Guercino, 1591 – 1666

The 100 Most Famous Paintings by Guercino

The painting that made Guercino famous is Pietà (1638); it hangs in the Musée Condé, Chantilly. St Peter and the angel (1650) and David with the Head of Goliath (1657) follow it in the hearts of collectors and museum visitors. Of the 367 works by Guercino in our catalogue, these 100 are the most admired, each presented with its date, its museum and what sets it apart.

Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated October 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.

Portrait of Guercino
Guercino · 1591 – 1666
Born · died
1591 – 1666, Cento
Movement
Baroque
Works in our catalogue
367
Most famous
Pietà (1638)
Most works at
Bavarian State Painting Collections

Guercino: the ten masterpieces

Pietà (1638) by Guercino
1

Pietà

1638 · Oil On Canvas · Musée Condé, Chantilly

This painting, titled Pietà (or La Pietà), is a significant work by the Italian artist Giovanni Francesco Barbieri, known to history by his nickname Guercino. Created between 1635 and 1640, the work reflects the artist's profound command over the dramatic language of the Baroque period. It is an oil on canvas that captures a moment of intense human sorrow through a highly controlled use of light and shadow.

St Peter and the angel (1650) by Guercino
2

St Peter and the angel

1650 · Acrylic On Canvas · Art Gallery of South Australia, Adelaide

Guercino’s “St Peter and the Angel” is not merely a depiction of biblical figures; it's an intensely felt moment of solace, rendered with a raw emotionalism that distinguishes the artist from his more polished contemporaries. Painted in 1650, this work, measuring a modest 30 x 21 cm, embodies the turbulent spirit of Baroque Italy – a world grappling with religious fervor and social upheaval, yet simultaneously yearning for moments of…

David with the Head of Goliath (1657) by Guercino
3

David with the Head of Goliath

1657 · Oil On Canvas · Museum Boijmans Van Beuningen, Rotterdam

A single, heavy silence hangs in the air. David lunges forward, his muscular torso caught in a sudden, sharp light that carves his anatomy from the surrounding shadows. He does not wear the triumphant grin of a conqueror; instead, his face holds a quiet, introspective gravity. His golden cloak, lined with white fur, sweeps across the composition in a diagonal arc, pulling the eye toward the severed head of Goliath.…

The Samian Sibyl with a Putto (1651) by Guercino
4

The Samian Sibyl with a Putto

1651 · Oil On Canvas · National Gallery, London

The room is heavy with silence and the weight of unseen truths. A woman, the Samian Sibyl, sits anchored beside a weathered wooden desk, her body forming a stable, pyramidal shape that commands the center of this shadowed space. She is lost in deep introspection, perhaps mourning or contemplating a future only she can perceive. Her face and chest catch a sudden, directional light emerging from the upper left, pulling…

Saint-Jean-Baptiste (1661) by Guercino
5

Saint-Jean-Baptiste

1661 · Oil On Canvas · Musée Fabre, Montpellier

The oil on canvas titled SAINT JEAN-BAPTISTE A LA SOURCE depicts the figure of Saint-Jean-Baptiste. This work was executed by the Italian artist Giovanni Francesco Barbieri, known as Guercino. The painting emerged from his brush about 1661, during the later years of his creative life. It captures a moment of quietude through the depiction of the saint at a spring.

La Madonna del passero by Guercino
6

La Madonna del passero

Oil

In this intimate composition, we find a moment of profound stillness between a mother and her child. The Virgin Mary, draped in a deep red garment, holds the infant Jesus with a tenderness that feels both sacred and deeply human. A small sparrow rests near them, its presence drawing the gaze of both figures. This bird is not merely a casual addition to the scene; it acts as a focal…

Painting and Drawing (1656) by Guercino
7

Painting and Drawing

1656 · Oil On Canvas · Staatliche KunstSammlungen Dresden, Dresden

The oil on canvas titled Painting and Drawing was executed by the artist Guercino in 1656. This allegorical work captures a quiet moment of creative exchange between two figures. A woman sits at the center, her hands engaged in the act of creation, while an older man observes the progress of a sketch. The scene functions as a visual metaphor for the relationship between different modes of artistic expression.

Portrait of a Woman (1628) by Guercino
8

Portrait of a Woman

1628 · Oil · Bavarian State Painting Collections, München

Guercino’s Portrait of a Woman, created about 1628, presents a close-up bust portrait of a young woman. The subject is positioned with her body slightly turned to her right, while her gaze is directed downward and toward the viewer's left. This orientation creates a sense of quiet introspection. The monochromatic color palette of this specific image emphasizes tonal range and the interplay of light rather than hue.

Christ and the Moneylender (1628) by Guercino
9

Christ and the Moneylender

1628 · Oil · Bavarian State Painting Collections, München

The composition presents a close-up profile view of two male figures positioned against a dark, indistinct background. On the left, a figure with long dark hair and a beard looks downward, his expression settled into a contemplative or sorrowful state. He is dressed in a reddish-brown garment. To the right, a second figure is shown in profile, wearing a white turban accented with blue stripes. This man possesses a weathered…

St Anthony of Padua with the Infant Christ by Guercino
10

St Anthony of Padua with the Infant Christ

Oil On Canvas

In this intimate composition, we find St. Anthony of Padua cradling the Infant Christ. The scene is stripped of grandiosity, focusing instead on the profound connection between the Franciscan friar and the child. There is a palpable tenderness in the way the figures interact, a moment of stillness that invites the viewer into a private space of devotion. The light falls softly upon the figures, pulling them from the shadows…

More Guercino masterpieces, 11 to 100

Lot and His Daughters (1651) by Guercino
#11

Lot and His Daughters

1651 · Toledo Museum of Art

In Lot and His Daughters, Guercino captures a moment of profound tension drawn from the Old Testament story of Genesis 19. The scene unfolds against a backdrop of…

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God the Father (1630) by Guercino
#12

God the Father

1630 · Nasjonalmuseet i Warszawa

Guercino presents God the Father as a singular presence upon the canvas. This religious art piece captures a divine figure through the medium of oil on canvas. The…

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Assumption of the Virgin (1650) by Guercino
#33

Assumption of the Virgin

1650 · Detroit Institute of Arts

The canvas pulls the eye upward, following a trajectory of light and fabric. At the center, the Virgin Mary rises, her form caught in a moment of celestial…

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Cleopatra (1621) by Guercino
#35

Cleopatra

1621 · Nasjonalgalleriet i Armenia

In this 1621 oil painting, we encounter Cleopatra, a work by the Italian artist Guercino. The subject is rendered with a profound sense of psychological weight, capturing the…

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The Holy Family (1620) by Guercino
#40

The Holy Family

1620

A highly talented and prolific draftsman, Guercino spent his career almost exclusively in Emilia. This drawing is unique in his oeuvre for its high degree of finish and…

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Amnon and Tamar by Guercino
#43

Amnon and Tamar

National Gallery of Art

In the grand, sweeping theater of the Italian Baroque, few moments possess the psychological tension found in Guercino’s 'Amnon and Tamar'. Created between 1649 and 1650, this evocative…

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Esther before Ahasuerus (1750) by Guercino
#51

Esther before Ahasuerus

1750 · University of Michigan Museum of Art

Guercino's 1750 depiction of *Esther before Ahasuerus* is not merely a biblical scene; it’s a masterclass in Baroque drama, an intimate tableau brimming with unspoken tension and profound…

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Guercino's paintings by period

The subjects Guercino painted most

The four subjects that return most often among these masterpieces, with the finest example of each.

Where to see Guercino's paintings

The 8 museums that hold the most of the paintings on this page.

Museum City Works by Guercino Paintings from this list
Bavarian State Painting Collections, MünchenBavarian State Painting Collections München 8 Portrait of a Woman, Christ and the Moneylender, The Persian Sybil
National Gallery of Ireland, DublinNational Gallery of Ireland Dublin 6 Saint Joseph with the Christ Child, The Pensive Muse, Saint Agatha
Nasjonalmuseet i Warszawa, WarszawaNasjonalmuseet i Warszawa Warszawa 2 God the Father, Saint Francis with an angel playing violin
Rhode Island School of Design Museum of Art, ProvidenceRhode Island School of Design Museum of Art Providence 2 Study for St. William of Aquitaine, Bust of a Soldier in Armor
National Gallery, LondonNational Gallery London 8 The Samian Sibyl with a Putto
Staatliche KunstSammlungen Dresden, DresdenStaatliche KunstSammlungen Dresden Dresden 4 Painting and Drawing
Fitzwilliam MuseumFitzwilliam Museum 3 The Holy Family on the Flight meets the infant St John
Scottish National Gallery, EdinburghScottish National Gallery Edinburgh 3 The Virgin and Child with the Infant Saint John the Baptist

Guercino, decade by decade: the defining painting of each

  1. 1610s
  2. 1620s
    Portrait of a Woman (1628) by Guercino
    Rank 8 / 100

    Portrait of a Woman

    Age 29 – 38 · Bavarian State Painting Collections

    Guercino’s Portrait of a Woman, created about 1628, presents a close-up bust portrait of a young woman. The subject is positioned with her body slightly turned to her…

  3. 1630s
    Pietà (1638) by Guercino
    #1 of 100

    Pietà

    Age 39 – 48 · Musée Condé

    This painting, titled Pietà (or La Pietà), is a significant work by the Italian artist Giovanni Francesco Barbieri, known to history by his nickname Guercino. Created between 1635…

  4. 1640s
  5. 1650s
    St Peter and the angel (1650) by Guercino
    Rank 2 / 100

    St Peter and the angel

    Age 59 – 68 · Art Gallery of South Australia

    Guercino’s “St Peter and the Angel” is not merely a depiction of biblical figures; it's an intensely felt moment of solace, rendered with a raw emotionalism that distinguishes…

  6. 1660s
    Saint-Jean-Baptiste (1661) by Guercino
    No. 5 of 100

    Saint-Jean-Baptiste

    Age 69 – 75 · Musée Fabre

    The oil on canvas titled SAINT JEAN-BAPTISTE A LA SOURCE depicts the figure of Saint-Jean-Baptiste. This work was executed by the Italian artist Giovanni Francesco Barbieri, known as…

Guercino's masterpieces: questions and answers

Which painting is Guercino best known for?Show the answer

Pietà (1638), Musée Condé, Chantilly. Next come St Peter and the angel (1650) and David with the Head of Goliath (1657).

How old was Guercino when painting Pietà?Show the answer

47 years old: Pietà dates from 1638 and Guercino was born in 1591.

What are Guercino's ten greatest paintings?Show the answer

Pietà, St Peter and the angel, David with the Head of Goliath, The Samian Sibyl with a Putto, Saint-Jean-Baptiste, La Madonna del passero, Painting and Drawing, Portrait of a Woman, Christ and the Moneylender and St Anthony of Padua with the Infant Christ. The ranking above gives the year and the museum of each.

How many works did Guercino paint?Show the answer

Our catalogue lists 367 works by Guercino, dated from 1613 to 1666.

In which museums can I see Guercino's masterpieces?Show the answer

Most of them are in Bavarian State Painting Collections (München), National Gallery of Ireland (Dublin) and Nasjonalmuseet i Warszawa (Warszawa). The table above lists the museums one by one.

When did Guercino paint the masterpieces?Show the answer

In 1650s: 9 of the 100 works on this page date from then, among them St Peter and the angel.

What are the first and last famous paintings of Guercino?Show the answer

The earliest on this page is The Glory of All the Saints. Fragment (1613), the latest Virtuous Love (1666).

What were Guercino's favourite subjects?Show the answer

Woman (11), Man (10) and Religious (9), among the 100 works on this page.

Which technique did Guercino favour?Show the answer

Oil On Canvas: 15 of the 100 works on this page.

What art movement is Guercino part of?Show the answer

Baroque, as the paintings on this page show.

Which masterpieces by Guercino hang at the Bavarian State Painting Collections?Show the answer

Portrait of a Woman, Christ and the Moneylender and The Persian Sybil are among the 5 works on this page held by the Bavarian State Painting Collections, München.

Can I own a reproduction of a Guercino masterpiece?Show the answer

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.

The life of Guercino

A Life Illuminated by Shadow: The World of Guercino

Giovanni Francesco Barbieri, kjent verden over som Il Guercino – “den skjeløyde” – var et navn født fra en fysisk egenskap, men bestemt til å representere et kunstnerisk syn som dramatisk forandret barokkmaleriet. Han ble født i 1591 i Cento, en liten by mellom Ferrara og Bologna, og hans reise begynte ikke i de hellige hallene av formelle akademier, men gjennom selvutforsking og tidlig lærlingeliv med Ludovico Carracci. Dette formative perioden la grunnlaget for en stil som ville bli synonymt med intens emosjonellitet, dramatisk chiaroscuro og en dyp engasjement med både realisme og idealisme. I motsetning til mange av sine samtidige som søkte klassisk perfeksjon, pulserte Guercinos kunst med en rå, menneskelig energi, gjenspeillet den turbulente åndelige klimaet i 1600-tallets Italia. Hans tidlige liv var preget av en naturlig talent som raskt overgikk konvensjonell trening; han kopierte ikke bare stiler, men skapte sin egen vei, en opplyst av en iboende forståelse for lys og skygge.

From Caravaggism to Classical Grace: A Shifting Palette

Guercinos kunstneriske utvikling var ikke en lineær progresjon, men heller en fascinerende dialog mellom ulike innflytelser og stilistiske utforsking. Hans tidlige verk var dypt gjeldt til den revolusjonerende naturalismen til Caravaggio, omfavnet skarpe kontraster og gritty realisme som sjokkerte og fengslet publikum. Malerier som *Amnon og Tamar* eksemplifiserer denne tidlige perioden – en hjerteskjærende fremstilling av en bibelsk fortelling gjengitt med nådeløs ærlighet og psykologisk dybde. Likevel var Guercino ikke fornøyd med å forbli i Caravaggismens favør. En avgjørende overgang skjedde i hans stil under 1630-tallet, drevet av både kunstnerisk nysgjerrighet og kravene fra diskrete mecenater. Han begynte å myke opp paletten sin, og forlot den harde tenebrismen mot en mer lysende og balansert tilnærming. Denne overgangen var ikke bare et stilistisk valg; det reflekterte en dypere engasjement med klassiske idealer og et ønske om å skape verk som ikke bare var visuelt imponerende, men også estetisk raffinerte. Denne perioden så ham omfavne en større følelse av romlig dybde og en mer harmonisk komposisjon, som demonstrert i mesterverk som *Return of the Prodigal Son*. Han eksperimenterte med ulike teknikker og materialer, og utviklet et unikt visuelt språk som skilte seg ut fra hans samtidige.

Biblical Narratives and Emotional Resonance

Gjennom hele sin karriere vendte Guercino stadig tilbake til bibelske fortellinger for inspirasjon. Likevel illustrerte han ikke bare disse historiene; han innpreget dem med en dyp følelse av menneskelig drama og emosjonell resonans. Hans figurer er ikke idealiserte helgener, men feilbarlige individer som kjemper med tro, tvil, anger og frelse. *The Vocation of Saint Aloysius Gonzaga* er et godt eksempel – en kraftfull fremstilling av religiøs oppvåkning gjengitt med betagende dyktighet og følsomhet. Guercinos evne til å fange de indre livene til sine motiver skilte ham fra mange av hans samtidige. Han forsto at ekte pietet ikke var omfattet av ytre uttrykk for hengivenhet, men om interne kamper og ofre som definerte et liv dedikert til troen. Denne psykologiske dybden, kombinert med hans mesterskap i lys og skygge, skapte malerier som var både visuelt blendende og emosjonelt engasjerende. Han nølte ikke med å fremstille vanskelige eller ubehagelige øyeblikk, og mente at disse var essensielle for å forstå kompleksiteten i det menneskelige tilstand.

A Lasting Legacy: Influence and Rediscovery

Guercinos innflytelse utvidet seg langt utover hans levetid. Hans dramatiske bruk av lys og skygge, kombinert med hans evne til å vekke kraftfulle følelser, inspirerte generasjoner av kunstnere over hele Europa. Selv om hans rykte ble noe nedtonet i det 18. og 19. århundre, opplevde en ny verdsettelse av hans arbeid i det 20. århundre, hovedsakelig takket være den utholdende innsatsen til kunsthistoriker Sir Denis Mahon. Mahons grundige forskning og lidenskapelige forsvarsarbeid hjalp til med å gjenopprette Guercino på hans rettmessige plass blant barokkens mestere. I dag er hans malerier feiret i prestisjetunge museer over hele verden – fra Pinacoteca Nazionale i Ferrara til National Gallery of Art i Washington D.C. – og tjener som et vitnesbyrd om hans vedvarende kunstneriske geni.
  • Museer og samlinger: Guercinos verk pryder hallene i museer som Pinacoteca Nazionale (Ferrara), Palazzo Brignole-Sale (Genoa) og Galleria Spada (Roma).
  • Chiaroscuro Master: Hans dramatiske bruk av lys og skygge er en definerende egenskap ved hans stil.
  • Biblical Storyteller: Han formidlet bibelske fortellinger med uovertruffen emosjonell dybde og psykologisk innsikt.

Key Works

Among Guercino’s most celebrated works are *The Return of the Prodigal Son* (1634-1635), a poignant depiction of repentance and forgiveness; *The Vocation of Saint Aloysius Gonzaga* (1629-1630), showcasing his ability to capture spiritual awakening; and *The Flight into Egypt* (c. 1630), demonstrating his mastery of dramatic composition and emotional intensity. These paintings, along with numerous other works, reveal the breadth of Guercino’s artistic vision and his enduring legacy as one of the most important figures in Baroque art.

All 367 works by Guercino →