更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 161 件 帕尔马·乔凡尼 作品收录于我们的目录中
简而言之
在 帕尔马·乔凡尼 留下的所有原作中，最著名的当属收藏于 威尼斯 威尼斯学院美术馆 的《The Crucifixion of St Peter (1614)》。 紧随其后的是 Pietà with Angels (1620) 和 Paolo Veronese (1600)。 我们的目录收录了 帕尔马·乔凡尼 的 161 件作品；画廊完整保留了 100 件享誉世界的杰作，并为每一件作品详细标注了创作日期、馆藏机构及其背后的故事。
Michelangelo Palma il Giovane’s “The Crucifixion of St Peter,” painted in 1614, is not merely a depiction of a pivotal moment in Christian history; it's a profound exploration of suffering, faith, and the raw emotion of martyrdom. This monumental canvas, measuring 170 x 135 cm, transports the viewer directly into the heart of the scene – a chaotic yet deeply moving tableau unfolding outdoors beneath a dramatic, stormy sky. Palma,…
A heavy, limp body rests across the lap of the Virgin Mary. The pale skin of Christ contrasts against the deep red of her tunic and the dark blue of her mantle. Shadows swallow the background, pushing the figures forward into a sharp, theatrical light. Two large angels flank the upper scene, their faces etched with grief. Below, small cherubs support the weight of the limbs, one near the arm…
A dark, shadow-filled void recedes behind the subject, stripping away the distractions of the physical world. This absence of background detail pushes the figure forward, creating a sudden sense of depth. The man emerges from this gloom, his presence anchored by a crisp white collar that catches the light. His gaze is direct, meeting the viewer with an unwavering eye contact that bridges the gap between the painted space and…
The air thickens with sudden, celestial violence as the scene erupts in a chaotic swirl of motion. Saul, once a persecutor of the faithful, is caught in a moment of profound physical and spiritual disorientation. He is thrown from his horse, a heavy, muscular form tumbling toward the earth, while the animal recoils in a tangle of limbs and frantic energy. Above this earthly commotion, a brilliant, piercing light breaks…
The composition reflects the transition from the High Renaissance to the burgeoning drama of the Baroque. The style is characterized by intense emotional weight and dynamic movement typical of the late Renaissance or Mannerist period. The texture appears smooth yet painterly, capturing the anatomical detail of Christ's torso and the heavy fabric of the mourning figures. Through the use of light as a narrative tool, the composition guides the eye…
The oil on canvas work titled Venus and Mars presents a mythological encounter between the personification of love and the god of war. Painted by Palma il Giovane, the scene captures these lovers in a moment of intimate proximity. The figures of Venus and Mars respond to one another through anticipatory gestures, their bodies arranged in a way that suggests a shared, private space. A small Cupid occupies the lower…
The oil painting The prophet Nathan admonishes King David presents an emotionally charged biblical scene set within a shallow, stage-like space. The composition centers on two primary figures engaged in an intense interaction. On the left, King David is depicted sitting in a large, ornate golden throne. He wears a red velvet robe trimmed with thick white ermine fur and a prominent gold crown, his posture heavy and dejected with…
The room falls into a heavy, quiet stillness as we gaze upon an elderly man, his face etched with the deep lines of a life spent in focused labor. He sits in a three-quarter view, caught in a moment of profound introspection. A sharp, directional light enters from the upper left, carving his features out of the surrounding darkness. This intense chiaroscuro pulls his weathered forehead and greyish-white beard into…
In this 1612 oil painting, we find ourselves drawn into the immediate, heavy atmosphere of the Lamentation. The composition centers on the pale, lifeless body of Christ, which lies horizontally across the lower half of the frame. There is a stillness here that feels almost physical, a quietude that contrasts with the intense emotional weight of the scene. To the left, a figure draped in deep red robes holds a…
In this etching print, we find ourselves witnessing a scene of profound, sudden movement. The composition centers on the aftermath of a decisive act: Judith is captured in the precise, heavy moment of placing the severed head of Holofernes onto a cloth. Another female figure assists, her hands steadying the fabric to catch the weight of the deed. There is a certain anatomical tension here, particularly in the foreshortened body…
Portrait of Niccolo da Ponte (1491-1585), Doge of Venice1580 · 维也纳艺术史博物馆
12
The Pope allows Otto to go to his father to negotiate peace1582 · 总督宫
13
Pietá1611 · 普拉多博物馆
14
David with Goliath's Head1590 · 普拉多博物馆
15
Salomé with the Head of John the Baptist1599 · 维也纳艺术史博物馆
16
Moses Brings the Tablets of the Law1586 · 巴伐利亚州绘画收藏馆
17
St Sebastian1590 · 冬宫博物馆
18
Dead Christ Supported by an Angel1612 · 维也纳艺术史博物馆
19
Adoration of the Shepherds1575 · 巴伐利亚州绘画收藏馆
20
Flagellation of Christ1586 · 巴伐利亚州绘画收藏馆
21
Christ calling Zacchaeus1575 · Fitzwilliam Museum
22
Elijah and the Angel1575 · Fitzwilliam Museum
23
Portrait of a Gentleman1590 · 芝加哥艺术学院
24
Fighting soldiers1569
25
soldiers on horseback1569
26
Soldiers on horseback1569
27
supraporte: fighting soldiers1569
28
fighting soldiers1569
29
Battle - scene in landscape with town1569
30
soldiers on horseback1569
31
soldiers on horseback1569
32
six citizens after war scene1569
33
Gentlemen on horse - back1569
34
Victory of Francesco Bembo over Filippo Maria Visconti1578 · 总督宫
35
The Descent of Manna1575
36
Christ Deposed In The Sepulchre1575
37
Crucifix Between Our Lady And Saint John1575
38
The Paschal Lamb1575
39
St Lawrence Giving the Wealth to the Poor1575
40
Lamentation of Christ1586 · 巴伐利亚州绘画收藏馆
41
Lamentation of Christ1586 · 巴伐利亚州绘画收藏馆
42
Thetis on the Sea1586 · 巴伐利亚州绘画收藏馆
43
Lamentation of Christ1586 · 巴伐利亚州绘画收藏馆
44
Annunciation of Mary1585 · 巴伐利亚州绘画收藏馆
45
Christ and the Samaritan Woman1586 · 巴伐利亚州绘画收藏馆
46
Saint Sebastian1586 · 巴伐利亚州绘画收藏馆
47
Ecce homo1586 · 巴伐利亚州绘画收藏馆
48
The Expulsion of the Vices of the Church1582 · 皇家收藏馆
49
Venus and Cupid1590 · 皇家收藏馆
50
Prometheus Chained to the Caucasus1589 · 皇家收藏馆
51
Massacre of the Inhabitants of Hippo1593 · 法布尔博物馆
52
Scene from the History of Joseph1587 · 伊莎贝拉·斯图尔特·加德纳博物馆
53
Scene from the History of Joseph1587 · 伊莎贝拉·斯图尔特·加德纳博物馆
54
Judas Cyriacus1593
55
Sant'elena Ritrova La Vera Croce1593
56
L'imperatore Eraclio Riporta La Croce Al Calvario1593
57
Pius II1593
58
Judith and Holofernes1600
59
The Virgin and Child, Saint Luke and a Donor1602 · 皇家收藏馆
60
The Penitent Magdalene1600 · 皇家收藏馆
61
Return of the Prodigal Son1595 · 威尼斯学院美术馆
62
The Virgin and Child with Saints and Angels1620 · 爱尔兰国家美术馆
63
Lamentation of Christ1620 · 巴伐利亚州绘画收藏馆
64
Self Portrait1614
65
Studies of an Arm, and of the Heads of an Old Man and Young Woman1628
66
Seated Female Holding a Book, Two Heads of Bearded Men, Seated Male Nude, and Four Sketches for Christ Judging (recto); Studies for Cain Slaying Abel (verso)1628
67
Apostles at the Virgin's Tomb1582 · 冬宫博物馆
68
Cain and Abel1603 · 维也纳艺术史博物馆
69
Annunciation1600 · Madonna dell'Orto
70
Martirio Di San Giovanni Battista Tra San Lanfranco Beccari E San Liberio1593
71
Washing of the Feet1591 · San Giovanni in Bragora
72
Lamentation1620 · 国家美术馆
73
Joseph and Potiphar's Wife斯泰恩斯博物馆艺术馆
74
Allegory of the Victory over the League of Cambrai (detail)1590 · 总督宫
75
The Dead Christ Supported by An Angel with Two Putti Each Supporting a Cero1575
76
The Paschal Lamb1575
77
Eucharist Worshipped By The Four Evangelists1575
78
Elia Cibato From angel1575
79
The Parish Priest Da Ponte in front of the Virgin, Saint Mark, Saint Sylvester and Saint James1575
80
Red Sea Passage1575
81
The Flagellation普拉多博物馆
82
Papa Cleto1593
83
Elia nutrito dall'angelo1593
84
Lanfranco Beccari1593
85
David riceve dal sacerdote Achimelec i pani offerti nel santuario1593
86
Saint Helena1593
87
Il Serpente Di Bronzo1593
88
Alexander III confirms the Crucifixes and gives them the rule1593
89
Pope San Cleto Founds the Order of the Crucifer - St. Cyril's Bishop of Jerusalem Reaffirms the Order1593
90
David and Achimelech1590 · Santissimo Redentore
91
The Pool1592 · Collezione Molinari Pradelli
92
The Martyrdom of St Lawrence1581 · San Giacomo dall'Orio
93
Sketch for An Entablature1628
94
The Arrest of Christ, Christ and the Canaanite Woman, Seated Male Figures, and Head of a Child1628
95
Studies of Horsemen and Study of a Figure for a Deposition1628
96
Seated Female Holding a Book, Two Heads of Bearded Men, Seated Male Nude, and Four Sketches for Christ Judging (recto); Studies for Cain Slaying Abel (verso)1628
97
Sheet of Studies with St. Jerome, Seated at Right and Resting His Right Forearm on a Book, at Left An Ecclesiastical Figure Wearing a Cope and Miter, and at Bottom Two Putti1628
98
A Venetian Senator普拉多博物馆
99
Amusements of the Prodigal Son1595 · 威尼斯学院美术馆
100
Christ as Teacher巴伐利亚州绘画收藏馆
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 帕尔马·乔凡尼 的作品 | 此列表中的画作 |
|---|---|---|---|
 巴伐利亚州绘画收藏馆 |
慕尼黑 | 14 | Moses Brings the Tablets of the Law, Adoration of the Shepherds, Flagellation of Christ |
 维也纳艺术史博物馆 |
维也纳 | 8 | Pietà with Angels, The prophet Nathan admonishes King David, Portrait of a Sculptor |
 普拉多博物馆 |
马德里 | 5 | The Conversion of Saint Paul, Pietá, David with Goliath's Head |
 皇家收藏馆 |
伦敦 | 5 | The Expulsion of the Vices of the Church, Venus and Cupid, Prometheus Chained to the Caucasus |
 总督宫 |
威尼斯 | 4 | The Pope allows Otto to go to his father to negotiate peace, Victory of Francesco Bembo over Filippo Maria Visconti, Allegory of the Victory over the League of Cambrai (detail) |
 威尼斯学院美术馆 |
威尼斯 | 3 | The Crucifixion of St Peter, Return of the Prodigal Son, Amusements of the Prodigal Son |
 冬宫博物馆 |
圣彼得堡 | 2 | St Sebastian, Apostles at the Virgin's Tomb |
 Fitzwilliam Museum |
2 | Christ calling Zacchaeus, Elijah and the Angel |
选择一个年代，探索定义该时代的原创杰作。
In "Fighting soldiers" by Palma il Giovane, the air thickens with the immediate chaos of a historical or mythological battle. Painted about 1569, the scene pulls the viewer into a frantic melee where the boundaries between life and death blur. Soldiers clash in a desperate struggle, their bodies locked in the violent rhythm of combat. Every movement feels urgent, as if the clash of steel is a sound that still…
The work before us is titled Adoration of the Shepherds, a significant creation by the Venetian painter Palma il Giovane. Executed around 1575, this piece emerged during a transformative period in the Venetian School, as the artist navigated the transition from the High Renaissance into the more dramatic sensibilities of the early Baroque. The painting captures a profound moment of spiritual reverence through its specific handling of light and form.
A heavy silence hangs within the frame as Niccolò da Ponte meets the viewer's gaze. The elderly Doge sits in a three-quarter length pose, his presence commanding the space with a solemn, contemplative energy. Light pours from the upper left, striking the stark white of his ermine-lined mantle and illuminating the weathered textures of his face. This dramatic chiaroscuro carves his features out of the deep, shadowy background, creating a…
The air thickens with sudden, celestial violence as the scene erupts in a chaotic swirl of motion. Saul, once a persecutor of the faithful, is caught in a moment of profound physical and spiritual disorientation. He is thrown from his horse, a heavy, muscular form tumbling toward the earth, while the animal recoils in a tangle of limbs and frantic energy. Above this earthly commotion, a brilliant, piercing light breaks…
A dark, shadow-filled void recedes behind the subject, stripping away the distractions of the physical world. This absence of background detail pushes the figure forward, creating a sudden sense of depth. The man emerges from this gloom, his presence anchored by a crisp white collar that catches the light. His gaze is direct, meeting the viewer with an unwavering eye contact that bridges the gap between the painted space and…
Michelangelo Palma il Giovane’s “The Crucifixion of St Peter,” painted in 1614, is not merely a depiction of a pivotal moment in Christian history; it's a profound exploration of suffering, faith, and the raw emotion of martyrdom. This monumental canvas, measuring 170 x 135 cm, transports the viewer directly into the heart of the scene – a chaotic yet deeply moving tableau unfolding outdoors beneath a dramatic, stormy sky. Palma,…
A heavy, limp body rests across the lap of the Virgin Mary. The pale skin of Christ contrasts against the deep red of her tunic and the dark blue of her mantle. Shadows swallow the background, pushing the figures forward into a sharp, theatrical light. Two large angels flank the upper scene, their faces etched with grief. Below, small cherubs support the weight of the limbs, one near the arm…
The Crucifixion of St Peter (1614)，威尼斯学院美术馆, 威尼斯。紧随其后的是 Pietà with Angels (1620) 和 Paolo Veronese (1600)。
64岁：The Crucifixion of St Peter创作于1614年，帕尔马·乔凡尼出生于1550年。
The Crucifixion of St Peter, Pietà with Angels, Paolo Veronese, The Conversion of Saint Paul, The Crucifixion, Venus and Mars, The prophet Nathan admonishes King David, Portrait of a Sculptor, Lamentation with angels 及 Judith Placing the Head of Holofernes onto a Cloth Held by Another Female Figure, the Foreshortened Body of Holofernes Gushes with Blood from the Neck。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 161 件 帕尔马·乔凡尼 的作品，创作年代从 1569 年至 1628 年。
多见于 巴伐利亚州绘画收藏馆 (慕尼黑), 维也纳艺术史博物馆 (维也纳) 及 普拉多博物馆 (马德里)。上方的博物馆列表列出了所有相关机构。
在 1590s 期间：本页 100 件作品中有 27 件创作于该时期，其中包含 The Conversion of Saint Paul 件作品。
在本页面中，最早的作品创作于 Fighting soldiers (1569)，最晚的创作于 Judith Placing the Head of Holofernes onto a Cloth Held by Another Female Figure, the Foreshortened Body of Holofernes Gushes with Blood from the Neck (1628)。
Man (38), People (24) 及 Woman (23)，共计 100 件作品。
Oil，共计 43 件（本页共有 100 件作品）。
根据本页面的原作，Baroque 及 Renaissance
Moses Brings the Tablets of the Law, Adoration of the Shepherds 及 Flagellation of Christ：巴伐利亚州绘画收藏馆, 慕尼黑收藏了本页中 13 件作品。
在威尼斯文艺复兴那如金辉般灿烂的黄昏时分，在一个以无与伦比的色彩与光影掌控力著称的时代，一位画家的画笔跨越了盛期文艺复兴与勃兴中的巴洛克戏剧感之间的鸿沟。雅科波·帕尔马小青年（Jacopo Palma il Giovane），原名雅科波·内格雷蒂，约出生于1548年，他不仅是伟大大师们的继任者，更是威尼斯画派延续过程中不可或缺的关键纽带。作为著名画家帕尔马老先生（Palma Vecchio）的侄孙，他诞生于艺术卓越的血脉之中，继承了对定义威尼斯传统的色彩丰富性的深刻理解。他的生命与创作代表了一种无缝的过渡，将前辈们那充满光泽的优雅气质，带入了情感强度与戏剧化宏伟感并存的新时代。
帕尔马艺术造诣的基石奠定于威尼斯的画室之中，那里的空气中弥漫着提香与丁托列托留下的艺术气息。虽然历史记载暗示他可能通过研习提香那令人屏息的调色板来磨炼技艺，但真正塑造其成熟视觉风格的，却是丁托列托那充满动感的生命力。在1594年丁托列托逝世后，帕尔展开向卓越地位的攀升，成为了威尼斯艺术界的主导力量。他拥有一种罕见的能力，能够将这两种截然不同的影响融为一体：从提香那里，他汲取了对光线与肤色的精妙掌控；从丁托列托那里，他继承了一种运动感、戏剧性的明暗对照法（chiaroscuro）以及叙事上的紧迫感，这种风格与反宗教改革时期热烈的宗教情感产生了深刻的共鸣。
帕尔马小青年的作品集见证了他将圣经与神话主题转化为直观人类体验的能力。他的画作鲜少是静止的；它们脉动着一种生命力，将观者吸引到戏剧的核心之中。无论是描绘宗教殉道者的庄严，还是酒馆场景中生动的混乱，他的作品都将光线作为一种叙事工具，引导视线穿过复杂的构图，去寻找故事的情感核心。这种大师级的技艺在《亚历山大城的圣凯瑟琳殉道》等作品中尤为明显，画面中阴影与光辉的交织强化了神圣斗争的感官体验；而在《圣母墓前的使徒》中，他则通过挥洒而富有能量的笔触，捕捉到了集体哀恸的深刻瞬间。
除了宗教委约作品外，帕尔马的多才多艺还让他得以探索广泛的主题。他捕捉人类精神的天赋在《自画像》中表现得最为亲切，这件作品展现了一种灵魂深处的内省，以及能够呈现表情细微差别的技术实力。即使是在更具世俗色彩或轶闻性质的场景中，例如《浪子回头之娱乐》，他也保持着一种充满活力且富有节奏感的特质，赞美着威尼斯生活的纹理与色彩。这种在深邃与轻快之间游刃有余的能力，确保了他在不同赞助群体中的地位——从威尼斯的教会权威到中欧的皇室宫廷。
雅科波·帕尔马小青年的历史重要性远超威尼斯共和国的疆域。他的影响力向外辐射，远达贝尔加莫以及布拉格的神圣罗马帝国皇帝鲁道夫二世的宫廷，这标志着他是一位具有国际地位的艺术家。他并非仅仅是在复制过去，而是在演进过去，为定义17世纪那更加感性与戏剧化的风格铺平了道路。通过指导后辈（包括那些进一步完善威尼斯美学的人物），他确保了其家族传统的生命力与变革性得以延续。
时至今日，我们公认帕尔马小青年是一位连接时代的枢纽人物。他的艺术遗产体现在：
凭借其富有表现力的画笔和对光线的精湛运用，帕尔马小青年捕捉到了一个变迁世界的本质，留下了一系列至今仍能令现代观察者着迷并动容的杰作。
