christ carrying the cross titian

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. At the side are two secondary figures. Christ Carrying the Cross by Titian is an oil painting on canvas. 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. Around the year 1508 or 1509, the master Renaissance painter Titian painted an oil painting that is known as Christ Carrying the Cross. 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. It is located in the Scuola Grande di San Rocco in Venice, Italy.

The painting is mentioned in several historical documents, since it has been the subject of veneration and devotion, due to its alleged miraculous properties. Christ Carrying the Cross (also Ecce Homo) is a 1505 oil painting attributed to either the Italian Renaissance master Titian or Giorgione. Copyright © 2011 - Present www.Titian.org All Rights Reserved. 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. All Rights Reserved. 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and second (1658) edition of his Lives assigns it to Giorgione and Titian [1], The painting is mentioned in several historical documents, since it has been the subject of veneration and devotion, due to its alleged miraculous properties. A striking element of this painting is the fact that it is painted in close-up style, giving the subjects a life-size feel. expression, is looking towards the seer. 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. [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. [4], The work's composition inspired numerous painters in Veneto and Lombardy, such as Lorenzo Lotto, Giovanni Bellini and Andrea Solario.

It is located in the Scuola Grande di San Rocco in Venice, Italy. ‘Christ Carrying the Cross’ was created in c.1565 by Titian in Mannerism (Late Renaissance) style. 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. 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. The profile of the executioner and of the side figures were perhaps inspired by drawings of Leonardo da Vinci, [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. [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.

of the characters and their active participation to the event (differently than the quasi-dreaming contemplation of Giorgione) are a Titian feature. 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. The current home of the work is the Scuola Grande di San Rocco, an annex to the Church of San Rocco in Venice, Italy. Some scholars think that Christ Carrying the Cross may have been ordered by him, as one of those paintings. © www.Titian.net 2018. 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. Jesus is portrayed with a cross on his shoulder, on a dark background, while an executioner is holding a noose on his neck. This is probably one of the reasons that the painting was thought to have divine and miraculous properties. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. 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. 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. The generally held view is that the Venetian artist Titian painted Christ Carrying the Cross in the years 1508 or 1509. [5], Jesus is portrayed with a cross on his shoulder, against a dark background, while an executioner is holding a noose on his neck. [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. composition that had only recently been introduced to Northern Italy, from German or northern European examples. 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.