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Najpoznatije djelo umjetnika Sassetta je Madonna of Humility (1432). Možete ga pronaći u muzeju Staatliche Museen zu Berlin u gradu Berlin. Sljedeći na listi su Virgin with Child and Four Saints (detail) (1435) i Saint Francis and the Poor Knight, and Francis's Vision (1437). U našem katalogu nalazi se 56 djela umjetnika Sassetta; ovaj vodič izdvaja 56 najpoznatijih, uz godinu nastanka, muzej i priču o svakom platnu.
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
St Anthony the Hermit Tortured by the Devils1423
14
The Ecstasy of St Francis (detail)1437 · Villa i Tatti
15
The Procession to Calvary1441 · Detroit Institute of Arts
16
The Betrayal of Christ1437 · Detroit Institute of Arts
17
Madonna of Humility1437 · National Gallery of Art
18
St. Anthony of Padua1450
19
Madonna and Child with Angels1437
20
St Matthew1437 · Collezione Vittorio Cini
21
Assumption of Mary with Angel Choirs1450 · Gemäldegalerie
22
The Wolf of Gubbio1450 · National Gallery
23
Virgin of Humility1440 · Collezione Vittorio Cini
24
St Thomas Inspired by the Dove of the Holy Ghost1423 · Szépművészeti Múzeum
25
Damnation of the Soul of the Miser of Citerna1437 · Louvre
26
The Ecstasy of St Francis1437 · Villa i Tatti
27
St Thomas Inspired by the Dove of the Holy Ghost1423 · Szépművészeti Múzeum
28
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
29
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
30
Miracle of the Eucharist1423 · Bowes Museum
31
Death of the Heretic on the Bonfire1423 · National Gallery of Victoria
32
St Jerome (detail)1423 · Pinacoteca Nazionale
33
Founding of Santa Maria Maggiore1430
34
The mystical marriage of Saint Francis of Assisi1444
35
The Annunciation "1435 · Metropolitan Museum of Art
36
Virgin with Child and Four Saints (detail)1435 · Museo Diocesano
37
The Stigmatisation of St Francis1437 · National Gallery
38
The Blessed Ranieri Frees the Poor from a Prison in Florence1437 · Louvre
39
Virgin with Child and Four Saints (detail)1435 · Museo Diocesano
40
Virgin and Child with Saints1437 · Louvre
41
The Blessed Ranieri Frees the Poor from a Jail in Florence1444 · Louvre
42
St Thomas Before the Cross1423 · Vatikan Pinacoteca
43
The Blessed Raniero of Borgo San Sepolcro Appearing to a Cardinal in a Dream1444 · Staatliche Museen zu Berlin
44
St. Francis Kneeling before Christ on the CrossCleveland Museum of Art
45
The Last Supper1423 · Pinacoteca Nazionale
46
St Anthony the Hermit Tortured by the Devils1423 · Pinacoteca Nazionale
47
St Thomas Inspired by the Dove of the Holy Ghost (detail)1423 · Szépművészeti Múzeum
48
Madonna and Child with AngelsMetropolitan Museum of Art
49
The Annunciation
50
The Meeting of St. Anthony and St. PaulNational Gallery of Art
51
The Journey of the Magi1435 · Metropolitan Museum of Art
52
Mariža svetoga Frančiška i Gospe Pokornosti1437 · Musée Condé
53
Saint Francis renounces his Earthly Father1437 · National Gallery
54
St. Anthony Beaten by Devils1423 · Pinacoteca Nazionale
55
Madonna of Humility with Four Saints1435 · Museo Diocesano
56
The Virgin and Child with Saints1430 · Galleria degli Uffizi
Četiri teme koje se najčešće pojavljuju u ovim djelima, svaka s svojim najpoznatijim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Sassetta | Slike iz ovog popisa |
|---|---|---|---|
 National Gallery |
London | 6 | Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis, Saint Francis before the Sultan |
 Szépművészeti Múzeum |
Budimpešta | 5 | St Thomas Inspired by the Dove of the Holy Ghost, St Thomas Inspired by the Dove of the Holy Ghost, St Thomas Inspired by the Dove of the Holy Ghost (detail) |
 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 |
 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 |
 Metropolitan Museum of Art |
New York | 3 | The Annunciation ", Madonna and Child with Angels, The Journey of the Magi |
Odaberite desetljeće kako biste vidjeli njegovo najistaknutije djelo.
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…
Na vrhu liste je Madonna of Humility (1432), Staatliche Museen zu Berlin, Berlin. Odmah iza njega su: Virgin with Child and Four Saints (detail) (1435) i Saint Francis and the Poor Knight, and Francis's Vision (1437).
40 godina. Sassetta je rođen/a 1392, a djelo Madonna of Humility datira iz 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 i Saint Apollonia. Godinu i muzej svakog od njih pronaći ćete u gornjem popisu.
U našem katalogu imamo 56 djela umjetnika Sassetta, datiranih od 1412 do 1450.
Većinu njih možete pronaći u National Gallery (London), Szépművészeti Múzeum (Budimpešta) i Museo Diocesano (Cortona). Na gornjoj listi muzeja nalazi se detaljan pregled.
U 1430s, više nego ikada prije: 27 od 56 djela na ovoj stranici potječe iz tog vremena, od čega je Madonna of Humility među njima.
Najstarije djelo ovdje je Saint John the Evangelist (1412), a najnovije je Saint Francis before the Sultan (1450).
People (10), Gold background (9) i Woman (7) od ukupno 56 djela na ovoj stranici.
Tempera On Panel, korišteno u 27 od 56 djela na ovoj stranici.
Early renaissance, kao što možete vidjeti u djelima na ovoj stranici.
Na ovoj stranici možete vidjeti 6 djela u muzeju National Gallery, London, uključujući Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis i Saint Francis before the Sultan.
Da. Svaka slika na ovoj stranici dostupna je kao ručno oslikana uljana reprodukcija ili kao tisak, u veličini koja vam odgovara. Jednostavno otvorite stranicu slike kako biste je naručili.
U blistivoj eri talijanskog Quattrocenta, malo je koje ime tako dirljivo priziva osjetljivi prijelaz iz srednjovjekovnog u moderno kao Stefano di Giovanni, povijesno poznatiji pod imenom Sassetta. Kao ključna figura sieneskog pravca, njegova umjetnost predstavlja duboki most između dekorativne elegancije kasnog gotik perioda i bujajućeg realizma renesanse. Iako su točni počeci njegovog života još uvijek skriveni u magli vremena — uz rasprave stručnjaka o tome je li rođen u Sijeni ili možda u Cortoni — njegovo prisustvo u toskanskom krajoliku neosporno je. Njegovo djelo nosi ritmičnu, lirsku dušu Sijene, no istovremeno diše novom, promatračkom vitalnošću koja sugerira umjetnika duboko uključenog u promjenjive vjetrove svog doba.
Sassettin kreativni put bio je put sofisticirane sinteze. Posjedovao je rijetku sposobnost da odana počastava tradicionalnom sienskom stilu — obilježenu zamrštenim detaljima i duhovnom dubinom — dok je istovremeno upijao revolucionarne inovacije koje su izbijale iz Firence. Utjecaj majstora poput Masaccia, Masolinija i Gentile da Fabriana može se osjetiti u njegovom evoluirajućem vladanju prostornim odnosima i upotrebom svjetlosti. On nije samo kopirao ove nove tehnike; naprotiv, integrirao ih je kako bi svojim figurama podario prirodni sjaj, dopuštajući svjetlosti da uvjerljivo oblikuje njihove forme i stvori osjećaj kohezivnog, živog prostora unutar njegovih kompozicija.
Sassettino djelo svjedočanstvo je njegovog majstorstva u narativnom slikarstvu, gdje svaki potez kistom služi višoj duhovnoj svrsi. Njegova djela često funkcioniraju kao prozori u božansko, koristeći sofisticiranu paletu boja i ritmične kompozicije kako bi vodila gledatelja kroz svete povijesti. U remek-djelima poput Posljednje večere, on pokazuje izvanrednu vještinu hvatanja složenih emocionalnih stanja, koristeći zemljane tonove i pažljivu perspektivu kako bi duboku religioznu naraciju utemeljio u opipljivoj, sumornoj stvarnosti. Njegova sposobnost uravnotežiti ornamentalnu ljepotu gotičke tradicije s bujajućim osjećajem ljudske drame čini njegove panele jedinstveno očaravajućima.
Izvan intimne razmjere njegovih manjih panela, Sassetta je postigao veliku slavu kroz značajne oltare i poliptike koje su definirale religiozni krajolik svog vremena. Neki od njegovih najistaknutijih umjetničkih uspjeha uključuju:
Povijesni značaj Sassette leži u njegovoj ulozi čuvarice i inovatora. Osigurao je da jedinstveni identitet sieneskog pravca ne nestane pred dominacijom Firence, već da se razvije kako bi uključio novi jezik realizma i dubine. Njegove slike nisu samo relikvije prošlog doba; one su živi dijalog između starog i novog svijeta. Kroz nježno rukovanje svjetlošću, njegovo majstorstvo u simboličkoj ikonografiji i njegovu duboku empatiju prema subjektima, Sassetta je ostavio neizbrisiv trag u povijesti talijanske umjetnosti, osiguravajući svoje mjesto kao jednog od najvažnijih predstavnika sieneskog renesansnog doba.
