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Confession

Đuzepe Marija Krespi, 1712

Ime Razred Datum
Đuzepe Marija Krespi, Confession (1712), Gemäldegalerie Alte Meister. Domen javnog dobra. Pogledajte ovo platno pod pokretnim svetlom: crtež, pravu boju ispod vernisa, čisti pigment

Osnovne informacije

Umetnik
Đuzepe Marija Krespi topimpressionists.com/sr/artists/duzepe-marija-krespi_sr/
Podaci o umetniku
1665 – 1747
Slikano
1712
Medijum
Oil On Canvas
Originalne dimenzije
127 x 95 cm
Pokret
Baroque Dramatic, theatrical pictures using deep shadow and strong diagonals to pull you into the action.
Mesto održavanja
Gemäldegalerie Alte Meister topimpressionists.com/sr/museums/gemaldegalerie-alte-meister-dresden_sr-1/
Artistic style
Genre painting
Influences
Baroque
Notable elements
Chiaroscuro, Intimacy
Subject or theme
Religious devotion

Autorska prava Ovo delo je u javnom vlasništvu. Đuzepe Marija Krespi je preminuo/la 1747. godine; autorska prava traju 70 godina nakon smrti umetnika, pa su prestala 1817.

Izvor: TopImpressionists.com — pristup dato 27. септембар 2026.

Confession — Đuzepe Marija Krespi Deo 1 · Ovo umetničko delo

U kontekstu

Confession — Đuzepe Marija Krespi

Dimenzije

Originalne dimenzije su 127 × 95 cm (visina × širina), prikazane ovde pored odrasle osobe prosečne visine.

Godina nastanka

  1. 1660
  2. 1670
  3. 1680
  4. 1690
  5. 1700
  6. 1710
  7. 1720
  8. 1730
  9. 1740

Red iznad: godine. Red ispod: koliko je umetnik imao godina na početku i na kraju svakog perioda — 0 u rođenju, 82 u smrti.

Naslikano kada je umetnik imao 47 godina. Umetnik je doživeo 82. 25 od 58 datiranih dela ovog umetnika u našem katalogu nastalo je ranije.

Osenčeno: životni vek umetnika Đuzepe Marija Krespi (1665–1747) ▲ ovo delo, 1712 svaka datirana slika, deceniju po deceniju

Prva dela: do 1705 Glavne radne godine: 1705–1720 Kasna dela: od 1720

Ova tri segmenta dele dela koja u ovom katalogu imaju naveden datum na prvi kvartal, srednju polovinu i poslednji kvartal. Ona ne predstavljaju kompletan umetnikov opus: tanji niz može biti praznina u arhivu pre nego period mirovanja. Iste godine kroz koje se proteže život umetnika

Slična dela

Izaberite jedno od gore navedenih dela: navedite dve stvari koje su mu zajedničke sa ovim i jednu stvar koja ga razlikuje.

Još dela koja se mogu postaviti pored ovog: topimpressionists.com/sr/art/similar/giuseppe-maria-crespi-confession-8Y35T7-en/

Paleta boja

Izmereno na osnovu slike

    Glavna boja

    Black #0e060a

    Katalogizovana paleta

    • #0E060A
    • #935740
    • #241012
    • #4A1F1B

    Ove boje unutar cele umetnikove palete Pronađite druge slike prema boji

    Naziv glavne boje
    Black
    Intenzitet
    Monochromatic Koliko su boje zasićene i raznolike, od jedne prigušene nijanse do mnoštva jarkih tonova.
    Kontrast
    Serene Razlika u svetlini i zasićenosti boja širom slike.
    Harmonija
    Strong Color Unity Koliko se dobro boje uklapaju, od kontrastnih do potpuno ujedinjenih.
    Osvetljenost
    Deep_shadow Koliko je slika u celini svetla ili tamna, od duboke senke do najsvetlijih tonova.
    Zasićenost
    Muted Koliko su boje čiste i snažne, od skoro sivih do potpuno živopisnih.

    Gde u svetu se posmatra ova slika?

    • ispod 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% i više
    Ova slika sama po sebi ima premalo zabeleženih posetilaca da bi se napravila mapa, pa ploča prikazuje svaki rad koji je kreirao Đuzepe Marija Krespi tokom poslednjih dvanaest meseci — ukupno u 8 zemalja. Odakle ovi podaci potiču

    Deset vodećih zemalja

    1. 1 Кина 74,3%
    2. 2 Хонг Конг 8,6%
    3. 3 Белгија 2,9%
    4. 4 Немачка 2,9%
    5. 5 Француска 2,9%
    6. 6 Индија 2,9%
    7. 7 Јужна Кореја 2,9%
    8. 8 Сингапур 2,9%

    Pronađite tri najtamnije zemlje na mapi. Da li se muzej u kojem se čuva ova slika nalazi u bilo kojoj od njih? Navedite jedan razlog zbog kojeg bi je ljudi sa dalekih mesta mogli posmatrati.

    20 najposećenijih dela umetnika Đuzepe Marija Krespi

    1. 1 Self-Portrait, 1700 7,7%
    2. 2 Searcher for Fleas, 1720 7,7%
    3. 3 Ordination, 1712 7,7%
    4. 4 Untitled (AQRDKU) 7,7%
    5. 5 Baptism, 1712 7,7%
    6. 6 The Penitent Magdalene, 1730 7,7%
    7. 7 The Scullery Maid, 1710 5,1%
    8. 8 The Courted Singer, 1700 5,1%
    9. 9 The Scullery Maid, 1715 5,1%
    10. 10 Deutsch Äneas, die Sibylle und Charon, 1705 2,6%
    11. 11 Deutsch Buchregal mit Musikschriften English Book shelf with music writings, 1725 2,6%
    12. 12 Bernardo Tolomei au milieu des victimes de la peste noire à Sienne en 1348, 1735 2,6%
    13. 13 Extreme Unction, 1712 2,6%
    14. 14 English The Sacrifice of Abraham, 1699 2,6%
    15. 15 Count Fulvio Grati, 1700 2,6%
    16. 16 Brutus kissing the earth, 1725 2,6%
    17. 17 Cardinal Prospero Lambertini, 1740 2,6%
    18. 18 Confession, 1712 ova slika 2,6%
    19. 19 Communion, 1712 2,6%
    20. 20 Searching for Fleas, 1709 2,6%

    Zajedno, ova dela privlače 90,1% pažnje koju su slike ovog umetnika dobile tokom poslednjih dvanaest meseci. Katalog sadrži 90 dela ovog umetnika, od kojih je 24 pregledano barem jednom. Ova slika zauzima 18 mesto među njima, sa 2,6% te pažnje. Isto važi i za mesec po mesec

    Barovi mere pažnju, ne kvalitet. Odaberite rad na vrhu i ovaj: navedite jednu stvar koja bi sliku mogla učiniti slavnom pored toga koliko je dobro naslikana.

    Izvor: TopImpressionists.com — pristup dato 27. септембар 2026.

    Confession — Đuzepe Marija Krespi Deo 2 · U kontekstu

    O ovom umetničkom delu

    Confession — Đuzepe Marija Krespi

    Giuseppe Maria Crespi’s “Confession”: A Window into the Soul of Early Baroque

    Giuseppe Maria Crespi's "Confession," painted in 1712, isn’t merely a depiction of a religious scene; it’s a profound exploration of human vulnerability and spiritual seeking. This remarkable work, now housed within the Gemäldegalerie Alte Meister in Dresden, offers a rare glimpse into the artist’s unique approach to genre painting – a style he largely pioneered in Italy during the early 18th century. Far removed from the grand narratives favored by many of his contemporaries, Crespi focused on intimate moments of everyday life, imbuing them with an emotional depth and symbolic resonance that continues to captivate viewers today.

    The painting immediately draws the eye into a dimly lit interior, dominated by a simple wooden bench upon which sits a man – presumed to be a priest or bishop – engaged in conversation with another figure shrouded in shadow. This deliberate use of obscurity is crucial; it’s not simply a matter of poor lighting but a calculated strategy to heighten the sense of mystery and introspection. Crespi masterfully employs chiaroscuro, the dramatic contrast between light and dark, characteristic of Baroque art, to sculpt the figures and create an atmosphere of solemnity and privacy. The background, a dark room punctuated by a window offering a sliver of natural light, serves as a potent symbol – representing the struggle between worldly darkness and spiritual enlightenment.

    A Masterclass in Technique and Composition

    Crespi’s skill lies not just in his ability to capture a mood but also in his meticulous technique. The painting is executed in oil on canvas, showcasing a remarkable level of detail and texture. Notice the rough, layered brushstrokes that build up the forms, particularly in the folds of the monks' robes and the wooden bench. These aren’t smooth, idealized representations; they are imbued with a sense of physicality and age – as if we’re witnessing a scene from real life, not a carefully constructed allegory. The composition is remarkably balanced, utilizing vertical lines—the walls of the booth and the figures themselves—to create a feeling of enclosure and reinforce the solemnity of the moment. Crespi's use of perspective is subtly flattened, suggesting a two-dimensional representation rather than a fully realistic depiction of space, further contributing to the painting’s intimate and introspective quality.

    Symbolism and the Language of Faith

    Beyond its technical brilliance, “Confession” is rich in symbolic meaning. The confessional booth itself represents repentance, seeking forgiveness, and confronting one's own shortcomings. The obscured face of the second figure adds to this ambiguity, suggesting a hidden truth or an unresolved conflict. The gesture of prayer—raised hands, bowed heads—convey a profound sense of humility and reverence. Crespi wasn’t interested in illustrating specific religious doctrines; instead, he used these gestures and symbols to evoke a universal experience of spiritual longing and the desire for redemption. The painting speaks to the fundamental human need to acknowledge our flaws and seek solace from a higher power – a theme that resonates powerfully across cultures and time periods.

    Giuseppe Maria Crespi: A Revolutionary Voice

    Crespi’s work, including “Confession,” is considered revolutionary for its time. He broke with the conventions of traditional religious painting by focusing on everyday people and their emotional lives. His willingness to depict scenes of poverty, introspection, and moral struggle offered a stark contrast to the idealized portrayals favored by many of his contemporaries. His influence extended beyond Italy, inspiring artists across Europe who sought to capture the complexities of human experience with honesty and sensitivity. To delve deeper into Crespi’s artistic journey, consider exploring works like “Baptism” and “Ordination,” available through AllPaintingsStore, which further illuminate his distinctive style and thematic concerns. The Gemäldegalerie Alte Meister offers a remarkable opportunity to witness this masterpiece firsthand, or explore its digital collection for a closer examination of its details.

    Izvor: TopImpressionists.com — pristup dato 27. септембар 2026.

    Confession — Đuzepe Marija Krespi Deo 3 · O ovom delu

    Umetnik i muzej

    Umetnik

    Đuzepe Marija Krespi

    Mesto rođenja Bolonja, Italija

    Bolonjski original: Život i umetnost Đuzepea Marije Krespija

    Đuzepe Marija Krespi, koji je s ljubavlju zvan „Lo Spagnuolo“ – Španac – predstavljao je očaravajuću anomaliju unutar italijanskog baroknog pejzaža. Rođen u Bolonji 1665. godine, njegov nadimak nije proistekao iz porekla, već iz sklonosti ka usko krojenoj odeći koja je u to vreme bila moderna u Španiji; bio je to modni izbor koji je nagoveštavao nezavisnog duha koji je ključao ispod površine ovog izuzetnog umetnika. Krespijev put započeo je tradicionalnim učenikom, prvo pod vođstvom Anđela Mihela Toni, a potom Domenika Marije Kanutija, upijajući temeljne tehnike boloonske umetnosti. Ipak, on se oduprodao privlačnosti Rima uprkos pozivu Karla Maratija, odlučujući se da zacrtava sopstveni put – onaj koji će na kraju redefinisati žanrovsku slikarstvo i ponuditi neverovatno intimni uvid u svakodnevni život.

    Raskid sa tradicijom: Pojavljuje se nova vizija

    Krespijev umetnički opus bio je izuzetno raznolik, obuhvatajući religiozna dela, portrete i grafike inspirisane maestrom kao što su Rembrant i Salvator Roza. Ipak, upravo zbog njegovih žanrovskih scena – prikaza običnih ljudi u svakodnevnim aktivnostima – on je danas najslavljeniji. Ovakav fokus predstavljao je značajno odstupanje od tadašnjih akademskih tradicija koje su favorizovale istorijske ili mitološke teme. On nije bio zainteresovan za velike narative ili idealizovane forme; umesto toga, Krespi je usmerio pažnju na živote koji su se odvijali oko njega – žene koje peru posuđe, porodice koje dele obrok, decu u igri. To nisu bili samo prikazi svakodnevice, već dela prožeta psihološkom dubinom i realizmom koji ranije nije viđen. Njegov stil karakterisala je namerna suzdržanost u boji i potezu četkicom, koristeći ograničenu paletu sa mudrim umećem, iako su neki kritičari primećivali nedostatak snažne fizičke teksture u njegovom radu. Ova suptilnost je, međutim, služila da pojača emocionalni utisak njegovih scena, uvodeći posmatrače u tihe drame porodičnog postojanja.

    Sedam sakramenata i trajno uticaj

    Iako su njegove žanrovske slike osigurale njegovu trajnu slavu, ne smeju se zanemariti ni njegova šira umetnička dostignuća. Ključno delo je Sedam sakramenata, serija platna naslikana oko 1712. godine za kardinala Otobonija. Ovaj ambiciozni projekat pokazao je Krespijevu sposobnost da se uhvati u koštac sa složenim religioznim temama na inovativan način. Umesto da prikazuje biblijske događaje u dalekom, istorijskom okruženju, on ih je postavio u kontekst svog vremena, koristeći savremene figure i lokacije. Rezultat je bila serija koja je delovala istovremeno duboko duhovno i profoundly ljudski. Njegov uticaj se protezao izvan Italije; bio je mentor umetnicima kao što su Đovani Batista Pijazeta i Pietro Longhi, koji su u Veneciji nastavili njegovu posvećenost realizmu i žanrovskom slikarstvu. Iako je kasnije u životu postajao sve povučeniji, posvećujući se prvenstveno religioznim delima nakon smrti svoje žene 1722. godine, Krespijevo nasleđe revolucionarnog umetnika ostalo je nepokolebljivo. Čak mu je 1740. godine papa Benedikt XIV dodelio viteštvo, što je svedočanstvo njegovog umetničkog statusa i kulturnog značaja.

    Nasleđe realizma i intimnosti

    Đuzepe Marija Krespi preminuo je u Bolonji 1747. godine, ostavljajući za sobom korpus dela koji i danas rezonuje sa posmatračima. Bio je majstor posmatranja ljudske prirode, sposoban da sa izuzetnom osetljivošću uhvati suptilne nijanse emocija i iskustava. Njegove slike nisu samo istorijski artefakti; one su prozori u živote običnih ljudi, nudeći bezvremenski uvid u univerzalne teme ljubavi, gubitka, vere i svakodnevnog postojanja. Doprinos Lo Spagnuolo italijanskoj umetnosti leži u njegovoj sposobnosti da uzdigne obične stvari na nivo umetničkog značaja, dokazujući da se lepota i smisao mogu pronaći ne samo u velikim pričama, već i u tihim trenucima svakodnevice. Njegov rad ostaje moćan podsetnik na trajnu ljudsku sposobnost otpornosti, povezanosti i dostojanstva.

    Istraživanje Krespijevog sveta danas

    Srećom, prilike da se iz prve ruke doživi Krespijeva umetnost su brojne. Njegova dela mogu se pronaći u istaknutim muzejima kao što su Gemäldegalerie Alte Meister u Drezdenu, koji čuva Sedam sakramenata, i Museo dell'Opera di Santa Croce u Firenci. Dostupne su brojne reprodukcije njegovih slika, omogućavajući ljubiteljima umetnosti da deo vizije ovog bolonskog majstora unesu u svoje domove. Resursi poput AllPaintingsStore.com nude visokokvalitetne ručno oslikane reprodukcije, osiguravajući da Krespijevo nasleđe nastavi da inspiriše i očarava publiku generacijama koje dolaze. Dalja istraživanja mogu se pronaći na Wikipediji i Britannica, koji pružaju detaljne zapise o njegovom životu i umetničkom razvoju.

    Muzej

    Gemäldegalerie Alte Meister

    Prikazano u Dresden, Deutschland

    Gemäldegalerie Alte Meister: A Sanctuary of Light and Shadow

    Nestled within the opulent Zwinger palace complex in Dresden, Germany, the Gemäldegalerie Alte Meister isn’t merely a museum; it's a time machine. Stepping through its doors is akin to entering a meticulously preserved echo chamber of European artistic genius, a place where the brushstrokes of masters like Raphael, Titian, and Rembrandt still resonate with an almost palpable energy. More than simply housing paintings, the gallery embodies a profound understanding of light, color, and the very essence of human emotion – a legacy painstakingly rebuilt after the devastation of World War II, yet retaining its core spirit of scholarly dedication and artistic reverence.

    The Gemäldegalerie’s Story: From Augustus I to Remembrance

    The Gemäldegalerie's story begins in 1560 with Augustus I, Elector of Saxony, a visionary who recognized the transformative power of art and culture. Driven by an ambition to elevate Saxony’s prestige on the European stage, he established the Kunstkammer – an early precursor to the modern museum – not just as a repository of objects but as a deliberate declaration of intellectual leadership. This pioneering endeavor fostered a fascination with both natural history and artistic creation, laying the foundation for what would become Dresden's unparalleled artistic heritage. However, it was under his successor, Augustus II “the Strong,” that Dresden truly flourished as a beacon of Baroque splendor. His unwavering patronage fueled an astonishing surge in acquisitions, transforming the Kunstkammer into one of Europe’s foremost showcases of masterpieces – culminating in the monumental 1745 purchase of Francesco III d’Este’s Modena collection, which reinvigorated Dresden's artistic spirit and cemented its rivalry with Florence and Rome. The arrival of Raphael’s “Sistine Madonna” in 1754 marked a moment celebrated throughout the city as a symbol of Dresden’s unwavering devotion to artistic excellence.

    Architectural Harmony: Poppelmann’s Vision for Light and Color

    The gallery's setting within the Zwinger palace is itself an architectural marvel, conceived by Matthäus Daniel Poppelmann in the Neoclassical style. Poppelmann meticulously designed the Semper Gallery – named after Lorenz Niemeyer, who oversaw its construction – prioritizing harmony and proportion to maximize the perception of color and form. The soaring ceilings, bathed in natural light filtered through expansive windows, create an immersive experience that invites contemplation and deep appreciation for the artworks housed within. This deliberate architectural strategy reflects Enlightenment ideals of rationality and order, offering a striking contrast to the grandeur of Baroque palaces.

    Masters of Light and Shadow: A Renaissance Revelation Revisited

    At the heart of the Gemäldegalerie’s allure lies its extraordinary collection of Italian Renaissance and Baroque paintings. The gallery boasts an unparalleled concentration of works by Raphael, Titian, Giorgione, Correggio, Tintoretto, and Veronese – artists who revolutionized painting through their masterful manipulation of perspective, chiaroscuro, and color palettes. These masters didn’t merely depict reality; they sculpted it with light and shade, imbuing their subjects with an unprecedented sense of realism and emotional depth. Beyond Italy, the gallery's holdings are equally impressive, showcasing a remarkable assemblage of Dutch and Flemish paintings from the 17th century – spearheaded by Rembrandt and Rubens. The sheer scale and quality of these works, particularly Rembrandt’s evocative portraits and landscapes, demonstrate the profound influence of Northern European art on the development of painting techniques.

    Resilience and Remembrance: A Legacy Reborn After Destruction

    The Gemäldegalerie endured a harrowing chapter during World War II when Dresden suffered devastating bombing raids that resulted in the destruction of much of the Zwinger palace complex and the irreplaceable loss of countless artworks. Yet, from the ashes emerged an extraordinary spirit of determination fueled by an unwavering belief that art’s enduring power transcends physical ruin. The meticulous reconstruction efforts, guided by a commitment to honoring the memory of those lost and safeguarding artistic legacies for future generations, stand as a poignant testament to this resilience. Today, visitors can experience firsthand the profound beauty and intellectual stimulation that characterized Dresden’s golden age – ensuring that its artistic heritage continues to inspire awe and wonder for centuries to come.

    Saznajte više

    Pronađite ovo na mreži

    QR kod koji vodi na stranicu za preuzimanje Confession

    topimpressionists.com/sr/art/download/giuseppe-maria-crespi-confession-8Y35T7-en/

    Citiranje ovog umetničkog dela

    MLA
    Krespi, Đuzepe Marija. Confession. 1712, Gemäldegalerie Alte Meister. https://topimpressionists.com/sr/art/giuseppe-maria-crespi-confession-8Y35T7-en/
    APA
    Krespi, Đuzepe Marija (1712). Confession [Painting]. Gemäldegalerie Alte Meister. https://topimpressionists.com/sr/art/giuseppe-maria-crespi-confession-8Y35T7-en/
    Chicago
    Đuzepe Marija Krespi. Confession. 1712. Gemäldegalerie Alte Meister. https://topimpressionists.com/sr/art/giuseppe-maria-crespi-confession-8Y35T7-en/
    Harvard
    Krespi, Đuzepe Marija (1712) Confession. Gemäldegalerie Alte Meister. Available at: https://topimpressionists.com/sr/art/giuseppe-maria-crespi-confession-8Y35T7-en/

    Izvor: TopImpressionists.com — pristup dato 27. септембар 2026.

    Confession — Đuzepe Marija Krespi Deo 4 · Umetnik i muzej

    Pogledajte pažljivije

    Confession — Đuzepe Marija Krespi

    Pažljiviji pogled

    Odgovorite svojim rečima. Ovde nema netačnih odgovora — postoje samo odgovori koje možete objasniti.

    1. Šta vam prvo privuče pažnju i zašto?
    2. Koje boje ili oblici stvaraju atmosferu — i kakva je to atmosfera?
    3. Koliko lica možete pronaći? ____ (u našem katalogu ih je izbrojano 3 — slažete li se?)
    4. U našem katalogu ovo delo je klasifikovano pod: religious art, confession, baroque. Da li se slažete? Šta biste dodali ili uklonili?
    5. Vratite se na Ordination (1712), koji ste ranije videli u ovom vodiču. Navedite dve zajedničke karakteristike ovog i prethodnog dela, kao i jednu koja ih razlikuje.

    Vaš odgovor

    Napišite kratak pasus o ovom umetničkom delu. Koristite činjenice iz prethodnih delova ovog vodiča i svoje odgovore navedene iznad.

    Izvor: TopImpressionists.com — pristup dato 27. септембар 2026.

    Confession — Đuzepe Marija Krespi Deo 5 · Pogledajte detaljnije

    Kviz o umetnosti

    Confession — Đuzepe Marija Krespi

    Koliko dobro poznajete ovo umetničko delo?

    Označi jedan tačan odgovor za svako od poniženih 5 pitanja. Svako pitanje ima samo jedan tačan odgovor.

    1. 1. What is the primary subject depicted in Giuseppe Maria Crespi’s ‘Confession’?

      • A A royal court ceremony
      • B A religious confession between a priest and a penitent
      • C A depiction of a merchant's trade agreement

    2. 2. The dramatic lighting in ‘Confession’ is an example of which Baroque artistic technique?

      • A Sfumato
      • B Chiaroscuro
      • C Impasto

    3. 3. In what year was Giuseppe Maria Crespi’s ‘Confession’ painted?

      • A 1665
      • B 1712
      • C 1747

    4. 4. The setting of the painting, a dark room with a window, symbolically represents what?

      • A The wealth and prosperity of the patrons
      • B The contrast between spiritual enlightenment and worldly darkness
      • C A merchant’s warehouse

    5. 5. Giuseppe Maria Crespi is known for his work in which genre painting style?

      • A Historical portraits
      • B Genre scenes depicting everyday life and religious themes
      • C Mythological allegories

    Moj rezultat: ____ od ukupno 5

    Ključ odgovora — za nastavnike

    Ovo započinje novu štampanu stranicu, pa se prilikom kopiranja može jednostavno izostaviti.

    1B · 2B · 3B · 4B · 5B

    Proverite svaki odgovor upoređujući ga sa katalogom za ovu sliku

    Izvor: TopImpressionists.com — pristup dato 27. септембар 2026.

    Confession — Đuzepe Marija Krespi Deo 6 · Kviz o umetnosti

    Pitanja i odgovori

    U kojoj periodu karijere umetnika Đuzepe Marija Krespi pripada delo "Confession"?

    U okviru karijere umetnika Đuzepe Marija Krespi, delo "Confession" pripada periodu Mature Period. Ova faza omogućava poređenje sa drugim delima ovog umetnika.

    Da li je "Confession" ostalo u domovini svog umetnika?

    Ne – umetničko delo se čuva u inostranstvu. Delo „Confession“ se čuva u državi Deutschland, dok je Đuzepe Marija Krespi rođen/a u državi Italija.

    Na koji način se "Confession" uklapa u teme i stil umetnika Đuzepe Marija Krespi?

    „Confession“ deli sa ostalim delima umetnika Đuzepe Marija Krespi svoj Baroque stil i prepoznatljive teme: baroque drama & emotion, religious penitence & grace, italian counter-reformation, crespi's genre focus", psychological portraiture, realism with symbolic depth, exploring human conscience.