Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 56 del v našem katalogu avtorja Sassetta (Stefano Di Giovanni)
Povzetek
Po tej uvrstitvi je Madonna of Humility (1432) najbolj znana slika umetnika Sassetta (Stefano Di Giovanni); v muzeju Staatliche Museen zu Berlin v mestu Berlin se nahaja. Nadaljuje ga Virgin with Child and Four Saints (detail) (1435) in Saint Francis and the Poor Knight, and Francis's Vision (1437). Ta seznam temelji na 56 delih umetnika Sassetta (Stefano Di Giovanni) v katalogu in prikazuje 54 najbolj znanih del, za vsako od them pa navaja datum, muzej, ki deli delo, in opis.
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
The Ecstasy of St Francis (detail)1437 · Villa i Tatti
14
The Procession to Calvary1441 · Detroit Institute of Arts
15
The Betrayal of Christ1437 · Detroit Institute of Arts
16
Madonna of Humility1437 · National Gallery of Art
17
St. Anthony of Padua1450
18
Madonna and Child with Angels1437
19
St Matthew1437 · Collezione Vittorio Cini
20
Assumption of Mary with Angel Choirs1450 · Gemäldegalerie
21
The Wolf of Gubbio1450 · National Gallery
22
Virgin of Humility1440 · Collezione Vittorio Cini
23
St Thomas Inspired by the Dove of the Holy Ghost1423 · Muzej lepih umetnosti
24
Damnation of the Soul of the Miser of Citerna1437 · Louvre
25
The Ecstasy of St Francis1437 · Villa i Tatti
26
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Muzej lepih umetnosti
27
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Muzej lepih umetnosti
28
Miracle of the Eucharist1423 · Bowes Museum
29
Death of the Heretic on the Bonfire1423 · Narodna galerija Viktorije
30
St Jerome (detail)1423 · Pinacoteca Nazionale
31
Founding of Santa Maria Maggiore1430
32
The mystical marriage of Saint Francis of Assisi1444
33
The Annunciation "1435 · Metropolitanski muzej umetnosti
34
Virgin with Child and Four Saints (detail)1435 · Museo Diocesano
35
The Stigmatisation of St Francis1437 · National Gallery
36
The Blessed Ranieri Frees the Poor from a Prison in Florence1437 · Louvre
37
Virgin with Child and Four Saints (detail)1435 · Museo Diocesano
38
Virgin and Child with Saints1437 · Louvre
39
The Blessed Ranieri Frees the Poor from a Jail in Florence1444 · Louvre
40
St Thomas Before the Cross1423 · Pinakota Vatikana
41
The Blessed Raniero of Borgo San Sepolcro Appearing to a Cardinal in a Dream1444 · Staatliche Museen zu Berlin
42
St. Francis Kneeling before Christ on the CrossCleveland Museum of Art
43
The Last Supper1423 · Pinacoteca Nazionale
44
St Anthony the Hermit Tortured by the Devils1423 · Pinacoteca Nazionale
45
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Muzej lepih umetnosti
46
Madonna and Child with AngelsMetropolitanski muzej umetnosti
47
The Annunciation
48
The Meeting of St. Anthony and St. PaulNational Gallery of Art
49
The Journey of the Magi1435 · Metropolitanski muzej umetnosti
50
Marriage of St Francis to Lady Poverty1437 · Musée Condé
51
Saint Francis renounces his Earthly Father1437 · National Gallery
52
St. Anthony Beaten by Devils1423 · Pinacoteca Nazionale
53
Madonna of Humility with Four Saints1435 · Museo Diocesano
54
The Virgin and Child with Saints1430 · Galleria degli Uffizi
Četiri teme, ki so najpogosteje zastavljene v tem delu, vsaka z svojim najbolj znanim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Sassetta (Stefano Di Giovanni) | Slike iz tega seznama |
|---|---|---|---|
 National Gallery |
London | 6 | Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis, Saint Francis before the Sultan |
 Museo Diocesano |
Cortona | 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 |
 Muzej lepih umetnosti |
Budimpešta | 4 | St Thomas Inspired by the Dove of the Holy Ghost, St Thomas Inspired by the Dove of the Holy Ghost (detail), St Thomas Inspired by the Dove of the Holy Ghost (detail) |
 Louvre |
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 |
Siena | 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 |
 Metropolitanski muzej umetnosti |
New York | 3 | The Annunciation ", Madonna and Child with Angels, The Journey of the Magi |
Izberite desetletje, da prikažete njegovo glavno sliko.
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. Naslednja vstopna mesta sta Virgin with Child and Four Saints (detail) (1435) in Saint Francis and the Poor Knight, and Francis's Vision (1437).
40 let: Sassetta (Stefano Di Giovanni) se je rodil/a v 1392, Madonna of Humility pa je datiran/a leta 1432.
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 in Saint Apollonia. Zgornji seznam vsebuje datum in muzej, v katerem se nahaja vsako od njih.
Katalog vsebuje 56 del avtorja Sassetta (Stefano Di Giovanni), datiranih med 1412 in 1450.
Predvsem v National Gallery (London), Museo Diocesano (Cortona) in National Gallery of Art (Washington). Zgornja tabela muzejev prikazuje celotno razporeditev.
V obdobju 1430s: 27 od 54 del na tej strani je datiranih v to obdobje, vključno z delom Madonna of Humility.
Najstarejše datirano delo na seznamu je Saint John the Evangelist (1412); najstarejše je Saint Francis before the Sultan (1450).
People (10), Gold background (9) in Woman (7) od 54 del navedenih na tej strani.
Tempera On Panel, v 27 od 54 del na tej strani.
Early renaissance, ki jih dokumentirajo dela na tej strani.
Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis in Saint Francis before the Sultan so med 6 dela na tej strani v kolekciji muzeja National Gallery, London.
V svetlobni dobi itališkega Quattrocenta malo število imen tako ganja čustva ob nežnem prehodu iz srednjoveka v modernost kot Stefano di Giovanni, zgodovini bolj ljubkovno znana kot Sassetta. Kot ključna figura sienezske šole njegova umetnost predstavlja globok most med dekorativno eleganco pozne gotike in razvijajoč se realizem renesanse. Čeprav so natančni začetki njegovega življenja še vedno zaviti v meglo časa – učenjaki namreč še vedno debatirajo, ali se je rodil v Sieni ali morda v Cortoni – je njegova prisotnost v toskanski pokrajini neobငdenna. Njegovo del nosi ritmično, lirsko dušo Siene, hkrati pa diši z novo, opazovalno vitalnostjo, ki nakazuje na umetnika, globoko vpletenega v spreminjajoče se vetrove njegove dobe.
Sassettova kreativna pot je bila pot sofisticirane sinteze. Prisel in je posedoval redko sposobnost, da bi spoštoval tradicionalni sienezski slog – značilen zaradi svoje zapletene podrobnosti in duhovne globine – pri čemer je hkrati sprejemal revolucionarne inovacije, ki so izhajale iz Florenci. Vpliv mojstrov, kot so Masaccio, Masolino in Gentile da Fabriano, je čutiti v njegovem razvijanem vladanju s prostornimi odnosi in uporabo svetlobe. Teh novih tehnik ni le kopiral; raje jih je integriral, da bi svoje figure prežare z naravnim sijajem, kar je svetlobi omogočilo prepričljivo oblikovanje njihovih form in ustvarilo občutek kohezivne, dišeče prostornosti znotraj njegovih kompozicije.
Sassettovo delo je spomenik njegove mojstrstva v pripovedni slikarstvu, kjer vsak potez črte služi višjemu duhovnemu namenu. Njegova dela pogosto delujejo kot okna v božanstvo, saj uporabljajo sofisticirano paleto barv in ritmične kompozicije za vodenje gledalca skozi svete zgodbe. V vrhunskih delih, kot je Poslednja večer, dokazuje izjemno veščino zajemanja kompleksnih čustvenih stanj, pri čemer uporablja zemljene tone in premično perspektivo, da globoko religiozno pripovedda prizemlje v oprijemljivo, sogičen realizem. Njegova sposobnost uravnoteženja ornamentalne lepote gotike z razvijanim občutkom človeške drame naredi njegove panele edinstveno očarljive.
Poza intimno razliko njegovih manjših panelov je Sassetta dosegel veliko slavo skozi pomembne oltarje in poliptike, ki so določili religiozno pokrajino svojega časa. Med njegovimi najbolj izstopajočimi umetniškimi dosežki veljajo:
Zgodovinski pomen Sassette se skriva v njegovi vlogi varovalca in inovatorja. Poskrbel je, da edinstvena identiteta sienezske šole ne izgine pred dominacijo Florenci, temveč se razvije in vključuje nov jezik realizma in globine. Njegove slike niso le relikte pretekli dobe; so živi dialogi med starim in novim svetom. Skozi nežno ravnanje s svetlobo, njegovo mojstrstvo simbolične ikonografije in globoko empatijo do svojih motivov je Sassetta pustil neizbrisen след v zgodovini italijanske umetnosti ter si zagotovil mesto med najpomembnejšimi predstavniki sienezne renesanse.
