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| Gioacchino Assereto Martyrdom of St Bartholomew ca. 1630-40 oil on canvas Accademia Ligustica di Belle Arti. Genoa |
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| Gioacchino Assereto Supper at Emmaus ca. 1630-49 oil on canvas private collection |
"The development of the early seventeenth-century native Genoese painters Bernardo Strozzi, Andrea Ansaldo, Domenico Fiasella, Luciano Borzone and Gioacchino Assereto runs to a certain extent parallel. They began traditionally enough: Fiasella and Strozzi deriving from Lomi, Paggi, and Sorri; Ansaldo from the mediocre Orazio Cambiaso, Luca's son; and Assereto from Ansaldo. Toward the twenties these artists show the influence of the Milanese school, and only Fiasella, who had worked in Rome from 1607 to 1617, is really swayed by the Caravaggisti. In the course of the third decade they all attempt to cast away the last vestiges of Mannerism and turn toward a freer, naturalistic manner, largely under the influence of Rubens and Van Dyck. It should, however, be said that, lacking monographic treatment, neither Borzone nor Ansaldo and Fiasella are clearly defined personalities; it would seem that the prolific Fiasella, who lived longest and was much in fashion with the Genoese aristocracy, must be regarded as the least interesting and original of this group of artists. By contrast Assereto, through Longhi's basic study, has become for us an artistic personality with clear contours. In his work after 1630, for example in the Genoa Martyrdom of St Bartholomew or the Genoa Supper at Emmaus, he achieved a unification of composition and a complete freedom of handling which places him almost on a level with Strozzi in his Venetian period."
– Rudolf Wittkower, Art and Architecture in Italy 1600-1750, originally published in 1958, revised by Joseph Connors and Jennifer Montagu and reissued by Yale University Press in 1999
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| Gioacchino Assereto Death of Cato ca. 1640 oil on canvas Musei di Strada Nuova, Genoa |
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| Gioacchino Assereto Tobias with the Archangel Raphael healing his Father's Blindness before 1649 oil on canvas Musée des Beaux-Arts de Marseilles |
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| Gioacchino Assereto St Francis of Assisi in Ecstasy, with Cherub playing the Violin ca. 1628-30 oil on canvas Detroit Institute of Arts |
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| Gioacchino Assereto Christ healing the Blind Man ca. 1640 oil on canvas Carnegie Museum of Art, Pittsburgh |
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| Gioacchino Assereto Philistines gouging out Samson's Eyes before 1649 oil on canvas Museu Nacional d'Art de Catalunya, Barcelona |
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| Gioacchino Assereto Prometheus ca. 1620-49 oil on canvas Musée de la Chartreuse de Douai |
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| Gioacchino Assereto Tantalus ca. 1640-49 oil on canvas Auckland Art Gallery, New Zealand |
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| Gioacchino Assereto The Three Fates before 1649 oil on canvas Galleria di Palazzo Rocca, Genoa |
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| Gioacchino Assereto Moses striking the Rock ca. 1640 oil on canvas Museo del Prado, Madrid |
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| Gioacchino Assereto Doubting Thomas before 1649 oil on canvas Chiesa di Santo Stefano, Genoa |
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| Gioacchino Assereto Saints Cosmas and Damian healing the Sick ca. 1630 oil on canvas Chiesa dei Santi Cosma e Damiano, Genoa |
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| Gioacchino Assereto Presentation in the Temple ca. 1630 oil on canvas Pinacoteca di Brera, Milan |
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| Gioacchino Assereto Guardian Angel before 1649 oil on canvas Birmingham Museums (West Midlands) |