Ažurirano: октобар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 56 dela Pjetro Antonio Rotari u našem katalogu
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Od svih originala koje je Pjetro Antonio Rotari ostavio, najpoznatiji je Girl with a book. Odmah za njima slede Alexander the Great and Roxane (1756) i Portrait of Maria Josepha of Austria (1755). Naš katalog sadrži 56 dela umetnika Pjetro Antonio Rotari; galerija je čuvala 53 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
The painting titled Girl with a book is a work by the artist Pietro Rotari. This portrait captures a quiet moment of study, rendered in oil on canvas. It belongs to the period of the artist's career spanning c. 1756 - 1762. The subject holds a book, a singular object that anchors the composition and defines the sitter's immediate purpose.
Pietro Antonio Rotari’s “Alexander the Great and Roxane,” completed in 1756, stands as a testament to Baroque grandeur fused with meticulous realism—a captivating portrayal of one of history's most celebrated military figures and his enigmatic consort. The painting resides within the esteemed collections of the Hermitage Museum in Saint Petersburg, Russia, where it continues to inspire admiration for its masterful execution and profound symbolic resonance.
In this 1755 oil portrait, we encounter Maria Josepha of Austria, the wife of King Augustus III of Poland. The sitter is presented in a three-quarter length view, her posture conveying a quiet, steady authority. There is a certain stillness to her presence, a composure that suggests the weight of her station without the need for overt drama. The light, descending from the upper left, gently sculpts the contours of…
A young boy rests in the center of the frame, his head tilted in the heavy stillness of sleep. The composition is tight, focusing on the soft curve of his neck and the gentle rise of his shoulders. He wears a vest of muted brown over a creamy white shirt, the fabric rendered with a smooth, painterly touch. His hair falls in wavy, dark locks across his forehead, catching a…
A single gaze meets the observer from the year 1746. Jerzy August Mniszech sits in a three-quarter pose, his body angled toward the left while his eyes remain fixed upon us. He is a man of the mid-18th century, draped in a heavy red coat that holds the light in its deep folds. A blue sash cuts across his torso, a cool stripe of color against the warmth of his…
A young boy sits in a space of profound stillness, his presence filling the frame with a quiet, heavy introspection. He is caught in a moment of deep thought, his chin resting near his hand as he gazes out with eyes that seem to hold a weight beyond his years. The light, soft and directional, spills from the upper left, brushing against the gentle contours of his face and the…
Old woman with fur hat is an oil on canvas portrait by the artist Pietro Rotari. Executed about 1754, the work is a close-up bust portrait that focuses on the character and physical presence of the subject.
A single moment of stillness defines this portrait. A young woman rests in a three-quarter profile, her eyes closed against the world. Her skin possesses a porcelain quality, luminous and pale under a soft light that descends from the upper left. This light traces the gentle curve of her neck and the soft folds of her white linen collar. A red cap sits upon her head, its plush fur trim…
In the grand tapestry of eighteenth-century portraiture, few works capture the intersection of sovereign power and delicate femininity as exquisitely as Pietro Antonio Rotari’s 1755 masterpiece, Queen Maria Josepha, Wife of King Augustus III of Poland. This commanding portrait is far more than a mere likeness; it is a profound exploration of Baroque grandeur, designed to evoke an immediate sense of awe in any viewer. As the eye meets the…
The painting titled Girl Looking through a Telescope is a work by the Italian artist Pietro Rotari. Created in the late 1750s, this portrait captures a singular moment of observation. The work was commissioned by Queen Lovisa Ulrika, who possessed a known interest in the study of natural history and scientific instruments.
Electoral Prince Friedrich Christian of Saxony1758 · Bavarske državne slikopisne kolekcije
12
Portrait of a Lady1734 · Bavarske državne slikopisne kolekcije
13
Crown Princess Maria Antonia of Sachsen1734 · Bavarske državne slikopisne kolekcije
14
Electress Maria Antonia of Sachsen, Daughter of Emperor Karl VII1734 · Bavarske državne slikopisne kolekcije
15
Boy on a pedestal1734 · Staatliche Kunstsammlungen Dresden
16
Man with fur cap1734 · Staatliche Kunstsammlungen Dresden
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Smiling girl with pearl necklace1734 · Staatliche Kunstsammlungen Dresden
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Slumbering girl1734 · Staatliche Kunstsammlungen Dresden
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A Girl in a Blue Dress1755 · El Paso Museum of Art
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A Girl in a Red Dress1755 · El Paso Museum of Art
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The pentiting Magdalena1754 · Staatliche Kunstsammlungen Dresden
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Princess Kunigunde of Saxony1755 · Staatliche Kunstsammlungen Dresden
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Young Woman Reading A Letter, Her Head Propped Up1750 · Staatliche Kunstsammlungen Dresden
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Girl with a Flower in Her Hair1759 · Yekaterinburg Museum of Fine Arts
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Young Woman with Bonnet, White Shawl, and Book, known as “The Virtuous Girl"1760
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Young Woman with Black Collar and Flowers in her Hair, Known as "The Frivolous Girl"1760
27
Young Russian Woman1759 · Walters Art Museum
28
Young Girl Writing a Love Letter1757 · Norton Simon Museum
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King Augustus III of Poland1755 · Gemäldegalerie
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Portrait of Countess A.M. Vorontsova1759 · Ermitaž
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Princess Elisabeth of Saxe1755 · Staatliche Kunstsammlungen Dresden
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Woman with a Fan and a Woman with a RoseNacionalni muzej u Krakovu
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Young Woman with a Fan1755 · Nacionalna galerija Kanade
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A young Woman, Pietro Rotari, 1756 - 17621762 · Rijksmuseum
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A Young Woman with a Book, Pietro Rotari, 1756 - 17621762 · Rijksmuseum
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Penitent girl
37
Weeping GirlBavarske državne slikopisne kolekcije
38
Young Woman with a Fan1750 · J. Paul Getty Museum
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Portrait of a maid.Nacionalni muzej u Varšavi
40
Portrait of the nuncio at the Dresden court, Ignazio AccoramboniGemäldegalerie
41
Girl with Needle-workNationalmuseum
42
Sleeping GirlAlte Pinakothek
43
Young Girl with DistaffSzépművészeti Múzeum
44
Portrait of Marshall Franc. Rzewuski (1726-1800)
45
Portrait of Elena Kurakina
46
Young Woman with a Fan
47
Portrait of Anna Galitzine
48
Portrait of Natalya Alexeevna of Russia
49
Portrait of Catherine Petrovna Holstein-Beck
50
Portrait of Franciszek Michał Rzewuski.Kraljevski zamak u Varšavi
51
Portrait of a Woman
52
Portrait of Francesco Bartolomeo Rastrelli
53
A Girl with a Flower in Her Hair1762 · National Gallery of Art
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 Pjetro Antonio Rotari | Slike iz ovog spiska |
|---|---|---|---|
 Staatliche Kunstsammlungen Dresden |
Drezden | 11 | Sleeping boy, Young boy, Old woman with fur hat |
 Bavarske državne slikopisne kolekcije |
Minhen | 5 | Electoral Prince Friedrich Christian of Saxony, Portrait of a Lady, Crown Princess Maria Antonia of Sachsen |
 Nacionalni muzej u Varšavi |
Varšava | 3 | Portrait of Maria Josepha of Austria, Portrait of Jerzy August Mniszech (1715–1778), his own coat of arms, Portrait of a maid. |
 Ermitaž |
Sankt Peterburg | 2 | Alexander the Great and Roxane, Portrait of Countess A.M. Vorontsova |
 National Gallery of Art |
Washington | 2 | A Sleeping Girl, A Girl with a Flower in Her Hair |
 Gemäldegalerie |
Drezden | 2 | Queen Maria Josepha, Wife of King Augustus III of Poland, King Augustus III of Poland |
 Nationalmuseum |
Стокхолм | 2 | Girl Looking through a Telescope, Girl with Needle-work |
 El Paso Museum of Art |
El Paso | 2 | A Girl in a Blue Dress, A Girl in a Red Dress |
Izaberite deceniju da biste videli original koji je definiše.
A young boy rests in the center of the frame, his head tilted in the heavy stillness of sleep. The composition is tight, focusing on the soft curve of his neck and the gentle rise of his shoulders. He wears a vest of muted brown over a creamy white shirt, the fabric rendered with a smooth, painterly touch. His hair falls in wavy, dark locks across his forehead, catching a…
A single gaze meets the observer from the year 1746. Jerzy August Mniszech sits in a three-quarter pose, his body angled toward the left while his eyes remain fixed upon us. He is a man of the mid-18th century, draped in a heavy red coat that holds the light in its deep folds. A blue sash cuts across his torso, a cool stripe of color against the warmth of his…
Pietro Antonio Rotari’s “Alexander the Great and Roxane,” completed in 1756, stands as a testament to Baroque grandeur fused with meticulous realism—a captivating portrayal of one of history's most celebrated military figures and his enigmatic consort. The painting resides within the esteemed collections of the Hermitage Museum in Saint Petersburg, Russia, where it continues to inspire admiration for its masterful execution and profound symbolic resonance.
A single moment of stillness defines this portrait. A young woman rests in a three-quarter profile, her eyes closed against the world. Her skin possesses a porcelain quality, luminous and pale under a soft light that descends from the upper left. This light traces the gentle curve of her neck and the soft folds of her white linen collar. A red cap sits upon her head, its plush fur trim…
Girl with a book. Slede Alexander the Great and Roxane (1756) i Portrait of Maria Josepha of Austria (1755).
Girl with a book, Alexander the Great and Roxane, Portrait of Maria Josepha of Austria, Sleeping boy, Portrait of Jerzy August Mniszech (1715–1778), his own coat of arms, Young boy, Old woman with fur hat, A Sleeping Girl, Queen Maria Josepha, Wife of King Augustus III of Poland i Girl Looking through a Telescope. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 56 dela umetnika Pjetro Antonio Rotari, datiranih od 1734 do 1762.
Većinom u Staatliche Kunstsammlungen Dresden (Drezden), Bavarske državne slikopisne kolekcije (Minhen) i Nacionalni muzej u Varšavi (Varšava). Tabela muzeja iznad sadrži njih sve.
U 1750s: 19 od 53 dela na ovoj stranici nastalo je tada, od čega je Alexander the Great and Roxane.
Na ovoj stranici, najstarije delo je iz Sleeping boy (1734), a najnovije iz A young Woman, Pietro Rotari, 1756 - 1762 (1762).
Woman (11), Portrait (6) i Portraits (6), kroz svih 53 dela na ovoj stranici.
Oil On Canvas, za 16 od 53 dela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
Sleeping boy, Young boy i Old woman with fur hat: Staatliche Kunstsammlungen Dresden, Drezden čuva 11 dela sa ove stranice.
Pietro Antonio Rotari je 1707. godine prodisao u živopisnom umetničkom pejzažu Verone, grada utopljenog u baroknu tradiciju, ali otvorenog za evoluirajuće struje italijanske slikarstva. Njegovo početno obrazovanje pod vođstvom Antonia Balestre pružilo mu je čvrste osnove klasične kompozicije i tehnike — temelje na kojima će izgraditi svoj prepoznatljiv stil. Ovaj formativni period u Rotariju je usadio duboko poštovanje prema pedantnom detalju i profinjenom pristupu formi, osobinama koje će postati zaštitni znak njegovog dela. Od 1725. do 1727. godine, boravak u Veneciji proširio je njegove umetničke vidike, izlažući ga jedinstvenom mešavini uticaja tog grada — spoju venecijanskog kolorizma i dramatičnog sjaja. Ovo iskustvo se pokazalo presudnim, oblikujući njegovu senzibilitetnost i pripremajući ga za dalja istraživanja.
Rotarijeva ambicija vodila ga je dalje, prvo u Rim između 1728. i 1732. godine, gde je usavršavao svoje veštine pod mentorstvom Francesca Trevisanija. Trevisanijev uticaj je očigledan u Rotarijevim ranim delima, naročito u nežnom rukovanju svetlom i senkom, kao i u sve većom naglasku na dočaravanje psihološke dubine u portretu. Kasniji period saradnje sa Francescom Solimenom u Napulju (1731–1734) dodatno je obogatio njegov umetnički rečnik. Solimena, majstor napuljskog baroka, preneo je na Rotarija osećaj veličanstvenosti i dramatičnog intenziteta koji će odjekivati tokom čitave njegove karijere.
Po povratku u Veronu, Pietro Antonio Rotari se brzo afirmisao kao nezavisni umetnik, otvorivši sopstveni studio i privlačeći sve veću klijentelu. Počeo je da kova stil koji je jedinstveno njegov — karakterisan izvanrednim realizmom ublažen eleganciju i profinjenom senzibilitetnošću. Iako čvrsto ukorenjen u baroknoj tradiciji, Rotarijevo delo posedovalo je lakoću poteza i osetljivost na nijanse koja ga je izdvajala od eksplicitnije dramatičnih stilova koji su tada bili preovladavajući. Njegovi rani radovi često su uključivali velike oltarske slike za lokalne crkve, poput dela Četiri mučenika (1745) u veronškoj crkvi San Giacomo, demonstrirajući njegovu sposobnost da upravlja složenim kompozicijama i prožme religiozne scene emocionalnom snagom.
Ipak, upravo je u sferi portretistike Rotari dostigao vrhunac svog umeća. Posedovao je izuzetan dar ne samo za hvatanje fizičke sličnosti modela, već i njihove ličnosti, unutrašnje gracioznosti i društvenog statusa. Njegovi portreti nisu bili puki prikazi; oni su bili prodorno proučavanja karaktera, otkrivajući nijanse ljudskih emocija sa neverovatnom suptilnošću. Ovaj talenat mu je brzo doneo priznanje među aristokratskim krugovima severne Italije.
Godina 1750. označila je prekretnicu u Rotarijevoj karijeri kada se uputio na sever, u Beč, tražeći prilike na imperialnom dvoru. Iako uspeh nije došao odmah, on je postavio temelje za njegov konačni trijumf. Tek 1756. godine su sudbina i providnost intervenisale, skrećući pažnju ruske carice Elizavete Petrovne na njega. Pozvan u Sankt Peterburg, Rotari je brzo postao omiljeni portretista ruske aristokacije. Njegova sposobnost da laskavi i idealizuje svoje modele, a pritom zadrži određeni stepen realizma, pokazala se neodoljivom za dvor.
Rotarijev talenat protezao se izvan granica Rusije; radio je i za Augusta III u Poljskoj, u Drajsdenu, dodatno učvršćujući svoju reputaciju vodećeg portretiste evropskih vladara. Kasnije se vratio u Sankt Peterburg kako bi služio Katarini II, nastavljajući da stvara portrete koji su beležili raskoš i moć ruskog dvora. Njegovi radovi obuhvatali su prikaze velikodušnih vojvođica, grofova i drugih istaknutih ličnosti, gde je svaki portret bio pedantno izveden sa izvrsnim detaljem i oštrim razumevanjem aristokratskog etike.
Rotarijev uspeh kao dvorskog slikara odražava ogromnu važnost portretistike tokom 18. veka — perioda u kojem su slike služile ne samo da ovekoveče pojedince, već i da projektuju moć, status i legitimitet. Njegovi portreti pružaju neprocenjiv istorijski dokument o evropskom plemstvu i dvorskom životu u eri značajnih političkih i društvenih promena.
Iako nije bio revolucionarna figura koja je dramatično promenila tok istorije umetnosti, profinjen stil Rotarija izvršio je suptilan, ali trajan uticaj na druge umetnike koji su radili unutar barokne tradicije. Njegov naglasak na realizmu, eleganciji i psihološkom uvidu postavio je visoke standarde za portretstvo, inspirišući generacije slikara da teže sličnim nivoima veštine i osetljivosti.
Rotari je preminuo u Sankt Peterburgu 1762. godine, ostavivši za sobom nasleđe jednog od najtraženijih portretista svog vremena. Njegova dela i dalje očaravaju posetioce svojom lepotom, gracioznošću i prodornim prikazima evropske kraljevske porodice i aristokratije. Kabinet moda i gracioznosti u palati Peterhof, ukrašen stotinama malih Rotarijevih portreta, stoji kao svedočanstvo njegovog izvanrednog talenta i trajnog doprinosa svetu umetnosti.
