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Trinity, 1564-1568, 122 × 181 cm, Galleria Sabauda, Turin; Crucifixion, 1568, 341 × 371 cm, church of San Cassiano, Venice; Descent into Limbo, 1568, 342 × 373 cm, church of San Cassiano, Venice; Paintings for the chancel of the church of San Rocco, 1567, church of San Rocco, Venice. Saint Roch in Prison Comforted by an Angel, 300 × 670 cm
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Paintings by Jacopo Tintoretto (1518−1594) — a Late Italian Renaissance and Mannerist painter from the Republic of Venice. Pages in category "Paintings by Tintoretto" The following 40 pages are in this category, out of 40 total.
Around this time, the museum became known as the El Paso Museum of Art. [11] [12] The El Paso Museum of Art moved from the Turney home in 1998. [11] The new location was in Downtown El Paso and initially, Mayor Carlos Ramirez wanted the Turney building to house offices for museum administration. [13] In 1999, forty-two charter members made up ...
Baroque Trinity, Hendrick van Balen, 1620, (Sint-Jacobskerk, Antwerp) Holy Trinity, fresco by Luca Rossetti da Orta, 1738–39 (St. Gaudenzio Church at Ivrea). The Trinity is most commonly seen in Christian art with the Holy Spirit represented by a dove, as specified in the gospel accounts of the baptism of Christ; he is nearly always shown with wings outspread.
This painting is one of the most dramatic versions of the Crucifixion in the history of Christian art. [1] Tintoretto painted other images of the Crucifixion as well, including one that is in the Church of San Cassiano in Venice (1568), [2] one that is in Church of the Gesuati in Venice (c. 1565)., [3] and one that is in the Gallerie dell ...
Baptism of Christ (c. 1580) by Tintoretto. Baptism of Christ is a c. 1580 oil on canvas painting by Tintoretto, one of several treatments of the same subject by that artist. One of his most notable works, it hangs as an altarpiece in the church of San Silvestro, Venice.
Visitation or Visitation with Saint Joseph and Saint Zacharias is a c.1550 painting by Tintoretto, now in the Pinacoteca Nazionale di Bologna. [1] Originally an altarpiece in the church of San Pietro Martire in Bologna, where it was first recorded in the seventeenth century, it was transferred to the Pinacoteca in Napoleonic times.