Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 65 del v našem katalogu avtorja Silvestro Lega
Kratek opis
Portrait of Giuseppe Garibaldi (1861) je slika umetnika Silvestro Lega, ki pritegne največ pogledov. Nato se pogled smeri k Head of the Virgin Mary from Perugino (1845) in Portrait of his brother Ettore as a child (1855). Med 65 dela umetnika Silvestro Lega v našem katalogu so ta 65 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
Created in 1861, the portrait emerges from a period of intense political movement in Italy. The subject's attire and the presence of the rifle suggest a connection to the military campaigns and the rugged lifestyle associated with the era's political shifts. The painting reflects the 19th-century movement toward realism, prioritizing direct observation and the accurate depiction of the human form within a natural setting.
The artwork titled Head of the Virgin Mary from Perugino is a portrait created by the artist Silvestro Lega. This depiction focuses on the subject of the Virgin Mary, presented in a close-up view that emphasizes the head and shoulders. The work is dated to about 1845.
A young boy sits in a moment of profound stillness, his gaze meeting the viewer with a calm, somewhat melancholic expression. He is positioned slightly off-center, a bust-length figure that feels immediate and intimate. The soft light, descending from the upper left, brushes against the contours of his face, casting gentle shadows that grant his features a palpable three-dimensional volume. There is a sense of weight to his presence, as…
The scene unfolds within the quiet confines of Among the flowers in the garden, an oil on canvas that captures a fleeting moment of stillness. Silvestro Lega, a significant figure in 19th-century Italian art, brings this garden to life through his careful observation of the natural world. The work dates to about 1862, a period when the artist's hand began to move toward a more profound engagement with the reality…
In "Camp of Zouaves" by Silvestro Lega, the composition follows a horizontal format that emphasizes the breadth of the military encampment. A central tent dominates the middle ground, acting as a focal point for the surrounding activity. To the left, a soldier blowing a horn provides a strong vertical element that draws the eye through the scene. The foreground is characterized by rough terrain and various scattered details, establishing a…
![The water wheel [sketch] (1863) avtorja Silvestro Lega](/media/artworks/images-full/88/9b/889b993708d9cffdd59a8cada572f5e8.jpg)
In The water wheel [sketch], Silvestro Lega organizes a horizontally oriented scene that emphasizes the structural length of the machinery. The water wheel dominates the central portion of the composition, acting as the primary anchor for the viewer's eye. A lone figure is positioned near the wheel, providing a sense of scale and human presence within the rural setting. This arrangement focuses the viewer's attention on the intersection of mechanical…
The oil painting titled In the cellar was executed by the artist Silvestro Lega. This work, created in 1870, is rendered in oil on canvas. The piece measures 27 x 35 cm.
Two figures sit anchored in a moment of stillness. They are caught in the soft, diffused light of a private afternoon, their bodies turned toward one another in a shared, silent communion. One figure wears a dress of pale blue, a cool note against the warmth of the surrounding world. They are engaged in the simple act of reading, a gesture that pulls the viewer into their intimate circle. The…
The Reading by Silvestro Lega is an oil painting on canvas created about 1867. The work depicts a young woman seated upon a wooden bench. She is positioned in a state of quiet focus, her attention directed toward a book held in her hands. The scene is set against a backdrop of textured walls and a window with closed shutters, creating a contained, domestic environment.
In The painter, Silvestro Lega presents a young woman positioned slightly off-center within the confines of her studio. The vertical composition emphasizes her presence, focusing the viewer's attention on her figure as she gazes downward toward a painter's palette held in her hands. This downward gaze suggests a moment of quiet contemplation or intense focus on her craft. At the base of the scene, a rug provides a grounding element…
The Dying Mazzini (Mazzini morente)1873 · Rhode Island School of Design Museum of Art
12
Woman sitting by a window sewing1872
13
In the garden1883
14
Pitcher painted with bust of a young woman and floral motifs1885
15
Man writing1885
16
Portrait of a peasant woman1890
17
Head of a boy1890
18
Woman from Gabbro1888
19
Bust of a young girl1887
20
Peasant women from Gabbro1889
21
Peasant woman at rest1890
22
La visita1868 · Galleria Nazionale d'Arte Moderna
23
Bust of a peasant woman1873 · Palazzo Pitti
24
Villa Batelli along the Affrico river1863
25
Il primo dolore1863
26
Landscape1860
27
Portrait of a Child1861
28
Farmhouses1864
29
Courtyard entrance1864
30
Little country church1874
31
Woman from Gabbro1885
32
The house of Don Giovanni Verità1885
33
The hut on the farm1880
34
Garden in Bellariva1884
35
Farmhouse with haystack1880
36
Country Girl Leaning against a Ladder1885
37
Farmhouse and haystacks1888
38
Church of San Michele in Crespina1886
39
Pagliai al sole1890
40
Figure of a woman
41
Seated man
42
Young peasant woman
43
The maid of the Bandini house
44
Don Verità
45
The spinner
46
Young peasant woman
47
Peasant woman from Gabbro
48
The letter
49
Don Giovanni
50
The stitcher of lace trimmings for women's dresses
51
The Bandini sisters1890 · Museum of Modern and Contemporary Art of Trento and Rovereto
52
The owner of the farm1887 · Palazzo Pitti
53
Ritorno di bersaglieri italiani da una ricognizione1861 · Palazzo Pitti
54
Head of a woman1885 · Pinacoteca di Brera
55
Self-portrait1861 · Galleria degli Uffizi
56
In the villa1880 · Palazzo Pitti
57
A Walk in the Garden1870
58
Woman with ivy1887
59
The pergola1864 · Palazzo Pitti
60
Signora al Pianoforte
61
The courier's horse
62
Small village with battlements
63
Il pergolato (also known as Il dopopranzo)1868 · Civica Galleria d'Arte Moderna
64
The painter Tommasi painting in the garden1885
65
Il canto di uno stornello1867 · Palazzo Pitti
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 Silvestro Lega | Slike iz tega seznama |
|---|---|---|---|
 Palazzo Pitti |
Firence | 6 | Bust of a peasant woman, The owner of the farm, Ritorno di bersaglieri italiani da una ricognizione |
 Pinacoteca di Brera |
Milano | 2 | Portrait of his brother Ettore as a child, Head of a woman |
 Pinacoteca metropolitana di Bari or Pinacoteca C. Giaquinto |
Bari | 1 | The reading |
 Rhode Island School of Design Museum of Art |
Providence | 1 | The Dying Mazzini (Mazzini morente) |
 Galleria Nazionale d'Arte Moderna |
Rim | 1 | La visita |
 Museum of Modern and Contemporary Art of Trento and Rovereto |
1 | The Bandini sisters | |
 Galleria degli Uffizi |
Firene | 1 | Self-portrait |
 Civica Galleria d'Arte Moderna |
Milano | 1 | Il pergolato (also known as Il dopopranzo) |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
The artwork titled Head of the Virgin Mary from Perugino is a portrait created by the artist Silvestro Lega. This depiction focuses on the subject of the Virgin Mary, presented in a close-up view that emphasizes the head and shoulders. The work is dated to about 1845.
A young boy sits in a moment of profound stillness, his gaze meeting the viewer with a calm, somewhat melancholic expression. He is positioned slightly off-center, a bust-length figure that feels immediate and intimate. The soft light, descending from the upper left, brushes against the contours of his face, casting gentle shadows that grant his features a palpable three-dimensional volume. There is a sense of weight to his presence, as…
Created in 1861, the portrait emerges from a period of intense political movement in Italy. The subject's attire and the presence of the rifle suggest a connection to the military campaigns and the rugged lifestyle associated with the era's political shifts. The painting reflects the 19th-century movement toward realism, prioritizing direct observation and the accurate depiction of the human form within a natural setting.
The oil painting titled In the cellar was executed by the artist Silvestro Lega. This work, created in 1870, is rendered in oil on canvas. The piece measures 27 x 35 cm.
This oil on canvas, titled In the garden, was painted by Silvestro Lega in 1883. It represents a quiet moment of domesticity, captured through the artist's characteristic focus on the nuances of everyday life. Lega, a significant figure in 19th-century Italian art and a leading member of the Macchiaioli movement, brings a sense of calm to this specific composition.
In this intimate portrait of a peasant woman, we encounter a quiet moment of introspection captured by Silvestro Lega. The work, which dates to about 1890, presents a study of a single individual rendered with a profound sense of dignity. It is a piece that reflects the artist's deep engagement with the realities of everyday life, a hallmark of his approach during this period of his career.
Portrait of Giuseppe Garibaldi (1861). Zatem sledeta Head of the Virgin Mary from Perugino (1845) in Portrait of his brother Ettore as a child (1855).
35 let: delo Portrait of Giuseppe Garibaldi iz leta 1861, Silvestro Lega pa je bil/a rojen/a leta 1826.
Portrait of Giuseppe Garibaldi, Head of the Virgin Mary from Perugino, Portrait of his brother Ettore as a child, Among the flowers in the garden, Camp of Zouaves, The water wheel [sketch], In the cellar, Reading, The reading in The painter. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 65 del avtorja Silvestro Lega, datiranih od 1845 do 1890.
Večini v Palazzo Pitti (Firence), Pinacoteca di Brera (Milano) in Pinacoteca metropolitana di Bari or Pinacoteca C. Giaquinto (Bari). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1860s: 19 od 65 del na tej strani je bilo izdelovanih takrat, med njimi pa Portrait of Giuseppe Garibaldi.
Na tej strani je najstarejše delo iz Head of the Virgin Mary from Perugino (1845) in najstarejše iz Portrait of a peasant woman (1890).
Woman (13), Portrait (10) in Landscape (10), na 65 delih na tej strani.
Oil On Canvas, za 23 od 65 del na tej strani.
Realism, glede na originala na tej strani.
Bust of a peasant woman, The owner of the farm in Ritorno di bersaglieri italiani da una ricognizione: v muzeju Palazzo Pitti, Firence se nahaja 6 del z te strani.
Silvestro Lega (1826-1895) je bil pomembna figura 19. stoletne italijanske umetnosti, priznan kot vodilni predstavnik gibanja Macchiaioli. Njegovo delo uteleša predanost realizmu in opazovanju vsakdanjega življenja, prepleteno z vključenostjo v politične tokove njegovega časa. Lega ni bil le slikar; bil je kronist svoje dobe, ki je s svojimi platni ujela duh Risorgimenta in intimnost kmečkega življenja. Njegova zgodba je zgodba o umetniku, ki se je začel kot akademski slikar in se razvil v pionirja moderne italijanske umetnosti.
Lega se je rodil v bogati družini v Modigliani blizu Forlìja. Že zgodaj se je pokazal njegov talent za risanje, kar ga je vodilo na Piaristično kolegij leta 1838. Nadaljeval je študij na Akademiji lepih umetnosti v Firencah (1843-1847), kjer se je sprva učil risanja pri Benedettu Servoliniju in Tommasu Gazzariniju, nato pa kratek čas tudi slikanja pri Giuseppu Bezzuoliju. Pomemben vpliv nanj je imel Luigi Mussini, ki ga je usmerjal v principe florentinskega risanja in kompozicije iz 15. stoletja – temelj, ki je oblikoval njegov zgodnji umetniški pristop.
Vendar pa Lega ni ostal samo v ateljeju. Kot prostovoljec Garibaldija se je aktivno udeleževal vojaških kampanj za italijansko neodvisnost (1848–49), kar kaže na njegovo politično zavzetost in strast do združitve Italije. Po koncu vojne je nadaljeval študij pri Antoniu Ciseriju, vendar se je že takrat začel oblikovati njegov lasten umetniški izraz.
V zgodnjih letih je Lega ostal zvest akademskemu stilu. Sodobnik Diego Martelli je opazil njegovo redko udeležbo v živahnih umetniških razpravah v Caffè Michelangelo, središču mladih slikarjev. Vendar pa se je okoli leta 1859 njegova dela začela premikati proti realizmu, oddaljujoč se od Mussinijevega purizma. Ta preobrazba je postala očitna v lunetah, ki jih je naslikal za oratorij Madonne del Cantone v Modigliani (1858-1863). Lega se je pridružil svojim kolegom Macchiaioli – Odoardu Borraniju, Giuseppu Abbatiju, Telemacu Signoriniju in Raffaellu Sernesiju – pri sprejemanju slikanja en plein air, neposrednem opazovanju in zajemanju subtilnih nians naravne svetlobe.
Pomembno obdobje v Legovem življenju je bilo preživeto z družino Batelli blizu reke Affrico (1861-1870). Ta čas je globoko vplival na njegovo umetnost, saj je naslikal številne portrete njihovih otrok in žensk, ki odražajo občutek domače spokojnosti. Lega se je posvetil upodabljanju vsakdanjega življenja, preprostih trenutkov in intimnih prizorov.
Neka najbolj znanih Legovih del vključujejo “Sprehod po vrtu” (1870), "Il Pergolato" (znano tudi kot "Il dopopranzo") (1864), “Hiša Don Giovannija Verità” (1885), “V vrtu” (1883) in “Vrt v Bellarivi” (1884). Njegov slog je značilno uravnoteženje med tradicionalno kompozicijo in sodobno uporabo barve, ki izvira iz neposrednega opazovanja. Uporabljal je jasno definirane oblike in ustvarjal vzdušje s transparentnostjo barv. Njegova kasnejša dela kažejo vpliv impresionizma.
Tematska osredotočenost Lega se nanaša na prizore kmečkega življenja, družinske srečanja in portrete, ki odražajo pozornost do vsakdanjih izkušenj navadnih ljudi. Njegova dela niso bila idealizirana; prikazovala so resničnost, lepoto v preprostosti in človečnost.
Osebna tragedija je Lega globoko pretresla. Izguba Virginije Batelli (njegove sopotnice) skupaj s tremi brati ga je potopila v žalost in depresijo leta 1870, kar je vodilo do štiriletnega premora od slikanja (1874-1878). Kljub osebnim težavam je Lega ostal povezan z umetnostnim svetom. Občudoval je dela Camille Pissarra in skupaj z Odoardom Borranijem ustanovil galerijo v Firencah, ki pa ni dolgo obstala.
V zadnjih letih je bil tutor sinov družine Tommasi, kjer je našel ponovno stabilnost in umetniško navdih. Njegova zadnja dela, kot je “The Gabbarigiane”, kažejo nadaljnjo predanost realizmu kljub slabšemu vidu.
Silvestro Legov prispevek leži v njegovi sposobnosti sintetizirati tradicionalne kompozicijske tehnike z nastajajočo realistično estetiko gibanja Macchiaioli. Z občutljivostjo in spretnostjo je zajel bistvo italijanskega življenja, za seboj pustil delo, ki še danes odmeva pri občinstvu. Njegova pozornost do vsakdanjih motivov jih je povzdignila v umetniško pomembnost, s čimer je prispeval k širšemu premiku proti realizmu v 19. stoletni evropski umetnosti.
![The water wheel [sketch] (1863), Silvestro Lega](/media/artworks/images-thumb/e1/41/e141967427b2ee10759e0082b483425d.jpg)
