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Michelangelo Merisi, detto Caravaggio - St. John Baptist
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Giambattista Piazzetta - Judith and Holofernes
fullscreen
Orazio Gentileschi - Madonna with child
fullscreen
Peter Paul Rubens - San Sebastiano cured by the angels
fullscreen
Antoon van Dyck - Madonna of the straw
fullscreen
Guido Reni - Salome with the head of the Baptist
fullscreen
Christian Berentz - The elegant snack
fullscreen
Corsini throne
fullscreen
Jusepe de Ribera - Venus reaches dying Adonis
fullscreen
Luca Giordano - Dispute of Jesus among the doctors
fullscreen
Salvator Rosa - The torture of Prometheus
fullscreen
Jusepe de Ribera - Denial of Peter
fullscreen
Bartolomé Esteban Murillo - Madonna of the milk
fullscreen
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
fullscreen
Rosalba Carriera - Allegory of the four elements - Air, Water, Earth, Fire
fullscreen
Hans Hoffmann - The hare
fullscreen
Giovanni da Milano - Polyptych with Madonna and Child with Saints
fullscreen
Mattia Preti - The tribute of the currency
fullscreen
Jacopo Bassano - Adoration of the shepherds
Michelangelo Merisi, detto Caravaggio - St. John Baptist
Giambattista Piazzetta - Judith and Holofernes
Orazio Gentileschi - Madonna with child
Peter Paul Rubens - San Sebastiano cured by the angels
Antoon van Dyck - Madonna of the straw
Guido Reni - Salome with the head of the Baptist
Christian Berentz - The elegant snack
Corsini throne
Jusepe de Ribera - Venus reaches dying Adonis
Luca Giordano - Dispute of Jesus among the doctors
Salvator Rosa - The torture of Prometheus
Jusepe de Ribera - Denial of Peter
Bartolomé Esteban Murillo - Madonna of the milk
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
Rosalba Carriera - Allegory of the four elements - Air, Water, Earth, Fire
Hans Hoffmann - The hare
Giovanni da Milano - Polyptych with Madonna and Child with Saints
Mattia Preti - The tribute of the currency
Jacopo Bassano - Adoration of the shepherds

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Description

Giovanni da Milano, active in Florence and Lombardy between 1346 and 1369, was a leading exponent of the Giotto school. The small polyptych, datable to the earliest years of his career, is divided into seven panels. The central one is divided into two scenes: above, the Virgin with the Child enthroned, surrounded by angels, below, the Lamentation over the dead Christ. In the upper register two other Christological scenes appear, the Annunciation and the Nativity, while below, next to the Lamentation, the Crucifixion is depicted. In the side panels of the central register we recognize, on the left, San Nicola, who supports three golden spheres, and Santo Stefano (or San Lorenzo, given the absence of precise references); on the right, Sant’Eustachio, characterized by the presence of the deer, and San Giacomo, with the pilgrim's stick. Finally, at the bottom right, Santa Margherita with the dragon at her feet and Santa Caterina d’Alessandria, identified by the toothed wheel of martyrdom. The work, despite the presence of the gold background - which continues to be widely used until the following century - is characterized by the search for a plausible spatiality and the intense expressiveness of the figures, which demonstrate how much Giotto's experience was central to the next generation of artists.

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