Madonna of Humility (1432) je najpoznatije delo umetnika Sasetu (Stefano Di Đovani), koje se nalazi u muzeju Staatliche Museen zu Berlin u gradu Berlin. Virgin with Child and Four Saints (detail) (1435) i Saint Francis and the Poor Knight, and Francis's Vision (1437) su sledeća dva dela koja svet najbolje poznaje. Od 56 dela umetnika Sasetu (Stefano Di Đovani) u našem katalogu, izdvajamo ovih 56 koja kolekcionari i posetioci muzeja najčešće posmatraju, uz navođenje godine, muzeja i priče o svakom od njih.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano октобар 2026. Svako remek-delo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejskog kvaliteta ili kao umetnička štampa, u dimenzijama koje odaberete.
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,…
This vertical and narrow tempera painting on a wood panel, created in 1430, depicts St. Nicholas of Bari in a formal, iconographic pose. The subject is presented as…
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The air within the grand hall feels heavy with a sacred stillness, as if time itself has paused to witness this celestial assembly. At the heart of the…
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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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The air feels heavy with the weight of impending tragedy as a crowded procession moves steadily from left to right across the panel. Jesus walks at the center…
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The scene captures the precise instant of Judas's kiss, a moment of profound spiritual and human tension. Within a crowded, shallow space, the figures are compressed together, creating…
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The Madonna of Humility emerges from the golden light of the early fifteenth century, a sacred vision rendered by the hand of Sassetta. Dating to about 1432, this…
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St. Anthony of Padua is a religious panel painting executed by the Sienese artist Sassetta. Known to history as Stefano di Giovanni, the painter was a central figure…
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The painting presents a formal, hierarchical arrangement of figures set against a luminous gold background. At the center, the Madonna is enthroned, her form draped in a mantle…
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The figure of Saint Matthew emerges from a shimmering expanse of gold leaf, his presence commanding a quiet, sacred space. He stands with a dignified stillness, an elderly…
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The heavens open in a rhythmic surge of light and shadow. At the center of this vertical movement, the Virgin Mary ascends, her form caught in a moment…
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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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Свадење свеца Франсиса и Лади Побочности од Сасетте Фото опис: Ослика је религиозна сцена која представља свеца Франсиса од Асузија и Лађу Побочности. Главна фокус ослике је на…
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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…
Naručite reprodukciju →Četiri teme koje se najčešće pojavljuju među ovim remek-delima, sa najboljim primerom za svaku od njih.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Sasetu (Stefano Di Đovani) | Slike iz ovog spiska |
|---|---|---|---|
 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 |
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 |
Washington | 4 | Saint Margaret, Saint Apollonia, Madonna of Humility |
 Luvr |
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 |
Sijena | 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 |
 Metropoliten музеј у Њујорку |
Њујорк | 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…
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…
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, Berlin. Sledeći su Virgin with Child and Four Saints (detail) (1435) i Saint Francis and the Poor Knight, and Francis's Vision (1437).
40 godina: Madonna of Humility datira iz 1432, a Sasetu (Stefano Di Đovani) je rođen/a 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 i Saint Apollonia. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 56 dela umetnika Sasetu (Stefano Di Đovani), datiranih od 1412 do 1450.
Većina njih se nalazi u National Gallery (London), Szépművészeti Múzeum (Budimpešta) i Museo Diocesano (Kortona). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1430s: 27 od ukupno 56 dela na ovoj stranici datiraju iz tog vremena, od čega je Madonna of Humility.
Najstarije delo na ovoj stranici je iz Saint John the Evangelist (1412), a najnovije iz Saint Francis before the Sultan (1450).
People (10), Gold background (9) i Woman (7), od ukupno 56 dela na ovoj stranici.
Tempera On Panel: 27 od ukupno 56 dela na ovoj stranici.
Early renaissance, kao što pokazuju slike na ovoj stranici.
Saint Francis and the Poor Knight, and Francis's Vision, The Funeral of Saint Francis i Saint Francis before the Sultan su među 6 dela na ovoj stranici koja se nalaze u National Gallery, London.
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te slike.
U blistavoj eri italijanskog kvatrocento, malo je koje ime tako dirljivo priziva nežni prelaz sa srednjovekovnog na moderno kao Stefano di Giovanni, istoriji poznatiji pod nadimkom Sassetta. Kao ključna figura sieneskog pravca, njegova umetnost predstavlja duboki most između dekorativne elegancije kasnog gotičkog perioda i bujajućeg realizma renesanse. Iako njegovi tačni počeci ostaju skriveni u magli vremena — dok naučnici još uvek raspravljaju da li je rođen u Sijenu ili možda u Kortoni — njegovo prisustvo u toskanskom pejzažu je neosporno. Njegovo delo nosi ritmičnu, lirsku dušu Sijena, a ipak diše novom, posmatračkom vitalnošću koja sugeriše umetnika duboko angažovanog u promenljivim vetrovima svog doba.
Sassettin kreativni put bio je put sofisticirane sinteze. Posedovao je retku sposobnost da odati počast tradicionalnom sienskom stilu — karakterističnom po svojim zamršanim detaljima i duhovnoj dubini — dok je istovremeno upijao revolucionarne inovacije koje su izbijale iz Firence. Uticaj majstora kao što su Masaccio, Masolino i Gentile da Fabriano može se osetiti u njegovom evoluirajućem vladanju prostornim odnosima i upotrebom svetlosti. On nije samo kopirao ove nove tehnike; naprotiv, on ih je integrisao kako bi svojim figurama podario prirodni sjaj, dopuštajući svetlosti da ubedljivo oblikuje njihove forme i stvori osećaj kohezivnog, disajućeg prostora unutar njegovih kompozicija.
Sassettino delo je svedočanstvo njegove majstorstva u narativnom slikarstvu, gde svaki potez četkice služi višoj duhovnoj svrsi. Njegova dela često funkcionišu kao prozori u božansko, koristeći sofisticiranu paletu boja i ritmične kompozicije kako bi vodila posmatrača kroz svete istorije. U remek-delima kao što je Poslednja večera, on pokazuje izvanrednu veštinu u hvatanju složenih emocionalnih stanja, koristeći zemljane tonove i pažljivu perspektivu kako bi duboku religioznu naraciju utemeljio u opipljivoj, sumornoj stvarnosti. Njegova sposobnost da uravnoteži ornamentalnu lepotu gotičke tradicije sa bujajućim osećajem ljudske drame čini njegove panele jedinstveno očaravajućim.
Izvan intimne razmere njegovih manjih panela, Sassetta je postigao veliki ugled kroz značajne oltare i poliptihove koji su definisali religiozni pejzaž svog vremena. Neka od njegovih najistaknutijih umetničkih dostignuća uključuju:
Istorijski značaj Sassette leži u njegovoj ulozi čuvara i inovatora. On je osigurao da jedinstveni identitet sienskog pravca ne nestane pred dominacijom Firence, već da se razvije kako bi obuhvatio novi jezik realizma i dubine. Njegove slike nisu samo relikvije prošle ere; one su živi dijalozi između starog i novog sveta. Kroz nežno rukovanje svetlošću, svoje majstorstvo u simboličkoj ikonografiji i svoju duboku empatiju prema svojim subjektima, Sassetta je ostavio neizbrisiv trag u istoriji italijanske umetnosti, osiguravajući svoje mesto kao jedan od najvažnijih predstavnika sieneskog renesansnog doba.
