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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)
Venus and Adonis - many different versions, with varying contributions by Titian himself. See ones in New York and Rome below. 1553–1554: 186 × 207 cm: Museo del Prado (Madrid) Mater Dolorosa with Open Hands: 1554: 68 × 53 cm: Museo del Prado (Madrid) Christ Appearing to his Mother after his Resurrection: 1554 Woman Holding an Apple: c ...
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 .
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 ...
Titian, instead of painting the angel on the left and Mary on the right as usual, moved the Madonna into the foreground with the angel behind, pushed towards Mary by the divine light behind him. At the center, kneeling, is the donor, put in a rather far position from the viewer.
The figure is stylistically similar to the Christ in Titian's earlier Christ on the Cross (The Escorial, c.1555). [6] The bronze and yellow tones of Christ's skin were used often in paintings of the Venetian Renaissance, but with the Crucifixion the application of this sickly hue is unusually bold, and with a high degree of contrast across the ...
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]