Műterem — Ingyenes világszerte történő szállítás — Szállítás: 2–6 hét
      Guercino, 1591 – 1666

      Guercino: A 100 legismertebb festménye

      Guercino összes festményei közül a Pietà (1638) a leghíresebb; a Musée Condé múzeumában található, Chantilly városában. A közvetlen követőket St Peter and the angel (1650) és David with the Head of Goliath (1657) alkotja. A Guercino katalógusában található 367 mű közül ezek a 100 a legelismertebbek, amelyeket dátummal, múzeummal és történetükkel mutatunk be.

      A rangsorolásunkat a népszerűségi pontszám határozza meg, amely az egyes művek kereséseit, látogatottságát és megrendeléseit ötvözi. Frissítve: október 2026. Az oldalon található festmények bármelyike vászonra vászatra festett olajfestmény-másolatként, vagy az Ön által választott méretben készült minőségi giclée nyomatként rendelhető meg.

      Guercino portréja
      Guercino · 1591 – 1666
      Született · meghalt
      1591 – 1666, Cento
      Mozgalom
      Baroque
      A katalógusban szereplő művek
      367
      Legnépszerűbb
      Pietà (1638)
      A legtöbb művel a
      Bavári Állami Festırménygyűjtemények

      Guercino 10 leghíresebb festménye

      Pietà (1638) szerzője 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) szerzője 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) szerzője 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) szerzője 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) szerzője 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 szerzője 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) szerzője Guercino
      7

      Painting and Drawing

      1656 · Oil On Canvas · Staatliche Kunstsammlungen Dresden, Drezda

      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) szerzője Guercino
      8

      Portrait of a Woman

      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) szerzője Guercino
      9

      Christ and the Moneylender

      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 szerzője 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…

      Guercino festményei 11. helyezéstől 100. helyezésig

      God the Father (1630) szerzője Guercino
      #12

      God the Father

      1630 · Varsói Nemzeti Múzeum

      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…

      Készíttesse kézzel festve →
      Cleopatra (1621) szerzője Guercino
      #35

      Cleopatra

      1621 · Armenia Nemzeti Galériája

      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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      Amnon and Tamar szerzője 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…

      Készíttesse kézzel festve →
      Madonna and Child szerzője Guercino
      #45

      Madonna and Child

      Finnish National Gallery

      This Baroque oil painting presents an intimate and tender scene of a Madonna and Child. The composition is tightly focused on the central figures of a nursing woman…

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      Esther before Ahasuerus (1750) szerzője 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 vászonai, korszakonként

      Amit Guercino a legtöbbször festett

      A négy leggyakoribb motívum ezen a vásznon, mindegyik a legkedvesebb példájával.

      Hol kirakott Guercino vászonai

      A 8 olyan múzeum, amely a legtöbb ezen az oldalon szereplő festményet őrzi.

      Múzeumok Város Guercino művei Ebből a listából származó festmények
      Bavári Állami Festırménygyűjtemények, MunchenBavári Állami Festırménygyűjtemények Munchen 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
      Varsói Nemzeti Múzeum, VarsóVarsói Nemzeti Múzeum Varsó 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, DrezdaStaatliche Kunstsammlungen Dresden Drezda 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

      Évezredenként: Guercino legmeghnomvábált vászonműve

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

        Portrait of a Woman

        Kor: 29 – 38 év · Bavári Állami Festırménygyűjtemények

        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) szerzője Guercino
        1 / 100 vászon

        Pietà

        Kor: 39 – 48 év · 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) szerzője Guercino
        2 / 100

        St Peter and the angel

        Kor: 59 – 68 év · 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) szerzője Guercino
        5 / 100 vászon

        Saint-Jean-Baptiste

        Kor: 69 – 75 év · 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…

      Válaszok Guercino festményeivel kapcsolatos kérdéseire

      Melyik Guercino leghíresebb festménye?Olvassda el a választ

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

      Hány éves volt Guercino, amikor Pietà készült?Olvassda el a választ

      Guercino, aki 1591 évfolyamán született, 47 éves volt: Pietà 1638 származik.

      Melyik tíz festményével a leghíresebb Guercino?Olvassda el a választ

      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 és St Anthony of Padua with the Infant Christ. A rangsorban szereplő vászlakok mindegyike tartalmazza a festvény évszámát és a kiállító múzeumát is.

      Hány ismert festménye van Guercino művésznek?Olvassda el a választ

      367 műve Guercino alkotása a katalógusunkban, 1613 és 1666 között.

      Mely múzeumokban található Guercino leghíresebb vászonműve?Olvassda el a választ

      Leginkább Bavári Állami Festırménygyűjtemények (Munchen), National Gallery of Ireland (Dublin) és Varsói Nemzeti Múzeum (Varsó) helyszíneken; a fenti lista tartalmazza az egyes múzeumokat és a hozzájuk tartozó vászonműveket.

      Mely években festette Guercino leghíresebb vásznényeit?Olvassda el a választ

      1650s időszakban, amely ezen az oldalon található 100 mű közül 9 alkotással szerepel, St Peter and the angel a válogatásban.

      Melyek Guercino híres vásznalai közül az első és az utolsó?Olvassda el a választ

      A legkorábbi vászon itt: The Glory of All the Saints. Fragment (1613); a legutóbb pedig: Virtuous Love (1666).

      Mely témakörök jelennek meg leggyakrabban Guercino festményeiben?Olvassda el a választ

      Woman (11), Man (10) és Religious (9), a jelen oldalon található 100 műművészeti alkotás között.

      Milyen anyagokkal festett Guercino általában?Olvassda el a választ

      Oil On Canvas, amely 15 darabban szerepel a ?>"> 100 műből ezen az oldalon.

      Mely művészeti irányba tartozik Guercino?Olvassda el a választ

      Baroque, ahogy azt ezen az oldalon látható vásznemek is mutatják.

      Mit láthatok Guercino műveit a Bavári Állami Festırménygyűjtemények kiállتományában?Olvassda el a választ

      A Bavári Állami Festırménygyűjtemények, Munchen 5 műve közül rendelkezik ezen az oldalon, köztük ezekkel: Portrait of a Woman, Christ and the Moneylender és The Persian Sybil.

      Megrendelhetek egy kézzel festett másolatot Guercino festményéről?Olvassda el a választ

      Igen. Az oldalon található minden festmény megrendelhető a saját oldalán, kézzel festett olajfestmény-másolatként vagy minőségi giclée nyomtatásként, a választott méretben.

      Guercino: a festő története

      A Life Illuminated by Shadow: The World of Guercino

      Giovanni Francesco Barbieri, a name forever linked to dramatic chiaroscuro and profound emotional intensity – known to the world as Il Guercino – was born in Cento, a small town nestled between Ferrara and Bologna, in 1591. His life’s journey began not within the grand halls of formal academies, but through an innate artistic talent that quickly outstripped conventional training, a path illuminated by an understanding of light and shadow unlike any other. His nickname, “Il Guercino,” wasn't simply a descriptive term; it was a reflection of his physical characteristic – a slight squint in his eyes – yet it became synonymous with the unique vision he brought to Baroque painting.

      Early Influences: Caravaggio and the Bolognese School

      Guercino’s early artistic development was profoundly shaped by two key figures: Caravaggio and the Bolognese School, particularly Ludovico Carracci. His initial works were deeply indebted to Caravaggio's revolutionary naturalism – a stark contrast of light and dark, a gritty realism that shocked and captivated audiences. Paintings like *Amnon and Tamar* exemplify this early period; they are not idealized depictions but raw, honest portrayals of biblical narratives filled with psychological depth. However, Guercino wasn’t content to remain solely within the orbit of Caravaggism. He recognized the strengths of the Bolognese School, particularly Ludovico Carracci's emphasis on classical composition and harmony. The influence of Carracci is evident in his early frescoes for Casa Pannini in Cento – landscapes rendered with a remarkable sense of depth and atmosphere, foreshadowing the dramatic vistas that would become hallmarks of his later work. This initial exposure to both Caravaggio’s dynamism and Carracci's balance laid the foundation for his distinctive style, a synthesis of intense emotion and carefully considered form.

      A Shifting Palette: From Darkness to Light

      During the 1630s, Guercino underwent a significant stylistic transformation – a deliberate shift away from the harsh tenebrism of Caravaggio towards a more luminous and balanced approach. This wasn’t merely a change in technique; it reflected a deeper engagement with classical ideals and a desire to create works that were not only emotionally powerful but also aesthetically refined. He began to soften his palette, incorporating warmer tones and introducing a greater sense of spatial depth. This transition is beautifully illustrated in paintings like *The Return of the Prodigal Son*, where the figures are bathed in a golden light, conveying both vulnerability and redemption. Contemporary critics noted this change, suggesting that Guercino had abandoned the “dark” palette in favor of one that was more pleasing to the eye. However, it’s important to recognize that this wasn't a rejection of Caravaggio but rather an evolution – a masterful blending of influences that resulted in a uniquely personal style.

      Biblical Narratives and Emotional Resonance

      Guercino consistently turned to biblical narratives for inspiration throughout his career, yet he didn’t simply illustrate these stories; he imbued them with a profound sense of human drama and emotional resonance. His figures are not idealized saints but flawed individuals grappling with faith, doubt, remorse, and redemption. *The Vocation of Saint Aloysius Gonzaga* is a prime example – a powerful depiction of religious awakening rendered with breathtaking skill and sensitivity. He captured the internal struggles of his subjects with remarkable insight, portraying moments of profound spiritual crisis alongside scenes of joyous conversion. Guercino’s ability to convey the inner lives of his figures—their hopes, fears, and desires—set him apart from many of his contemporaries. He understood that true piety wasn't about outward displays of devotion but about the internal battles and sacrifices that defined a life dedicated to faith. This psychological depth, combined with his masterful use of light and shadow, created paintings that were both visually stunning and emotionally compelling. He didn’t shy away from portraying difficult or unsettling moments, believing that these were essential to understanding the complexities of the human condition.

      A Lasting Legacy: Rediscovery and Influence

      Despite facing periods of relative obscurity, Guercino's work has been steadily rediscovered and celebrated in recent decades. The tireless efforts of art historian Sir Denis Mahon played a pivotal role in restoring his reputation, meticulously researching his life, career, and patronage through close analysis of seventeenth-century Italian literature. Mahon’s research revealed the breadth of Guercino’s artistic output – from monumental frescoes to intimate portraits and exquisite drawings – demonstrating that he was far more than just a follower of Caravaggio. Today, his paintings grace the halls of prestigious museums around the world—from the Pinacoteca Nazionale in Ferrara to the National Gallery of Art in Washington D.C.—serving as a testament to his enduring artistic genius. His legacy extends beyond technical skill and stylistic innovation; it’s about the power of art to connect us to our shared humanity, to explore the complexities of faith and doubt, and to illuminate the enduring mysteries of the human heart.
      • Museums and Collections: Guercino’s works grace the halls of institutions like the Pinacoteca Nazionale (Ferrara), the Palazzo Brignole-Sale (Genoa), and the Galleria Spada (Rome).
      • Chiaroscuro Master: His dramatic use of light and shadow remains a defining characteristic of his style.
      • Biblical Storyteller: He brought biblical narratives to life with unparalleled emotional depth and psychological insight.

      Minden 367 műmű Guercino alkotása →