Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 22 del v našem katalogu avtorja Giuseppe Nogari
Kratek opis
The miser (1721) je slika avtorja Giuseppe Nogari, ki pritegne največ pogledov; original se nahaja v muzeju Staatliche Kunstsammlungen Dresden, Dresden. Nato se pogled smeri k Old Lady with a crutch (1750) in Portrait of a seated man holding a cup (1700). Med 22 dela umetnika Giuseppe Nogari v našem katalogu so ta 22 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
The room is thick with a heavy, silent tension as an elderly man hunches over a small, precious bundle. He exists in a private world of shadow and light, his attention entirely consumed by the object clutched in his weathered hands. A single, directional light source spills from the upper left, carving the deep lines of his forehead and the coarse, white texture of his beard out of the surrounding…
Old Lady with a crutch is an oil on canvas by Giuseppe Nogari. Created during the 18th century, the work is currently held in the Museo del Prado. The painting is also known by its Spanish title, Vieja con una muleta.
In this portrait from 1700, we find ourselves in the presence of a man who commands attention through stillness rather than gesture. He sits with a certain gravity, his features marked by a thick mustache and a beard that frame a face of distinguished character. There is a specific, quiet dignity in his posture as he holds a small, handleless cup—a vessel that suggests the presence of coffee or perhaps…
Jacopo Bassano (c. 1510/1518-1592)1740 · Kraljeva zbirka
12
Carlo Cignani (1628-1719)1740 · Kraljeva zbirka
13
Paolo Veronese (1528-88)1740 · Kraljeva zbirka
14
An Old Woman Warming her Hands1745 · Kraljeva zbirka
15
A Man Holding Spectacles1745 · Kraljeva zbirka
16
Archimedes1750 · Pushkin State Museum
17
Archimedes1766
18
A Boy with a Basket of Fruit1725 · Statens Museum For Kunst
19
Peter the Apostle1743 · Gemäldegalerie Alte Meister
20
Young GirlNationalmuseum
21
An old woman with a distaffFinnish National Gallery
22
Girl with VegetablesNationalmuseum
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 Giuseppe Nogari | Slike iz tega seznama |
|---|---|---|---|
 Kraljeva zbirka |
London | 9 | Rubens (1577-1640), Titian (c. 1487/90-1576), Inigo Jones (1573-1652) |
 Staatliche Kunstsammlungen Dresden |
Dresden | 2 | The miser, Scientist |
 Statens Museum For Kunst |
Kopenhagen | 2 | A Girl with a Chicken, A Boy with a Basket of Fruit |
 Nationalmuseum |
Stockholm | 2 | Young Girl, Girl with Vegetables |
 Muzej Prado |
Madrid | 1 | Old Lady with a crutch |
 Mudec - Museum of Cultures |
Milano | 1 | Portrait of a seated man holding a cup |
 Pushkin State Museum |
Moskva | 1 | Archimedes |
 Gemäldegalerie Alte Meister |
Dresden | 1 | Peter the Apostle |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
The room is thick with a heavy, silent tension as an elderly man hunches over a small, precious bundle. He exists in a private world of shadow and light, his attention entirely consumed by the object clutched in his weathered hands. A single, directional light source spills from the upper left, carving the deep lines of his forehead and the coarse, white texture of his beard out of the surrounding…
Old Lady with a crutch is an oil on canvas by Giuseppe Nogari. Created during the 18th century, the work is currently held in the Museo del Prado. The painting is also known by its Spanish title, Vieja con una muleta.
The miser (1721), Staatliche Kunstsammlungen Dresden, Dresden. Zatem sledeta Old Lady with a crutch (1750) in Portrait of a seated man holding a cup (1700).
22 let: delo The miser iz leta 1721, Giuseppe Nogari pa je bil/a rojen/a leta 1699.
The miser, Old Lady with a crutch, Portrait of a seated man holding a cup, Scientist, A Girl with a Chicken, old woman, Rubens (1577-1640), Titian (c. 1487/90-1576), Inigo Jones (1573-1652) in Van Dyck (1599-1641). Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 22 del avtorja Giuseppe Nogari, datiranih od 1721 do 1766.
Večini v Kraljeva zbirka (London), Staatliche Kunstsammlungen Dresden (Dresden) in Statens Museum For Kunst (Kopenhagen). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1740s: 10 od 22 del na tej strani je bilo izdelovanih takrat, med njimi pa Rubens (1577-1640).
Na tej strani je najstarejše delo iz The miser (1721) in najstarejše iz Archimedes (1766).
Dark background (4), Man (3) in Beard (3), na 22 delih na tej strani.
Oil On Canvas, za 4 od 22 del na tej strani.
Rococo, glede na originala na tej strani.
Rubens (1577-1640), Titian (c. 1487/90-1576) in Inigo Jones (1573-1652): v muzeju Kraljeva zbirka, London se nahaja 9 del z te strani.
In the vibrant, water-bound world of eighteenth-century Venice, few artists captured the quiet, introspective dignity of the human condition as poignantly as Giuseppe Nogari. Born in 1699, Nogari emerged during a transformative era when the heavy, dramatic shadows of the Baroque were beginning to yield to the light, airy grace of the Rococo. While many of his contemporaries sought to dazzle the eye with opulent displays of wealth and grandeur, Nogari carved out a unique niche within the Venetian school. His work serves as a profound meditation on character, often focusing on the weathered faces and humble attire of aged individuals, rendered with a psychological depth that transcends mere portraiture.
The foundation of Nogari’s mastery was laid in the prestigious ateliers of Venice, where he absorbed the diverse currents of Italian art. He is believed to have studied under Antonio Balestra, whose influence provided him with a solid grounding in classical tradition, but it was likely his time under Giovanni Battista Piazzetta that truly ignited his creative spirit. From Piazzetta, Nogari inherited a penchant for dramatic chiaroscuro and an ability to imbue subjects with a palpable sense of emotion. This lineage, combined with the delicate pastel sensibilities of Rosalba Carriera and the sophisticated elegance of Jacopo Amigoni, allowed him to weave together a style that was simultaneously much more grounded than the typical Rococo flourish and yet exquisitely refined.
Nogari’s oeuvre is most celebrated for its distinctive approach to the half-body portrait. Rather than presenting his subjects in a vacuum of aristocratic splendor, he often placed them against dark, unobtrusive backgrounds that forced the viewer to confront the subject's humanity directly. His technique was characterized by a subtle use of color and soft, fluid brushstrokes that lent a lifelike texture to skin and fabric alike. There is a certain melancholy beauty in his depictions; he had a remarkable gift for capturing the dignity found in simplicity, often portraying historical, religious, or everyday figures in somewhat shabby or unassuming clothing.
This focus on the internal life of his subjects suggests an admiration for the Dutch master Rembrandt, whose influence can be seen in Nogari’s use of light to sculpt form and evoke mood. Whether he was painting a saint or a commoner, the artist sought to reveal the underlying narrative written in the lines of a face or the fold of a sleeve. His ability to balance the decorative lightness of the Rococo with a profound, almost somber realism made his work stand out in an era often criticized for its superficiality.
While much of his heart remained in the intimate settings of Venetian portraiture, Nogari’s reputation earned him significant opportunities far beyond the canals of his birthplace. His talent attracted the attention of powerful international patrons, most notably the German nobility residing in Venice, such as Sigismund Streit and Johann Matthias von der Schulenburg. These connections eventually facilitated his move to Turin, where he undertook some of his most monumental decorative projects.
During his tenure in Turin between 1739 and 1742, Nogari demonstrated his versatility by working for the prestigious House of Savoy. His contributions to the Royal Palace of Turin and the breathtaking hunting lodge at Stupinigi showcased an ability to handle large-scale compositions and grand architectural integration. These commissions proved that he could command the scale of royal splendor just as effectively as he could master the intimacy of a small portrait.
By the time of his death in 1766, Giuseppe Nogari had secured his place in the annals of art history. His legacy is defined by several key artistic contributions:
Today, Nogari’s works remain vital touchstones for understanding the complexity of eighteenth-century art, reminding us that even within the most decorative movements, there exists a profound capacity for truth and human connection.
