Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 17 works by Altichiero in our catalogue
In short
If you know one Altichiero painting, it's probably Head of the Virgin. (1350), which hangs in the Museum of John Paul II Collection, Warsaw. Crucifixion (detail) (1376) and Death of St Lucy (1379) round out the three pieces people recognise right away. Our catalogue has 17 works by Altichiero. Below are the 16 people know best, each with its year, where to find it and what makes it special.
This close-up portrait captures a fragment of a female figure, likely the Virgin Mary, rendered in a style that bridges the transition from the late Gothic to the early Renaissance. The composition centers on a face viewed in three-quarter profile, directed slightly downward and toward the viewer's left. A large, circular golden halo frames the head, its radiating segments defined by precise lines that suggest a divine presence. The physical…
The four subjects that come up most often in these pieces, each with its best-known example.
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Altichiero | Paintings from this list |
|---|---|---|---|
 Oratorio di San Giorgio |
Padua | 3 | Death of St Lucy, The Execution of Saint George, Adoration of the Magi |
 Basilica di Sant'Antonio |
Padua | 2 | Crucifixion (detail), Crucifixion |
 Museum of John Paul II Collection |
Warsaw | 1 | Head of the Virgin. |
Pick a decade to see its standout piece.
This close-up portrait captures a fragment of a female figure, likely the Virgin Mary, rendered in a style that bridges the transition from the late Gothic to the early Renaissance. The composition centers on a face viewed in three-quarter profile, directed slightly downward and toward the viewer's left. A large, circular golden halo frames the head, its radiating segments defined by precise lines that suggest a divine presence. The physical…
Top of the list is Head of the Virgin. (1350), Museum of John Paul II Collection, Warsaw. Right behind it: Crucifixion (detail) (1376) and Death of St Lucy (1379).
20 years old. Altichiero was born in 1330, and Head of the Virgin. dates from 1350.
Head of the Virgin., Crucifixion (detail), Death of St Lucy, The Execution of Saint George, Adoration of the Magi, Christ Among the Doctors, Birth of the Virgin, Marriage of the Virgin, Resurrection of Lazarus and Nativity. You'll find the year and the museum of each in the list above.
We have 17 works by Altichiero in our catalogue, dated 1350 to 1380.
You'll find most of them in Oratorio di San Giorgio (Padua), Basilica di Sant'Antonio (Padua) and Museum of John Paul II Collection (Warsaw). The museum list above has the full breakdown.
In 1370s, more than any other time: 3 of the 16 pieces on this page date from then, Crucifixion (detail) among them.
The earliest piece here is Head of the Virgin. (1350); the most recent is The Execution of Saint George (1380).
Crucifixion (4), Saints (3) and Executions (2), out of the 16 pieces on this page.
You can see 3 of the pieces on this page at the Oratorio di San Giorgio, Padua, including Death of St Lucy, The Execution of Saint George and Adoration of the Magi.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
In the twilight of the fourteenth century, as the rigid structures of the Byzantine tradition began to soften under the influence of a new, more humanistic vision, there emerged a painter whose brushwork would define the soul of the Veronese School. Altichiero da Zevio, born near the quiet town of Zevio in Verona around 1330, was not merely a chronicler of sacred events but a pioneer of the Venetian Gothic style. While the biographical shadows surrounding his early years remain somewhat dense, the vibrant frescoes he left behind act as a luminous window into his creative spirit. Scholars often trace the lineage of his genius back to Florence, suggesting that he breathed the same artistic air as Giotto. This connection, likely forged through an intimate study of Giotto’s pupils like Taddeo Gaddi, allowed Altichiero to infuse his work with a profound sense of volume, weight, and narrative clarity that was revolutionary for his time.
The evolution of Altichiero’s artistry is best understood through his monumental contributions to the civic and religious landscapes of Verona and Padua. His early ascent to prominence was marked by the prestigious commission for the Sala del Podestà within the della Scala palace. Here, around 1364, he embarked on an ambitious cycle depicting scenes from Josephus's Wars of the Jews. This project was far more than a decorative endeavor; it was a masterclass in historical storytelling. Through these frescoes, Altichiero demonstrated an uncanny ability to organize complex, multi-layered compositions, transforming cold stone walls into theatrical stages where history and drama converged. His mastery of the narrative fresco established him as a premier storyteller of the Trecento, capable of guiding the viewer's eye through intricate battle scenes and emotional confrontations with seamless grace.
As his reputation expanded beyond the borders of Verona, Altichiero’s journey led him to the intellectual and artistic heart of Padua. It was here that his collaboration with Jacopo d'Avanzi reached its zenith, producing some of the most breathtaking examples of late Gothic art in existence. In the chapel of Saint James at the Basilica of Sant’Antonio, the duo breathed life into the hagiography of Saint James the Elder. These works are characterized by a unique visual dynamism, where religious iconography is wedded to an emerging interest in naturalism and emotional depth. The frescoes do not merely depict saints; they inhabit a world of palpable atmosphere, where the drapery of robes and the expressions of the faithful suggest a reality that is both divine and deeply human.
Perhaps even more intimate is his contribution to the Oratorio di San Giorgio. Often whispered about in the same breath as the Scrovegni Chapel, this small, sacred space serves as a testament to Altichiero’s ability to scale his monumental vision down to a poignant, personal level. Working within this family mausoleum, he and his workshop created a vibrant tapestry of devotion that continues to transport modern visitors back to the dawn of the Renaissance. His work in Padua represents a crucial bridge in art history—a moment where the decorative elegance of the Gothic era began to embrace the structural innovations and psychological complexity that would soon define the Italian Renaissance.
Though Altichiero da Zevio passed away around 1390, his influence did not fade with his final breath. He left behind a legacy etched into the very architecture of Northern Italy, providing a foundation upon which future generations of Venetian and Veronese painters would build. His significance lies in his role as a transitional figure; he took the inherited language of the Middle Ages and began to rewrite it with a new vocabulary of space, movement, and human emotion. To study Altichiero is to witness the slow, beautiful metamorphosis of European art, moving away from the static icons of the past toward a more breathing, living world.
The enduring importance of his oeuvre can be summarized through several key artistic pillars:
