Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 48 dela Žak Stela u našem katalogu
Ukratko
Od svih originala koje je Žak Stela ostavio, najpoznatiji je The Madonna and Child (1642), koji se nalazi u kolekciji Ermitaž, Sankt Peterburg. Odmah za njima slede Madonna and Christ Child, with St John the Baptist and Angels (1650) i Christ on the Cross and Saint Mary Magdalene (1625). Naš katalog sadrži 48 dela umetnika Žak Stela; galerija je čuvala 45 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
The Madonna and Child emerges from the shadows of the seventeenth century, a tender moment captured in oil by the French Baroque painter Jacques De Stella. Born in 1596, the artist brings a sense of profound stillness to this religious scene. The work dates to about 1642, a period when De Stella’s brushwork carries the weight of both Florentine precision and the dramatic light of the Baroque era. He moves…
In this intimate religious work, titled Madonna and Christ Child, with St John the Baptist and Angels, we encounter a quiet moment of devotion. The painting, created in France, captures a sacred gathering centered around the Virgin Mary and the infant Jesus. It is a piece that invites a closer look at the tender dynamics between the holy figures present.
The scene unfolds in a moment of profound sorrow, capturing Christ on the Cross and Saint Mary Magdalene. This religious oil painting by Jacques Stella brings the viewer into the immediate presence of the Crucifixion. The pale, illuminated figure of Christ hangs against a dark, nocturnal sky, while Saint Mary Magdalene remains at the foot of the cross, her presence a heavy weight of grief and devotion. The air feels…
The scene unfolds in 1640, capturing a profound moment of encounter in Christ and the Samaritan Woman. Jacques Stella brings this biblical narrative to life, focusing on the pivotal meeting between Jesus and the woman at the well. The air seems to hold its breath as the two figures engage, their presence anchored by the stone structure of the well that serves as the heart of their interaction.
The painting presents a close-up view of a man, focused on the face and upper body against an undefined, dark background. A single light source originates from the upper left, casting the right side of the subject's features into deep shadow. This lighting highlights the bridge of the nose, the lips, and the texture of the skin. The subject is positioned centrally, creating a direct gaze toward the viewer. He…
The air inside the stable feels heavy with the scent of hay and the warmth of a recent miracle. A soft, golden light spills through a window to the right, cutting through the dimness to illuminate the central figures. Mary and Joseph lean inward, their bodies forming a quiet, pyramidal shape that draws the eye toward the infant Jesus. The child lies at the heart of this composition, a small…
The Resurrection is rendered here through a rare and demanding medium: oil on a translucent, polished stone slab, likely agate or onyx. This choice of substrate dictates the work's unique luminosity. The background is not a static void but a swirling, textured expanse of golden-brown, where the natural veins of the stone integrate with the painted figures. Christ emerges as a muscular, luminous presence, draped in flowing pink and red…
In Jacob's Ladder, Jacques Stella captures a moment of profound spiritual intersection. Created about 1650, the work presents the biblical scene of Jacob's Ladder, where the boundary between the earthly and the divine begins to dissolve. The subject matter functions as a symbol of divine communication and transcendence, inviting a sense of wonder at the connection between heaven and earth. This celestial encounter unfolds within a dreamlike atmosphere, where the…
To gaze upon this magnificent depiction of Minerve Chez les Muses is to step directly into the golden age of classical mythology, a moment suspended in an eternal afternoon of intellectual bloom. The scene unfolds with breathtaking richness, presenting Minerva, the embodiment of wisdom and strategic thought, surrounded by her divine companions—the Muses, goddesses patronizing the arts and sciences. It is more than just a painting; it is a vibrant…
Jacques Stella captured the heavy weight of sacrifice in this depiction of The Martyrdom of St Stephen. Created about 1623, the work presents a moment of profound tension. The scene focuses on the saint as he faces his end, surrounded by the physical reality of his persecution. It is a study of devotion held against the violence of a crowd.
The Rest on the Flight into Egypt1639
12
The Virgin and Child with Saint John the Baptist and Child Angels1640 · National Trust
13
Salome with the Head of Saint John the Baptist1637 · National Trust
14
SAINTE CECILE JOUANT DE L'ORGUELuvr
15
Judgment of SolomonKunsthistorisches Museum
16
King Candaules of Lydia Showing His Wife to GygesJohn and Mable Ringling Museum of Art
17
Virgin and Child
18
The Rape of the Sabines
19
Massacre Of The Innocents
20
LOUIS II DE BOURBON, DUC D'ENGHIENMusée Condé
21
La mort de Saint JosephMusée de Grenoble
22
Sainte Anne conduisant la Vierge au temple
23
La Vierge donnant la bouillie à l'enfant Jésus, avec un angelot soufflant sur le réchaud
24
L'Enfance du Christ La Sainte Famille
25
Repos de la Sainte Famille
26
LA VIERGE, L'ENFANT JESUS ET SAINT JEAN BAPTISTE
27
TRIOMPHE DE LOUIS XIII SUR LES ENNEMIS DE LA RELIGION
28
The Marriage of the VirginSzépművészeti Múzeum
29
Clelie Passant Le Tibre
30
French, (1596-1657)
31
The Holy Family
32
The Liberality Of Louis Xiii And Cardinal Richelieu
33
Minerva and the muses
34
Le Bapteme Du Christ
35
La Sainte Famille
36
Sémiramis Appelée Au Combat
37
Portrait De Jacques Stella Et De Sa Mère
38
Sainte Famille Avec Saint Jean-baptiste.Musée Fabre
39
The Liberality Of Titus, Allegory Of The Liberality Of Louis Xiii And Cardinal RichelieuHarvard Art Museums
40
Mariage de la ViergeMusée des Augustins
41
Rest On The Flight Into EgyptMuzeum Palacu Króla Jana Iii w Wilanowie
42
Jésus Christ reçoit la Vierge dans le cielLuvr
43
CLELIE PASSANT LE TIBRELuvr
44
Solomon Worshipping Idols1647 · Muzej lepih umetnosti u Lionu
45
Solomon Receiving the Queen of Sheba1650 · Muzej lepih umetnosti u Lionu
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 Žak Stela | Slike iz ovog spiska |
|---|---|---|---|
 Luvr |
Pariz | 4 | MINERVE CHEZ LES MUSES, SAINTE CECILE JOUANT DE L'ORGUE, Jésus Christ reçoit la Vierge dans le ciel |
 Muzej lepih umetnosti u Lionu |
Lion | 3 | Self-portrait, Solomon Worshipping Idols, Solomon Receiving the Queen of Sheba |
 Ermitaž |
Sankt Peterburg | 2 | The Madonna and Child, Madonna and Christ Child, with St John the Baptist and Angels |
 National Trust |
Temz | 2 | The Virgin and Child with Saint John the Baptist and Child Angels, Salome with the Head of Saint John the Baptist |
 Bowes Museum |
Barnard Castle | 1 | The Nativity |
 Los Angeles County Museum of Art |
Los Anđeles | 1 | Jacob's Ladder |
 Fitzwilliam College |
Cambridge | 1 | The Martyrdom of St Stephen |
 Kunsthistorisches Museum |
Beč | 1 | Judgment of Solomon |
Izaberite deceniju da biste videli original koji je definiše.
The scene unfolds in a moment of profound sorrow, capturing Christ on the Cross and Saint Mary Magdalene. This religious oil painting by Jacques Stella brings the viewer into the immediate presence of the Crucifixion. The pale, illuminated figure of Christ hangs against a dark, nocturnal sky, while Saint Mary Magdalene remains at the foot of the cross, her presence a heavy weight of grief and devotion. The air feels…
The air inside the stable feels heavy with the scent of hay and the warmth of a recent miracle. A soft, golden light spills through a window to the right, cutting through the dimness to illuminate the central figures. Mary and Joseph lean inward, their bodies forming a quiet, pyramidal shape that draws the eye toward the infant Jesus. The child lies at the heart of this composition, a small…
The Madonna and Child emerges from the shadows of the seventeenth century, a tender moment captured in oil by the French Baroque painter Jacques De Stella. Born in 1596, the artist brings a sense of profound stillness to this religious scene. The work dates to about 1642, a period when De Stella’s brushwork carries the weight of both Florentine precision and the dramatic light of the Baroque era. He moves…
In this intimate religious work, titled Madonna and Christ Child, with St John the Baptist and Angels, we encounter a quiet moment of devotion. The painting, created in France, captures a sacred gathering centered around the Virgin Mary and the infant Jesus. It is a piece that invites a closer look at the tender dynamics between the holy figures present.
The Madonna and Child (1642), Ermitaž, Sankt Peterburg. Slede Madonna and Christ Child, with St John the Baptist and Angels (1650) i Christ on the Cross and Saint Mary Magdalene (1625).
46 godina: The Madonna and Child datira iz 1642, a Žak Stela je rođen/a 1596.
The Madonna and Child, Madonna and Christ Child, with St John the Baptist and Angels, Christ on the Cross and Saint Mary Magdalene, Christ and the Samaritan Woman, Self-portrait, The Nativity, Risen Jesus Christ appearing to his mother, Jacob's Ladder, MINERVE CHEZ LES MUSES i The Martyrdom of St Stephen. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 48 dela umetnika Žak Stela, datiranih od 1623 do 1650.
Većinom u Luvr (Pariz), Muzej lepih umetnosti u Lionu (Lion) i Ermitaž (Sankt Peterburg). Tabela muzeja iznad sadrži njih sve.
U 1640s: 5 od 45 dela na ovoj stranici nastalo je tada, od čega je The Madonna and Child.
Na ovoj stranici, najstarije delo je iz The Martyrdom of St Stephen (1623), a najnovije iz Madonna and Christ Child, with St John the Baptist and Angels (1650).
Woman (7), Man (5) i Landscape (4), kroz svih 45 dela na ovoj stranici.
Oil, za 10 od 45 dela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
MINERVE CHEZ LES MUSES, SAINTE CECILE JOUANT DE L'ORGUE i Jésus Christ reçoit la Vierge dans le ciel: Luvr, Pariz čuva 4 dela sa ove stranice.
Jacques de Stella (1596-1657) stands as a pivotal figure in 17th-century French art, a painter whose career seamlessly blended the rigorous principles of Florentine classicism with the burgeoning dynamism of Roman influence. Born in Lyon to a family steeped in artistic tradition – his father, François Stella, was a painter and merchant of Flemish origin – Stella’s early life laid the foundation for a remarkable trajectory. Despite his father's untimely death before providing formal training, Stella’s siblings, including sculptor Madeleine and artist François the Younger, fostered an environment rich with creative discourse and artistic practice. This familial legacy, coupled with his uncle Antoine Stella’s own artistic pursuits, propelled him towards a life dedicated to visual expression.
Stella's artistic journey commenced in Lyon, where he honed his skills before embarking on a transformative period in Florence between 1616 and 1621. This sojourn within the court of Cosimo II de Medici proved profoundly influential. Working alongside Jacques Callot, Stella immersed himself in the ideals of Renaissance art, absorbing the meticulous detail, balanced compositions, and profound moral narratives characteristic of Florentine painting. The influence of Florence is undeniably evident throughout his oeuvre, particularly in his masterful use of perspective, drapery, and the depiction of religious figures with a dignified solemnity.
Following Cosimo II's death in 1621, Stella relocated to Rome, where he spent the next decade establishing himself as a respected artist. This period witnessed a significant shift in his artistic sensibilities, marked by an increasing engagement with classical antiquity and, crucially, the teachings of Nicolas Poussin. Poussin’s emphasis on light, color, and idealized forms resonated deeply with Stella, shaping his approach to composition and subject matter. Their friendship fostered a shared pursuit of clarity, restraint, and spiritual depth – qualities that would become hallmarks of Stella's style.
Stella’s Roman career was further distinguished by his patronage from Pope Urban VIII, who recognized the artist’s talent and commissioned numerous works, including intricate paintings on stone (onyx, lapis-lazuli, or slate) alongside more traditional panel paintings. These commissions showcased Stella's technical virtuosity and his ability to translate complex narratives into visually compelling forms. His work during this time demonstrated a masterful command of technique, evident in the precise rendering of textures, the subtle gradations of light and shadow, and the harmonious integration of figures within their environments.
Stella’s artistic output was particularly focused on religious subjects, most notably his poignant depictions of the “Childhood of Christ.” Five distinct versions of this iconic scene exist, each offering a subtly different interpretation of the narrative. These paintings are not merely representations of biblical events; they are imbued with a profound sense of tenderness, vulnerability, and spiritual contemplation. The meticulous detail with which Stella portrays the infant Jesus’s interactions with his parents – Mary and Joseph – speaks to his deep understanding of human emotion and his ability to convey complex theological ideas through visual imagery.
In 1634, Stella returned to Lyon before moving to Paris in 1635. His arrival in the capital marked a significant turning point in his career. Presented to King Louis XIII by Cardinal Richelieu, he was granted the prestigious title of ‘Peintre du Roi’ (King's Painter), a position that afforded him royal patronage and a guaranteed pension of 1000 livres. This recognition solidified Stella’s status as one of France’s leading artists, allowing him to continue his artistic pursuits with relative security and freedom.
Beyond his prolific painting and engraving activities, Jacques Stella was an avid art collector throughout his life. He amassed a remarkable collection of works by Poussin, Raphael, and Michelangelo, alongside drawings by Leonardo da Vinci – demonstrating a deep appreciation for the artistic heritage of the past. His dedication to preserving and studying these masterpieces underscores his commitment to both artistic creation and historical scholarship.
Stella’s career spanned several decades, marked by a remarkable adaptability and a willingness to embrace diverse artistic styles. He died in Paris, leaving behind a substantial body of work that continues to be admired for its elegance, technical skill, and profound spiritual depth. His influence on subsequent generations of French painters is undeniable, cementing his place as a key figure in the transition from Mannerism to Classicism and a vital link between the artistic traditions of Florence and France.
