirka
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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 · Bavarske državne slikopisne zbirke
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 · Ermitaž
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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 · Dogejeva palača
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 FlagellationMuzej 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
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The Pool1592 · Collezione Molinari Pradelli
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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
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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 SenatorMuzej Prado
99
Amusements of the Prodigal Son1595 · Gallerie dell'Accademia di Venezia
100
Christ as TeacherBavarske državne slikopisne zbirke
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 Jacopo Giovine Palma | Slike iz tega seznama |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 14 | Moses Brings the Tablets of the Law, Adoration of the Shepherds, Flagellation of Christ |
 Kunsthistorisches Museum |
Dunaj | 8 | Pietà with Angels, The prophet Nathan admonishes King David, Portrait of a Sculptor |
 Muzej Prado |
Madrid | 5 | The Conversion of Saint Paul, Pietá, David with Goliath's Head |
 Kraljeva zbirka |
London | 5 | The Expulsion of the Vices of the Church, Venus and Cupid, Prometheus Chained to the Caucasus |
 Dogejeva palača |
Benetke | 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 |
Venecija | 3 | The Crucifixion of St Peter, Return of the Prodigal Son, Amusements of the Prodigal Son |
 Ermitaž |
Sankt Peterburg | 2 | St Sebastian, Apostles at the Virgin's Tomb |
 Fitzwilliam Museum |
2 | Christ calling Zacchaeus, Elijah and the Angel |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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, Venecija. Zatem sledeta Pietà with Angels (1620) in Paolo Veronese (1600).
64 let: delo The Crucifixion of St Peter iz leta 1614, Jacopo Giovine Palma pa je bil/a rojen/a leta 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 in 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. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 161 del avtorja Jacopo Giovine Palma, datiranih od 1569 do 1628.
Večini v Bavarske državne slikopisne zbirke (München), Kunsthistorisches Museum (Dunaj) in Muzej Prado (Madrid). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1590s: 27 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa The Conversion of Saint Paul.
Na tej strani je najstarejše delo iz Fighting soldiers (1569) in najstarejše iz 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) in People (15), na 100 delih na tej strani.
Oil On Canvas, za 36 od 100 del na tej strani.
Baroque in Renaissance, glede na originala na tej strani.
Moses Brings the Tablets of the Law, Adoration of the Shepherds in Flagellation of Christ: v muzeju Bavarske državne slikopisne zbirke, München se nahaja 13 del z te strani.
V zlati zamerkv venetske renesanse, obdobju, ki ga zaznamuje nepremočljivo mojstvo barve in svetlobe, se je pojavil slikar, katerega črta je premostila vrzel med visoko renesanso in vzrastajočo dramo baroka. Jacopo Palma il Giovane, rojen kot Iacopo Negretti okoli leta 1548, ni bil le naslednik velikih mojstrov, temveč vitalna vez v kontinuiteti venetske šole. Kot nečec slavnega Palme Vecchia se je rodil v liniji umetniške odličnosti in si je zapodel globoko razumevanje kromatične bogatosti, ki definira venetsko tradicijo. Njegovo življenje in delo predstavljata nepretrlo prehodnost, ki nosi luminozno eleganco njegovih predhodnikov v novo dobo čustvene intenzivnosti in teatralne veličastnosti.
Fundamente Palminega umetniškega izraznega središča so se utrdili v venetskih ateljèjih, kjer je zrak osebil dediščino Tiziana in Tintoretta. Čeprav zgodovinski zapisi nakazujejo, da je lahko svojo tehniko izpil skozi študijo Tizianovih dihanjajočih barvnih palet, je bila prav dinamična energija Tintoretta tista, ki je dejansko oblikovala njegovo zrelo vizijo. Po Tintorettovi smrti leta 1avse se je Palma il Giovane vznesel na vrh umetniškega prestija in postal prevladujoča umetniška sila v Benetkah. Prisel je nad neobničljivo sposobnost zazložitve teh dveh različnih vplivov: iz Tiziana je pridobil sofisticirano vladanje svetlobo in tonom kože; iz Tintoretta pa je prevzel občutek gibanja, dramatičen chiaroscuro in narativno nujnost, ki je globoko resonirala z religiozno vročino protireformacije.
Palmin opus je spomenik njegovi sposobnosti, da biblijske in mitološke teme spremeni v vizceralne človeške izkušnje. Njegove slike redko stojijo nepomično; utripajo z življenjsko močjo, ki gledalca privlači v srce drame. Ne glede na to, ali prikazuje dostojnost religijskega mučeništva ali živahno kaos taverne, njegova dela uporabljajo svetlobo kot narativno orodje, ki vodi oko skozi zapletene kompozicije do čustvene jedri zgodbe. Njegovo mojstvo je posebej očitno v delih, kot je Mučeništvo svete Katarine Aleksandrijske, kjer igra senc in sijaja povečuje občutek božanske borbe, ter Prilike pri Devici, ki skozi razleglo, energično črtanje zajema globok trenutek kolektivne žalosti.
Po znotraj njegovih religioznih naročil mu je vsestranskost omogočila raziskovanje širokega spektra tematik. Njegov talent za zajemanje človeškega duha je morda najbolj intimen v njegovem Samoportretu, delu, ki razkriva duševno introspekcijo in tehnično dovršenost, sposobno prikazati najprejočnejše nuanse izrazov. Tudi v bolj svetovnih ali anekdotičnih scenah, kot je Razuzivanje izgubljenega sina, ohranja živoporno, ritmično kakovost, ki slavi teksture in barve venetskega življenja. Ta sposobnost med globokim in igrivim je zagotovila njegovo relevantnost v različnih krogih sponzorjev, od cerkvenih oblasti Benetk do imperialnih dvorov srednje Evrope.
Zgodovinski pomen Jacopa Palme il Giovane se razteza daleč čez meje Benetške republike. Njegov vpliv se je širil ven, do Bergama in do dvora cesarja Rudolfa II v Pragi, kar ga označuje kot umetnika mednarodnega pomena. On ni le kopiral preteklosti; on jo je razvijal in pripravljal tla za bolj čustvene in dramatične sloge, ki bodo definirali 17. stoletje. Z mentorstvom naslednjim generacijam, vključno z osebnostmi, ki bodo še izpilile venetsko estetiko, je zagotovil, da so tradicije njegove linije ostale žive in transformativne.
Danes prepoznavamo Palmo il Giovane kot ključno figuro, katere delo služi kot most med obdobji. Njegovo dediščino najdemo v:
S svojo ekspresivno črtico in mojstreno uporabo svetlobe je Palma il Giovane zajel samo bistvo spreminjajočega se sveta ter za pustil korpus del, ki še vedno očarava in premiče sodobnega opazovalca.
