Baroque Christ Salvator Mundi Painting, 17th Century

A 17th Century italian painting of Christ crucified accompanied by the three Marys: Mary Magdalene, Mary Salome and Mary of Cleophas in contemplation of Hi...

A painting, prior to 1678, from a famous fresco of the Triumph of the Name of Jesus from the Gesù Church in Rome, completed in 1684, attributed to the Old Master Painter Giovanni Battista Gaulli, also known as Baciccio or Baciccia an Italian master of the 17th Century. Gaulli paintings and frescoes are visible at the roman churches of Santa Agnese...

A 17th Century Baroque painting of Our Lady of the Immaculate Conception in yellow, green and red silk robes. The hand on the breast, the Hand of God and...

A 17th Century painting of Joseph with the Child Jesus on his lap, a rare Baroque motif of paternal love. Oil on wood Frame: 47x54 cm Without frame: 27x34 cm

A Baroque styled remarkable somber evocation of Flemish winter painting, depicting a group of people strolling along a riverbank, surrounded by a barren and icy landscape. The mood o...

This signed 18th Century painting showcases a beautiful scene of a loving man and woman and their loyal canine companion gathered around a charming fountain, executed in the Baroque ...

Attribution of Mattia Preti " Salvator Mundi " 17th Century Italian painting from the 17th century depicting the figure of the infant Jesus as Salvator Mundi (Savior of the World),...

17th century painting J.Castano 17th century Spain

A large palatial Flemish baroque historical tapestry depicting a battle scene, with soldiers to the foreground on land, the opposing army arriving by sea, with a city under siege to ...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

17th century Christ in chains Oil on canvas, 95 x 71 cm Frame 110 x 84 cm The figurative tradition representing Christ with chained hands can be traced back to the early Middle Ages, when an iconography of His pains spread widely. The need to translate the Passion into images aimed to raise awareness of the forgiveness that has occurred for all men, consequent to the Crucifixion. This painting depicts the moment before the audience before Pilate. Christ has not yet been cruelly mocked by the soldiers, despite the fact that he is already wearing the crown of thorns and the purple...

Venetian School painting of four angels, allegorically depicting the variable winds of change and time. Unsigned, believed to be by a follower of Pietro Li...