Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 63 dela Ђамбатиста Питони u našem katalogu
Ukratko
Portrait of a mathematician (1740) je slika autora Ђамбатиста Питони koja privlači najviše pažnje; original se nalazi u muzeju Kunsthistorisches Museum, Beč. Nakon toga, pogled se seli na Saint Eustace refuses to honour the gods of Rome (1722) i Trajan trying to compel Saint Eustace to worship the statue of Jupiter (1722). Među 63 dela umetnika Ђамбатиста Питони u našem katalogu, ovih 62 su najpoznatija, od kojih je svako jedinstveni original predstavljen sa godinom nastanka, muzejom i razlogom zbog kojeg je i danas neprocenjivo.
A man sits in a three-quarter length pose, positioned slightly off-center against a dark, indistinct background. He wears a brown coat over a waistcoat, paired with a crisp white cravat at the neck. A turquoise blue cloak is draped across his shoulders, providing a cool-toned contrast to the warmer earth tones of his clothing. His head is framed by a voluminous, white powdered wig with structured curls. The subject's gaze…
Homily of John the Baptist1727 · Bavarske državne slikopisne kolekcije
12
Susanna and the Elders (Pittoni, Louvre Museum)1723
13
Annunciation1740
14
The Madonna and Child, Saint Anthony of Padua and three little angels1740
15
The Sacrifice of Polyxena1735
16
Martyrdom of Saint Bartholomew1735 · The Nelson-Atkins Museum of Art
17
The Virgin and Child adored by Saint Carlo Borromeo1743 · National Museum of Art, Architecture and Design
18
The Sacrifice of the Polyxena1737 · Bavarske državne slikopisne kolekcije
19
The generosity of Scipio1737 · Bavarske državne slikopisne kolekcije
20
The birth of Christ1735 · Bavarske državne slikopisne kolekcije
21
The Continence of Scipio1734 · Statens Museum For Kunst
22
The Sacrifice of Polyxena at the Tomb of Achilles1735 · Walters Art Museum
23
St. Anna, accompanied by St. Peter and St. Anthony of Padua, instructs the young Mary in reading the Holy Bible1748 · Gemäldegalerie
24
Eliezer and Rebecca1750 · Musée des Beaux-Arts de Bordeaux
25
The Sacrifice of Polyxena in Malibu1732 · J. Paul Getty Museum
26
The Rest on the Flight into Egypt1725 · Fundación Colección Thyssen-Bornemisza
27
Света Елизабета Венгерска раздаје помоћи1734 · Szépművészeti Múzeum
28
Sacrifice of Isaac1720 · Сан Франческо делла Виња
29
Sts Jerome and Peter of Alcantara1725 · Nacionalna galerija Škotske
30
Descent from the CrossFine Arts Museums of San Francisco
31
The Sacrifice of PolyxenaErmitaž
32
Смрт ЈозефаCharlottenburg Palace
33
Head of the Virgin1730 · Musée des Beaux-Arts de Strasbourg
34
Annunciation1758 · Gallerie dell'Accademia di Venezia
35
The Continence of Scipio1733
36
Moses saved from the waters1730 · Portland Art Museum
37
Memorial to James, First Earl of Stanhope1726 · Chrysler Museum of Art
38
Giustizia e Pace con Minerva e Giove1730
39
Hannibal swearing revenge against the Romans1723 · Pinacoteca di Brera
40
The Marriage of Placidia and Constantius1740 · Ermitaž
41
The Jacob's blessingErmitaž
42
The Emperor Honorius elects Costantius his co-governor1740
43
Saints Presenting a Devout Woman to the Virgin and Child1725 · Cleveland Museum of Art
44
Crassus sacks the temple of Jerusalem1743 · Gallerie dell'Accademia di Venezia
45
The Vision of Saint Anthony of Padua1730 · San Diego Museum of Art
46
An Allegorical Monument to Sir Isaac Newton1728 · Fitzwilliam Museum
47
Dionysus and Ariadne1730 · Museu de Arte de São Paulo Assis Chateaubriand
48
Adoration of the Magi1740 · Crkva Svetih Nazarija i Celusa
49
Dido Founding Carthage1721 · Ermitaž
50
Death of King Candaules1720 · Ermitaž
51
Madonna and Child with two angels1737 · Nacionalni muzej u Varšavi
52
Venus and Mars of Warsaw1720 · Nacionalni muzej u Varšavi
53
Bacchus and Ariadne1720 · Nacionalni muzej u Varšavi
54
Diana and Endymion1723 · Ermitaž
55
Abraham Sacrificing His Son Isaac1750 · Muzej finih umetnosti u Bostonu
56
The miracle of the loaves and fishes1725 · Nacionalna galerija Viktorije
57
Mars and Venus1720
58
Bacchus and Ariadne1723
59
Polyxena in front of the Achilles' Tomb1734
60
The Torture of St Thomas1722 · San Stae
61
Свети Рох1727 · Szépművészeti Múzeum
62
The Penitent Magdalene1740 · Gallerie dell'Accademia di Venezia
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 Ђамбатиста Питони | Slike iz ovog spiska |
|---|---|---|---|
 Bavarske državne slikopisne kolekcije |
Minhen | 6 | The death of St. Joseph, The St. Eustace refuses idolatry, Homily of John the Baptist |
 Ermitaž |
Sankt Peterburg | 6 | The Sacrifice of Polyxena, The Marriage of Placidia and Constantius, The Jacob's blessing |
 Nacionalni muzej u Varšavi |
Varšava | 4 | Bacchus and Ariadne, Madonna and Child with two angels, Venus and Mars of Warsaw |
 Szépművészeti Múzeum |
Budimpešta | 3 | The Nativity, Света Елизабета Венгерска раздаје помоћи, Свети Рох |
 Gallerie dell'Accademia di Venezia |
Venecija | 3 | Annunciation, Crassus sacks the temple of Jerusalem, The Penitent Magdalene |
 Kunsthistorisches Museum |
Beč | 1 | Portrait of a mathematician |
 Kraljevski zamak u Varšavi |
Varšava | 1 | Saint Eustace refuses to honour the gods of Rome |
 Museo Diocesano Tridentino |
Trento | 1 | San Domenico |
Izaberite deceniju da biste videli original koji je definiše.
A man sits in a three-quarter length pose, positioned slightly off-center against a dark, indistinct background. He wears a brown coat over a waistcoat, paired with a crisp white cravat at the neck. A turquoise blue cloak is draped across his shoulders, providing a cool-toned contrast to the warmer earth tones of his clothing. His head is framed by a voluminous, white powdered wig with structured curls. The subject's gaze…
Portrait of a mathematician (1740), Kunsthistorisches Museum, Beč. Slede Saint Eustace refuses to honour the gods of Rome (1722) i Trajan trying to compel Saint Eustace to worship the statue of Jupiter (1722).
53 godina: Portrait of a mathematician datira iz 1740, a Ђамбатиста Питони je rođen/a 1687.
Portrait of a mathematician, Saint Eustace refuses to honour the gods of Rome, Trajan trying to compel Saint Eustace to worship the statue of Jupiter, Bacchus and Ariadne, Healing of Saint Antiochus, San Domenico, The Sacrifice of Polyxena at the Tomb of Achilles, The Nativity, The death of St. Joseph i The St. Eustace refuses idolatry. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 63 dela umetnika Ђамбатиста Питони, datiranih od 1717 do 1758.
Većinom u Bavarske državne slikopisne kolekcije (Minhen), Ermitaž (Sankt Peterburg) i Nacionalni muzej u Varšavi (Varšava). Tabela muzeja iznad sadrži njih sve.
U 1720s: 22 od 62 dela na ovoj stranici nastalo je tada, od čega je Saint Eustace refuses to honour the gods of Rome.
Na ovoj stranici, najstarije delo je iz Bacchus and Ariadne (1717), a najnovije iz Annunciation (1758).
Man (4), Drapery (4) i Woman (3), kroz svih 62 dela na ovoj stranici.
Oil On Canvas, za 9 od 62 dela na ovoj stranici.
Rococo i Baroque, sudeći po originalima na ovoj stranici.
The death of St. Joseph, The St. Eustace refuses idolatry i Homily of John the Baptist: Bavarske državne slikopisne kolekcije, Minhen čuva 6 dela sa ove stranice.
In the vibrant, water-bound splendor of eighteenth-century Venice, few artists captured the theatrical essence of the late Baroque and Rococo periods as fluently as Giambattista Pittoni. Born in Venice, his artistic soul was shaped by a profound connection to the masters who preceded him in this maritime republic. His early training was deeply personal, conducted under the guidance of his uncle, Francesco Pittoni, a painter of the Venetian Baroque. This lineage provided him with a foundation in the grand traditions of his native city, allowing him to weave together the dramatic intensity of the previous era with the emerging grace of the Rococo.
Pittoni’s work is characterized by an extraordinary command of movement and luminosity. He possessed a unique ability to bring a sense of breathing life to his canvases, utilizing a palette that celebrated the interplay of light and shadow. Whether depicting sacred figures or mythological legends, his brushwork often achieved a breathtaking realism, capturing opulent textures and profound human emotions. His mastery was not merely in the depiction of form, but in the creation of atmosphere—a skill that allowed him to navigate the transition from the heavy, emotive weight of the Baroque to the more effervescent and airy qualities of the Rococo style.
The breadth of Pittoni’s oeuvre reflects both his technical versatility and his deep engagement with the spiritual and classical themes of his time. His compositions often utilized elegant, triangular structures to guide the viewer's eye through scenes of divine intervention or historical significance. Some of his most notable subjects include:
Beyond his individual canvases, Pittoni held a position of significant prestige within the Venetian art community. He was among the founders of the Academy of Fine Arts of Venice, eventually serving as its second president, succeeding the legendary Tiepolo. This leadership role underscores his importance not just as a creator, but as a pillar of the artistic establishment in Venice.
The historical footprint of Giambattista Pittoni is preserved in some of the world's most esteemed galleries. His ability to synthesize the dramatic tension of the Baroque with the light-filled elegance of the Rococo ensured that his work remained relevant during a period of profound stylistic evolution. From the Louvre Museum in Paris to the Pushkin Museum in Moscow and the National Gallery of Scotland, his paintings continue to serve as vital windows into the artistic spirit of eighteenth-century Italy.
Through his meticulous attention to detail and his ability to evoke deep emotional responses, Pittoni left behind a catalogue of works that celebrate the human condition, the divine, and the timeless beauty of classical myth. His legacy remains intertwined with the very identity of Venice, representing a pinnacle of Venetian painting where light, color, and drama converge in perfect harmony.
