Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 215 del v našem katalogu avtorja Luca Signorelli
Kratek opis
Med vsemi originali, ki jih je pustil Luca Signorelli, je najbolj znan Portret Starega Moščenja (1492), ki se nahaja v kolekciji Staatliche Museen zu Berlin, Berlin. Takoj za njima sta St Augustine Altarpiece (left wing) (1498) in Christ and the Doubting Thomas (1477). Naš katalog vsebuje 215 del umetnika Luca Signorelli; galerija je ohranila 100 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
Obiščite svet zgodovine in umetnosti s tem osupljivo portretom starega moškega, ki ga je ustvaril italijanski mojster Luca Signorelli že leta 1492. Ta del, zgrajen na temelju zgodnjega renesančnega sloga, neposredno vas poziva k razmislima o človeški naravi, moči in času. Portret je več kot samo slika; to je okno v obdobje, ko so se umetnost in filozofija prepletala, da bi ustvarila izkušnjo bogato simbolizmo in globokega pomenov.
The left wing of Luca Signorelli's “St Augustine Altarpiece,” completed in 1498 for the Bichi Chapel within the church of Sant’Agostino in Siena, is more than just a beautiful painting; it’s a profound meditation on faith, charity, and the intertwined destinies of earthly and divine figures. Measuring a modest 146 x 76 centimeters, this panel offers an intimate glimpse into the artistic sensibilities of a master navigating the complexities of…
Within the Loreto basilica, Signorelli’s 1482 fresco, Christ and the Doubting Thomas, captures a heavy, singular instant. We witness Thomas Aquinas reaching out to touch the wounds of Jesus Christ, a gesture bridging skepticism and faith. There is a tension in the air, a meeting of the physical and the spiritual as the apostle seeks tangible proof. The composition draws the eye toward the interaction of hands, where the vulnerability…
Luca Signorelli’s 1505 “Madonna and Child” is more than just a religious painting; it’s a profound meditation on motherhood, faith, and the enduring power of human connection. Born in Cortona, Italy, around 1441-1445, Signorelli was a pivotal figure in the late Renaissance, renowned for his meticulous draftsmanship and his ability to seamlessly blend classical ideals with deeply felt emotion. This particular work, gifted to his daughter, offers a rare glimpse…
The Hell is a fresco by Luca Signorelli. Painted in 1502, this work captures a vision of the underworld. It occupies a space of profound movement and spiritual weight. The scene is populated by a multitude of figures, specifically a vast assembly of demons and angels. These entities occupy the air and the ground in a state of constant, restless interaction.
The painting depicts a crowded, chaotic scene of divine retribution set against a structured architectural backdrop. In the center, a figure of Jesus Christ is positioned, surrounded by a gathering of angels and demons. The composition is divided by the movement of various figures, some ascending and others descending. To the right, the focus shifts toward the damned, as humans are shown being cast into a dark, subterranean space. Figures…
The fresco presents a bifurcated view of the afterlife, divided by a central archway. On the left side, the composition depicts the blessed being led into Paradise. These figures move toward a celestial realm, characterized by a sense of upward motion and light. On the right side, the scene shifts to the damned being consigned to Hell. This section contains a convoluted mass of human forms, many of them naked,…
In this 1492 oil on panel, the Virgin Mary cradles the Christ Child within a tight, pyramidal composition. Behind them, Saint Joseph is positioned to complete the group, creating a sense of enclosure and quietude. The figures emerge from a dark, undifferentiated background, a technique that utilizes chiaroscuro to push the subjects toward the viewer. Light enters from the upper left, catching the soft skin of the infant and the…
The world holds its breath as a single figure climbs. A man, caught in mid-motion, pulls himself upward along a wooden ladder that cuts vertically through the frame. He leans forward, his body tensed with the physical effort of the ascent. His face, seen in profile, carries a look of deep focus, perhaps even a hint of strain, as he navigates the rungs. A bright red tunic, trimmed in white,…
The sun hangs suspended in a hazy sky, casting a diffused light over a rugged, rocky landscape. Two young men exist in this stillness, their bodies rendered with a sculptural weight that feels immediate and tangible. One youth stands with his back turned, a large piece of light blue drapery caught in a moment of movement as he holds it up, partially veiling his head and upper back. His musculature…
The Adoration of the Magi1508 · Yale University Art Gallery
12
Marija Magdalene1504 · Museo dell'Opera del Duomo
13
The Martyrdom of Saint Catherine of Alexandria1490
14
Lamentation over the Dead Christ1489 · Pollok House
15
Christ in the House of Simon the Pharisee1498 · National Gallery of Ireland
16
The Annunciation1493 · Philadelphia Museum of Art
17
The Archangel Gabriel1490 · Walters Art Museum
18
Fifteen Characters1490
19
The Penitent St. Jerome in Ecstasy1500
20
Apocalypse1499
21
The Resurrected Christ Appearing to His Disciples1514 · Detroit Institute of Arts
22
The Resurrected Christ Appearing to St. Magdalene1514 · Detroit Institute of Arts
23
Martyrs and Saint Virgins1502
24
Prophet holding a Scroll1523 · Musée des Beaux-Arts de Strasbourg
25
Madonna of the milk in glory1475 · Pinacoteca di Brera
26
The Apostles Peter and John the Evangelist1477 · Bazilika Santa Casa
27
Lamentation over the Dead Christ with Angels and Saints1516
28
Figures in a Landscape: Man, Woman and Child1490 · Toledo Museum of Art
29
St Augustine Altarpiece (right wing)1498 · Staatliche Museen zu Berlin
30
Madonna and Child with Saints and Angels1510
31
View of the Sacristy of St John1477 · Bazilika Santa Casa
32
Life of St Benedict, Scene 28: Benedict Recognizes and Receives Totila1499
33
Virgin and Child with Sts Jerome and Bernard of Clairvaux1492 · Galleria Corsini
34
Virgin and Child with Sts Michael, Vincent of Saragozza, Margaret of Cortona and Mark1512
35
The Great Cloister1497
36
View of the Vaulting of the Sacristy of St John1477 · Bazilika Santa Casa
37
Pair of Apostles in Dispute1482
38
Pair of Apostles in Dispute1482
39
The Flagellation1480
40
Pair of Apostles in Dispute1477 · Bazilika Santa Casa
41
View of the Chapel of San Brizio1499
42
The Crucifixion1500
43
Doctors of the Church1499
44
The Elect (detail)1499
45
The Damned (detail) (8)1499
46
Apocalypse (detail)1499
47
Apocalypse (detail)1499
48
The Damned (detail)1499
49
Sermon and Deeds of the Antichrist (detail)1499
50
Apocalypse (detail)1499
51
Resurrection of the Flesh (detail) (10)1499
52
The Elect Being Called to Paradise1499
53
Resurrection of the Flesh (detail)1499
54
Apocalypse (detail)1499
55
Apocalypse (detail)1499
56
Sermon and Deeds of the Antichrist (detail)1499
57
Dante and Virgil Entering Purgatory1499
58
The Virgins1499
59
The Damned (detail)1499
60
Dante Alighieri1499
61
The Damned Being Plunged into Hell (detail)1499
62
The Angel Arrives in Purgatory1499
63
Sermon and Deeds of the Antichrist (detail) (8)1499
64
Empedocles1499
65
The Damned (detail)1499
66
Cappellina dei Corpi Santi1499
67
The Elect (detail)1499
68
Allegory of Fecundity and Abundance1500
69
Marriage of the Virgin1491 · National Gallery of Art
70
Sermon and Deeds of the Antichrist (detail) (10)1499
71
Self-Portrait with Niccolò d'Angeli Franceschi1500 · Museo dell'Opera del Duomo
72
Scenes from the Lives of Joachim and Anne1490
73
The Birth of the Virgin1490
74
Decoration (detail)1499
75
Resurrection of the Flesh (detail)1499
76
Lamentation over the Dead Christ with Sts Faustinus and Parentius1499
77
Fresco fragment1499
78
Resurrection of the Flesh (detail)1499
79
Ceiling Frescoes in the Chapel of San Brizio1499
80
Sermon and Deeds of the Antichrist (detail)1499
81
The Damned (detail)1499
82
The Damned Being Plunged into Hell (detail)1499
83
Sallust1499
84
Claudian1499
85
The Damned (detail) (9)1499
86
Life of St Benedict, Scene 27: Benedict Benedict Discovers Totila's Deceit1499
87
The Holy Family with Saint1490
88
The Assumption of the Virgin with Saints Michael and Benedict1493 · Metropolitanski muzej umetnosti
89
Saint James the Greater with a Living and a Dead Pilgrim1508 · Muzej lepih umetnosti
90
Self-portrait of Luca Signorelli (left)1503
91
Self-portrait with Vitelozzo Vitelli1503
92
Frescoes in the Chapel of San Brizio1502
93
The Triumph of Chastity - Love Disarmed and Bound1509 · National Gallery
94
The Poet Virgil1504
95
Resurrection of the Dead1502
96
The last judgement, fresk, Orvieto cat1502
97
The Prayer in the Garden.1502 · Museo Diocesano
98
The Capture of Christ1502 · Museo Diocesano
99
Lamentation over the Dead Christ (detail)1502 · Museo Diocesano
100
The Last Supper1502 · Museo Diocesano
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 Luca Signorelli | Slike iz tega seznama |
|---|---|---|---|
 Bazilika Santa Casa |
Loreto Marches | 7 | Christ and the Doubting Thomas, The Apostles Peter and John the Evangelist, View of the Sacristy of St John |
 Museo Diocesano |
Cortona | 10 | The Prayer in the Garden., The Capture of Christ, Lamentation over the Dead Christ (detail) |
 National Gallery |
London | 9 | The Holy Family, Man on a Ladder, The Triumph of Chastity - Love Disarmed and Bound |
 Staatliche Museen zu Berlin |
Berlin | 4 | Portret Starega Moščenja, St Augustine Altarpiece (left wing), St Augustine Altarpiece (right wing) |
 Metropolitanski muzej umetnosti |
New York | 2 | Madonna and Child, The Assumption of the Virgin with Saints Michael and Benedict |
 Toledo Museum of Art |
Toledo | 2 | Figures in a Landscape: Two Nude Youths, Figures in a Landscape: Man, Woman and Child |
 Museo dell'Opera del Duomo |
Orvieto | 2 | Marija Magdalene, Self-Portrait with Niccolò d'Angeli Franceschi |
 Detroit Institute of Arts |
Detroit | 2 | The Resurrected Christ Appearing to His Disciples, The Resurrected Christ Appearing to St. Magdalene |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
Within the Loreto basilica, Signorelli’s 1482 fresco, Christ and the Doubting Thomas, captures a heavy, singular instant. We witness Thomas Aquinas reaching out to touch the wounds of Jesus Christ, a gesture bridging skepticism and faith. There is a tension in the air, a meeting of the physical and the spiritual as the apostle seeks tangible proof. The composition draws the eye toward the interaction of hands, where the vulnerability…
The Lamentation over the Dead Christ is a dramatic Renaissance tempera painting that captures a moment of profound grief and reverence. The composition is horizontal and frieze-like, utilizing a wide, panoramic arrangement that emphasizes the emotional weight of the scene. At the center of this crowded assembly lies the lifeless body of Christ, being mourned by a group of figures. The color palette is rich and saturated, featuring deep blues,…
Obiščite svet zgodovine in umetnosti s tem osupljivo portretom starega moškega, ki ga je ustvaril italijanski mojster Luca Signorelli že leta 1492. Ta del, zgrajen na temelju zgodnjega renesančnega sloga, neposredno vas poziva k razmislima o človeški naravi, moči in času. Portret je več kot samo slika; to je okno v obdobje, ko so se umetnost in filozofija prepletala, da bi ustvarila izkušnjo bogato simbolizmo in globokega pomenov.
Luca Signorelli’s 1505 “Madonna and Child” is more than just a religious painting; it’s a profound meditation on motherhood, faith, and the enduring power of human connection. Born in Cortona, Italy, around 1441-1445, Signorelli was a pivotal figure in the late Renaissance, renowned for his meticulous draftsmanship and his ability to seamlessly blend classical ideals with deeply felt emotion. This particular work, gifted to his daughter, offers a rare glimpse…
In this intimate scene from approximately 1514, we find ourselves drawn into a shallow, stage-like space where the physical and the spiritual collide. The Resurrected Christ appears before his disciples, a moment captured with a profound sense of movement and sudden, startling presence. The composition is frieze-like, arranging the apostles in a rhythmic, organic structure that emphasizes the immediate, human reaction to the divine. There is a palpable weight to…
In "Prophet holding a Scroll" by Luca Signorelli, we encounter a quiet, intimate moment captured within a circular tondo format. The composition centers entirely on a single, elderly figure, drawing the viewer into a private space of contemplation. This prophet is rendered with weathered skin and a long, flowing white beard that catches the light. His eyes are cast downward, fixed in a prayerful or contemplative expression that suggests a…
Portret Starega Moščenja (1492), Staatliche Museen zu Berlin, Berlin. Zatem sledeta St Augustine Altarpiece (left wing) (1498) in Christ and the Doubting Thomas (1477).
42 let: delo Portret Starega Moščenja iz leta 1492, Luca Signorelli pa je bil/a rojen/a leta 1450.
Portret Starega Moščenja, St Augustine Altarpiece (left wing), Christ and the Doubting Thomas, Madonna and Child, The Hell, The Last Judgment (The right part of the composition - The Damned Consigned to Hell), The Last Judgment (The right part of the composition - The Damned Consigned to Hell; the left part of the composition - The Blessed Taken into Paradise), The Holy Family, Man on a Ladder in Figures in a Landscape: Two Nude Youths. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 215 del avtorja Luca Signorelli, datiranih od 1475 do 1523.
Večini v Bazilika Santa Casa (Loreto Marches), Museo Diocesano (Cortona) in National Gallery (London). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1490s: 60 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa Portret Starega Moščenja.
Na tej strani je najstarejše delo iz Madonna of the milk in glory (1475) in najstarejše iz Prophet holding a Scroll (1523).
People (44), Figures (32) in Man (21), na 100 delih na tej strani.
Fresco, za 59 od 100 del na tej strani.
Renesansa, glede na originala na tej strani.
Christ and the Doubting Thomas, The Apostles Peter and John the Evangelist in View of the Sacristy of St John: v muzeju Bazilika Santa Casa, Loreto Marches se nahaja 5 del z te strani.
Toskanjska Cortona postavlja kuliso za začetke življenja, ki ga je kril Luca Signorelli. Rodjen kot Luca d'Egidio di Ventura, je prišel na svet v obdobju nesigurnosti, verjetno med letoma 1441 in 1445. Razporeditev njegove mladosti oblikujejo humanistični tokovi italijanske renesanse, čeprav so njegove natančne formative leti delno skriti pod zaveso časa.
Perugia ponuja prvi pravi vpogled v njegove umetniške nagnitve. Prav tukaj se oblikirajo njegovi zgodnji umetniški vtiski, ko vsi vizualni jezik tistega obdobja postaja del njegove umetniške duše. To obdobje razkrivanja pripravlja odra za formalno izobraževanje, ki bo določilo njegove tehnične sposobnosti. Po zgodovinskih zapisih je bila pot do profesionalnega dela utrdjena prek družinskih povezav. Njegov materinni stric, Lazzaro Vasari, mu je omogočil podlearnstvo pri Piero della Francesca. Ta povezava ga je postavila neposredno pod vpliv ene izmed najpomembnejših postavnosti obdobja, mentorstvo, ki je njegov razvoj trdno zakoreninilo v strogo pravila perspektive in oblike.
Prvi leti njegove umetniške kariere so zaznamali nenehno gibanje skozi umetniška središča središčega dela Italije. Leta 1472 je delal v Arezzu, po katerem je sledil obdobje v Città di Castello leta 1474. Te zgodnje naloge so utrdile njegovo prisotnost v toskanski in umbrijski pokrajini. Do konca 1470-ih se je njegov delovni obseg znatno razširil. Med letoma 1478 in 1484 je deloval v Florencah, Sieni in Rimu. V tem rimskem obdobju je prispeval k dekoraciji Sistinske kapelnice, čeprav je specifični del, ki ga je naslikal, zdaj izgubljen v zgodovini.
Ko je vstopil v svoje zgodnje štiridesete, se je nenehno potovanje med mestnimi državami zmanjšalo. Vrnil se je v svojo rodno Cortono, kjer se je ustalil do konca svojega življenja. Čeprav je ostal bivalec v Cortoni, je še vedno potoval, da bi izpolnil različne naloge, s čimer je ohranjal svoj profesionalni doseg, kljub da je bilo njegovo primarno prebivališče ostalo v domačem mestu.
Človeška figura zaseda središče Signorellijevega vizualnega jezika. Avtor se ne zadovolja z zgolj prikazovanjem oblike, temveč se posveča razvijajočemu fascinaciji nad fizičnim telesom in njegovo sposobnostjo gibanja. Njegovi liki posedajo robustno fizičnost, predstavljeno z realističnim prikazom, ki poudarja anatomsko natančnost. Ta osredotočenost na materialno podobe je poganjena z dinamično energijo, ki oživlja njegove kompozicije in se upira statičnim tradicijam preteklosti. Figure ne postavlja zgolj v prostor; on jih v prostor včeraj integrira skozi sofisticirano vladanje linearno perspektivo.
Tehnično izvedbo njegovega dela definiše vrhunsko risarstvo. Signorelli je znan po izjemni sposobnosti kot risar, veščini, ki mu omogoča navigacijo skozi kompleksne prostorske razporeditve. To je najbolj očitno pri njegovi inovativni uporabi skrajšave, tehniki, ki gledalca privlači v globino scene. Z manipulacijo načina, na katerega se okončine in torzi umikajo v prostor, ustvarja občutek tridimenzionalne volumetričnosti, ki deluje neposredno in oprijemljivo. Svetloba in senca delujeta v tesnem sodelovanju s temi strukturnimi skrbmi. Skozi mojstrsko obvladovanje tehnike chiaroscuro oblikuje muskulaturko svojih subjektov, pri čemer uporablja modeliranje z visokim kontrastom, da bi opredelil težo in napetost človeškega okvira.
Višina Signorellijevih ambicij doseže svoj vrh v katedrali v Orvietu. Tam je med letoma 1499 in 1503 ustvaril masivne freske za prizor Poslednje sodbe. Ta dela opisujejo apokaliptične dogodke z dramatično intenzivnostjo, ki opredeljuje njegovo zrelo obdobje. Sama veličastnost fresk v Orvietu zahteva popolno obvladovanje naracije in prostora, kar predstavlja ključni trenutek v njegovi karieri umetnika monumentalnih religioznih scen.
Njegov umetniški dosežek se je razširjal tudi v zasebne kolekcije tistih najmočnejših, kot je bilo, ko je svojo sliko "Šola Pana" podaril Lorenzu de' Mediciju. To delo izpostavlja njegovo sposobnost obdelave klasičnih tem hkrati z izjemnim tehničnim znanjem. Okoli let 1502–1505 je svojo pozornost usmeril v prikaz razpoka na križju s sveto Marijo Magdaleno, delom, ki zajema specifično napetost v njegovem kompozicijskem pristopu. Leta 1507 je ustvaril Poliptih svete Medarde, delo, ki se hrani v muzeju San Medardo v Arceviji v Italiji, ki služi kot vrhunski primer njegove podrobne in naturalistične obdelave človeške figure.
Prisotnost umetnika Luca Signorelli v italijanski renesanši je pustila trajno marko na potek vestne umetnosti. Njegova tehnična natančnost, ki izstopa predvsem zaradi mojstrskega podvladnega skrajševanja, je postavila temelj za anatomsko natančnost in prostorsko globino, ki sta definirali to epako. Umetniki, ki so sledili njegovim korakom, so prevzeli njegov strogo discipliniran pristop k risarstvu, s čimer so se odmaknili od ploskosti srednjoveških tradicij in se usmerili proti bolj robustni, fizični realnosti. Ta premik v perspektivi je temeljito spremenil način, kako človeška figura zaseda prostor na površini platna.
Njegov vpliv se širi iz monumentalnih fresk katedrale v Orvietu, kjer njegovi prikazi apokalipse z zahtevno kompleksnosto gibanja in strukturno jasnostjo pritegnejo vsako pogled. Ta dela, skupaj z njegovimi podrobnimi študijami človeške figure, so vzpostavila standard za narativno intenzivnost. Njegova sposobnost podajanja človeškega telesa v gibanju je pomagala premostiti razporeditev med zgodnjo renesanso in bolj kompleksnimi kompozicijami visoke renesanse. Danes je njegova prisotnost občutna v tihih dvoranah raznih muzejev in katedrali po vsej Italiji, kjer njegova preostala dela še vedno tesno povezujejo zgodovino toskanske in umbrijske regije.
