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Madonna of Humility (1432) je slika autora Sasetu (Stefano Di Đovani) koja privlači najviše pažnje; original se nalazi u muzeju Staatliche Museen zu Berlin, Berlin. Nakon toga, pogled se seli na Virgin with Child and Four Saints (detail) (1435) i Saint Francis and the Poor Knight, and Francis's Vision (1437). Među 56 dela umetnika Sasetu (Stefano Di Đovani) u našem katalogu, ovih 56 su najpoznatija, od kojih je svako jedinstveni original predstavljen sa godinom nastanka, muzejom i razlogom zbog kojeg je i danas neprocenjivo.
In the quiet sanctity of the early fifteenth century, few images capture the profound intimacy of the divine as gracefully as Sassetta’s Madonna of Humility. Painted around 1432, this masterpiece serves as a breathtaking window into a period where the ethereal meets the earthly. The composition centers on the Virgin Mary, not seated upon a distant, golden throne, but nestled in a posture of profound humility that defines her very…
The panel titled Saint Francis and the Poor Knight, and Francis's Vision emerges from the hand of the artist Sassetta. Created about 1437, this work exists as the first of eight distinct paintings that once formed the back of a large, richly coloured and elaborate altarpiece. It belongs to the larger San Sepolcro Altarpiece, a significant assembly of devotional imagery.
The work is titled The Funeral of Saint Francis and Verification of the Stigmata. It was executed by the artist Sassetta (Stefano Di Giovanni) between 1437 and 1444. This panel functions as the final movement in a larger narrative cycle, serving as the eighth and concluding scene in a series of eight depictions of the life of Saint Francis.
The Agony in the Garden is a poignant and spiritually charged tempera painting from the Early Renaissance period. The composition depicts the biblical scene of Christ's agony in the Garden of Gethsemane, set against a dark, star-studded nocturnal sky and a landscape of rolling hills and a winding path. In the foreground, several apostles are shown in various states of deep sleep, their bodies slumped and heads bowed in a…
The work titled Saint Francis before the Sultan is a creation of the artist Sassetta. It emerged from the studio between 1437 and 1444. This panel was originally conceived as part of the San Sepolcro Altarpiece, a large and complex structure commissioned for the Franciscans of Borgo Sansepolcro, Italy. The piece functioned as part of a double-sided polyptych, a structural arrangement that allowed the sacred narrative to unfold on both…
In Saint John the Evangelist by Sassetta, a single, elongated figure commands the entire vertical space. The saint occupies the center of the panel, his presence exerting a heavy spiritual gravity that anchors the viewer's gaze. He stands upon a small, rocky ground adorned with intricate patterns, a modest stage for such a monumental figure. The saint holds a book and a stylus, the tools of his sacred vocation, which…
The air feels heavy with the scent of woodsmoke and the weight of a gathering crowd. In this 1423 tempera work, a public execution unfolds under a deep blue sky, framed by the soft, rolling hills of the Italian landscape. At the center of the chaos, a figure is bound to a stake, consumed by bright orange flames that lick upward against the dark, charred tones of the victim. The…
This tempera on poplar panel, dating to c. 1435, presents a solitary figure of Saint Margaret against a shimmering gold ground. The composition is vertical and centered, emphasizing a sense of stillness and spiritual focus. She is draped in a heavy, dark mantle over a deep crimson tunic, her head tilted with a gentle, serene expression. At her feet, a dark, dragon-like creature is visible, a symbolic representation of her…
In this vertical composition, Sassetta presents Saint Apollonia as a single, centered figure. The saint is positioned against a flat, decorative gold background that emphasizes her presence through a sense of divine stillness. Her expression remains calm and contemplative, a quietude that contrasts with the heavy symbolism of her attributes. She holds the pincers used in her martyrdom, a specific detail that identifies her within the religious tradition. This object,…
St. Nicholas of Bari1430
12
Madonna of the Snow Altarpiece1432
13
St Anthony the Hermit Tortured by the Devils1423
14
The Ecstasy of St Francis (detail)1437 · Villa i Tatti
15
The Procession to Calvary1441 · Detroit Institute of Arts
16
The Betrayal of Christ1437 · Detroit Institute of Arts
17
Madonna of Humility1437 · National Gallery of Art
18
St. Anthony of Padua1450
19
Madonna and Child with Angels1437
20
St Matthew1437 · Collezione Vittorio Cini
21
Assumption of Mary with Angel Choirs1450 · Gemäldegalerie
22
The Wolf of Gubbio1450 · National Gallery
23
Virgin of Humility1440 · Collezione Vittorio Cini
24
St Thomas Inspired by the Dove of the Holy Ghost1423 · Szépművészeti Múzeum
25
Damnation of the Soul of the Miser of Citerna1437 · Luvr
26
The Ecstasy of St Francis1437 · Villa i Tatti
27
St Thomas Inspired by the Dove of the Holy Ghost1423 · Szépművészeti Múzeum
28
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
29
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
30
Miracle of the Eucharist1423 · Bowes Museum
31
Death of the Heretic on the Bonfire1423 · Nacionalna galerija Viktorije
32
St Jerome (detail)1423 · Pinacoteca Nazionale
33
Founding of Santa Maria Maggiore1430
34
The mystical marriage of Saint Francis of Assisi1444
35
The Annunciation "1435 · Metropoliten музеј у Њујорку
36
Virgin with Child and Four Saints (detail)1435 · Museo Diocesano
37
The Stigmatisation of St Francis1437 · National Gallery
38
The Blessed Ranieri Frees the Poor from a Prison in Florence1437 · Luvr
39
Virgin with Child and Four Saints (detail)1435 · Museo Diocesano
40
Virgin and Child with Saints1437 · Luvr
41
The Blessed Ranieri Frees the Poor from a Jail in Florence1444 · Luvr
42
St Thomas Before the Cross1423 · Vatikan Pinacoteca
43
The Blessed Raniero of Borgo San Sepolcro Appearing to a Cardinal in a Dream1444 · Staatliche Museen zu Berlin
44
St. Francis Kneeling before Christ on the CrossCleveland Museum of Art
45
The Last Supper1423 · Pinacoteca Nazionale
46
St Anthony the Hermit Tortured by the Devils1423 · Pinacoteca Nazionale
47
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
48
Madonna and Child with AngelsMetropoliten музеј у Њујорку
49
The Annunciation
50
The Meeting of St. Anthony and St. PaulNational Gallery of Art
51
The Journey of the Magi1435 · Metropoliten музеј у Њујорку
52
Договор Святого Франциска и Пречистой Девы1437 · Musée Condé
53
Saint Francis renounces his Earthly Father1437 · National Gallery
54
St. Anthony Beaten by Devils1423 · Pinacoteca Nazionale
55
Madonna of Humility with Four Saints1435 · Museo Diocesano
56
The Virgin and Child with Saints1430 · Galerija Ufizi
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 Sasetu (Stefano Di Đovani) | Slike iz ovog spiska |
|---|---|---|---|
 National Gallery |
London | 6 | Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis, Saint Francis before the Sultan |
 Szépművészeti Múzeum |
Budimpešta | 5 | St Thomas Inspired by the Dove of the Holy Ghost, St Thomas Inspired by the Dove of the Holy Ghost, St Thomas Inspired by the Dove of the Holy Ghost (detail) |
 Museo Diocesano |
Kortona | 4 | Virgin with Child and Four Saints (detail), Virgin with Child and Four Saints (detail), Virgin with Child and Four Saints (detail) |
 National Gallery of Art |
Washington | 4 | Saint Margaret, Saint Apollonia, Madonna of Humility |
 Luvr |
Pariz | 4 | Damnation of the Soul of the Miser of Citerna, The Blessed Ranieri Frees the Poor from a Prison in Florence, Virgin and Child with Saints |
 Pinacoteca Nazionale |
Sijena | 4 | St Jerome (detail), The Last Supper, St Anthony the Hermit Tortured by the Devils |
 Detroit Institute of Arts |
Detroit | 3 | The Agony in the Garden, The Procession to Calvary, The Betrayal of Christ |
 Metropoliten музеј у Њујорку |
Њујорк | 3 | The Annunciation ", Madonna and Child with Angels, The Journey of the Magi |
Izaberite deceniju da biste videli original koji je definiše.
In Saint John the Evangelist by Sassetta, a single, elongated figure commands the entire vertical space. The saint occupies the center of the panel, his presence exerting a heavy spiritual gravity that anchors the viewer's gaze. He stands upon a small, rocky ground adorned with intricate patterns, a modest stage for such a monumental figure. The saint holds a book and a stylus, the tools of his sacred vocation, which…
The air feels heavy with the scent of woodsmoke and the weight of a gathering crowd. In this 1423 tempera work, a public execution unfolds under a deep blue sky, framed by the soft, rolling hills of the Italian landscape. At the center of the chaos, a figure is bound to a stake, consumed by bright orange flames that lick upward against the dark, charred tones of the victim. The…
In the quiet sanctity of the early fifteenth century, few images capture the profound intimacy of the divine as gracefully as Sassetta’s Madonna of Humility. Painted around 1432, this masterpiece serves as a breathtaking window into a period where the ethereal meets the earthly. The composition centers on the Virgin Mary, not seated upon a distant, golden throne, but nestled in a posture of profound humility that defines her very…
The work is titled The Funeral of Saint Francis and Verification of the Stigmata. It was executed by the artist Sassetta (Stefano Di Giovanni) between 1437 and 1444. This panel functions as the final movement in a larger narrative cycle, serving as the eighth and concluding scene in a series of eight depictions of the life of Saint Francis.
The work titled Saint Francis before the Sultan is a creation of the artist Sassetta. It emerged from the studio between 1437 and 1444. This panel was originally conceived as part of the San Sepolcro Altarpiece, a large and complex structure commissioned for the Franciscans of Borgo Sansepolcro, Italy. The piece functioned as part of a double-sided polyptych, a structural arrangement that allowed the sacred narrative to unfold on both…
Madonna of Humility (1432), Staatliche Museen zu Berlin, Berlin. Slede Virgin with Child and Four Saints (detail) (1435) i Saint Francis and the Poor Knight, and Francis's Vision (1437).
40 godina: Madonna of Humility datira iz 1432, a Sasetu (Stefano Di Đovani) je rođen/a 1392.
Madonna of Humility, Virgin with Child and Four Saints (detail), Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis, The Agony in the Garden, Saint Francis before the Sultan, Saint John the Evangelist, The burning of a heretic, Saint Margaret i Saint Apollonia. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 56 dela umetnika Sasetu (Stefano Di Đovani), datiranih od 1412 do 1450.
Većinom u National Gallery (London), Szépművészeti Múzeum (Budimpešta) i Museo Diocesano (Kortona). Tabela muzeja iznad sadrži njih sve.
U 1430s: 27 od 56 dela na ovoj stranici nastalo je tada, od čega je Madonna of Humility.
Na ovoj stranici, najstarije delo je iz Saint John the Evangelist (1412), a najnovije iz Saint Francis before the Sultan (1450).
People (10), Gold background (9) i Woman (7), kroz svih 56 dela na ovoj stranici.
Tempera On Panel, za 27 od 56 dela na ovoj stranici.
Early renaissance, sudeći po originalima na ovoj stranici.
Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis i Saint Francis before the Sultan: National Gallery, London čuva 6 dela sa ove stranice.
Da, kao reprodukcija: original ostaje u svom muzeju, ali svaku sliku sa ove stranice može se ručno naslikati za vas, po vašoj narudžbi, pojedinačno, direktno sa stranice te slike.
U blistavoj eri italijanskog kvatrocento, malo je koje ime tako dirljivo priziva nežni prelaz sa srednjovekovnog na moderno kao Stefano di Giovanni, istoriji poznatiji pod nadimkom Sassetta. Kao ključna figura sieneskog pravca, njegova umetnost predstavlja duboki most između dekorativne elegancije kasnog gotičkog perioda i bujajućeg realizma renesanse. Iako njegovi tačni počeci ostaju skriveni u magli vremena — dok naučnici još uvek raspravljaju da li je rođen u Sijenu ili možda u Kortoni — njegovo prisustvo u toskanskom pejzažu je neosporno. Njegovo delo nosi ritmičnu, lirsku dušu Sijena, a ipak diše novom, posmatračkom vitalnošću koja sugeriše umetnika duboko angažovanog u promenljivim vetrovima svog doba.
Sassettin kreativni put bio je put sofisticirane sinteze. Posedovao je retku sposobnost da odati počast tradicionalnom sienskom stilu — karakterističnom po svojim zamršanim detaljima i duhovnoj dubini — dok je istovremeno upijao revolucionarne inovacije koje su izbijale iz Firence. Uticaj majstora kao što su Masaccio, Masolino i Gentile da Fabriano može se osetiti u njegovom evoluirajućem vladanju prostornim odnosima i upotrebom svetlosti. On nije samo kopirao ove nove tehnike; naprotiv, on ih je integrisao kako bi svojim figurama podario prirodni sjaj, dopuštajući svetlosti da ubedljivo oblikuje njihove forme i stvori osećaj kohezivnog, disajućeg prostora unutar njegovih kompozicija.
Sassettino delo je svedočanstvo njegove majstorstva u narativnom slikarstvu, gde svaki potez četkice služi višoj duhovnoj svrsi. Njegova dela često funkcionišu kao prozori u božansko, koristeći sofisticiranu paletu boja i ritmične kompozicije kako bi vodila posmatrača kroz svete istorije. U remek-delima kao što je Poslednja večera, on pokazuje izvanrednu veštinu u hvatanju složenih emocionalnih stanja, koristeći zemljane tonove i pažljivu perspektivu kako bi duboku religioznu naraciju utemeljio u opipljivoj, sumornoj stvarnosti. Njegova sposobnost da uravnoteži ornamentalnu lepotu gotičke tradicije sa bujajućim osećajem ljudske drame čini njegove panele jedinstveno očaravajućim.
Izvan intimne razmere njegovih manjih panela, Sassetta je postigao veliki ugled kroz značajne oltare i poliptihove koji su definisali religiozni pejzaž svog vremena. Neka od njegovih najistaknutijih umetničkih dostignuća uključuju:
Istorijski značaj Sassette leži u njegovoj ulozi čuvara i inovatora. On je osigurao da jedinstveni identitet sienskog pravca ne nestane pred dominacijom Firence, već da se razvije kako bi obuhvatio novi jezik realizma i dubine. Njegove slike nisu samo relikvije prošle ere; one su živi dijalozi između starog i novog sveta. Kroz nežno rukovanje svetlošću, svoje majstorstvo u simboličkoj ikonografiji i svoju duboku empatiju prema svojim subjektima, Sassetta je ostavio neizbrisiv trag u istoriji italijanske umetnosti, osiguravajući svoje mesto kao jedan od najvažnijih predstavnika sieneskog renesansnog doba.
