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） · 40 件 皮耶特罗·利贝里 作品收录于我们的目录中
简而言之
在 皮耶特罗·利贝里 留下的所有原作中，最著名的当属收藏于 圣彼得堡 冬宫博物馆 的《Sleeping Endymion (1660)》。 紧随其后的是 Diana and Callisto (1655) 和 The apotheosis of Emperor Leopold I (1658)。 我们的目录收录了 皮耶特罗·利贝里 的 40 件作品；画廊完整保留了 38 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。
To gaze upon Pietro Liberi's Sleeping Endymion is to step across the threshold of time and into a realm suspended by divine grace. This magnificent oil on canvas, executed in 1660, does more than merely depict a scene; it captures an exquisite moment—a breath held between worlds. The painting centers around Endymion, the eternally youthful figure from Greek mythology, whose beauty was so profound that Zeus himself intervened to grant…
In this 1655 oil on canvas, the lush, wooded landscape becomes a stage for a complex mythological drama. The composition follows a dynamic pyramidal structure, drawing the eye through a gathering of nymphs toward the central figure of Diana. She is identified by her crescent moon headpiece and spear, her presence commanding the space as she interacts with Callisto. The scene captures a moment of profound transition, where the divine…
The apotheosis of Emperor Leopold I is an oil on canvas painting by Pietro Liberi. Created around 1658/1659, this work reflects the artist's presence in the Venetian sphere during the mid-seventeenth century. Liberi, who was born in Padua in 1605 and later died in Venice in 1687, brought a specific sensibility to his compositions that emerged from his training and his movements through the Italian peninsula.
The oil painting Joseph and Potiphar's wife by Pietro Liberi captures a moment of sudden, sharp friction. Created about 1626, the work focuses on the biblical narrative of Joseph and Potiphar's wife. It is a scene of collision between two figures. One figure recoils while the other lunges, a physical manifestation of the tension inherent in the story. The canvas holds the weight of a moral struggle. It is a…
The oil painting titled Venus was created by the artist Pietro Liberi. This work emerged around 1630, a period during which the artist was establishing his presence. Liberi, born in Padua, would eventually become a significant figure in the Venetian Baroque era. His life spanned from 1605 until 1687.
The composition is organized in a pyramidal structure, with figures arranged in a swirling, upward movement that suggests ethereal motion. Four female figures occupy the center of the scene, positioned amidst a mass of billowing clouds. These women are depicted with soft, curvilinear lines that define the flowing drapery of their garments and the rounded forms of their bodies. A small, winged putto, often identified as Amor, interacts with the…
A Loving Faun by Pietro Liberi presents a mythological scene centered on an intimate encounter. Dating to about 1646, this Baroque-style oil painting captures a female figure and a satyr, or faun, in a moment of close connection. The subject matter draws from classical allegory, utilizing the figures to explore themes of desire and physical closeness through a mythological lens.
In this dramatic Baroque oil painting by Pietro Liberi, the canvas captures a moment of mythic violence. Created about 1646, the work centers on the tragic figure of Evadne and her husband, Kapaneus. The scene is a collision of flesh and flame, a classical narrative frozen in a state of sudden, terrible motion. Kapaneus lies grounded, his form caught in the immediate grip of fire and smoke, while Evadne reacts…
The oil painting titled Caritas belongs to the hand of Pietro Liberi. This work emerged from the era of the Baroque, a period defined by dramatic light and shadow. The artist, born in 1605, brought a specific Venetian sensibility to the canvas, capturing a moment of profound human connection. His brush moved through the mid-seventeenth century until his death on 18 October 1687.
The composition centers on a reclining woman, her skin rendered in warm, luminous tones that contrast sharply against a backdrop of deep, shadowed drapery. This use of chiaroscuro creates a theatrical atmosphere, pulling the viewer into a semi-enclosed space defined by classical architectural elements and heavy fabric. To the left, a figure holds a golden basin, while in the upper right, a man watches from the darkness, his presence a…
Deianeira and Nessus1656 · Knole House
12
Lot and His Daughters1660 · 布达佩斯美术博物馆
13
Venus and Amor1660 · 维也纳艺术史博物馆
14
The Great Flood1661
15
Allegory of Virtue and Fidelity1671 · 布达佩斯美术博物馆
16
A Mythological Subject1662 · 皇家收藏馆
17
Diana and Callisto1670 · 冬宫博物馆
18
Allegory of peace and justice1665
19
Allegory with Two Female Figures1687
20
The Three Graces1675 · 皇家收藏馆
21
The Holy Family1683 · 皇家收藏馆
22
Portrait of Giambattista Donà dressed as a bailiff1682 · 科雷尔博物馆
23
Time Being Overcome by Truth1665
24
Bathsheba Bathing (?) or: Gyges Sights the Wife of Candaules巴伐利亚州绘画收藏馆
25
Bathsheba
26
Diana and Callisto
27
Venus in the clouds with cupidCa' Rezzonico – 威尼斯18世纪博物馆
28
Venus, Cupid and the Three Graces
29
Saint Mary Magdalene维也纳艺术史博物馆
30
The birth of love
31
Portrait of boy
32
Diana and Acteón柏林国家美术馆
33
Allegory of Temperance
34
Crucifixion and the Magdalene圣若望与圣保罗大殿
35
Venus adored by the Graces
36
Antiquity SceneGalerie Nationale de Slovénie
37
Angelica and Medor1646 · 巴伐利亚州绘画收藏馆
38
Great Flood1661
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 | 皮耶特罗·利贝里 的作品 | 此列表中的画作 |
|---|---|---|---|
 巴伐利亚州绘画收藏馆 |
慕尼黑 | 5 | A Loving Faun, Evadne and Kapaneus, Caritas |
 冬宫博物馆 |
圣彼得堡 | 3 | Sleeping Endymion, Diana and Callisto, Diana and Callisto |
 维也纳艺术史博物馆 |
维也纳 | 3 | The apotheosis of Emperor Leopold I, Venus and Amor, Saint Mary Magdalene |
 皇家收藏馆 |
伦敦 | 3 | A Mythological Subject, The Three Graces, The Holy Family |
 布达佩斯美术博物馆 |
布达佩斯 | 2 | Lot and His Daughters, Allegory of Virtue and Fidelity |
 华沙国家博物馆 |
华沙 | 1 | Joseph and Potiphar's wife |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
卡塞尔 | 1 | Bathsheba at her Bath |
 Knole House |
塞文奥克斯 | 1 | Deianeira and Nessus |
选择一个年代，探索定义该时代的原创杰作。
The oil painting Joseph and Potiphar's wife by Pietro Liberi captures a moment of sudden, sharp friction. Created about 1626, the work focuses on the biblical narrative of Joseph and Potiphar's wife. It is a scene of collision between two figures. One figure recoils while the other lunges, a physical manifestation of the tension inherent in the story. The canvas holds the weight of a moral struggle. It is a…
The oil painting titled Venus was created by the artist Pietro Liberi. This work emerged around 1630, a period during which the artist was establishing his presence. Liberi, born in Padua, would eventually become a significant figure in the Venetian Baroque era. His life spanned from 1605 until 1687.
A Loving Faun by Pietro Liberi presents a mythological scene centered on an intimate encounter. Dating to about 1646, this Baroque-style oil painting captures a female figure and a satyr, or faun, in a moment of close connection. The subject matter draws from classical allegory, utilizing the figures to explore themes of desire and physical closeness through a mythological lens.
In this 1655 oil on canvas, the lush, wooded landscape becomes a stage for a complex mythological drama. The composition follows a dynamic pyramidal structure, drawing the eye through a gathering of nymphs toward the central figure of Diana. She is identified by her crescent moon headpiece and spear, her presence commanding the space as she interacts with Callisto. The scene captures a moment of profound transition, where the divine…
To gaze upon Pietro Liberi's Sleeping Endymion is to step across the threshold of time and into a realm suspended by divine grace. This magnificent oil on canvas, executed in 1660, does more than merely depict a scene; it captures an exquisite moment—a breath held between worlds. The painting centers around Endymion, the eternally youthful figure from Greek mythology, whose beauty was so profound that Zeus himself intervened to grant…
The oil painting titled Allegory of Virtue and Fidelity by the artist Pietro Liberi presents a quiet, heavy stillness. Created about 1671, the work captures a moment of profound connection between two human forms. These figures, rendered with a soft and tactile presence, act as vessels for abstract concepts. They likely represent the virtues of Virtue and Fidelity through their intimate, reclining embrace.
In "Allegory with Two Female Figures" by Pietro Liberi, a quiet intimacy unfolds between two women. The composition is tight, drawing the eye immediately to the upper bodies of the subjects as they occupy a shared, crowded space. On the left, a woman gazes upward, her expression caught in a moment of longing or deep contemplation. She wears a wide-bruly hat that frames her face against the shadows. Beside her,…
Sleeping Endymion (1660)，冬宫博物馆, 圣彼得堡。紧随其后的是 Diana and Callisto (1655) 和 The apotheosis of Emperor Leopold I (1658)。
55岁：Sleeping Endymion创作于1660年，皮耶特罗·利贝里出生于1605年。
Sleeping Endymion, Diana and Callisto, The apotheosis of Emperor Leopold I, Joseph and Potiphar's wife, Venus, 4 women on clouds with Amor, putto, A Loving Faun, Evadne and Kapaneus, Caritas 及 Bathsheba at her Bath。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 40 件 皮耶特罗·利贝里 的作品，创作年代从 1626 年至 1687 年。
多见于 巴伐利亚州绘画收藏馆 (慕尼黑), 冬宫博物馆 (圣彼得堡) 及 维也纳艺术史博物馆 (维也纳)。上方的博物馆列表列出了所有相关机构。
在 1660s 期间：本页 38 件作品中有 8 件创作于该时期，其中包含 Sleeping Endymion 件作品。
在本页面中，最早的作品创作于 Joseph and Potiphar's wife (1626)，最晚的创作于 Allegory with Two Female Figures (1687)。
Woman (19), Skin (12) 及 Drapery (9)，共计 38 件作品。
Oil On Canvas，共计 14 件（本页共有 38 件作品）。
根据本页面的原作，Baroque
A Loving Faun, Evadne and Kapaneus 及 Caritas：巴伐利亚州绘画收藏馆, 慕尼黑收藏了本页中 5 件作品。
约翰内斯·斯特拉达努斯（Johannes Stradanus），生于约1523年的布鲁日，卒于1605年的佛罗伦萨。他也被称为扬·范德斯特雷特（Jan van der Straet）或乔瓦尼·斯特拉达诺（Giovanni Stradano）。他是一位关键的艺术人物，巧妙地架起了北方文艺复兴的艺术潮流与意大利风格主义蓬勃发展的活力之间的桥梁。他的生命本身就是一场持续的流动，折射出他对多元艺术传统的深刻投入，以及一种令人惊叹的才华横溢，这种才华涵盖了绘画、挂毯设计、版画乃至陶器装饰等多个领域。斯特拉达努斯的职业生涯遍布欧洲——从他在佛兰德斯早期的学徒训练，到最终在佛罗伦萨作为宫廷艺术家的地位确立，这座城市也因他的作品而留下了深刻的印记。
斯特拉达努斯的艺术征程始于在他的父亲（一位布鲁日的画家）的工作室接受正规训练，随后又在安特卫普师从皮特·阿特森（Pieter Aertsen）。早期接触佛兰德斯画派使他掌握了对写实描绘、一丝不苟的细节处理以及描绘日常场景的热爱——这些技能后来为他更广阔的艺术追求奠定了基础。然而，真正点燃他创作灵感并推动他走向一种独特混合风格的，却是他对意大利，特别是佛罗伦萨的迁居。罗马主义运动（Romanist movement），这种运动以拥抱意大利文艺复兴理想为特征，对斯特拉达努斯的成长产生了深远的影响，鼓励他超越传统的北方惯例，采用更具表现力和动感的构图方式。
斯特拉达努斯抵达佛罗伦萨的时期，正值由美第奇家族（Medici family）赞助推动的艺术活动达到顶峰。他迅速成为一位备受追捧的艺术家，并在“绘画艺术学会与社团”（Accademia e Compagnia delle Arti del Disegno）——欧洲最早、最具影响力的艺术学院之一——占据了核心地位。这种关联使他接触到了一个充满活力的艺术家、评论家和收藏家的网络，培育了一个实验和知识交流的环境。为美第奇宫廷创作的作品题材极其多样：描绘宏大叙事的历史画作、洋溢着寓言象征意义的神话场景、捕捉著名人物肖像的肖像画、展示其技术功底的建筑研究，乃至提供日常生活一瞥的生动风俗画。
在此期间，斯特拉达努斯的艺术成果以北方写实主义与意大利风格主义的精妙融合为特征。他保留了从佛兰德斯训练中继承来的对细节的一丝不苟的关注，但同时又将作品注入了佛罗伦萨艺术特有的活力、优雅和心理深度。他对色彩的运用尤为引人注目——他巧妙地运用微妙的渐变和大气效果来营造空间感和体积感，同时捕捉着光影的细微差别。他无缝融合这些多元影响的能力，成就了一种在整个欧洲引起共鸣的独特精致风格。
除了他的写生油画之外，斯特拉达努斯还为蓬勃发展的版画领域做出了重大贡献。他并非仅仅是现有作品的复制者；相反，他发展出了一种创新的技术，将雕刻和蚀刻结合在同一块版材上，创造出前所未有的丰富性和细节感。这项技术在随后的几十年中变得越来越流行，使他能够达到传统版画方法难以企及的惊人色调变化和纹理复杂性——斯特拉达努斯的版画在欧洲广为流传，既是独立的艺术品，也是书籍和手稿的珍贵插图。
他的版画生涯与他作为挂毯设计师的角色密不可分。他为美第奇工作室创作了精美的设计，运用其艺术技巧将复杂的视觉叙事转化为适合编织的精致图案。这些挂毯，常常描绘历史事件或神话场景，既是装饰品，也是强大的宣传工具，折射出佛罗伦萨宫廷的财富与威望。
约翰内斯·斯特拉达努斯的遗产远远超出了他个人的作品。他在促进南北欧艺术思想交流方面发挥了至关重要的作用，推动了佛兰德斯和意大利绘画风格的发展。他创新的版画技术影响了一代又一代的艺术家，而他的宫廷委托则帮助塑造了佛罗伦萨在那个艺术和政治意义极其重要的时期的视觉文化。斯特拉达努斯的生命本身就是文艺复兴世界活力与相互关联性的例证——证明了一位技艺高超、游刃有余于不同传统，并在欧洲艺术史上留下不朽印记的艺术家。
