Jesus Christ · Two millennia of painting
The 100 known paintings that tell the story Jesus Christ
From the Renaissance to the 19th century, painters recounted the birth, miracles, Passion and Resurrection of Christ with radically different visions. One hundred works to explore this founding story - a subject that occupied some of the largest workshops in Europe, rarely short of celestial light.
Leonardo da Vinci
The Last Supper
Leonardo da Vinci places emphasis on the announcement of - according to Leonardo da Vinci in "The Last Supper" - betrayal. Leonardo da Vinci organizes the - in "The Last Supper" - looks with almost musical precision. With "The Last Supper", Leonardo da Vinci makes light a dramatic spring.
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Michelangelo
The Last Judgment
Michelangelo places emphasis on sharing - according to Michelangelo in "The Last Judgment" - destinies. Michelangelo gives the - in "The Last Judgment" - body the power of architecture. With "The Last Judgment", Michelangelo entrusts the essentials to gestures and looks.
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Piero della Francesca
The Baptism of Christ
Piero della Francesca places emphasis on revelation - according to Piero della Francesca in "The Baptism of Christ" - in the Jordan. Piero della Francesca grants the - in "The Baptism of Christ" - geometry to an immobile light. With "The Baptism of Christ", Piero della Francesca orders the scene around the decisive moment.
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Caravaggio
The Arrest of Christ
Caravaggio places emphasis on kissing - according to Caravaggio in "The Arrest of Christ" - of Judas. Caravaggio brings out - in "The Arrest of Christ" - the sacred in a sharp light. With "The Arrest of Christ", Caravaggio erases the decor behind human emotion.
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Caravaggio
Dinner at Emmaus
Caravaggio places emphasis on recognition - according to Caravaggio in "The Supper at Emmaus" - with broken bread. Caravaggio brings forth - in "The Supper at Emmaus" - the sacred in a sharp light. With "The Supper at Emmaus", Caravaggio circulates silence through color.
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Caravaggio
The Incredulity of Saint Thomas
Caravaggio places emphasis on the finger - according to Caravaggio in "The Incredulity of Saint Thomas" - by Thomas. Caravaggio brings forth - in "The Incredulity of Saint Thomas" - the sacred in a sharp light. With "The Incredulity of Saint Thomas" saint Thomas", Caravaggio brings the sacred episode closer to its time.
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Caravaggio
The Entombment
Caravaggio places emphasis on the weight - according to Caravaggio in "The Entombment" - of the body. Caravaggio brings out - in "The Entombment" - the sacred in a sharp light. With "The Entombment", Caravaggio measures revelation by the reactions of witnesses.
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Caravaggio
The Vocation of Saint Matthew
Caravaggio places emphasis on the call which - according to Caravaggio in "The Vocation of Saint Matthew" - changes everything. Caravaggio brings forth - in "The Vocation of Saint Matthew" - the sacred in a sharp light. With "The Vocation from Saint Matthew", Caravaggio gives space a theatrical gravity.
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Johannes Vermeer
Christ in the house of Martha and Mary
Johannes Vermeer emphasizes the opposition between - according to Johannes Vermeer in "Christ in the House of Martha and Mary" - act and listen. Johannes Vermeer transforms the interior - in "Christ in the House of Martha and Mary" - servant in meditative space. With "Christ in the House of Martha and Mary", Johannes Vermeer anchors the mystery in a concrete detail.
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Diego Velazquez
Christ crucified
Diego Velazquez places emphasis on silence - according to Diego Velazquez in "Christ crucified" - of sacrifice. Diego Velazquez retains emotion - in "Christ crucified" - to better impose presence. With "Christ crucified", Diego Velazquez tightens the action through direct framing.
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Peter paul rubens
Descent from the cross
Peter Paul Rubens places emphasis on the hands - according to Peter Paul Rubens in "Descent from the Cross" - supporting Christ. Peter Paul Rubens circulates - in "Descent from the Cross" - energy through diagonals and color. With " Descent from the Cross", Peter Paul Rubens makes light a dramatic spring.
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Leonardo da Vinci
The Adoration of the Magi
Leonardo da Vinci places emphasis on looks - according to Leonardo da Vinci in "The Adoration of the Magi" - towards the Child. Leonardo da Vinci organizes the - in "The Adoration of the Magi" - looks with almost musical precision. With " The Adoration of the Magi", Leonardo da Vinci entrusts the essentials to gestures and looks.
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Leonardo da Vinci
The Virgin of the Rocks
Leonardo da Vinci places emphasis on the cave - according to Leonardo da Vinci in "The Virgin of the Rocks" - now a sanctuary. Leonardo da Vinci organizes the - in "The Virgin of the Rocks" - looks with almost musical precision. With " The Virgin of the Rocks", Leonardo da Vinci orders the scene around the decisive moment.
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Leonardo da Vinci
The Virgin, the Child Jesus and Saint Anne
Leonardo da Vinci places emphasis on the momentum between - according to Leonardo da Vinci in "The Virgin, the Child Jesus and Saint Anne" - three generations. Leonardo da Vinci organizes the - in "The Virgin, the Child Jesus and Saint Anne" - looks with almost musical precision. With "The Virgin, the Child Jesus and Saint Anne", Leonardo da Vinci erases the setting behind human emotion.
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Leonardo da Vinci
Salvator Mundi (Savior of the World)
Leonardo da Vinci places emphasis on blessing - according to Leonardo da Vinci in "Salvator Mundi (Savior of the World)" - of the sovereign. Leonardo da Vinci organizes the - in "Salvator Mundi (Savior of the World)" - looks with precision almost musical. With "Salvator Mundi (Savior of the World)", Leonardo da Vinci circulates silence through color.
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Leonardo da Vinci
The Baptism of Christ
Leonardo da Vinci places emphasis on revelation - according to Leonardo da Vinci in "The Baptism of Christ" - in the Jordan. Leonardo da Vinci organizes the - in "The Baptism of Christ" - looks with almost musical precision. With "The Baptism of Christ", Leonardo da Vinci brings the sacred episode closer to his time.
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Albrecht Durer
Adoration of the Magi
Albrecht Dürer places emphasis on looks - according to Albrecht Dürer in "Adoration of the Magi" - towards the Child. Albrecht Dürer unites precision - in "Adoration of the Magi" - graphic and spiritual gravity. With "Adoration of the Magi" "albrecht Dürer measures the revelation by the reactions of witnesses.
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Albrecht Durer
Crucifixion
Albrecht Dürer places emphasis on silence - according to Albrecht Dürer in "Crucifixion" - of sacrifice. Albrecht Dürer unites precision - in "Crucifixion" - graphic and spiritual gravity. With "Crucifixion", Albrecht Dürer gives space a theatrical gravity.
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Albrecht Durer
Jesus among the doctors
Albrecht Dürer places emphasis on early authority - according to Albrecht Dürer in "Jesus Among the Doctors" - of the Child. Albrecht Dürer unites precision - in "Jesus Among the Doctors" - graphic and spiritual gravity. With "Jesus among the doctors", Albrecht Dürer anchors the mystery in concrete detail.
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Albrecht Durer
Lamentation of Christ
Albrecht Dürer places emphasis on mourning - according to Albrecht Dürer in "Deploration of Christ" - become collective. Albrecht Dürer unites precision - in "Deploration of Christ" - graphic and spiritual gravity. With "Deploration of Christ", Albrecht Dürer tightens the action with a direct framing.
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Sandro Botticelli
Mystical crucifixion
Sandro Botticelli places emphasis on silence - according to Sandro Botticelli in "Mystical Crucifixion" - of sacrifice. Sandro Botticelli confides the - in "Mystical Crucifixion" - movement to the flexible rhythm of the lines. With "Crucifixion mystical", Sandro Botticelli makes light a dramatic spring.
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Sandro Botticelli
The mystical Nativity
Sandro Botticelli places emphasis on the sacred - according to Sandro Botticelli in "The Mystical Nativity" - in poverty. Sandro Botticelli confides the - in "The Mystical Nativity" - movement to the flexible rhythm of the lines. With "The Mystical nativity", Sandro Botticelli entrusts the essentials to gestures and looks.
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Sandro Botticelli
Prayer in the Garden of Olives
Sandro Botticelli places emphasis on the day before - according to Sandro Botticelli in "Prayer in the Garden of Olives" - before the arrest. Sandro Botticelli confides the - in "Prayer in the Garden of Olives" - movement with a flexible rhythm lines. With "Prayer in the Garden of Olives", Sandro Botticelli orders the scene around the decisive moment.
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Sandro Botticelli
The Lamentation over the Dead Christ
Sandro Botticelli places emphasis on pain - according to Sandro Botticelli in "The Lamentation over the Dead Christ" - entrusted to gestures. Sandro Botticelli confides the - in "The Lamentation over the Dead Christ" - movement with a flexible rhythm lines. With "The Lamentation over the Dead Christ", Sandro Botticelli erases the setting behind human emotion.
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Sandro Botticelli
Man of sorrows
Sandro Botticelli places emphasis on injuries - according to Sandro Botticelli in "Man of Sorrows" - offered to the gaze. Sandro Botticelli confides the - in "Man of Sorrows" - movement to the flexible rhythm of the lines. With "Man of Sorrows" pain", Sandro Botticelli circulates silence through color.
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Sandro Botticelli
Christ with the crown of thorns
Sandro Botticelli places emphasis on dignity - according to Sandro Botticelli in "Christ with the Crown of Thorns" - in humiliation. Sandro Botticelli confides the - in "Christ with the Crown of Thorns" - movement to rhythm flexible lines. With "Christ with the crown of thorns", Sandro Botticelli brings the sacred episode closer to its time.
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Sandro Botticelli
The Transfiguration, Saint Jerome and Saint Augustine
Sandro Botticelli places emphasis on the body - according to Sandro Botticelli in "The Transfiguration, Saint Jerome and Saint Augustine" - changed into light. Sandro Botticelli confides the - in "The Transfiguration, Saint Jerome and Saint Augustine " - movement to the flexible rhythm of the lines. With "The Transfiguration, Saint Jerome and Saint Augustine", Sandro Botticelli measures the revelation by the reactions of witnesses.
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Sandro Botticelli
The Adoration of the Magi
Sandro Botticelli places emphasis on looks - according to Sandro Botticelli in "The Adoration of the Magi" - towards the Child. Sandro Botticelli confides the - in "The Adoration of the Magi" - movement to the flexible rhythm of the lines. With " The Adoration of the Magi", Sandro Botticelli gives space a theatrical gravity.
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Giovanni Bellini
Lamentation: The body of Christ held by Mary and Saint John /Pietà
Giovanni Bellini places emphasis on pain - according to Giovanni Bellini in "Lamentation: The body of Christ held by Mary and Saint John /Pietà" - entrusted to gestures. Giovanni Bellini installs the - in "Lamentation: The body of Christ held by Mary and Saint John /Pietà" - scene in a collected light. With "The Lamentation: The body of Christ held by Mary and Saint John /Pietà", Giovanni Bellini anchors the mystery in a concrete detail.
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Diego Velazquez
The Last Supper
Diego Velázquez places emphasis on the announcement of - according to Diego Velázquez in "The Last Supper" - betrayal. Diego Velázquez retains emotion - in "The Last Supper" - to better impose presence. With "The Last Supper", Diego Velázquez tightens the action with direct framing.
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Diego Velazquez
The Emmaus Last Supper
Diego Velázquez places emphasis on the announcement of - according to Diego Velázquez in "The Emmaus Last Supper" - betrayal. Diego Velázquez retains emotion - in "The Emmaus Last Supper" - to better impose presence. With "The Emmaus Last Supper", Diego Velázquez makes light a dramatic spring.
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Diego Velazquez
Adoration of the Magi
Diego Velázquez places emphasis on looks - according to Diego Velázquez in "Adoration of the Magi" - towards the Child. Diego Velázquez retains emotion - in "Adoration of the Magi" - to better impose presence. With "Adoration of the Magi" Mages", Diego Velázquez entrusts the essentials to gestures and looks.
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Caravaggio
Ecce Homo
Caravaggio places emphasis on innocence delivered - according to Caravaggio in "Ecce Homo" - to the crowd. Caravaggio brings up - in "Ecce Homo" - the sacred in a sharp light. With "Ecce Homo", Caravaggio orders the scene around the decisive moment.
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Caravaggio
The Flagellation of Christ
Caravaggio places emphasis on restraint - according to Caravaggio in "The Flagellation of Christ" - in the face of the executioners. Caravaggio brings forth - in "The Flagellation of Christ" - the sacred in a sharp light. With "The Flagellation of Christ", Caravaggio erases the decor behind human emotion.
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Caravaggio
The Nativity with Saint Francis and Saint Lawrence
Caravaggio places emphasis on the sacred - according to Caravaggio in "The Nativity with Saint Francis and Saint Lawrence" - in poverty. Caravaggio brings out - in "The Nativity with Saint Francis and Saint Lawrence" - the sacred in a sharp light. With "The Nativity with Saint Francis and Saint Lawrence", Caravaggio circulates silence through color.
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Caravaggio
Christ on the Mount of Olives
Caravaggio places emphasis on waking - according to Caravaggio in "Christ on the Mount of Olives" - before arrest. Caravaggio brings up - in "Christ on the Mount of Olives" - the sacred in a sharp light. With "The Christ on the Mount of Olives", Caravaggio brings the sacred episode closer to its time.
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Caravaggio
The vocation of Saints Peter and Andrew
Caravaggio places emphasis on the call which - according to Caravaggio in "The Vocation of Saints Peter and Andrew" - changes everything. Caravaggio brings out - in "The Vocation of Saints Peter and Andrew" - the sacred in a sharp light. With "The Vocation of Saints Peter and Andrew", Caravaggio measures revelation by the reactions of witnesses.
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Caravaggio
The Grooms Madonna
Caravaggio places emphasis on the presence - according to Caravaggio in "The Madonna of the Grooms" - of Christ. Caravaggio brings forth - in "The Madonna of the Grooms" - the sacred in a sharp light. With "The Madonna of the Grooms" grooms", Caravaggio gives space a theatrical gravity.
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Rembrandt
The Ascension of Christ
Rembrandt emphasizes separation - according to Rembrandt in "The Ascension of Christ" - and the promise. Rembrandt brings the episode - in "The Ascension of Christ" - biblical closer to human experience. With "The Ascension of Christ", Rembrandt anchors the mystery in concrete detail.
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Rembrandt
The Resurrection of Christ
Rembrandt places emphasis on victory - according to Rembrandt in "The Resurrection of Christ" - on the tomb. Rembrandt brings the episode - in "The Resurrection of Christ" - biblical closer to human experience. With "The Resurrection of Christ, Rembrandt tightens the action with direct framing.
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Rembrandt
The adulterous Woman before Christ
Rembrandt places emphasis on the word - according to Rembrandt in "The Adulterous Woman Before Christ" - which disarms. Rembrandt brings the episode closer - in "The Adulterous Woman Before Christ" - biblical to the human experience. With "The An adulterous woman before Christ", Rembrandt makes light a dramatic spring.
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Rembrandt
Christ driving the merchants out of the Temple
Rembrandt places emphasis on anger - according to Rembrandt in "Christ Chasing the Merchants out of the Temple" - in the Temple. Rembrandt brings the episode closer - in "Christ Chasing the Merchants out of the Temple" - biblical experience human. With "Christ chasing the merchants from the Temple", Rembrandt entrusts the essential to gestures and looks.
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Rembrandt
The Descent from the Cross
Rembrandt places emphasis on the hands - according to Rembrandt in "The Descent from the Cross" - supporting Christ. Rembrandt brings the episode - closer in "The Descent from the Cross" - biblical to the human experience. With "The Descent from the Cross", Rembrandt orders the scene around the decisive moment.
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Rembrandt
The Entombment
Rembrandt places emphasis on weight - according to Rembrandt in "The Entombment" - of the body. Rembrandt brings the episode - closer in "The Entombment" - biblical to the human experience. With "The Entombment", Rembrandt erases the setting behind human emotion.
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Rembrandt
The Lamentation over the Dead Christ
Rembrandt places emphasis on pain - according to Rembrandt in "The Lamentation over the Dead Christ" - entrusted to gestures. Rembrandt brings the episode - closer in "The Lamentation over the Dead Christ" - biblical to human experience. With " Lamentation over the dead Christ, Rembrandt circulates silence through color.
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Rembrandt
Christ and Mary Magdalene at the tomb
Rembrandt places emphasis on weight - according to Rembrandt in "Christ and Mary Magdalene at the Tomb" - of the body. Rembrandt brings the episode - closer in "Christ and Mary Magdalene at the Tomb" - biblical to human experience. With " Christ and Mary Magdalene at the tomb", Rembrandt brings the sacred episode closer to his time.
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Rembrandt
Christ on the cross
Rembrandt emphasizes the presence - according to Rembrandt in "Christ on the Cross" - of Christ. Rembrandt brings the episode - closer in "Christ on the Cross" - biblical to human experience. With "Christ on the Cross", Rembrandt measures revelation by the reactions of witnesses.
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Rembrandt
Head of Christ
Rembrandt places emphasis on the humanity of the - according to Rembrandt in "Head of Christ" - face. Rembrandt brings the episode - in "Head of Christ" - biblical closer to human experience. With "Head of Christ", Rembrandt gives space a theatrical gravity.
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Rembrandt
The Adoration of the Shepherds
Rembrandt places emphasis on looks - according to Rembrandt in "The Adoration of the Shepherds" - towards the Child. Rembrandt brings the episode - closer in "The Adoration of the Shepherds" - biblical to human experience. With "The Adoration of the Shepherds", Rembrandt anchors the mystery in concrete detail.
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Rembrandt
The Incredulity of Saint Thomas
Rembrandt places emphasis on the finger - according to Rembrandt in "The Unbelief of Saint Thomas" - by Thomas. Rembrandt brings the episode closer - in "The Unbelief of Saint Thomas" - biblical to human experience. With "The Unbelief of saint Thomas", Rembrandt tightens the action with a direct framing.
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El Greco
The Crucifixion
El Greco emphasizes silence - according to El Greco in "The Crucifixion" - of sacrifice. El Greco stretches the - in "The Crucifixion" - figures towards a supernatural light. With "The Crucifixion", El Greco makes light a dramatic spring.
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El Greco
Christ carrying the cross
El Greco places emphasis on the presence - according to El Greco in "Christ carrying the cross" - of Christ. El Greco stretches the - in "Christ carrying the cross" - figures towards a supernatural light. With "Christ carrying the cross", El Greco entrusts the essentials to gestures and looks.
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El Greco
Baptism of Christ
El Greco places emphasis on revelation - according to El Greco in "Baptism of Christ" - in the Jordan. El Greco stretches the - in "Baptism of Christ" - figures towards a supernatural light. With "Baptism of Christ", El Greco orders the scene around the decisive moment.
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El Greco
The Adoration of the Magi
El Greco places emphasis on looks - according to El Greco in "The Adoration of the Magi" - towards the Child. El Greco stretches the - in "The Adoration of the Magi" - figures towards a supernatural light. With "The Adoration of the Magi", El Greco erases the scenery behind human emotion.
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El Greco
The Holy Family
El Greco places emphasis on the intimacy of - according to El Greco in "The Holy Family" - the Incarnation. El Greco stretches the - in "The Holy Family" - figures towards a supernatural light. With "The Holy Family", El Greco circulates silence through color.
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El Greco
Crucifixion with the Virgin Mary and Saint John the Evangelist
El Greco places emphasis on silence - according to El Greco in "Crucifixion with the Virgin Mary and Saint John the Evangelist" - of sacrifice. El Greco stretches the - in "Crucifixion with the Virgin Mary and Saint John the Evangelist" - figures towards a supernatural light. With "Crucifixion with the Virgin Mary and Saint John the Evangelist", El Greco brings the sacred episode closer to its time.
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Artemisia Gentileschi
Adoration of the Magi
Artemisia Gentileschi places emphasis on looks - according to Artemisia Gentileschi in "Adoration of the Magi" - towards the Child. Artemisia Gentileschi gives the - in "Adoration of the Magi" - gestures an immediately readable authority. With "Adoration of the Magi", Artemisia Gentileschi measures revelation by the reactions of witnesses.
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Hieronymus Bosch
The worship of the wise men
Hieronymus Bosch places emphasis on looks - according to Hieronymus Bosch in "The Adoration of the Magi" - towards the Child. Hieronymus Bosch populates the - in "The Adoration of the Magi" - account of disturbing and minute signs. With " The adoration of the wise men, Hieronymus Bosch gives space a theatrical gravity.
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Hieronymus Bosch
Ecce Homo
Hieronymus Bosch places emphasis on innocence delivered - according to Hieronymus Bosch in "Ecce Homo" - to the crowd. Hieronymus Bosch populates the - in "Ecce Homo" - story of disturbing and minute signs. With "Ecce Homo", Hieronymus Bosch anchors the mystery in concrete detail.
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Hieronymus Bosch
Crucifixion with a donor
Hieronymus Bosch places emphasis on silence - according to Hieronymus Bosch in "Crucifixion with a donor" - of sacrifice. Hieronymus Bosch populates the - in "Crucifixion with a donor" - account of disturbing and minute signs. With "Crucifixion with a donor", Hieronymus Bosch tightens the action with a direct framing.
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Philippe de Champaigne
The Last Supper
Philippe de Champaigne places emphasis on the announcement of - according to Philippe de Champaigne in "The Last Supper" - betrayal. Philippe de Champaigne prefers the - in "The Last Supper" - austere clarity over emphasis. With "The Last Supper", Philippe de Champaigne makes light a dramatic spring.
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Philippe de Champaigne
Adoration of the Magi
Philippe de Champaigne places emphasis on looks - according to Philippe de Champaigne in "Adoration of the Magi" - towards the Child. Philippe de Champaigne prefers the - in "Adoration of the Magi" - austere clarity with emphasis. With " Adoration of the Magi", Philippe de Champaigne entrusts the essentials to gestures and looks.
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Titian
The Last Supper
Titian places emphasis on announcing - according to Titian in "The Last Supper" - betrayal. Titian makes - in "The Last Supper" - color the main dramatic force. With "The Last Supper", Titian orders the scene around the decisive moment.
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Titian
The Adoration of the Magi
Titian places emphasis on looks - according to Titian in "The Adoration of the Magi" - towards the Child. Titian makes - in "The Adoration of the Magi" - color the main dramatic force. With "The Adoration of the Magi", Titian erases the setting behind human emotion.
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Titian
Crucifixion
Titian places emphasis on silence - according to Titian in "Crucifixion" - of sacrifice. Titian makes - in "Crucifixion" - color the main dramatic force. With "Crucifixion", Titian circulates silence through color.
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Titian
The Transport of Christ to the Tomb
Titian places emphasis on weight - according to Titian in "The Transport of Christ to the Tomb" - of the body. Titian makes - in "The Transport of Christ to the Tomb" - color the main dramatic force. With "The Transport of Christ to the Tomb", Titian brings the sacred episode closer to his time.
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Titian
Ecce Homo
Titian places emphasis on innocence delivered - according to Titian in "Ecce Homo" - to the crowd. Titian makes - in "Ecce Homo" - color the main dramatic force. With "Ecce Homo", Titian measures the revelation by the reactions of witnesses.
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Titian
The Holy Family with a shepherd
Titian emphasizes the intimacy of - according to Titian in "The Holy Family with a Shepherd" - the Incarnation. Titian makes - in "The Holy Family with a Shepherd" - color the main dramatic force. With "The Saint Family with a shepherd", Titian gives the space a theatrical gravity.
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Francisco de Goya
Baptism of Christ
Francisco de Goya places emphasis on revelation - according to Francisco de Goya in "Baptism of Christ" - in the Jordan. Francisco de Goya leaves the shadow - in "Baptism of Christ" - making violence closer. With "Baptism of Christ" ", Francisco de Goya anchors the mystery in a concrete detail.
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Francisco de Goya
The Holy Family
Francisco de Goya places emphasis on the intimacy of - according to Francisco de Goya in "The Holy Family" - the Incarnation. Francisco de Goya leaves the shadow - in "The Holy Family" - making violence closer. With "The Saint Family", Francisco de Goya tightens the action with a direct framing.
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Eugene Delacroix
Christ asleep during the storm
Eugène Delacroix places emphasis on calm - according to Eugène Delacroix in "Christ asleep during the storm" - in the middle of the waves. Eugène Delacroix charges the - in "Christ asleep during the storm" - color of momentum and compassion. With "Christ asleep during the storm", Eugène Delacroix makes light a dramatic spring.
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Eugene Delacroix
Christ on the Sea of Galilee
Eugène Delacroix places emphasis on trust - according to Eugène Delacroix in "Christ on the Sea of Galilee" - put to the test. Eugène Delacroix charges the - in "Christ on the Sea of Galilee" - color of momentum and compassion. With " Christ on the Sea of Galilee", Eugène Delacroix entrusts the essentials to gestures and looks.
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Eugene Delacroix
The Rise to Calvary
Eugène Delacroix places emphasis on walking - according to Eugène Delacroix in "La Montée au calvaire" - towards torture. Eugène Delacroix charges the - in "La Montée au calvaire" - color of momentum and compassion. With "The Ascent to Calvary" - color of momentum and compassion. With "The Ascent to Calvary" calvary", Eugène Delacroix orders the scene around the decisive moment.
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Eugene Delacroix
The crucifixion
Eugène Delacroix places emphasis on silence - according to Eugène Delacroix in "The Crucifixion" - of sacrifice. Eugène Delacroix charges the - in "The Crucifixion" - a color of momentum and compassion. With "The Crucifixion", Eugène Delacroix erases the decor behind human emotion.
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Eugene Delacroix
Ecce homo
Eugène Delacroix places emphasis on delivered innocence - according to Eugène Delacroix in "Ecce homo" - to the crowd. Eugène Delacroix charges the - in "Ecce homo" - color of momentum and compassion. With "Ecce homo", Eugène Delacroix circulates silence through color.
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John Singer Sargent
Crucifixion
John Singer Sargent emphasizes silence - according to John Singer Sargent in "Crucifixion" - of sacrifice. John Singer Sargent preserves the - in "Crucifixion" - freedom of the brush in large format. With "Crucifixion", John Singer Sargent brings the sacred episode closer to its time.
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Paul Cezanne
Christ in limbo
Paul Cézanne places emphasis on victory - according to Paul Cézanne in "Christ in Limbo" - among the dead. Paul Cézanne reconstructs the - in "Christ in Limbo" - volumes in relation to color. With "Christ in Limbo", Paul Cézanne measures the revelation by the reactions of witnesses.
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Franz Von Stuck
Crucifixion
Franz Von Stuck places emphasis on silence - according to Franz Von Stuck in "Crucifixion" - of sacrifice. Franz Von Stuck gives the - in "Crucifixion" - symbol an almost mineral density. With "Crucifixion", Franz Von Stuck gives the - in "Crucifixion" - symbol an almost mineral density. With "Crucifixion", Franz Von Stuck gives space a theatrical gravity.
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Édouard Manet
Jesus insulted by the soldiers
Édouard Manet places emphasis on dignity - according to Édouard Manet in "Jesus insulted by the soldiers" - facing the soldiers. Édouard Manet reduces the - in "Jesus insulted by the soldiers" - story to a frontal presence. With "Jesus insulted by the soldiers", Édouard Manet anchors the mystery in a concrete detail.
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Bouguereau
Pietà
Bouguereau places emphasis on the last - according to Bouguereau in "Pietà" - maternal gesture. Bouguereau combines drawing - in "Pietà" - academic and pathetic mastered. With "Pietà", Bouguereau tightens the action with direct framing.
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Bouguereau
The Holy Family
Bouguereau places emphasis on the intimacy of - according to Bouguereau in "The Holy Family" - the Incarnation. Bouguereau combines drawing - in "The Holy Family" - academic and pathetic mastered. With "The Holy Family", Bouguereau makes light a dramatic spring.
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Peter paul rubens
Baptism of Christ
Peter Paul Rubens places emphasis on revelation - according to Peter Paul Rubens in "Baptism of Christ" - in the Jordan. Peter Paul Rubens circulates - in "Baptism of Christ" - energy through diagonals and color. With "Baptism of Christ", Peter Paul Rubens entrusts the essential to gestures and looks.
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Peter paul rubens
Noli me tangere": the meeting of Christ and Mary Magdalene
Peter Paul Rubens places emphasis on gesture - according to Peter Paul Rubens in "Noli me tangere": the meeting of Christ and Mary Magdalene" - arrested at the tomb. Peter Paul Rubens circulates - in "Noli me tangere": the meeting of Christ and Mary Magdalene - energy through diagonals and color. With "Noli me tangere": the meeting of Christ and Mary Magdalene", Peter Paul Rubens orders the scene around the decisive moment.
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Peter paul rubens
The resurrection of Lazarus (copy)
Peter Paul Rubens places emphasis on victory - according to Peter Paul Rubens in "The Resurrection of Lazarus (copy)" - on the tomb. Peter Paul Rubens circulates - in "The Resurrection of Lazarus (copy)" - energy through the diagonals and color. With "The Resurrection of Lazarus (copy)", Peter Paul Rubens erases the setting behind human emotion.
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Peter paul rubens
Christ and repentant sinners
Peter Paul Rubens places emphasis on forgiveness - according to Peter Paul Rubens in "Christ and the Repentant Sinners" - which notes. Peter Paul Rubens circulates - in "Christ and the Repentant Sinners" - energy through diagonals and color. With "Christ and Repentant Sinners", Peter Paul Rubens circulates silence through color.
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Peter paul rubens
Entombment
Peter Paul Rubens places emphasis on weight - according to Peter Paul Rubens in "Entombing" - of the body. Peter Paul Rubens circulates - in "Entombing" - energy through diagonals and color. With "Entombing", Peter Paul Rubens brings the sacred episode closer to his time.
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Peter paul rubens
The Last Supper, circa 1631-1632
Peter Paul Rubens places emphasis on the announcement of - according to Peter Paul Rubens in "The Last Supper, circa 1631-1632" - betrayal. Peter Paul Rubens circulates - in "The Last Supper, circa 1631-1632" - energy through diagonals and color. With "The Last Supper, circa 1631-1632", Peter Paul Rubens measures the revelation by the reactions of witnesses.
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Peter paul rubens
Adoration of the Magi
Peter Paul Rubens places emphasis on looks - according to Peter Paul Rubens in "Adoration of the Magi" - towards the Child. Peter Paul Rubens circulates - in "Adoration of the Magi" - energy through diagonals and color. With " Adoration of the Magi", Peter Paul Rubens gives space a theatrical gravity.
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Bernardino Luini
Crucifixion with the Virgin and Saints Paul, Mary Magdalene, John and Francis
Bernardino Luini places emphasis on silence - according to Bernardino Luini in "Crucifixion with the Virgin and Saints Paul, Mary Magdalene, John and Francis" - of sacrifice. Bernardino Luini softens the - in "Crucifixion with the Virgin and Saints Paul, Mary Magdalene, John and Francis - story through silent gestures. With "Crucifixion with the Virgin and Saints Paul, Mary Magdalene, John and Francis", Bernardino Luini anchors the mystery in one detail concrete.
See the work ↗![The Crucifixion with the Virgin, Saint John, Saint Jerome and Saint Mary Magdalene [middle panel], painting by Pietro Perugino](https://cdn.shopify.com/s/files/1/0549/9656/6169/files/jesus-christ-top100-090.webp?v=1786340269)
Pietro Perugino
The Crucifixion with the Virgin, Saint John, Saint Jerome and Saint Mary Magdalene [middle panel]
Pietro Perugino places emphasis on silence - according to Pietro Perugino in "The Crucifixion with the Virgin, Saint John, Saint Jerome and Saint Mary Magdalene [middle panel]" - of sacrifice. Pietro Perugino orders the - in "The Crucifixion with the Virgin, Saint John, Saint Jerome and Saint Mary Magdalene [middle panel]" - figures in a calm and clear space. With "The Crucifixion with the Virgin, Saint John, Saint Jerome and Saint Mary Magdalene [panel from the middle]", Pietro Perugino tightens the action with a direct framing.
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Duccio di Buoninsegna
Burial of Christ (top); Descent from the Cross (bottom)
Duccio di Buoninsegna places emphasis on the hands - according to Duccio di Buoninsegna in "Bury of Christ (top); Descent from the Cross (bottom)" - supporting Christ. Duccio di Buoninsegna makes - vibrate in "Bury of Christ (top); Descent from the Cross (bottom)" - gold around narrative gestures. With "Bury of Christ (top); Descent from the Cross (bottom)", Duccio di Buoninsegna makes light a dramatic spring.
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Hugo van der Goes
Adoration of the Magi in front of the stable on the hill
Hugo van der Goes places emphasis on looks - according to Hugo van der Goes in "Adoration of the Magi in front of the stable on the hill" - towards the Child. Hugo van der Goes contrasts the - in "Adoration of the Magi in front of the stable on the hill" ' - earthly detail with sacred intensity. With "Adoration of the Magi in front of the stable on the hill", Hugo van der Goes entrusts the essentials to gestures and looks.
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Petrus Christus
The adoration of the Child Jesus; in the background, the Annunciation to the shepherds
Petrus Christus places emphasis on looks - according to Petrus Christus in "The Adoration of the Child Jesus; in the background, the Annunciation to the shepherds" - towards the Child. Petrus Christus condenses the - in "The Adoration of the Child Jesus ; in the background, the Annunciation to the shepherds - mystery in Flemish precision. With "The Adoration of the Child Jesus; in the background, the Annunciation to the Shepherds", Petrus Christus orders the scene around the decisive moment.
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Jan Brueghel the Elder
Christ's baptism in the Jordan
Jan Brueghel the Elder places emphasis on revelation - according to Jan Brueghel the Elder in "The Baptism of Christ in the Jordan" - in the Jordan. Jan Brueghel the Elder deploys the episode - in "The Baptism of Christ in the Jordan" - in a meticulously inhabited landscape. With "The Baptism of Christ in the Jordan", Jan Brueghel the Elder erases the setting behind human emotion.
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JMW Turner
Christ Driving the Traders from the Temple
JMW Turner places emphasis on anger - according to JMW Turner in "Christ Driving the Traders from the Temple" - in the Temple. JMW Turner dissolves the - in "Christ Driving the Traders from the Temple" - story in the atmosphere and the light. With "Christ Driving the Traders from the Temple", JMW Turner circulates silence through color.
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JMW Turner
Landscape: Christ and the Woman of Samaria
JMW Turner places emphasis on revelation - according to JMW Turner in "Landscape: Christ and the Woman of Samaria" - near the well. JMW Turner dissolves the - in "Landscape: Christ and the Woman of Samaria" - story in the atmosphere and the light. With "Landscape: Christ and the Woman of Samaria", JMW Turner brings the sacred episode closer to its time.
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JMW Turner
Holy Family
JMW Turner places emphasis on the intimacy of - according to JMW Turner in "Holy Family" - the Incarnation. JMW Turner dissolves the - in "Holy Family" - story in atmosphere and light. With "Holy Family", JMW Turner measures the revelation by the reactions of witnesses.
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Giovanni Battista Tiepolo
The Adoration of the Magi
Giovanni Battista Tiepolo places emphasis on looks - according to Giovanni Battista Tiepolo in "The Adoration of the Magi" - towards the Child. Giovanni Battista Tiepolo opens the - in "The Adoration of the Magi" - scene towards a theatrical sky. With "The Adoration of the Magi", Giovanni Battista Tiepolo gives space a theatrical gravity.
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Giovanni Battista Tiepolo
Ecce Homo
Giovanni Battista Tiepolo places emphasis on innocence delivered - according to Giovanni Battista Tiepolo in "Ecce Homo" - to the crowd. Giovanni Battista Tiepolo opens the - in "Ecce Homo" - scene towards a theatrical sky. With "Ecce Homo", Giovanni Battista Tiepolo anchors the mystery in a concrete detail.
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Antoine van Dyck
Christ of the Room
Antoine van Dyck places emphasis on majesty - according to Antoine van Dyck in "Christ of the Room" - silent of Christ. Antoine van Dyck elevates the - in "Christ of the Room" - pain through the elegance of attitudes. With "Christ of the Room" Piece", Antoine van Dyck tightens the action with direct framing.
See the work ↗One story, a hundred looks
From one workshop to another, the same story changes climate: Leonardo suspends a meal, Caravaggio illuminates a revelation and Rembrandt makes the sacred almost domestic. These images do not simply illustrate the Gospels; they show how each era imagined the presence of Christ.
To extend the visit, discover it jesus Christ Collection, the Crucifixions and the Baptisms of Christ.
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