Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 30 del v našem katalogu avtorja Franciabigio
Kratek opis
Portrait of a Man (1510) je slika avtorja Franciabigio, ki pritegne največ pogledov; original se nahaja v muzeju Louvre, Pariz. Nato se pogled smeri k Noli me tangere (1520) in Mary from the Annunciation (1510). Med 30 dela umetnika Franciabigio v našem katalogu so ta 30 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
In the quiet intensity of Franciabigio’s Portrait of a Man, we encounter more than just a mere likeness; we are invited into a profound meditation on human presence and the subtle complexities of the Renaissance spirit. Painted around 1510, this masterpiece serves as a captivating window into an era where the boundaries between the physical world and the psychological landscape began to dissolve. The subject, a young man of poised…
The fresco depicts Jesus Christ with arms outstretched, positioned within a landscape of green grass and distant trees. Two figures occupy the immediate space around him: one person kneels before him, while another stands behind. The scene is populated by several other individuals scattered throughout the composition, some situated in the foreground and others in the background. Above the assembly, a single bird flies through the sky. The arrangement of…
The air in the small, architectural space feels heavy with a sudden, holy stillness. To the right, Mary leans into the moment, her body caught in a subtle, twisting movement that breaks the stillness of a traditional pose. She is a figure of quiet reverence, her profile turned toward a white dove descending from the upper left. This celestial visitor, representing the Holy Spirit, glides through a cool, muted blue-green…
A single man emerges from a void of deep, shadowy tones, his presence felt through the quiet intensity of his stare. He sits slightly off-center, his body turned toward us, yet his eyes remain fixed directly upon the observer, creating an immediate, intimate connection. The light falls from the upper left, carving the contours of his face with a sharp, directional clarity. This light catches the bridge of his nose…
In this three-quarter view, we encounter a young man caught in a moment of profound introspection. He is positioned slightly off-center, his gaze directed away from us, as if lost in a private thought that we are merely permitted to observe. The lighting, descending from the upper left, carves the contours of his face with a gentle precision, casting soft shadows that define the bridge of his nose and the…
The composition is anchored by a stable pyramidal structure, a hallmark of High Renaissance balance. At the center, the Madonna sits with a serene presence, her form defined by soft contours and the gentle interplay of light and shadow. She is draped in deep blues and crimson reds, colors that provide a weight to her figure against the naturalistic greens of the background. Beside her, the Christ Child and a…
The composition centers on a moment of sudden, heavy realization within a structured architectural space. A male figure stands on the right, his body angled toward a woman on the left. He wears a muted teal tunic paired with pinkish-red hosiery, his hand gripping a sword that creates a sharp diagonal line across the center of the frame. The woman is dressed in a deep forest green gown, her posture…
We are looking at The Canonization of Saint Nicholas of Tolentino, a work executed by the Florentine painter Franciabigio. This piece dates to 1515, a period when the artist was active in the heart of the Italian Renaissance. His true name may have been Francesco di Cristofano, though he is most frequently recognized by the name Franciabigio.
We are looking at Holy Family in a Landscape, a work from 1520. This painting is attributed to the Florentine artist Franciabigio, whose full name was Francesco di Cristofano, gen. Franciabigio. It is a significant example of the High Renaissance style, captured during a period of profound transition in Italian art.
A sudden movement breaks the stillness of the stone ledge. An angel leans into the frame, caught in the middle of a divine arrival. The figure is a swirl of coral and warm pink, the heavy folds of the robes catching a light that spills from the upper right. These garments billow with a rhythmic energy, tracing the curve of a great, dark wing that sweeps through the composition. In…
St Nicholas of Tolentino performing a Miracle1517 · Ashmolean Museum
12
Portrait of a Jeweler1516
13
St. Bartholomew1515 · Museo di Capodimonte
14
The Triumph of Cicero1520 · Villa Medici
15
The Last Supper1514 · Convento della Calza
16
Angel1515 · Santo Spirito
17
Madonna with Child and the Young St John1518 · Liechtenstein Museum
18
Virgin and Child with Sts John the Baptist and Job1516 · Museo di San Salvi
19
Portrait of a Man1517 · Liechtenstein Museum
20
Portrait of a Man1522 · Staatliche Museen zu Berlin
21
Portrait of a ManDetroit Institute of Arts
22
Portrait of Jacopo CenniniKraljeva zbirka
23
Portrait of a Man in a Black HatBowes Museum
24
Madonna with Child1514 · Ermitaž
25
Head of the Madonna1509 · Metropolitanski muzej umetnosti
26
Madonna and Christ ChildBirmingham Museum of Art
27
Portrait of a Knight of RhodesNational Gallery
28
Madonna of the Well or Madonna and Child with the young St. John the Baptist1517
29
Bathsheba bathing1523 · Staatliche Kunstsammlungen Dresden
30
Betrothal of the Virgin1513 · Santissima Annunziata
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 Franciabigio | Slike iz tega seznama |
|---|---|---|---|
 Narodni muzej v Varšavi |
Varšava | 2 | Mary from the Annunciation, Angel from the Annunciation |
 Detroit Institute of Arts |
Detroit | 2 | Portrait of a Man, Portrait of a Man |
 Kunsthistorisches Museum |
Dunaj | 2 | Madonna and Child with John the Baptist, Holy Family in a Landscape |
 Liechtenstein Museum |
Benetignano | 2 | Madonna with Child and the Young St John, Portrait of a Man |
 Louvre |
Pariz | 1 | Portrait of a Man |
 Museo del Cenacolo di San Salvi |
Firence | 1 | Noli me tangere |
 National Museum of Ancient Art |
Lisabon | 1 | Retrato de Homem |
 Philadelphia Museum of Art |
Filadelfija | 1 | Saint Julian the Hospitaler Meeting His Wife after Killing His Parents |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
A single man emerges from a void of deep, shadowy tones, his presence felt through the quiet intensity of his stare. He sits slightly off-center, his body turned toward us, yet his eyes remain fixed directly upon the observer, creating an immediate, intimate connection. The light falls from the upper left, carving the contours of his face with a sharp, directional clarity. This light catches the bridge of his nose…
In the quiet intensity of Franciabigio’s Portrait of a Man, we encounter more than just a mere likeness; we are invited into a profound meditation on human presence and the subtle complexities of the Renaissance spirit. Painted around 1510, this masterpiece serves as a captivating window into an era where the boundaries between the physical world and the psychological landscape began to dissolve. The subject, a young man of poised…
The fresco depicts Jesus Christ with arms outstretched, positioned within a landscape of green grass and distant trees. Two figures occupy the immediate space around him: one person kneels before him, while another stands behind. The scene is populated by several other individuals scattered throughout the composition, some situated in the foreground and others in the background. Above the assembly, a single bird flies through the sky. The arrangement of…
Portrait of a Man (1510), Louvre, Pariz. Zatem sledeta Noli me tangere (1520) in Mary from the Annunciation (1510).
26 let: delo Portrait of a Man iz leta 1510, Franciabigio pa je bil/a rojen/a leta 1484.
Portrait of a Man, Noli me tangere, Mary from the Annunciation, Retrato de Homem, Portrait of a Man, Madonna and Child with John the Baptist, Saint Julian the Hospitaler Meeting His Wife after Killing His Parents, The Canonization of Saint Nicholas of Tolentino, Holy Family in a Landscape in Angel from the Annunciation. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 30 del avtorja Franciabigio, datiranih od 1501 do 1523.
Večini v Narodni muzej v Varšavi (Varšava), Detroit Institute of Arts (Detroit) in Kunsthistorisches Museum (Dunaj). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1510s: 17 od 30 del na tej strani je bilo izdelovanih takrat, med njimi pa Portrait of a Man.
Na tej strani je najstarejše delo iz Retrato de Homem (1501) in najstarejše iz Bathsheba bathing (1523).
Man (8), Woman (6) in Portrait (5), na 30 delih na tej strani.
Oil On Panel, za 14 od 30 del na tej strani.
High renaissance in Renaissance, glede na originala na tej strani.
Mary from the Annunciation in Angel from the Annunciation: v muzeju Narodni muzej v Varšavi, Varšava se nahaja 2 del z te strani.
V zlatnem obdobju visoke renesanse, med vznemirljenimi delavnicami in marmorom prekritimi ulicami Florence, je živel slikar, čiji čopar je zajemal samo bistvo človeških čustev. Franciabigio, rojen kot Francesco di Cristofano okoli leta 1482, ni bil zgolj kronikar obrazov, temveč mojster psihološke pokrajine. Medtem ko zgodovina pogosto osvaja s najmočnejšo svetlobo monumentalne figure njegovega obdobja, je Franciabigio si pridobil edinstven prostor z sposobnostjo, da je portretom vnesel oprijemljivo, dišečo naturalističnost. Njegovo življenje, čeprav relatively kratko — končano v januarju 1525 — je bilo dokaz živahnega, razvijajočega se duha florentinske umetnosti, ki je premostilo razporeditev med uravnoteženo popolnostjo visoke renesanse in ekspresivno napetost nastajajočega mannerističnega sloga.
Temelji njegove umetnosti so bili postavljeni pod vodstvom Alberto Altramonte, vendar je bila to prav njegova prehodnost v studio Andrea del Sarta okoli leta 1506 tista, ki je temeljito preoblikovala njegovo kreativno pot. Ta obdobje učenistva in kasnejše partnerstvo je postalo steber njegove kariere. Skupaj sta ustanovila delavnico na Piazza del Gradino, kjer so ustvarili krog inovacij, ki so privabili druge svetlobe umetnike, kot sta Rosso Fiorentino in Pontormo. V tem kolaborativnem vzdušju je Franciabigio izpilil tehniko, ki je podponovala nežnim niansam svetlobe in senče, ter se naučil navigirati skozi kompleksno interakcijo barv in oblike, ki je opredelila Sartovo šolo.
Medtem ko so mnogi njegovi sodemniki iskali slavo skozi masivne religiozne oltarje ali grandiozne mitološke cikle, je Franciabigio svojo največjo zmago našel v zahtevnem mediju freske. Imel je redko spretnost pri tej tehniki, kar mu je prineslo ugled, ki je pri izvajanju zidnih slik pogosto presegaval njegove kolege. Njegova veščina ni bila le v tehnični uporabi pigmenta na vlažen plaster, temveč v njegovi sposobnosti, da je z razlegeno površino freske izrazil globoko narativno globino. V klosterju Santa Maria della Annunziata njegovi prispevki skupaj z Andrea del Sartom dokazujejo sofisticirano obvladovanje kompozicije in atmosfere.
Vendar pa se njegov pravi genij morda skriva v portretiranju. S odtavljanjem od strogih, idealiziranih arhetipov, ki so bili običajni v prejšnjih desetetjih, je Franciabigio sprejel bolj intimen pristop k človeški subjektivnosti. Njegovi portreti so značilni zaradi:
Zgodovinski pomen Franciabigija leži v njegovi vlogi kot vitalne povezave v evoluciji italijanske slikarstva. Stal je na razpotju tradicije in inovacije, kjer je absorbiral klasično harmonijo Rafaela, hkrati pa se je usmerjal proti bolj eksperimentalnim, čustvenim mejam, ki bodo opredelile pozni 16. century. Čeprav so bila nekatera njegova najbolj ambiciozna projekta zasenčena z monumentalnimi dosežki njegovega mentorja, del Sarta, njegov individualni glas ostaja neprevidljiv za izvedenega oko.
Preučevanje dela umetnika Franciabigio je opazovanje trenutka tranzicije, zajetega v pigmentu. Opominja nas, da zgodovino umetnosti ne pišejo le tisti, ki so vladali največjih odrih, temveč tisti, ki so posedovali občutljivost za zajemanje tihih, utripajočih resnic človeške kondicije. Njegova dediščina preživa v vsakem niansiranem izrazu in vsakem mojstrovskem potezu freske, ki služi kot ganjen opomin neizglošljive moči florentanske Renesanse.
