Madonna of Humility (1432) is the most famous painting by Sassetta, held by the Staatliche Museen zu Berlin in Berlinas. Virgin with Child and Four Saints (detail) (1435) and Saint Francis and the Poor Knight, and Francis's Vision (1437) are the next two works the world knows best. From the 56 works of Sassetta in our catalogue, here are the 56 that collectors and museum visitors look at most, with the year, the museum and the story of each.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta spalis 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
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…
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,…
In the quiet, hallowed atmosphere of the early Italian Renaissance, few works capture the profound intimacy of spiritual transcendence as exquisitely as Sassetta’s The Ecstasy of St. Francis…
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is a work by Sassetta (Stefano Di Giovanni), executed between 1437 and 1444. It forms part of a larger cycle, specifically the fifth of eight scenes illustrating the…
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The air in the room seems to settle around the figures, held in a stillness that feels heavy with grace. A woman sits with a gentle, grounded presence,…
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In the quietude of the early fifteenth century, the Sienese master Sassetta captured a moment of profound spiritual intimacy that continues to resonate across the centuries. St Thomas…
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The artwork titled Damnation of the Soul of the Miser of Citerna was executed by the artist Sassetta. This specific panel originated in 1437. It was created as…
The Ecstasy of St Francis is a renowned painting by the Italian artist Sassetta (Stefano Di Giovanni), created in 1437. This tempera on panel artwork, measuring 190 x…
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The image presents a detailed view of a section of a tempera on wood panel painting from 1423. In the foreground, several open books rest upon a wooden…
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In the quiet, hallowed atmosphere of the early Italian Renaissance, few moments capture the intersection of the earthly and the divine as poignantly as Stefano di Giovanni’s The…
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In the delicate brushstrokes of Sassetta, specifically within this exquisite detail from the Virgin with Child and Four Saints, we find ourselves transported to the heart of the…
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In the quiet, luminous corridors of the early Italian Renaissance, few works capture the intersection of earthly devotion and celestial grace as profoundly as Sassetta’s Virgin and Child…
Stefano di Giovanni, known as Sassetta, gifted us with “The Blessed Ranieri Frees the Poor from a Jail in Florence,” a captivating panel painted around 1444 that transcends…
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Stefano di Giovanni, known to art history as Sassetta, gifted us with a profoundly moving and technically brilliant depiction of “St. Thomas Before the Cross” in 1423 –…
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Stefano di Giovanni, known as Sassetta, was a pivotal figure in the transition from late Gothic to early Renaissance painting in Siena during the 15th century. His work…
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The Last Supper by Sassetta (Stefano Di Giovanni) is a remarkable painting that showcases the artist's skill in capturing complex emotional states and conveying religious narratives. Created in…
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The painting St Anthony the Hermit Tortured by the Devils by Sassetta (Stefano Di Giovanni) is a remarkable work of art that showcases the artist's skill in capturing…
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A Moment of Reverence: Sassetta’s St Thomas Inspired by the Dove The painting “St Thomas Inspired by the Dove of the Holy Ghost,” attributed to Sassetta (Stefano di…
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The Madonna sits upon a throne of red and gold, her skin pale against the heavy weight of her garments. She holds the infant Christ, whose small limbs…
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Stefano di Giovanni’s “The Meeting of St. Anthony and St. Paul,” painted around 1440, isn't merely a religious depiction; it’s a profound meditation on faith, solitude, and the…
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To gaze upon Sassetta's "The Journey of the Magi" is to step directly into the luminous heart of the early Italian Renaissance. This exquisite panel, dating from 1435,…
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Stefano di Giovanni, known universally as Sassetta, stands as a pivotal figure in the burgeoning artistic landscape of Siena during the Quattrocento – a period marked by an…
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A Moment of Severance Saint Francis renounces his Earthly Father captures a pivotal moment of spiritual transition through a structured, multi-arched architectural framework. The composition uses pink-toned arches…
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In the quiet sanctity of the Sienese Renaissance, few images capture the profound intimacy of the divine as gracefully as Sassetta’s Madonna of Humility with Four Saints. Created…
In the quiet, luminous corridors of the early Italian Renaissance, few works capture the intersection of earthly devotion and celestial grace as profoundly as Sassetta’s The Virgin and…
Order a reproduction →The four subjects that return most often among these masterpieces, with the finest example of each.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Sassetta darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 National Gallery |
Londonas | 6 | Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis, Saint Francis before the Sultan |
 Szépművészeti Múzeum |
Budapeštas | 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 |
Kortona | 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 |
Vašingtonas | 4 | Saint Margaret, Saint Apollonia, Madonna of Humility |
 Liuvro muziejus |
Paryžius | 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 |
 Detroito meno institutas |
Detroitas | 3 | The Agony in the Garden, The Procession to Calvary, The Betrayal of Christ |
 Metropolitano meno muziejus |
Niujorkas | 3 | The Annunciation ", Madonna and Child with Angels, The Journey of the Magi |
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…
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,…
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.…
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…
Madonna of Humility (1432), Staatliche Museen zu Berlin, Berlinas. Next come Virgin with Child and Four Saints (detail) (1435) and Saint Francis and the Poor Knight, and Francis's Vision (1437).
40 years old: Madonna of Humility dates from 1432 and Sassetta was born in 1392.
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 ir Saint Apollonia. The ranking above gives the year and the museum of each.
Our catalogue lists 56 works by Sassetta, dated from 1412 to 1450.
Most of them are in National Gallery (Londonas), Szépművészeti Múzeum (Budapeštas) ir Museo Diocesano (Kortona). The table above lists the museums one by one.
In 1430s: 27 of the 56 works on this page date from then, among them Madonna of Humility.
The earliest on this page is Saint John the Evangelist (1412), the latest Saint Francis before the Sultan (1450).
People (7), Saints (6) ir Religious scene (6), among the 56 works on this page.
Tempera On Panel: 17 of the 56 works on this page.
Early renaissance, as the paintings on this page show.
Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis ir Saint Francis before the Sultan are among the 6 works on this page held by the National Gallery, Londonas.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
Šviesioje Italijos Quattrocento eroje nedarbingai mažai kuris vardas sukelia tokį jautrų prisiminimą apie švelnų perėjimą nuo viduramžių prie modernumo kaip Stefano di Giovanni, kurio istorija labiau švelniai vadina Sassetta. Kaip siejiamos mokyklos svarbi veikla, jo meistrybė atstovauja gilią tiltą tarp vėlyvųjų gotikos laikotarpio dekoratyvinio elegancijos ir pradedančiojo renesanso realizmo. Nors tikrosios jo gyvenimo kilmės lieka slėptos laiko miglose – mokslininkai vis dar debatuoja, ar jis gimė Sienoje, ar galbūt Kortونوje – jo buvimas Toskanos kraštlandyje yra neabejingas. Jo kūrinys neša ritminę, lyrišką Sienos sielą, tačiau kartu kvėpuoja nauja, stebėjimo vitalybe, kuri sufleruoja apie menininką, giliai įsipindulėjusį į kintančius savo amžiaus vėjus.
Sassetta kūrybinė kelionė buvo iš sofisticuotos sintezės. Jis turėjo retą gebėjimą gerbti tradicinį sienos stilių – pasižymintį sudėtingais detalėmis ir dvasine galybe – kartu absorbuodamas revoliucines naujoves, kylančias iš Firenos. Tokių meistrų įtaka kaip Masaccio, Masolino ir Gentile da Fabriano jautiamas jo evoliucioniu maîtrise už pleninės erdvės santykius ir šviesos naudojimą. Jis ne tiesiog kopijavo šias naujas technikas; priešinga, jis integruojo jas, kad suteiktų savo figūroms natūralaus spindulio, leisdamas šviesai įtikėtinai išformuoti jų formas ir sukurti vientisos, kvėpuojančios erdvės pojūtį savo kompozicijose.
Sassetta kūryba yra įrodymas apie jo meistriškumą naratyviniame tapybos menėje, kur kiekvienas traukės tarnauja aukštesniam dvasiniam tikslui. Jo darbai dažnai veikia kaip langai į dieviškumą, naudojant sudėtingą spalvų paletę ir ritmines kompozicijas, kad vedtų žiūrovą per šventines istorijas. Tokiuose šedevruose kaip Padavimai, jis demonstruoja išskirtinį gebėjimą įamžinti sudėtingas emocines būsenas, naudojdamas žemės tonus ir kruopščią perspektyvą, kad gili religinė naracija būtų įtvirtinta tampriamo, rimto realybės pagrindu. Jo gebėjimas subalansuoti ornamentinę gotikos tradicijos grožį su pradinio žmogaus dramos pojūčiu daro jo panelės unikaliai įtraukiančios.
Be mažesnių panelės skolos, Sassetta pasiekė didelę šlovę per svarbius altarijų paveikslus ir poliptikus, kurie apibrėžė jo laikotarpio religinį kraštotakią. Kai kurie jo pastebimiausi meniniai pasiekimai apima:
Istorinė Sassetta reikšmė slypi jo vaidmenyje kaip saugotojo ir inovatoriaus. Jis užtikrino, kad unikali Sienos mokyklos tapatybė neišnyktų susidūrę su Firenos dominavimu, o priešinga evoliucionuotų įtraukdama naująją realizmo ir gylio kalbą. Jo paveikslai nėra tik praėjusio laikotarpio relikvijos; jie yra gyvi dialogai tarp senojo ir naujo pasaulio. Per jį švelnų šviesos valdymą, simbolinę ikonografiją ir gilią empatiją savo temoms, Sassetta paliko neištriniamą žymą Italijos meno istorijoje, užsitikrindamas savo vietą kaip vienas svarbiausių Sienos renesanso atstovų.
