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Jesus, with a doleful expression, is looking towards the seer. [4], The work's composition inspired numerous painters in Veneto and Lombardy, such as Lorenzo Lotto, Giovanni Bellini and Andrea Solario. All Rights Reserved. At the time, the faithful left so many gifts in front of the painting, the patrons of San Roco decided to sell them on, thus they were able to fund restorations to the building for a period of time. expression, is looking towards the seer. At the side are two secondary figures. the guild. Around the year 1508 or 1509, the master Renaissance painter Titian painted an oil painting that is known as Christ Carrying the Cross. Copyright © 2011 - Present www.Titian.org All Rights Reserved. One thing that is certain, this painting had an enormous effect on the Italian Renaissance. which would be part of Venetian collections at the time. [5], Jesus is portrayed with a cross on his shoulder, against a dark background, while an executioner is holding a noose on his neck. Christ Carrying the Cross (also Ecce Homo) is a 1505 oil painting attributed to either the Italian Renaissance master Titian or Giorgione. [3], The attribution of the work has been disputed since the 16th century: Giorgio Vasari in both the first (1550) and second (1568) edition of his Lives assigns it to Giorgione and Titian at the same time. The current home of the work is the Scuola Grande di San Rocco, an annex to the Church of San Rocco in Venice, Italy. of the characters and their active participation to the event (differently than the quasi-dreaming contemplation of Giorgione) are a Titian feature. Jesus, with a doleful ‘Christ Carrying the Cross’ was created in c.1565 by Titian in Mannerism (Late Renaissance) style. It is located in the Scuola Grande di San Rocco in Venice, Italy. In March 1508, di Zuan promised to adorn the building with not only a tomb for himself and his family but with paintings and expensive furnishings as well. This is probably one of the reasons that the painting was thought to have divine and miraculous properties. It is unsure as to who the patron of the painting was but it is thought that it was Iacomo di Zuan, who was the Guardian Grande of one of the private chapels in the Scuola Grande di San Rocco in Venice. Christ Carrying the Cross, 1505 by Titian Courtesy of www.Titian.org The painting is mentioned in several historical documents, since it has been the subject of veneration and devotion, due to its alleged miraculous properties. Further, both Titian and Giorgione had relationships with the guild which held the church and the Scuola; Giorgione was a friend of painter Vincenzo Catena, a member of Although the subject of Christ Carrying the Cross had long been a standard one in Italian art, Titian was following a type of "close-up" There are some historians that attribute the painting to another artist called Giorgione, but this is unproven. It has been the subject of devotion and veneration since the 16th century when those that prayed in front of it maintained it had the powers to cure the sick and afflicted. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. [2] It was originally located in the church of San Rocco, annexed to the eponymous Scuola where it is now, although it is unknown if it was on a pillar near the high altar or in a side chapel. Christ Carrying the Cross (also Ecce Homo) is a 1505 oil painting attributed to either the Italian Renaissance master Titian or Giorgione. The work's composition inspired numerous painters in Veneto and Lombardy, such as Lorenzo Lotto, Giovanni Bellini and Andrea Solario. [3] Although the subject of Christ Carrying the Cross had long been common for Italian art, Titian was following a type of "close-up" composition that had only recently been introduced to Northern Italy, from German or northern European examples. When he painted it, Titian created a dark and moody feel to the painting by using dark and sombre colours such as the background painted in black. The painting is mentioned in several historical documents, since it has been the subject of veneration and devotion, due to its alleged miraculous properties. Further, both Titian and Giorgione had a connection with the guild which held the church and the Scuola; Giorgione was a friend of painter Vincenzo Catena, a member of the guild. [6], 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. In fact, it is known that they both collaborated on a number of paintings and had a similar style, so the argument still exists to this day, in some quarters, about who actually painted Christ Carrying the Cross. This guaranteed the importance of the painting to the faithful, who believed in its healing properties and the patrons of the Scuola Grande di San Rocco, who saw it as a fundraiser. Both Titian and Giorgione were in an artists guild that was connected to the same school of painting and both were connected to the church. [1], The painting is mentioned in several historical documents, since it has been the subject of veneration and devotion, due to its alleged miraculous properties. It was originally located in Christ Carrying the Cross (also Ecce Homo) is a 1505 oil painting attributed to either the Italian Renaissance master Titian or Giorgione. at the same time. The attribution of the work has been disputed since the very 16th century: Giorgio Vasari in both the first (1550) and second (1658) edition of his Lives assigns it to Giorgione and Titian The profile of the executioner and of the side figures were perhaps inspired by drawings of Leonardo da Vinci, Jesus is portrayed with a cross on his shoulder, on a dark background, while an executioner is holding a noose on his neck. It is located in the Scuola Grande di San Rocco in Venice, Italy. The painting is currently hanging with other works of art at the Scuola Grande di San Rocco in Venice. Terms of Use | Links composition that had only recently been introduced to Northern Italy, from German or northern European examples. 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 It is located in the Scuola Grande di San Rocco in Venice, Italy. The only bright colours are in the face of Christ who is being led with a noose around his neck as he carries the cross and the angry face of his executioner placing the noose around the neck of Christ. Christ Carrying the Cross by Titian is an oil painting on canvas. The profile of the executioner and of the side figures were perhaps inspired by Leonardo da Vinci's drawings, which would be part of Venetian collections at the time. Both Titian and Giorgione were in an artists guild that was connected to the same school of painting and both were connected to the church. A striking element of this painting is the fact that it is painted in close-up style, giving the subjects a life-size feel. The generally held view is that the Venetian artist Titian painted Christ Carrying the Cross in the years 1508 or 1509. © www.Titian.net 2018. [7], Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, The Virgin and Child with Saint George and Saint Dorothy, The Presentation of the Virgin at the Temple, Madonna and Child with Saints Luke and Catherine of Alexandria, https://en.wikipedia.org/w/index.php?title=Christ_Carrying_the_Cross_(Titian)&oldid=986301430, Paintings depicting Christ carrying the cross, Creative Commons Attribution-ShareAlike License, This page was last edited on 31 October 2020, at 00:35. the church of San Rocco, annexed to the eponymuous Scuola where it is now, although it is unknown if it was on a pillar near the high altar or in a side chapel. Some scholars think that Christ Carrying the Cross may have been ordered by him, as one of those paintings. At the side are two secondary figures.

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