Tibaldi Collection

The beheading of John the Baptist, 1553-1554. Creator: Tibaldi, Pellegrino (1527-1596)
The beheading of John the Baptist, 1553-1554. Found in the Collection of the Museo Pontificio Santa Casa, Loreto.

The sermon of John the Baptist, 1553-1554. Creator: Tibaldi, Pellegrino (1527-1596)
The sermon of John the Baptist, 1553-1554. Found in the Collection of the Museo Pontificio Santa Casa, Loreto.

The Adoration of the Christ Child, 1548. Creator: Tibaldi, Pellegrino (1527-1596)
The Adoration of the Christ Child, 1548. Found in the Collection of the Galleria Borghese, Rome.

Saint Paul, 1585. Creator: Tibaldi, Pellegrino (1527-1596)
Saint Paul, 1585. Private Collection

Aeolus sitting. Creator: Tibaldi, Pellegrino
Aeolus sitting. Found in the collection of the Musee du Louvre, Paris

Detail of St Catherine, by Pellegrino Tibaldi
Detail of St Catherine, from a painting by Pellegrino Tibaldi (1527-1596), Italian Mannerist artist, sculptor and architect. Date: 16th century

Madonna of the Rose, she reaches for a rose held by the Christ child, who rests his left arm on a globe, 1560-75. After Parmigianino

Plate 6: Ulysses driving a burning stake into Polyphemus eye, 1756

Plate 1: cross-section of the Hall of the Institute of Bologna, which served as the residence for the Clementine Academy, with fresco paintings by Pellegrino Tibaldi in the vault, 1756

Plate 7: the blinded Polyphemus, guarding the entrance of his cavern, with Ulysses and his companions escaping below by covering themselves with ram skins, 1756

Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his ship... 1756
Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his shipwreck, 1756

Plate 26: Ulysses escaping on a raft with the aid of the sea deity Leucothea, 1756

Plate 24: Ulysses's companions stealing the oxen sacred to Apollo, 1756

Plate 22: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari
Plate 22: two nude figures wearing veils, 1756

Plate 19: figure seen from behind with left hand raised, 1756

Plate 18: two nude figures wearing veils, seen from behind, 1756

Plate 17: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari
Plate 17: two nude figures wearing veils, 1756

Plate 20: bearded figure, half clothed, 1756. Creators: Bartolomeo Crivellari
Plate 20: bearded figure, half clothed, 1756

Plate 15: mythological figure wearing a helmet and holding a shield, 1756

Plate 5: view of the ceiling with its ornaments and frescoed paintings, 1756

Plate 16: mythological figure holding a mirror, 1756. Creators: Bartolomeo Crivellari
Plate 16: mythological figure holding a mirror, 1756

Plate 8: Ulysses receiving the winds in a leather bag from Aeolus, 1756

Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at l... 1756
Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at left, 1756

Three bearded men, one wearing fur, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
Three bearded men, one wearing fur, 1756

A standing man in a niche reaching forward with one arm, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
A standing man in a niche reaching forward with one arm, 1756

Plate 40: the division of the elect from the reprobate, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
Plate 40: the division of the elect from the reprobate, 1756

Plate 41: Saint John the Baptist preaching to a large crowd and baptizing children, 1756

Seated satyr, with enlarged head of same (recto); head of a woman (verso), 1527-96

Jesus and the Pharisees. Found in the Collection of Pinacoteca Nazionale di Bologna

Italy. Milan. Cathedral. Polychromed marble mosaics from Can
Italy. Milan. Cathedral. Gothic style. 15th century. Polychromed marble mosaics from Candoglia decorating the pavement inside the temple

inside Catheral of Milan. Detail marble from Candoglia. Work
Catheral of Milan. Detail polychrome marble from Candoglia, decorating the pavement inside the temple. The design dates back to the 16th century, and is a work of Pellegrino Tibaldi

Italy. Milan. Cathedral. Gothic. 15th century. Interior
Italy. Milan. Cathedral. Gothic style. 15th century. Polychromed marble mosaics from Candoglia decorating the pavement inside the temple

Tibaldi Pellegrino
Pellegrino Pellegrini, known as TIBALDI PELLEGRINO Italian artist and architect Date: 1527 - 1600

Drawings Prints, Print, Tobias Angel, Artist, Cherubino Alberti, Zaccaria Mattia
Drawings and Prints, Print, Tobias and the Angel, Artist, After, Cherubino Alberti (Zaccaria Mattia), Pellegrino Tibaldi, Italian, Borgo Sansepolcro 1553-1615 Rome, Italian

Pellegrino Tibaldi (Italian, 1527 - 1596), Two Seated Women, pen and brown ink with brown wash on laid paper

The Incredulity of Thomas (recto), Study for the Figure of Thomas (verso); Pellegrino Tibaldi, Italian (Bolognese), 1527 - 1596; Italy, Europe; about 1565 - 1585; Pen and brown ink and brown wash

TIBALDI, Pellegrino (1527-1596). The Seven Liberal Arts. 1587 - 1591. SPAIN. San Lorenzo de El Escorial. Royal Monastery of San Lorenzo de El Escorial. Detail depicting the Astrology

TIBALDI, Pellegrino (1527-1596). The Mates of Ulysses Stealing Oxes to the Sun. 1549. ITALY. Bologna. Poggi Palace. Mannerism art. Fresco

TIBALDI, Pellegrino (1527-1596). Escaping from Polyphemuss Cave. ITALY. Bologna. Poggi Palace. Mannerism art. Fresco

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Tibaldi, a name that resonates with the rich artistic heritage of Italy. From Milan's magnificent Cathedral to the intricate polychromed marble mosaics from Can, Tibaldi's influence is undeniable. One cannot overlook the mesmerizing details in Pellegrino Tibaldi's masterpiece, "Detail of St Catherine. " The delicate brushstrokes bring this religious icon to life, capturing her grace and devotion. In "Madonna of the Rose, " we witness a tender moment as she reaches for a rose held by the Christ child. The artist skillfully portrays their connection and love through his artistry. Moving on to Plate 6, we are confronted with Ulysses driving a burning stake into Polyphemus' eye. This vivid depiction showcases Tibaldi's ability to capture intense emotions and dramatic scenes. Plate 1 offers us a cross-section view of the Hall of the Institute of Bologna. Tibaldi's attention to architectural detail transports us back in time, allowing us to appreciate its grandeur. As we delve deeper into Ulysses' journey in Plate 7, we encounter Polyphemus guarding the entrance of his cavern after being blinded. The artist masterfully conveys both strength and vulnerability in this captivating piece. The collaboration between Bartolomeo Crivellari and Gabriel Soderling brings forth Plates 27, 26, and 24 - each depicting different moments from Ulysses' adventures. These illustrations showcase their combined talent in creating visually stunning narratives. Plate 22 presents two nude figures wearing veils - an enigmatic portrayal that invites contemplation about hidden meanings beneath their ethereal beauty. A figure seen from behind with left hand raised captivates our attention in Plate 19. It leaves us wondering about what lies ahead for this mysterious character. Lastly, Plate 18 unveils two nude figures wearing veils seen from behind - an intriguing composition that sparks curiosity and invites interpretation.