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| Gioacchino Assereto St John the Baptist 1630 oil on canvas Fondation Bemberg, Toulouse |
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| Gioacchino Assereto Alexander the Great and Diogenes ca. 1625-35 oil on canvas Gemäldegalerie, Berlin |
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| Gioacchino Assereto Phocion rejects the Gifts of Alexander the Great before 1649 oil on canvas Musée des Beaux-Arts de Nantes |
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| Gioacchino Assereto Angel appearing to Hagar and Ishmael ca. 1640 oil on canvas National Gallery, London |
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| Gioacchino Assereto Tobias healing his Father's Blindness before 1649 oil on canvas Musée des Beaux-Arts de Marseille |
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| Gioacchino Assereto Saints Cosmas and Damian healing the Sick ca. 1630 oil on canvas (altarpiece) Chiesa dei Santi Cosma e Damiano, Genoa |
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| Gioacchino Assereto Rinaldo preventing Armida's Suicide (scene from Gerusalemme Liberata of Torquato Tasso) before 1649 oil on canvas private collection |
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| Gioacchino Assereto Death of Cato ca. 1640 oil on canvas Palazzo Bianco, Genoa |
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| Gioacchino Assereto Isaac blessing Jacob ca. 1640 oil on canvas private collection |
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| Gioacchino Assereto Blinding of Samson before 1649 oil on canvas Museu Nacional d'Art de Catalunya, Barcelona |
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| Gioacchino Assereto Circe ca. 1630 oil on canvas Dayton Art Institute, Ohio |
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| Gioacchino Assereto St Francis of Assisi in Ecstasy with Cherub playing a Violin before 1649 oil on canvas private collection |
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| Gioacchino Assereto Moses striking Water from the Rock ca. 1640 oil on canvas Museo del Prado, Madrid |
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| Gioacchino Assereto Apotheosis of St Thomas Aquinas before 1649 oil on canvas (modello) Palais des Beaux-Arts de Lille |
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| Gioacchino Assereto The Lamentation before 1649 drawing Morgan Library, New York |
"Scholars have long marveled over Gioacchino Assereto's ability to capture the height of drama. The intensity of his compositions became even more apparent in his later works as a result of combining multiple sources quoted from the oeuvres of Caravaggio, Van Dyck and the Lombard painters. Giulio Cesare Procaccini, who was already working in Genoa by the 1610s, was clearly the starting point for Assereto's studies in space, colour and brushwork. He became the main reference point for Assereto's style, which enabled him to distance himself from the local dominance of naturalist painters. Having absorbed Rubens' influence in the application and textural rendering of colour, and the way of capturing and conveying the emotional intensity that Van Dyck had shown in his religious works, Assereto combined these innovations with the well-established avocation for the "story" which was an inherent part of naturalism in Genoese painting."
– excerpted from Lights and Shadows: Caravaggism in Europe by Valentina Rossa and Marcella di Martino (Rome: De Luca Editori d'Arte, 2015)