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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: c. 1520 82.5 × 136.5 cm Kunsthistorisches Museum (Vienna) Virgin and Child with Saint Stephen, Saint Jerome and Saint Maurice: c. 1510–1525 112.5 × 143.2 cm Louvre (Paris) Mary with Child and Saints Stephen, Jerome and Mauritius: c. 1520 93.3 × 138.2 cm Kunsthistorisches Museum (Vienna) Portrait of Vincenzo Mosti ...
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)
Carlo Ridolfi praised the work after seeing it in the collection of paintings that Jacopo Casciopino brought to Antwerp in the 17th century. Previously misattributed to Titian's elder brother Francesco Vecellio [1] or Titian's studio, it was reidentified as an autograph work by Titian himself, in 1951, though its owner's online catalogue retains the traditional attribution to Francesco ...
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 .
The Virgin and Child with Saints Stephen, Jerome and Maurice (German: Maria mit Kind und den Hll. Stephanus, Hieronymus und Mauritius), also called the Virgin with Three Saints, is a religious painting by Titian which hangs in the Kunsthistorisches Museum in Vienna.
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.
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.
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