Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 11 del v našem katalogu avtorja Michele Desubleo
Kratek opis
David with the Head of Goliath (1630) je slika umetnika Michele Desubleo, ki pritegne največ pogledov. Nato se pogled smeri k Allegory of Music (1625) in Allegory of painting and drawing (1626). Med 11 dela umetnika Michele Desubleo v našem katalogu so ta 11 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
The canvas presents us with David with the Head of Goliath, a striking portrait of the victorious David. In this depiction, the young hero emerges from the shadows, his presence defined by the heavy weight of his recent triumph. The work captures a moment of profound stillness following the heat of battle, focusing on the physical reality of the victor and his fallen foe. It is a scene that demands…
A single light source spills from the upper left, catching the curve of a lute and the pale skin of a young woman. She sits in a quiet, intimate space, her fingers poised over the strings. Beside her, a small winged cherub leans over aged musical manuscripts, its presence a soft weight against the composition. The air feels thick with the scent of old paper and the resonance of a…
We are looking at Allegory of painting and drawing, an oil on canvas by Michele Desubleo. This work, which measures 66x76 cm, dates to about 1626. It is a quiet, thoughtful piece that captures the essence of artistic creation through its allegorical figures.
In the painting Diana Hunting by Michele Desubleo, dated about 1646, the composition centers on a medium shot of a single female figure. The subject is depicted in her role as a huntress, positioned against a deep, dark, and undifferentiated background. This lack of environmental detail creates a sense of depth through the contrast between the figure and the void behind her. In the foreground, the subject holds a bow,…
The oil painting titled Cephalus mourning the dying Procris (Ovid, Met. VII, 794-862) is a work by the artist Michele Desubleo. This mythological painting depicts a specific narrative from classical antiquity. The piece is cataloged under the accession number GG 480.
A single female figure occupies the center of this oil on canvas portrait, presented within an oval vignette. The subject is shown from the waist up against a dark, indeterminate background. She wears a large, voluminous turban adorned with jewels, which rests upon her head alongside layered garments featuring gold embroidery and trim. Her attire includes deep reds and muted purples, contrasted against creamy white fabrics. In her hands, she…
The air feels thick with the immediate aftermath of violence. A young man, his skin pale and luminous against a void of darkness, grips a heavy prize. He wears a black hat adorned with a single feather, a detail that feels strangely domestic against the grim reality of his task. His gaze does not meet the viewer; instead, it drifts into a space of profound contemplation or perhaps a sudden,…
Allegory of Sacred and Profane Love – A Flemish Masterpiece Michele Desubleo je izjemno pomembna figura v umetnosti sedemnajstega stoletja Italije, ki predstavlja veličanstvo in dramsko intenzivnost baroknega obdobja. Rojstvo v Maubegeju, nekdanjemu mestu Španije – današnji Belgiji – je bilo zaznamenano kot mladostniška dela v živahnem delavščini Abrahama Jansensa van Nuysena v Flandriji, skupaj z njegovim stepbrojem Nikolajem Renierjem. Ta sodelujoča okolica je ustvarila temeljne znanje flamskih umetniških tradicij…
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
7 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Michele Desubleo | Slike iz tega seznama |
|---|---|---|---|
 Musée des Beaux-Arts de Strasbourg |
Strazburg | 1 | Allegory of Music |
 Statens Museum For Kunst |
Kopenhagen | 1 | Diana Hunting |
 Herzog Anton Ulrich Museum |
Brunswick | 1 | Cephalus mourning the dying Procris (Ovid, Met. VII, 794-862) |
 Ermitaž |
Sankt Peterburg | 1 | Yael |
 National Gallery of Ireland |
Dublin | 1 | Saint John the Baptist in the Wilderness |
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 1 | Saint John the Baptist |
 Metropolitanski muzej umetnosti |
New York | 1 | Aleksogija Svete in GreškeLjubezni |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
A single light source spills from the upper left, catching the curve of a lute and the pale skin of a young woman. She sits in a quiet, intimate space, her fingers poised over the strings. Beside her, a small winged cherub leans over aged musical manuscripts, its presence a soft weight against the composition. The air feels thick with the scent of old paper and the resonance of a…
The canvas presents us with David with the Head of Goliath, a striking portrait of the victorious David. In this depiction, the young hero emerges from the shadows, his presence defined by the heavy weight of his recent triumph. The work captures a moment of profound stillness following the heat of battle, focusing on the physical reality of the victor and his fallen foe. It is a scene that demands…
In the painting Diana Hunting by Michele Desubleo, dated about 1646, the composition centers on a medium shot of a single female figure. The subject is depicted in her role as a huntress, positioned against a deep, dark, and undifferentiated background. This lack of environmental detail creates a sense of depth through the contrast between the figure and the void behind her. In the foreground, the subject holds a bow,…
The oil painting titled Cephalus mourning the dying Procris (Ovid, Met. VII, 794-862) is a work by the artist Michele Desubleo. This mythological painting depicts a specific narrative from classical antiquity. The piece is cataloged under the accession number GG 480.
Allegory of Sacred and Profane Love – A Flemish Masterpiece Michele Desubleo je izjemno pomembna figura v umetnosti sedemnajstega stoletja Italije, ki predstavlja veličanstvo in dramsko intenzivnost baroknega obdobja. Rojstvo v Maubegeju, nekdanjemu mestu Španije – današnji Belgiji – je bilo zaznamenano kot mladostniška dela v živahnem delavščini Abrahama Jansensa van Nuysena v Flandriji, skupaj z njegovim stepbrojem Nikolajem Renierjem. Ta sodelujoča okolica je ustvarila temeljne znanje flamskih umetniških tradicij…
David with the Head of Goliath (1630). Zatem sledeta Allegory of Music (1625) in Allegory of painting and drawing (1626).
28 let: delo David with the Head of Goliath iz leta 1630, Michele Desubleo pa je bil/a rojen/a leta 1602.
David with the Head of Goliath, Allegory of Music, Allegory of painting and drawing, Diana Hunting, Cephalus mourning the dying Procris (Ovid, Met. VII, 794-862), Yael, David with the Head of Goliath (detail), Saint John the Baptist in the Wilderness, Saint John the Baptist in Aleksogija Svete in GreškeLjubezni. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 11 del avtorja Michele Desubleo, datiranih od 1625 do 1665.
Večini v Musée des Beaux-Arts de Strasbourg (Strazburg), Statens Museum For Kunst (Kopenhagen) in Herzog Anton Ulrich Museum (Brunswick). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1620s: 2 od 11 del na tej strani je bilo izdelovanih takrat, med njimi pa Allegory of Music.
Na tej strani je najstarejše delo iz Allegory of Music (1625) in najstarejše iz Aleksogija Svete in GreškeLjubezni (1665).
Woman (5), Skin (3) in Man (3), na 11 delih na tej strani.
Oil On Canvas, za 4 od 11 del na tej strani.
Baroque, glede na originala na tej strani.
In the grand, dramatic tapestry of the seventeenth century, few threads are as intriguing as that of Michele Desubleo. A painter who bridged the gap between the meticulous traditions of Flanders and the emotive splendor of Italy, Desubleo embodied the very essence of the Baroque era. Born around 1601 or 1602 in Maubeuge, within the Spanish Netherlands, his early life was rooted in a landscape of profound artistic discipline. It is believed that he honed his foundational skills in the workshop of Abraham Janssens van Nuyssen, working alongside his stepbrother, the celebrated Nicolas Régnier. This Flemish upbringing provided him with a rigorous command of texture, light, and anatomical precision—tools that would later allow him to navigate the complex emotional landscapes of the Italian masters.
The trajectory of Desublean art changed irrevocably when he migrated toward the sun-drenched centers of Italian creativity. Arriving in Rome around 1625, he found himself immersed in a city where the echoes of the Renaissance were being transformed into the theatrical intensity of the Baroque. It was here that his talent met its most profound catalyst: the workshop of Guido Reni. Under Reni’s tutelage, Desubleo moved beyond mere technical proficiency to embrace an idealized beauty and a sophisticated use of chiaroscuro. This period of intense study allowed him to synthesize the robust, tactile qualities of his Northern heritage with the graceful, lyrical compositions characteristic of the Bolognese school.
As Desubleo’s career progressed, his presence moved across the Italian peninsula like a shadow cast by flickering candlelight, leaving behind works in Venice, Florence, Bologna, and Genoa. His ability to adapt to different regional aesthetics made him a versatile force in the art market of the 1600s. In the Veneto region, he spent much of the 1650s, while his later years saw him establishing a significant legacy in Parma. His work often functioned as a bridge between the sacred and the secular, capable of conveying both the divine ecstasy of a saint and the complex allegories of human virtue.
The technical mastery evident in his most famous compositions reveals a deep understanding of dramatic tension. Consider the following hallmarks of his mature style:
Though history occasionally obscures the names of those who worked within the shadows of giants like Reni or Régnier, Desubleo’s contribution remains vital to our understanding of the Baroque's international character. He was not merely a student of Italian trends but an active participant in their evolution, bringing a Northern sensibility to the Mediterranean palette. His later works in Parma, including monumental altarpieces for the cathedral, stand as testaments to his enduring devotion to religious iconography and his ability to inspire awe in the faithful.
When he passed away in Parma in 1676, he left behind a body of work that serves as a historical record of an era defined by movement, emotion, and light. To study Michele Desubleo is to witness the beautiful collision of two worlds—the disciplined precision of Flanders meeting the soaring, dramatic spirit of Italy—resulting in a visual language that continues to captivate the modern eye.
