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Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your Majesty has. This painting was completed in 1554 and can be identified with The Virgin Dolorosa with her Hands joined (P443). In another letter of 1554 there is a reference to another Virgin Dolorosa
John Frederick I of Saxony (Torgau, 30 June 1503–Jena, 3 March 1554), Duke of Saxony-Wittenberg from 1532, was the principal defender of Luther, a fact that brought him into conflict with Charles V. In 1546 these differences resulted in an armed conflict that culminated at Mühlberg on 24 April 1547 when the Imperial army defeated the Schmalkaldic League and captured its leaders, John Frederic
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your Majesty has. This painting was completed in 1554 and can be identified with The Virgin Dolorosa with her Hands joined (P443). In another letter of 1554 there is a reference to another Virgin Dolorosa
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe
The painting is a faithful visualisation of Genesis 30, 9-19 in which Eve is blamed for accepting the forbidden fruit (although the type of fruit is not stated, Titian follows tradition and opts for an apple) and there is a reference to a second tree, a fig, whose leaves are used by Adam and Eve to cover their nakedness. Although we do not have a definite date for this painting, nor do we know the
