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Abraham and Isaac, also known as the Sacrifice of Isaac (Italian: Sacrificio di Isacco), is an oil painting by the Venetian painter Titian. It was made in about 1543–1544 for the church of Santo Spirito , but is now in the basilica of Santa Maria della Salute .
Abraham and Isaac: 1542–44 328 cm × 285 cm Santa Maria della Salute (Venice) Portrait of Pietro Aretino: c. 1545: 98 × 78 cm: Palazzo Pitti (Florence) Portrait of Cardinal Alessandro Farnese: c.1545-1546: Museo di Capodimonte (Naples) Pope Paul III and his Grandsons: 1546: 210 × 174 cm: Museo di Capodimonte Danaë (one of at least four ...
Binding of Isaac, a story in the Abrahamic religions in which God orders Abraham to sacrifice his son Isaac; The Brome play of Abraham and Isaac, a fifteenth-century play of unknown authorship; Abraham and Isaac (Goodman play), a 1935 drama by Paul Goodman; Abraham and Isaac, a c. 1544 painting by Titian; Abraham and Isaac, a 1963 sacred ballad ...
Abraham and Isaac (Titian) The Archangel Raphael and Tobias (Titian) C. Cain and Abel (Titian) D. David and Goliath (Titian) E. Ecce Homo (Titian, Vienna) G.
The Emperor Otho, by Robert Van Voerst after the lost painting by Titian The Emperor Titus, by Aegidius Sadeler II. The Eleven Caesars was a series of eleven painted half-length portraits of Roman emperors made by Titian in 1536–1540 for Federico II, Duke of Mantua.
The Entombment is a 1559 oil-on-canvas painting by the Venetian painter Titian, commissioned by Philip II of Spain.It depicts the burial of Jesus in a stone sarcophagus, which is decorated with depictions of Cain and Abel and the binding of Isaac.
There we see the tall, erect form of Abraham in twofold action—his left- hand rests on the neck of the boy who is kneeling on the pile of wood, his right hand brandishes the sacrificial knife, and at the same time he turns right round to the angel who has stayed his movement, light across the whole of the third picture lies aslant the body of ...
Hope's observation is an extension from Vasari's criticism. While Bohde explains that "muddy colours" and the physicality of the figures makes the composition of Titian's Annunciation so good. Bohde says, "Titian’s painting ultimately deals with the transformation of the immaterial into the material, which is the core of the incarnation theme ...