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The complete paintings of Titian, 430 ; The Scourging of Christ, Web Gallery of Art (English) Cristo flagellato, Galleria Borghese (Italian) Bildindex der Kunst und Architektur PID: 0000237108 ; Smartify artwork ID: titian-the-scourging-of-christ ; Bildindex der Kunst und Architektur ID (deprecated): 08014272 ; Source/Photographer
Christ and the Adulteress (Titian, Glasgow) Christ and the Adulteress (Titian, Vienna) Christ Appearing to his Mother after his Resurrection; Christ Carrying the Cross (Titian) The Crowning with Thorns (Titian, Munich) The Crowning with Thorns (Titian, Paris) Crucifixion (Titian)
Lorenzo Tinti (1626–1672) was an Italian painter and engraver of the Baroque period. He was born in Bologna and was a pupil of Giovanni Andrea Sirani, and painted altar-pieces for the churches in Bologna, among them Scourging of Christ for the church of the Madonna del Piombo; and the Virgin and Child with several Saints for Santa Tecla, now demolished.
The Flagellation of Christ, in art sometimes known as Christ at the Column or the Scourging at the Pillar, is an episode from the Passion of Jesus as presented in the Gospels. As such, it is frequently shown in Christian art , in cycles of the Passion or the larger subject of the Life of Christ .
In 1839 he received his first state commission, from France's Ministry of the Interior, a copy of The Scourging of Christ by Titian. On 8 October 1839 he married the young middle-class Laure Peytouraud and they had three children: Thérèse (1840–1932), Rosalie (1843–1913) and Louise (1860–1944).
Piero della Francesca, The Flagellation of Christ, c. 1468-1470. This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary.
Christ and the Adulteress, also called Christ and the Woman Taken in Adultery, and The Adulteress Brought before Christ, is an oil painting usually attributed to Titian and painted early in his career, c. 1508-1510. It hangs in the Kelvingrove Art Gallery and Museum, in Glasgow. [1]
In Christ's foot extended on the steps, however, Titian pulls out all the Venetian stops and one can sense the blood flowing through the veins under the flesh. The pattern of the canes slices through the massed figures like the strokes of a knife, forming a Trinitarian triangle to the right of Christ's head.