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Iz perspektive galerije, najpoznatije delo umetnika Frančesko Trevizani je The Madonna and Child (1700). Study for 'The Massacre of the Innocents' (1710) i Christ Supported by Angels (1720) čine triju koju svako oko prepoznaje. Od 63 dela umetnika Frančesko Trevizani u našem katalogu, galerija u nastavku predstavlja 61 najpoznatijih dela, od kojih je svako originalno, sa navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
The Virgin Mary cradles her sleeping child in a moment of profound stillness. She sits with a gentle weight, her form draped in soft fabrics that catch the light. A veil rests upon her head, and a single strand of pearls encircles her neck, catching a glint of the room's soft illumination. Behind them, the silhouette of a chair anchors the composition, providing a sense of domestic depth to this…
A man hangs upside down, his legs grasping the air, while a hand tightens around his throat. The scene unfolds before a structure of cold, pale columns. Shadows stretch across the ground where figures sit and stand in a state of sudden, jarring motion. In the periphery, two dogs watch the unfolding chaos, their presence grounding the frantic energy of the central struggle. A single infant is visible, a small…
In this oil on canvas, Francesco Trevisani presents Christ Supported by Angels. The work is a profound meditation on religious sacrifice and grief. It captures a moment of quiet, heavy sorrow through its focused subject matter. The composition centers on the physical and spiritual weight of the scene.
The night air hangs heavy over the garden, a dark landscape that presses against the central figures. In the center of this gloom, a man in red robes and a blue cloak bends forward, his body heavy with the weight of prayer. He is in a state of distress, his posture a silent cry for strength. Behind him, a woman reaches out, her hand gently cradling his head in a…
The canvas presents a vertical arrangement centered on the figure of Christ upon a wooden cross. The lighting follows a chiaroscuro method, casting deep shadows in the background while illuminating the pale skin of the central figure and the faces of those gathered below. The color palette relies on dark tones, including blacks, browns, and umber, which contrast with the red and blue fabrics worn by the mourning figures. The…
The painting, titled The Prophet Baruch, immediately draws the viewer into an atmosphere of profound stillness. We encounter a figure seated upon the ground, his posture speaking volumes without uttering a single word. With his head bowed into his hands, he embodies a moment of deep introspection or perhaps prayer. The subject is rendered with such palpable humanity that one feels they are witnessing a private communion between man and…
L'Enfant Jésus endormi is a religious oil painting by Francesco Trevisani. Created circa 1695, the work focuses on the Infant Jesus in a state of repose. This composition belongs to the genre of the nativity scene, capturing a moment of sacred stillness.
In this oil painting from 1710, a woman identified as Mary Magdalene is depicted in profile, her body oriented toward the right side of the frame. She is shown in a moment of religious reflection, with her gaze directed upward. Her hands are clasped near her chest, and her long, auburn hair falls in wavy textures over her shoulders. She wears a white chemise and a garment with subtle pink…
In this quiet corner of the late Baroque, we find ourselves face to face with a profound moment of grief and divinity. The composition is tightly focused, drawing us into an intimate encounter with the lifeless body of Christ. He rests upon a winding-sheet, his pale, limp form emerging from a deep, heavy shadow that swallows much of the background. Two angels attend to him, their presence providing both physical…
In the quietude of Francesco Trevisani’s “Le Sommeil de l'Enfant Jésus”, the viewer is invited into a moment of profound celestial intimacy. Painted during the first decade of the eighteenth century, this masterpiece serves as a breathtaking window into the Venetian Baroque, a period defined by its ability to marry dramatic tension with tender devotion. The scene captures the Holy Family in a state of sacred repose, where the weight…
Lucretia1687
12
Lucretia1681
13
Body of Christ, held by angels1707 · Kunsthistorisches Museum
14
The Holy Family1701 · Bavarske državne slikopisne kolekcije
15
Christ with the Disciples on the Way to Emmaus1701 · Bavarske državne slikopisne kolekcije
16
Archangel Michael1701 · Bavarske državne slikopisne kolekcije
17
Saint Sebastian1701 · Bavarske državne slikopisne kolekcije
18
Christ at Emmaus1701 · Bavarske državne slikopisne kolekcije
19
Hl. Sebastian1701 · Bavarske državne slikopisne kolekcije
20
The Infant Jesus Sleeping1709
21
The Infant Jesus Pointing Out the Flowers of the Passion to the Virgin1701
22
Christ Before Caiaphas1707
23
Tobias Curing His Father's Blindness1712 · Museum Boijmans Van Beuningen
24
Prince James Francis Edward Stuart (1688-1766)1719 · Royal Collection
25
Portrait of Thomas Coke, 1st Earl of Leicester, 1697-1759 (fifth creation).1717 · Holkham Hall
26
Presentation Sketch for "The Holy Family with Saints Anne, Joachim, and John the Baptist" (for Santa Maria in Via Lata, Roma)1729 · Cleveland Museum of Art
27
The Ecstasy of Saint Francis1725 · Staatliche Kunstsammlungen Dresden
28
Elector Clemens August1750 · Bavarske državne slikopisne kolekcije
29
Crucifixion of Saint Andrew1746 · Musée des Beaux-Arts de Strasbourg
30
Christ on the Cross1746 · Musée des Beaux-Arts de Strasbourg
31
A NunNationalmuseum
32
The Virgin and Child1709 · Музеј Прадо
33
Diana and EndymionGemäldegalerie Alte Meister im Schloss Wilhelmshöhe
34
Philippe de Vendome1700
35
The Martyrdom of the Seven Sons of Saint Felicity, Francesco Trevisani, 17091709 · Rijksmuseum
36
Prince James Francis Edward Stuart (1688–1766), Son of James VII and II1720 · Scottish National Portrait Gallery
37
St. Francis in Penitence1700 · Patrick and Beatrice Haggerty Museum of Art
38
Christ mort porté par des angesLuvr
39
The Agony in the GardenFitzwilliam Museum
40
Portrait of Captain Daniel Pain of Welford
41
The Madonna and Child with the infant Saint John the Baptist
42
The Appearance of the Virgin to St. MauriceTe Whare O Rehua Sarjeant Gallery
43
Pity
44
La Mort d'Alexandre le Grand
45
Sainte Geneviève
46
Annonciation
47
L'ENFANT JESUS DESIGNANT A LA VIERGE LES FLEURS DE LA PASSIONLuvr
48
La famille de Darius aux pieds d'AlexandreLuvr
49
Света Богородица представља Дјецу Јосифа1730 · Palata Mafra
50
Apollo and DaphneErmitaž
51
Latona and the Frogs
52
Portrait of Cardinal Pietro Ottoboni
53
Portrait of Maria Clementina Sobieska.Scottish National Portrait Gallery
54
penitent Magdalen
55
The Raising of Lazarus
56
Madonna and Child with Infant St. John the Baptist and St. JosephArt Institute of Chicago
57
Dead Christ Supported by Angels
58
Frances, Wife of John, 6th Earl of Mar, Daughter of Evelyn, 1st Duke of KingstonNational Trust For Scotland
59
An Angel Holding the ColumnNational Trust
60
Angels carrying the corpse of Christ
61
An Angel Holding Veronica's VeilNational Trust
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Frančesko Trevizani | Slike iz ovog spiska |
|---|---|---|---|
 Bavarske državne slikopisne kolekcije |
Minhen | 7 | The Holy Family, Christ with the Disciples on the Way to Emmaus, Archangel Michael |
 Luvr |
Pariz | 4 | LE SOMMEIL DE L'ENFANT JESUS, Christ mort porté par des anges, L'ENFANT JESUS DESIGNANT A LA VIERGE LES FLEURS DE LA PASSION |
 Kunsthistorisches Museum |
Beč | 2 | Penitent Mary Magdalene, Body of Christ, held by angels |
 Musée des Beaux-Arts de Strasbourg |
Strasburg | 2 | Crucifixion of Saint Andrew, Christ on the Cross |
 Scottish National Portrait Gallery |
Edinburg | 2 | Prince James Francis Edward Stuart (1688–1766), Son of James VII and II, Portrait of Maria Clementina Sobieska. |
 National Trust |
Guildford | 2 | An Angel Holding the Column, An Angel Holding Veronica's Veil |
 Fitzwilliam College |
Cambridge | 1 | Study for 'The Massacre of the Innocents' |
 Bristol Museum - Art Gallery |
Bristol | 1 | Christ Supported by Angels |
Izaberite deceniju da biste videli original koji je definiše.
In this oil painting, the tragic figure of Lucretia confronts her final, desperate moment. Francesco Trevisani captures the woman at the very precipice of her end, focusing on the heavy weight of her decision. The scene centers on the precise instant of her suicide, a moment of profound personal agony. She gazes upward, her eyes searching the heavens for a mercy that seems to elude her, even as she holds…
L'Enfant Jésus endormi is a religious oil painting by Francesco Trevisani. Created circa 1695, the work focuses on the Infant Jesus in a state of repose. This composition belongs to the genre of the nativity scene, capturing a moment of sacred stillness.
The Virgin Mary cradles her sleeping child in a moment of profound stillness. She sits with a gentle weight, her form draped in soft fabrics that catch the light. A veil rests upon her head, and a single strand of pearls encircles her neck, catching a glint of the room's soft illumination. Behind them, the silhouette of a chair anchors the composition, providing a sense of domestic depth to this…
A man hangs upside down, his legs grasping the air, while a hand tightens around his throat. The scene unfolds before a structure of cold, pale columns. Shadows stretch across the ground where figures sit and stand in a state of sudden, jarring motion. In the periphery, two dogs watch the unfolding chaos, their presence grounding the frantic energy of the central struggle. A single infant is visible, a small…
In this oil on canvas, Francesco Trevisani presents Christ Supported by Angels. The work is a profound meditation on religious sacrifice and grief. It captures a moment of quiet, heavy sorrow through its focused subject matter. The composition centers on the physical and spiritual weight of the scene.
The Virgin presenting the Child to St. Anthony – A Masterpiece of Baroque Devotion Francesco Trevisani’s “The Virgin presenting the Child to St. Anthony” stands as an emblem of Baroque piety and artistic excellence, embodying the spiritual fervor that characterized Rome during the early 18th century. Painted in 1730, this monumental canvas – measuring 549 x 247 cm – resides within the Basilica of Mafra, Portugal, a testament to its…
The night air hangs heavy over the garden, a dark landscape that presses against the central figures. In the center of this gloom, a man in red robes and a blue cloak bends forward, his body heavy with the weight of prayer. He is in a state of distress, his posture a silent cry for strength. Behind him, a woman reaches out, her hand gently cradling his head in a…
The Madonna and Child (1700). Slede Study for 'The Massacre of the Innocents' (1710) i Christ Supported by Angels (1720).
44 godina: The Madonna and Child datira iz 1700, a Frančesko Trevizani je rođen/a 1656.
The Madonna and Child, Study for 'The Massacre of the Innocents', Christ Supported by Angels, The Agony in the Garden, The Crucifixion, The Prophet Baruch, L'Enfant Jésus endormi, Penitent Mary Magdalene, Dead Christ Supported by Angels i LE SOMMEIL DE L'ENFANT JESUS. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 63 dela umetnika Frančesko Trevizani, datiranih od 1681 do 1746.
Većinom u Bavarske državne slikopisne kolekcije (Minhen), Luvr (Pariz) i Kunsthistorisches Museum (Beč). Tabela muzeja iznad sadrži njih sve.
U 1700s: 15 od 61 dela na ovoj stranici nastalo je tada, od čega je The Madonna and Child.
Na ovoj stranici, najstarije delo je iz Lucretia (1681), a najnovije iz Crucifixion of Saint Andrew (1746).
Man (16), Woman (15) i Drapery (9), kroz svih 61 dela na ovoj stranici.
Oil On Canvas, za 29 od 61 dela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
The Holy Family, Christ with the Disciples on the Way to Emmaus i Archangel Michael: Bavarske državne slikopisne kolekcije, Minhen čuva 7 dela sa ove stranice.
Frančesko Trevizani stoji kao svetlosna figura u tranziciji između dramatičnog intenziteta kasnog baroka i rađajuće elegancije ranog rokokoa, perioda koji se često naziva barochetto. Rođen u Kapodistriji, na Istri, njegov umetnički put oblikovan je bogatim tradicijama Venecije i Rima. Kao sin arhitekte, prve su osnovne principe dizajna naučio pod vođstvom svog oca, Antonija Trevizanija. Ovakav rani temelj u strukturi i kompoziciji omogućio mu je da kasnije savlada složene, teatralne aranžmane koji definišu njegova najslavnija dela.
Njegovo obrazovanje bilo je duboko ukorenjeno u majstore svog doba, studirajući kod figura kao što su Antonio Zanki i Josip Hajnci Mlađi. Ovi uticaji pružili su mu tehnički rečnik koji je spajao snažno kretanje sa rafinisanom senzibilnošću. Krećući se kroz umetnička središta Venecije i Rima, Trevizani je razvio stil koji je mogao da uhvati kako duboku tugu religijskog mučeništva, tako i nežnu, nebesku milost božanskih susreta. Njegova sposobnost da navigira kroz ove emocionalne ekstreme učinila ga je traženim slikarom za značajne crkvene i privatne porudžbine.
Trevizanijeva dela karakteriše nepokolebljiva posvećenost emocionalnoj dubini i zadivljujuća upotreba svetlosti. U njegovim religioznim kompozicijama, granice između zemaljskog i božanskog često deluju kao da se rastvaraju. To se može primetiti u njegovim prikazima svetih scena, gde je teška, sveta tišina trenutka gotovo opipljiva. Bilo da je portretisao bezivotno telo Hrista koje nose anđeli ili dirljivu pobožnost svetaca, Trevizani je koristio paletu i potez četkicom koji su naglašavali duhovni žar tog doba.
Njegova tehnička veština posebno je evidentna u sposobnosti da dočarava teksturu i atmosferu. U delima kao što je Mučeništvo sedam sinova Svetice Felicije, on prepliće složene narative koji uključuju rimske careve, paganske statue i nebeske glasnike. Kroz pedantne detalje, on vodi oko gledaoca kroz platno, koristeći svetlost da istakne agoniju mučenika i nadu koju nude nebeski venac. Ovo majstorstvo narativnog slikarstva omogućilo mu je da stvori dela koja nisu bila samo dekorativna, već su služila kao duboki instrumenti pobožnosti.
Tokom čitave svoje duge karijere, uticaj Trevizanija bio je duboko prisutan u rimskoj umetničkoj sceni, naročito kroz njegovu povezanost sa uticajnim pokroviteljima poput kardinala Otobonija. Njegovo remek-delo, freske u crkvi San Silvestro in Capite, služi kao svedočanstvo njegove sposobnosti da transformiše arhitektonske prostore grandioznim, sveobuhvatnim narativima. Njegov stil, pod snažnim uticajem Karla Marate, pomogao je u definisanju estetike kasnog baroka, premošćujući jaz između teških senki prethodnog veka i lakših, prozračnijih kompozicija predstojećeg rokokoskog doba.
Istorijski značaj Frančeska Trevizanija leži u njegovoj ulozi mosta između era. On je zadržao veličanstvenost i dramatičnu tenziju koju je zahtevala Kontrareformacija, dok je istovremeno uveo slast i milost koje su najavile sledeći pokret u evropskoj umetnosti. Njegova sposobnost da balansira monumentalno sa intimnim osigurava da njegove slike ostanu moćni prozori u duhovnu i umetničku dušu ranog osamnaestog veka.
