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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
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 ...
The painting features elements which were typical of both Titian and Giorgione: the sfumato contour of the figures and the inhomogeneous colors were common in the latter's works, while the robustness of the characters and their active participation to the event (differently than the quasi-dreaming contemplation of Giorgione) are a Titian hallmark.
'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany. It depicts Christ and a Pharisee at the moment in the Gospels [ 2 ] when Christ is shown a coin and says " Render unto Caesar the things that are Caesar's, and unto God the things ...
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)
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 ...
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 ...
However, others identify the painting as part of Titian's series of half-length female figures from 1514 to 1515, which also includes the Flora at the Uffizi, the Woman with a Mirror at the Louvre, the Violante and the Young woman in a black dress in Vienna, Vanity in Munich and the Salome at the Galleria Doria Pamphilj.