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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
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 .
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 ...
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 is depicted as a playful baby, slightly off balance as He tips forward with arms outstretched towards Catherine, who in turn leans gently towards Him. [ 3 ] It is suggested that members of Titian's Venice workshop probably painted the curtain and Luke, because of the lower quality of those parts.
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.
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 ...