Bijgewerkt in oktober 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 33 werken van Gherardo Starnina in onze catalogus
Kortom
Als u één schilderij van Gherardo Starnina kent, is dat waarschijnlijk Dormition of the Virgin (1408), dat in het Philadelphia Museum of Art in Philadelphia hangt. Archangel Michael (1404) en Christ as Salvator Mundi (1405) maken de drie werken compleet die mensen direct herkennen. Onze catalogus bevat 33 werken van Gherardo Starnina. Hieronder vindt u de 33 bekendste werken, elk met het jaartal, de locatie en wat het werk zo bijzonder maakt.
The scene depicts the Dormition of the Virgin Mary, a crowded assembly of figures gathered around a central reclining form. The composition is dense, with bodies layered closely together against a flat, patterned gold background. Deep blues, vibrant reds, and ochre tones define the garments of the apostles and angels. Each figure is marked by a circular golden halo, creating a rhythmic repetition of shapes across the panel. The lighting…
Saints Mary Magdalene, Lawrence and a donor/ Angelo Acciaiuolo1405 · Gemäldegalerie
Bestel dit werk from $225 →
Madonna and Child with SS Victor and Octavian1451 · Pinacoteca Comunale
Bestel dit werk from $250 →
Saint Hugh of Lincoln Exorcises a Man Possessed by the Devil1407 · Museo Poldi Pezzoli
Laat het handbeschilderen from $175 →
De vier onderwerpen die het vaakst voorkomen in deze werken, elk met zijn bekendste voorbeeld.
De 8 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Gherardo Starnina | Schilderijen uit deze lijst |
|---|---|---|---|
 Städel Museum |
Frankfurt | 4 | Christ as Salvator Mundi, Archangel Gabriel, Virgin Annunciate |
 Museum of Fine Arts |
Boston | 4 | Jeremiah with Two Angels, Isaiah with Two Angels, Saint Stephen |
 Galleria degli Uffizi |
Florence | 3 | Thebaid (detail), Thebaid (detail), Thebaid |
 Rijksmuseum |
Amsterdam | 2 | Two Evangelists, St. Matthew (Two Evangelists) |
 Philadelphia Museum of Art |
Philadelphia | 1 | Dormition of the Virgin |
 Museo Nazionale di Villa Guinigi |
Lucca | 1 | Archangel Michael |
 The Nelson-Atkins Museum of Art |
Kansas City | 1 | Adoration of the Magi |
 Cleveland Museum of Art |
Cleveland | 1 | Madonna and Child |
11 jaar, van 1400 tot 1410: dat is de volledige periode van de gedateerde werken van Gherardo Starnina hier. Loop jaar voor jaar door de collectie.
Selecteer een jaar om de werken te bekijken.
The scene depicts the Dormition of the Virgin Mary, a crowded assembly of figures gathered around a central reclining form. The composition is dense, with bodies layered closely together against a flat, patterned gold background. Deep blues, vibrant reds, and ochre tones define the garments of the apostles and angels. Each figure is marked by a circular golden halo, creating a rhythmic repetition of shapes across the panel. The lighting…
De lijst wordt aangevoerd door Dormition of the Virgin (1408), Philadelphia Museum of Art, Philadelphia. Direct daarna volgen: Archangel Michael (1404) en Christ as Salvator Mundi (1405).
54 jaar oud. Gherardo Starnina werd geboren in 1354, en Dormition of the Virgin dateert uit 1408.
Dormition of the Virgin, Archangel Michael, Christ as Salvator Mundi, Archangel Gabriel, Virgin Annunciate, Salvator Mundi, The Angel of the Annunciation and the Virgin Annunciate, Adoration of the Magi, Madonna and Child, A Bishop Saint and Saint Lawrence en Jeremiah with Two Angels. U vindt het jaar en het museum van elk werk in de bovenstaande lijst.
We hebben 33 werken van Gherardo Starnina in onze catalogus, gedateerd van 1400 tot 1410.
U vindt de meeste van deze werken in Städel Museum (Frankfurt), Museum of Fine Arts (Boston) en Galleria degli Uffizi (Florence). De bovenstaande museumlijst geeft een volledig overzicht.
In 1410, meer dan op welk ander moment dan ook: 8 van de 33 werken op deze pagina dateren uit die tijd, waarvan Jeremiah with Two Angels een specifiek werk.
Het oudste werk hier is Madonna and Child (1400); het meest recente is Jeremiah with Two Angels (1410).
People (3), Figures (2) en Medieval art (2), van de 33 werken op deze pagina.
Tempera On Panel, gebruikt in 5 van de 33 werken op deze pagina.
U kunt 4 van de werken op deze pagina zien in het Städel Museum, Frankfurt, waaronder Christ as Salvator Mundi, Archangel Gabriel en Virgin Annunciate.
Ja. Elk schilderij op deze pagina is verkrijgbaar als handgeschilderde olieverfreproductie of als print, in de maat die bij u past. Open simpelweg de pagina van het schilderij om te bestellen.
In the golden twilight of the Middle Ages, as the rigid structures of the Gothic era began to soften under the warmth of burgeoning humanism, there emerged a painter whose brush captured the very essence of spiritual devotion and intricate beauty. Gherardo di Jacopo Starnina, known to history by the affectionate moniker “Starnina,” stands as a vital bridge in the evolution of Italian art. Born in Florence around 1354, his early years were steeped in the prestigious traditions of the Florentine school. As an apprentice to the renowned Agnolo Gaddi, Starnina was immersed in a world where the emotional depth of Giotto met the delicate, lyrical elegance of Simone Martini. This formative period instilled in him a lifelong duality: a profound commitment to realistic observation paired with an unwavering devotion to the spiritual narrative.
The trajectory of Starnina’s life took a transformative turn when he migrated toward Venice around 1380. This move was not merely a change in geography but a shift in artistic atmosphere. In Venice, the light was different, more luminous and atmospheric, and the burgeoning trade brought new textures and colors to the artist's palette. It was here that Starnina truly found his voice, establishing himself as a master of detail and a painter of profound faith. His work began to reflect the unique Venetian sensibility—a blend of rich, decorative splendor and a deep, contemplative stillness that invited the viewer into a state of prayerful meditation.
To gaze upon a Starnina masterpiece is to enter a world where every fold of fabric and every subtle gesture carries weight. He was not an artist preoccupied solely with grand, sweeping movements; rather, he found the divine in the minute. His technique was characterized by a remarkable attention to texture and nuance, a hallmark that would define the Venetian Renaissance style. In works such as Virgin with Child and Saints, one can witness his ability to weave together angelic figures and holy saints within a composition that feels both mathematically structured and emotionally fluid. He utilized color not just as a means of representation, but as a tool to convey the sanctity of his subjects.
His contributions to sacred spaces remain some of his most enduring legacies. The frescoes adorning the Basilica di San Frediano and the collections within the Museo di Bassano serve as windows into a lost era of craftsmanship. Starnina’s ability to render the Thebaid—the desert landscapes inhabited by hermits—demonstrates his skill in blending landscape with spiritual struggle, using light and shadow to evoke the isolation and piety of the saints. His work on the façades and interiors of religious institutions showcased a mastery of perspective that, while still rooted in Gothic tradition, pointed toward the revolutionary advancements of the coming centuries.
While the names of later Venetian giants like Titian or Tintoretto often dominate the historical discourse, the significance of Starnina cannot be overstated. He provided the essential foundation upon which the later masters built their triumphs. By integrating the emotional intensity of his Florentine training with the luminous, decorative richness of Venice, he helped create a new visual language for the Renaissance. His life’s work represents a period of transition, where the symbolic rigidity of the past was gracefully yielding to a more human-centric, observant way of seeing the world.
The enduring impact of Gherardo di Jacopo Starnina can be summarized through several key artistic contributions:
Today, when we study the works of Starnina, we are not merely looking at relics of the 15th century; we are witnessing the birth of a new way of perceiving the divine through the lens of human beauty and meticulous artistry.
