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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
This painting depicts a passage from the Gospel of Saint John (19, 4-5) which recounts how after Christ had been whipped and crowned with thorns: Pilate therefore went forth again, and saith unto them, Behold, I bring him forth to you, that ye may know that I find no fault in him. Then came Jesus forth, wearing the crown of thorns and the purple robe. And Pilate saith unto them: Behold the man!. T
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
Religion succoured by Spain (c.1572-75), belongs to the last group of paintings that Titian sent to Philip II in 1576, one year before the artist’s death. As such, it is almost seven decades older than the earliest work by Titian, The Virgin and Child between Saint Anthony of Padua and Saint Roch (P288), c.1510. Contemplating the two together allows viewers to recognise and admire Titian’s excepti
The Museo del Prado has two paintings of this Gospel episode (Matthew 27: 32-33; Mark 21-22; Luke 23: 26-27) which narrates how Simon of Cyrene had to carry the cross for the exhausted Christ on the way to Golgotha. Although they were painted only five years apart, the paintings show obvious stylistic and conceptual differences.The earlier of the two (P439) has stronger narrative drive and shows C
