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The complete paintings of Titian, 430 ; 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: Web Gallery of Art: Image Info about artwork
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 ...
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)
Titian made several other paintings depicting the same subject, including a similar version of 1572 given as a gift to Antonio Pérez and now also in the Prado, and an earlier version of c.1520 made for the Duke of Mantua and now in the Louvre. The painting is the second of this subject commissioned from Titian by Philip II of Spain.
Christ Appearing to his Mother after his Resurrection (Italian: Il Risorto appare alla Madre) is an oil on canvas painting by Titian, from 1554. [1] He painted it whilst in Medole in Mantua , where he was staying with the archpriest of Assunzione della Vergine, the town's parish church where it still hangs. [ 2 ]
Christ Carrying the Cross (also Ecce Homo) is an oil painting attributed to either Titian or Giorgione. It is dated to about 1505. The painting is housed in the Scuola Grande di San Rocco in Venice, Italy. [1] There are several later versions of the subject by Titian.
The subject, too, has been contested; Johannes Wilde and others argued in favour of the Old Testament story of Susanna and Daniel. [2] Most scholars now accept the subject of the painting as the New Testament story of Jesus and the woman taken in adultery , [ 3 ] and attribute the painting to Titian.
It is believed to be one of the first works commissioned by the Gonzagas from Titian. On February 2, 1523, Federico II wrote to his uncle Alfonso I d'Este to free Titian from any artistic assignments in Ferrara. [2] There is a copy of The Entombment produced afterwards, perhaps signed by Titian, in the Torrigiani family collection.