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） · 41 件 安德烈亚·阿皮亚尼 作品收录于我们的目录中
简而言之
在 安德烈亚·阿皮亚尼 留下的所有原作中，最著名的当属收藏于 艾克斯 Musée Napoléonien 的《Napoleon, First King of Italy》。 紧随其后的是 Head of Laocoon (1790) 和 Head of Laocoon (1790)。 我们的目录收录了 安德烈亚·阿皮亚尼 的 41 件作品；画廊完整保留了 40 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。
The oil on canvas work titled Napoleon, First King of Italy was executed by the artist Andrea Appiani. This portrait depicts Napoleon Bonaparte in his capacity as the First King of Italy. The painting was created around 1805.
Andrea Appiani’s Head of Laocoon, created about 1790, focuses on the expressive head of an elderly man, likely the mythological Laocoon. The composition utilizes a tight close-up, positioning the subject in a direct, intimate view that brings the viewer into immediate proximity with the figure's suffering. This proximity emphasizes the furrowed brow and the pained expression held within the eyes. The subject's face is set against a dark, indistinct background,…
In this intimate portrait study, titled Head of Laocoon, the artist Andrea Appiani turns his attention to a moment of profound human suffering. Created about 1790, the work focuses on the intense emotionality of the classical figure Laocoön. Rather than a grand narrative, we are presented with a concentrated study of a face caught in a state of acute agony.
A young man sits in a three-quarter view, his gaze drifting slightly toward the viewer with a calm, contemplative expression. He is a figure of stillness, caught in a moment of pause. The deep black of his coat absorbs the light, creating a sharp contrast against the pale, smooth tones of his skin. A white shirt collar cuts a crisp line across his neck, a bright punctuation in a composition…
The Baptism of Christ by Andrea Appiani presents an expansive and crowded scene centered on a religious and ceremonial event. The composition utilizes a multi-layered arrangement of figures to organize the biblical narrative. At the heart of the work, Jesus Christ stands in the water being baptized by John the Baptist. This central focus is immediately surrounded by a dense crowd of onlookers, creating a sense of scale and movement…
The canvas captures a young woman, Ms. Hamelin, in a moment of quietude. She is positioned in a three-quarter view, her body angled slightly away while her gaze drifts toward the right, as if caught by a passing thought. Her dark, voluminous hair falls in tight, sculpted curls around a face of pale, luminous skin. A creamy white garment covers her shoulders, edged with a delicate band of red and…
In this work, titled Apollo and Daphne, Andrea Appiani captures a singular, frantic moment of mythological transition. Created about 1797, the painting focuses on the precise instant where the nymph Daphne begins her metamorphosis to escape the pursuit of the god Apollo. There is a palpable tension held within the figures, a struggle between the physical drive of the chase and the sudden, supernatural change of her very nature.
In the heart of the Neoclassical era, few works capture the intersection of political triumph and divine myth as profoundly as Andrea Appiani’s Allegory on the Peace of Pressburg. Completed in 1808, this monumental masterpiece serves as more than a mere historical record; it is a breathtaking theatrical performance rendered in oil. The painting commemorates the Treaty of Pressburg, a pivotal moment that solidified Napoleon Bonaparte's dominion over Lombardy and…
In "Two Children of the Artist" by Andrea Appiani, the Neoclassical gaze settles upon a close-up, centered arrangement of two figures. A slightly older child embraces a younger one, pulling the viewer into an intimate, familial circle. The girl wears a white, high-waisted Empire-style gown with puffed sleeves that catch the light. Beneath her protective hold, the younger child is dressed in a light-colored jacket layered over a yellow waistcoat.…
This work is a Self-portrait by the Italian Neoclassical painter Andrea Appiani. Created about 1790, the piece offers a quiet moment of introspection from the artist himself. It captures the subject in a three-quarter view, presenting a sense of psychological depth through a somber and contemplative expression.
Jupiter and Mercury at Philemon and Baucis, oil on canvas
12
General Desaix1800 · 凡尔赛宫
13
Apollo and Daphne1794
14
Portrait of Napoleon Bonaparte (1769-1821), as a General of the Army of the Revolution爱尔兰国家美术馆
15
The Death of Adonis布雷拉畫廊
16
Portrait of Achille Fontanelli
17
Portrait of Vincenzo Monti
18
LOUIS CHARLES ANTOINE DESAIX, GENERAL DE DIVISION (1768 1800)
19
Il generale Bonaparte e il genio della Vittoria, peinture d'Andrea Appiani (1796)
20
Portrait du Prince Eugène de Beauharnais, vice roi d'Italie
21
LAURE DE GUESNON DE BONNEUIL, MADAME REGNAULT DE SAINT JEAN D'ANGELY (1776 1856)
22
Napoleon Bonaparte at the Battle of Lodi (May 10, 1796)米兰现代美术馆
23
Psyche Worshipped as the Personification of BeautyFondazione Cariplo
24
Psyche Asking Proserpine for Her Box of BeautyFondazione Cariplo
25
Portrait of Ugo Foscolo布雷拉畫廊
26
The Wrath of Mars Checked by Venus布雷拉畫廊
27
The Diversions of Venus and Mars布雷拉畫廊
28
Portrait of Kazimierz Rzewuski.
29
Venus Fastens the Girdle for Juno
30
Ritratto di Giulia Beccaria e suo figlio Alessandro Manzoni bambino
31
Juno Dressed by the GracesMusei Civici d'Arte e Storia
32
Portrait de l'Impératrice Joséphine (1763-1814), en costume de Reine d'Italie
33
Bonaparte à Milan
34
Portrait de Nicolas, comte Frochot, ou, Portrait de Pierre Etienne, comte Mejan伯明翰博物馆与美术馆
35
Parnassus
36
Vicerè d'Italia sotto Napoleone Bonaparte.
37
Portrait of Joséphine de Beauharnais
38
The Olympus布雷拉畫廊
39
Portrait of the set-designer\nPaolo Landriani (1755-1839)斯卡拉歌剧院
40
Giambattista Bodoni1799 · 帕尔马国家美术馆
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 | 安德烈亚·阿皮亚尼 的作品 | 此列表中的画作 |
|---|---|---|---|
 布雷拉畫廊 |
米蘭 | 7 | Apollo and Daphne, Self-portrait, The Death of Adonis |
 印第安纳波利斯艺术博物馆 |
印第安纳波利斯 | 2 | Head of Laocoon, Head of Laocoon |
 Fondazione Cariplo |
米兰 | 2 | Psyche Worshipped as the Personification of Beauty, Psyche Asking Proserpine for Her Box of Beauty |
 Musée Napoléonien |
艾克斯 | 1 | Napoleon, First King of Italy |
 克利夫兰艺术博物馆 |
克利夫兰 | 1 | Portrait of a Musician |
 沃尔特斯艺术博物馆 |
巴尔的摩 | 1 | The Baptism of Christ |
 卡纳瓦勒博物馆 |
巴黎 | 1 | Ms. Hamelin, born Jeanne Geneviève Fortunée Lormier-Lagrave |
 普希金国家美术馆 |
莫斯科 | 1 | Allegory on the Peace of Pressburg |
从 1790 到 1808，安德烈亚·阿皮亚尼 创作了 19 年：本精选系列按年份追溯其漫长的艺术生涯，呈现其最杰出的原创佳作。
选择年份以查看原作。
Andrea Appiani’s Head of Laocoon, created about 1790, focuses on the expressive head of an elderly man, likely the mythological Laocoon. The composition utilizes a tight close-up, positioning the subject in a direct, intimate view that brings the viewer into immediate proximity with the figure's suffering. This proximity emphasizes the furrowed brow and the pained expression held within the eyes. The subject's face is set against a dark, indistinct background,…
更多来自 1790
In this work, titled Apollo and Daphne, Andrea Appiani captures a singular, frantic moment of mythological transition. Created about 1797, the painting focuses on the precise instant where the nymph Daphne begins her metamorphosis to escape the pursuit of the god Apollo. There is a palpable tension held within the figures, a struggle between the physical drive of the chase and the sudden, supernatural change of her very nature.
The canvas captures a young woman, Ms. Hamelin, in a moment of quietude. She is positioned in a three-quarter view, her body angled slightly away while her gaze drifts toward the right, as if caught by a passing thought. Her dark, voluminous hair falls in tight, sculpted curls around a face of pale, luminous skin. A creamy white garment covers her shoulders, edged with a delicate band of red and…
A young man sits in a three-quarter view, his gaze drifting slightly toward the viewer with a calm, contemplative expression. He is a figure of stillness, caught in a moment of pause. The deep black of his coat absorbs the light, creating a sharp contrast against the pale, smooth tones of his skin. A white shirt collar cuts a crisp line across his neck, a bright punctuation in a composition…
更多来自 1800
In the heart of the Neoclassical era, few works capture the intersection of political triumph and divine myth as profoundly as Andrea Appiani’s Allegory on the Peace of Pressburg. Completed in 1808, this monumental masterpiece serves as more than a mere historical record; it is a breathtaking theatrical performance rendered in oil. The painting commemorates the Treaty of Pressburg, a pivotal moment that solidified Napoleon Bonaparte's dominion over Lombardy and…
更多来自 1808
Napoleon, First King of Italy，Musée Napoléonien, 艾克斯。紧随其后的是 Head of Laocoon (1790) 和 Head of Laocoon (1790)。
Napoleon, First King of Italy, Head of Laocoon, Head of Laocoon, Portrait of a Musician, The Baptism of Christ, Ms. Hamelin, born Jeanne Geneviève Fortunée Lormier-Lagrave, Apollo and Daphne, Allegory on the Peace of Pressburg, Two Children of the Artist 及 Self-portrait。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 41 件 安德烈亚·阿皮亚尼 的作品，创作年代从 1790 年至 1808 年。
多见于 布雷拉畫廊 (米蘭), 印第安纳波利斯艺术博物馆 (印第安纳波利斯) 及 Fondazione Cariplo (米兰)。上方的博物馆列表列出了所有相关机构。
在 1790 期间：本页 40 件作品中有 3 件创作于该时期，其中包含 Head of Laocoon 件作品。
在本页面中，最早的作品创作于 Head of Laocoon (1790)，最晚的创作于 Allegory on the Peace of Pressburg (1808)。
Man (6), Portraits (5) 及 Napoleon (4)，共计 40 件作品。
Oil On Canvas，共计 9 件（本页共有 40 件作品）。
根据本页面的原作，Neoclassicism
Apollo and Daphne, Self-portrait 及 The Death of Adonis：布雷拉畫廊, 米蘭收藏了本页中 7 件作品。
1754年出生于米兰，安德烈亚·阿皮亚尼（Andrea Appiani）在18世纪末至19世纪初的意大利新古典主义艺术领域中，成为了一个举足轻重的核心人物。起初，他本被寄予厚望，准备追随父亲的脚步从事医学事业，然而，内心深处对艺术的向往却引导着他走上了另一条道路。他在私人学院师从卡洛·玛利亚·朱迪奇（Carlo Maria Giudici），为未来的艺术生涯奠定了坚实的基础。随后，通过在安布罗修斯画廊跟随安东尼奥·德·乔尔吉（Antonio de' Giorgi）学习，以及接受马丁·克诺勒（Martin Knoller）的教诲，他进一步深化了对油画技法的理解。这种多元化的教育背景，结合诗人朱塞佩·帕里尼（Giuseppe Parini）所培养出的他对古典美学的痴迷，共同塑造了阿皮算尼的艺术视野，并推动他成为了一位享誉盛名的画家，以其优雅的肖像画、宏伟的湿壁画以及受拿破仑·波拿巴等显赫人物委托创作的作品而闻名于世。
阿皮亚尼的职业生涯早期，充满了对各种技法精益求精的执着。1776年，他以圣杰瓦西奥与圣普罗塔西奥（Saints Gervasio and Protasio）的湿壁画开启了创作之路，随后又为阿罗纳的圣玛利亚纳申切教堂（Santa Maria Nascente）以及米兰大医院（Ospedale Maggiore）创作了祭坛画。他在蒙扎大教堂（Duomo di Monza）高祭坛上的建筑设计展现了他初露锋芒的天赋，而1783至1784年间在佛罗伦萨从事的舞台设计工作，则彰显了他艺术风格的多变性。此外，他曾与雕塑家加埃塔诺·蒙蒂（Gaetano Monti）一同在米兰大医院进行解剖学研究，这段经历赋予了他对人体结构的深刻理解——正是这种对形体的精准把握，为其日后创作出栩栩如生且充满动态感的肖像画与构图提供了灵魂支撑。
18世纪90年代法国对米兰的占领，成为了阿皮亚尼人生的转折点。他迅速赢得了拿破仑·波拿帕的青睐，成为了一名宫廷画家，并获得了足以显著提升其社会地位的委约创作。在这一时期，他为皇帝及政权中的其他关键人物创作了大量肖像，其中包括那幅虽已失传但仍有文献记载的经典之作《洛迪的拿破恩》（Napoleon at Lodi），以及如《维纳斯与爱神》和《阿尔米达花园中的里纳尔多》等优雅的叙事画作。他的艺术才华也被应用于官方事务——设计勋章及准备政府公告的视觉材料。这一时期，他的创作产出大幅增加，这既反映了他个人的雄心壮志，也体现了当时强大的赞助力量。
在那个时代，阿皮亚尼最宏大的艺术构想体现在蒙扎皇家别墅（Royal Villa of Monza）圆厅内精美的湿壁画（1789-1790），其灵感源自拉斐尔在罗马法内西纳别墅的作品；以及米兰萨纳扎罗之家（Casa Sannazzaro）描绘阿波罗神话的宏伟系列（1795-1796）。这些湿壁画确立了他作为新古典主义装饰艺术领军人物的地位，展示了他在透视、色彩运用及叙事构图方面的卓越造诣。特别是位于皇家别墅餐厅天花板上的《帕纳索斯》（The Parnassus），通过表现阿波罗与缪斯女神，成为了他艺术技艺中最为人称颂的典范。
阿皮亚尼的艺术遗产深深植根于他那些具有纪念碑意义的湿壁画之中。为圣切尔索圣玛利亚教堂（Santa Maria presso San Celso）穹顶及帆拱创作的描绘四位福音传道者与教会圣师的系列作品（1795），见证了他高超的技术实力与叙事能力。同样，皇家别墅餐厅内的湿壁画《帕纳索斯》被视为他的杰作之一，以惊人的细节和动态感捕捉了古典神话的精髓。他在米兰皇宫的作品——包括向拿破仑致敬的美德寓言以及历史事件的描绘——进一步巩固了他作为一名技艺卓越的宫廷画家的声望。
除了这些宏大的委约作品，阿皮亚尼的艺术探索也延伸到了规模较小却同样意义深远的创作中。他为朱莉娅·贝卡里亚（Giulia Beccaria）及其幼子亚历山德罗·曼佐尼（Alessandro Manzoni）创作的肖像画（1790），是捕捉人类情感与家族纽带的动人范例。而现藏于布雷拉美术馆的《拉结与雅各的相遇》（约1798年，为阿尔扎诺的一座教堂创作），则展示了他对构图与戏剧性叙事的掌控力。此外，他还曾为剧院和私人宅邸设计装饰元素，充分体现了一位全才艺术家的多面性。
尽管在拿破仑时代取得了巨大的成功，但在1814年拿破仑垮台后，阿皮亚尼的命运遭遇了剧烈的下滑。由于意大利王国撤销了他的津贴，他陷入了贫困的境地。对于这位将毕生精力奉献给帝国宫廷的艺术家来说，这段时期无疑是一次沉重的打击。然而，阿皮亚尼并未停止画笔，他继续创作肖像画及小型作品，尽管此时已不再拥有昔日的社会认可度或经济支持。
安德烈亚·阿皮亚尼的艺术遗产早已超越了个体杰作的范畴。为了与他的侄孙（罗马的历史画家）区分开来，他常被称为“老安德烈亚”。他的作品因其优雅、精湛的技术以及对新古典主义理想的完美诠释，至今仍被人们研究与仰慕。米兰布雷拉美术馆收藏了他大量的珍贵画作，包括《奥林匹斯》湿壁画，为参观者提供了一个窥见这位非凡意大利画家生平与艺术世界的窗口。他的影响力在后世追随其足迹的艺术家作品中，依然清晰可见。
