Crucifixion Artworks

Dramatic engravings portraying the crucifixion of Christ, highlighting emotional figures and religious symbolism from different artistic interpretations.

Christ on the Cross, 1580 - 1620 print Christ on the cross. On the left is Maria, on the right the apostle Johannes. paper engraving crucified Christ with Mary and John on either side of the cross; Holy Rood

. Christ receives Maria in heaven. He holds his cross and shows his stigmata. Maria kneels in front of him and holds her hand against her chest. Three angels watch, one of them holds the cross. In the margin two times two-time caption in Latin.

Landscape with Christ, 1585 print Christ stands next to the cross and shows the wound in his side. In the background a face on a city in a hilly landscape. Under the show a Bible text in Latin from Mat. 28: 18-19. This print is part of an album. paper engraving Christ showing his wounds

The Crucifixion. Martin Schongauer; German, c. 1450-1491. Date: 1470-1491. Dimensions: 119 × 85 mm. Engraving in black on ivory laid paper. Origin: Germany. Museum: The Chicago Art Institute, USA.

The Crucifixion, Execution, of Jesus of Nazareth, Christ, Good Friday, Golgotha, 1450, Martin Schongauer, Germany, Historical, digitally restored reproduction from a 19th century original.

Crucified Christ with Maria, Mary Magdalene and John; Passio Verbeticae Quae Redeptio Christ (...). Crucified Christ with Maria, Mary Magdalene and John. Down dice soldiers. Shaded background. From series of 14 ovals with grotesken in which scenes are depicted by the passion.

Worship of the Christ child by martyrs; Worship of the Christ child. Martyrs, including the H. Laurentius, the H. Sebastiaan (left) and the H. Barbara and H. Catharina (right), worship the Christ child. The child looks down on them from the clouds, in his hands a crown and flowers. In the margin a six-line caption, in two columns, in Latin.

Unbelieving Tomas, Albrecht Dürer, 1510 print The Disciple Tomas feels on the silk wound of Christ, surrounded by the other disciples. This print is part of the press series 'De Kleine Passie', consisting of a title print and 36 Biblical scenes (mainly from the suffering story). Nuremberg paper Thomas touching or stretching out his hands to touch the wound in Christ's side, sometimes Christ leading Thomas' hand

The resurrected Christ stands on a knoll and displays his cross wounds. Next to him Mary and John the Baptist looking up at him in adoration. In the margin a three-line caption in Latin., Resurrected Christ accompanied by Mary and John the Baptist, print maker: Hieronymus Wierix, (mentioned on object), publisher: Hieronymus Wierix, (mentioned on object), Joachim de Buschere, (mentioned on object), Antwerp, 1563 - before 1619, paper, engraving, h 97 mm × w 65 mm

Apollo. Apollo as a god of the sun. His head is surrounded by a wreath of radiant light, his right fist has raised Apollo in the air.

Christ on the cross., 1547, Germany, by Georg Pencz. Gift of Bishop Monrad, 1869.

The mockery of Christ, Anthony van Dyck, 1630 - 1699 print The mockery of Christ by two men, a man mockingly touches him on the reed staff and a soldier hangs a cloak around his shoulders. With four lines of Latin text in the margin at the bottom. print maker: Antwerpprint maker: Low Countriesafter painting by: Antwerp paper etching / engraving mockings of Christ, who may be blindfolded

Tomb of Leonard Marius van der Goes. Graftombe of the Amsterdam priest and theologian Leonard Marius van der Goes, decorated with putti, a crucifix and symbols of death. A verse in the margin.

Lazio Roma Rome Episcopal Complex (S. Giovanni in Laterano, Baptistery, Cathedral, Cloister)60. Hutzel, Max 1960-1990 Exterior views of 5th c. baptistery, restored in the 17th c. Interior views of baptismal urn (16th c.), carved walls, ceiling and wall painting; of mosaics and bronze doors in Cappella del Battista; of altar and mosaics in Cappella di S. Venanzio; of mosaic and statue in Cappella di S. Giovanni Evangelista. Architecture, architectural sculpture, sculpture, sculptural fragments, fresco painting, painting, coffering, tiling, stucco. Views 756-886 are of the cathedral. Medieval: Architecture, architectural sculpture, sculptural fragments, architectural fragments, tombstones, mosaics, sculpture, fresco painting, sculptural relief. Object Notes: Hutzel includes guidebook in German on the site. prints matched to negs General Notes: Views 756 thru 886 are of the Baptistery. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s u

Ascension of Christ, Dominicus Custos, after Jacopo Ligozzi, c. 1579 - c. 1615 print Christ is brought to heaven by an angel. In the clouds around Christ, Cherubins. On the left Jerusalem, on the right the Calvarieberg with the three crosses. Augsburg paper engraving the Ascension (Christ surrounded by radiant light or in a mandorla)

Three crosses on Golgotha ..

Saint Helena finds Christ's cross. Two crosses of Golgotha are excavated and compared to each other to discover the true cross of Christ. On a bed a man has risen from death and the holy Helena kneels in front of the true cross. Below the show is a Latin verse about the healing power of the cross.

Amsterdam, Broedelet, Willem, Luyken, Jan, Solar eclipse at the death of Christ, verso lower left - stamped, Mount Golgotha with Christ on the cross between the two criminals. The sun has disappeared and it is dark. People are beating their chests in panic. In the background on the left Jerusalem., print, prints, height 272 mm, width 189 mm, Northern Netherlands, 1649-04-16 - 1712-04-05, print maker, printmaker, 1700 - 1700, paper, papier, etching, etchings, Work conception, after a design by, Publication (Event), Publication, publisher

Albrecht Altdorfer, The Large Crucifixion, c 1515 1517 The Large Crucifixion

Throne of Mercy: God the Father, Christ crucified and the Holy Ghost being venerated by angels, Louis I Anjou, King of Sicily and Louis's mother Joan I, Queen of Sicily. Engraving after C. Orimina.

. Christ on the cross, with Maria, Johannes, Maria Magdalena and soldiers. In the margin a fragment from Bible text John 19.

Christ on the cross. Christ hanging on the cross. In the view the city of Jerusalem on the right.

Christ on the Cross, 1756 print Christ hanging on the cross. In the horizon on the right the city of Jerusalem. Liège paper engraving (the skull or skeleton of) Adam at the foot of the cross of Christ (iconographic particularity to be used as additional notation only) Jerusalem

Vatican City, Paul V, Italy, Stefanoni, Pietro, Tempesta, Antonio, Crucifixion, verso - stamped, Christ hangs on the cross, between the two crosses with the two thieves. Under the cross the Marys, John and Mary Magdalene mourn. In the background the crowd of spectators and soldiers leave for the city again. Text and dedication in Latin in the lower margin., print, prints, height 478 mm, width 370 mm, Italian, 1555 - 1630-08-05, print maker, printmaker, 1612 - 1612, paper, papier, etching, etchings, Work conception, after own design by, Publication (Event), Publication, 1589 - 1627, publisher, uitgever, 1552 - 1621, granter van privilege

Allegory on Salvation Leaning by the belief in Christ, in or after 1629 - in or before 1646 print In the middle the sitting Christ as a man of sorrows with the passion tools. Left in the background Pilatus and High Priest Kaja pas. Above them in the clouds Moses with the Ten Commandments. On the right in the background King Herod and High Priest Annas. Death above them in the clouds. The print is part of an album. paper letterpress printing Man of Sorrows, 'Imago Pietatis', 'Erbärmdebild', 'Schmerzensmann'; the upright Christ showing his wounds, usually bearing the crown of thorns, and accompanied by the instruments of the Passion, standing or sitting in his tomb. 'Arma Christi'. Herod (not in biblical context). Moses (not in biblical context); possible attributes: rays of light or horns on his head, rod, Tables of the Law. male persons from the New Testament (with NAME) (not in biblical context). male persons from the New Testament (with NAME) (not in biblical context). male persons

ARBOL CON CRISTO CRUCIFICADO - GRABADO 1634. Author: ALONSO DE OVALLE. Location: INSTITUTO DE COOPERACION IBEROAMERICANA. MADRID. SPAIN.

Christ on the cross, worshiped by Ignatius from Loyola and Franciscus Xaverius. Christ is crucified to a living wine-rank full of grapes. At the foot of the tree kneel the Jesuits Ignatius from Loyola (left) and Franciscus Xaverius (right) in worship. In the margin a two-legged caption in Latin.

Rome, Rossi, Giovanni Giacomo de', Ferri, Ciro, unknown, Blondeau, Jacques, Christ on the cross with Mary, John and Mary Magdalene, verso lower left - stamped, print, prints, height 473 mm, width 341 mm, 1655-05-09 - 1698, print maker, 1665 - 1698, third quarter 17th century, fourth quarter 17th century, paper, engraving, engraving (printing process), Italian, 1634 - 1689-09-13, after, after a painting by, Publication (Event), Publication, 1627 - 1691, publisher

Christ on the Cross Master of Nuremberg, c1480 Pen and sepia ink Drawing. Museum of Fine Arts, Budapest.

Christ on the cross between Maria and Johannes de evangelist.

Harmensz van Rijn Rembrandt (1606-1669). "The large descent of the cross (B 81 - 2nd state), 1633". Museum of Fine Arts of the City of Paris, Petit Palais. 27006-7 Bible, corpse, Christian Christian, Cross, Christ, Cross, death, New Testament, Passion, Biblical scene

Cross direction. The cross with Christ is established using manpower and two ladders. Left is Mary fainted and overlooks Mary Magdalena with folded hands. There are a few soldiers behind the cross. Under the show a sixierable, Latin prayer.

The resurrection; The passion. Christ, a staff with a vane in hand, stands out from his grave. A sleeping and a few shocked soldiers are around it. This print is part of a series of twelve prints with scenes from the suffering story.

Christ as the fountain of life (Fons Vitae), Hieronymus Wierix, 1563 - before 1619

A black chalk and brown wash drawing by an anonymous artist depicting Christ on the cross, with white highlights.

A circa 1513 woodcut by Albrecht Dürer depicting Christ on the cross with three angels, showing detailed figures, composition, and early Renaissance printmaking techniques.

Institutions of Christ, Anonymous, After Maerten de Vos, 1560 - 1600 print John supports the body of Christ. Maria and Maria Magdalena mourning. On the left Nikodemus with a pot myrrh and/or aloe to ball the body. The passion tools are in the front. Under a one -line explanation in Latin. print maker: Low Countriesafter design by: Antwerp paper engraving lamentation over the dead Christ by his relatives and friends (Christ usually without crown of thorns). Christ is laid down ~ descent from the cross

Christ on the Cross flanked by the Virgin and Saint John ca 1530-1540 Dürer-School German. Christ on the Cross flanked by the Virgin and Saint John 343127

Kruisiging, Jacques Callot, 1608 - 1611 print Maria and John the Evangelist are on either side of the crucified Christ. This print is part of (the second state of) a series of 29 performances of paintings and sculptures in churches in Rome, numbered 1-16 and 1-13. (The first state of this series, in which the prints are unnumbered, also includes a title print). Rome paper engraving crucified Christ with Mary and John on either side of the cross; Holy Rood

Christ on the Cross between the Virgin and Saint John, 1503. Lucas Cranach (German, 1472-1553). Woodcut on vellum, hand colored with watercolor ; image: 22.7 x 16.2 cm (8 15/16 x 6 3/8 in.).

Establishment of the Cross, Schelte Adamsz. Bolswert, After Anthony Van Dyck, 1596 - 1659 print Creation of the cross. Under quote from Luke 23, verse 33. paper engraving raising of the cross to which Christ is nailed already

Andrés Marzo / 'Bishop receiving an Image of the Crucified'. Mid-XVIIcentury. Grey-brown wash, Pencil ground, Ink on laid paper. Museum: Museo del Prado, Madrid, España.

A copper engraving by Marcantonio Raimondi from the first half of the 16th century depicting Christ appearing to his disciples, showing figures, gestures, and composition.

The Ascension of Christ. Artist: Attributed to Ventura Salimbeni (Italian, Siena 1568-1613 Siena). Dimensions: 12-3/16 x 8-11/16 in. (31 x 22.1 cm). Date: 1568-1613. Museum: Metropolitan Museum of Art, New York, USA.

Crucifixion (Round) Made 1519 Germany. Albrecht D¸rer engraved this Crucifixion scene on a small golden plate, which likely decorated the Holy Roman Emperor Maximilianís hat or sword hilt. The backward letters INRI (identifying Christ as the so-called King of the Jews) and the switched placement of Mary and John suggest that this impression was pulled from such a plate, the image appearing in reverse as a result of the printing process. Considering the softness of precious metals, gold plates were primarily intended as jewelry rather than as printing matrices. D¸rerís early training with his goldsmith father likely influenced his skill with the burin, especially on this minute scale.. Engraving in black on ivory laid paper . Albrecht Dürer

. Christ on the cross, with Maria, Johannes, Maria Magdalena and soldiers. In the margin a fragment from Bible text John 19.

Christ resurrected emerges from his tomb. Line engraving by S.A. Bolswert after P.P. Rubens.

Resurrection of Christ, Anonymous, After Gaspar de Crayer, 1669 - 1678 print The risen Christ is on his tomb. He looks up and holds a cross with a banner in his right hand. Three cherubs can be seen above the staff. In the margin a single -line, praising caption about the deceased painter in Latin. print maker: Low Countriesafter painting by: Southern Netherlandspublisher: Antwerp paper engraving Christ, usually holding a banner, arises from the grave; often combined with sleeping and/or frightened soldiers

Maria by the Cross, Anonymous, After Michelangelo, 1579 print Maria is sitting with raised arms at the foot of the cross. For her, the body of Christ is held by two small men. print maker: Italyafter design by: Rome paper engraving Christ's body supported. appearances of Mary

The Passion: The Crucifixion, before 1508. Urs I Graf (Swiss, c. 1485-1527/29). Woodcut with hand coloring;

Head of Christ with crown of thorns, in an oval frame with a ribbon above and banderole below, after Reni 1600-1700 Engraved by Cajetanus Urbinas Italian After a painting by Reni. Verso is not visible as print is laid to another sheet of paper.. Head of Christ with crown of thorns, in an oval frame with a ribbon above and banderole below, after Reni 668331

Alkmaar, Schabaelje, Jan Philipsz, Amsterdam, Visscher, Claes Jansz. (II), Vos, Maerten de, Den Grooten Figuer-Bibel, Zeven werken van barmhartigheid, Van de Wercken der Barmherticheyt, Separating the sheep from the goats and the last judgement, bottom right - handwritten in brown ink, The archangel Michael separates the sheep from the goats. Christ is enthroned on the clouds, flanked by Mary and John. The dead are led to heaven (left) or to hell (right) by angels. Below the image is a reference in Latin to the Bible text in Mat. 25:31. This print is part of an album., print, prent, albumblad, prints, prenten, 124, height 210 mm, width 246 mm, print maker, prentmaker, 1585 - 1585, paper, papier, engraving, engraving (printing process), Work conception, Zuid-Nederlands, 1532 - 1603-12-04, after a design by, Publication (Event), Publicatie, Noord-Nederlands, 1586 - 1652-06-19, publisher, uitgever, 1592 - 1656-04

Veronica offers Christ a sweat cloth. Christ collapses under the cross, two men beat him with ropes and pull it further. Veronica kneels next to him and offers him a sweat cloth. Presentation in lying oval with peripherals in Latin.

Christ standing, hands tied with rope 19th century Anonymous. Christ standing, hands tied with rope. Anonymous. 19th century. Woodcut. Prints

Here, 1625 - 1670 print Top plate. In the foreground of the print is the 'Ecce Homo', the stuffed and crowned Christ. Christ is on an increase on which Ecce Homo is written. He wears a robe and his hands are tied. In his right hand he holds a reed stalk as a scepter. He is crying. paper engraving Christ alone (also called 'Ecce Homo')

Earthly and heavenly triunular, Hieronymus Wierix, 1563 - Before 1619 print Landscape with the Christ child, amidst Mary and Joseph. Above the child, the Holy Spirit in the form of a pigeon and God the Father, surrounded by Cherubin. The Christ child is worshiped by kneeling children. In the margin a six -line caption, in two columns, in Latin. Antwerp paper engraving the Holy Trinity, 'Trinitas coelestis'; Father, Son and Holy Ghost ~ Christian religion. Quinity

Antwerp, Galle, Theodoor, Rubens, Peter Paul, Cornelis (I), Christ shown to the people (Ecce Homo), verso - stamped, Christ with the crown of thorns is shown to the people by two soldiers shown to the people. Below the representation a Latin Bible verse from Song of Solomon. 3., print, prent, prints, height 370 mm, width 280 mm, Southern Netherlands, 1576 - 1650-03-29, print maker, printmaker, 1586 - 1633, paper, papier, engraving, engraving (printing process), 1577-06-28 - 1640-05-30, after, after painting by, Publication (Event), Publication, 1571 - 1633, publisher

Copper engraving by Jean Duvet around 1550-1555 depicting Saints Sebastian, Antonius, and Rochus, illustrating Christian saint veneration and hagiographic imagery.

Resurrection of Christ, Anonymous, After Gaspar de Crayer, 1669 - 1670 print The risen Christ is on his tomb. He looks up and holds a cross with a banner in his right hand. Three cherubs can be seen above the staff. In the margin a single -line, praising caption about the deceased painter in Latin. paper engraving Christ, usually holding a banner, arises from the grave; often combined with sleeping and/or frightened soldiers

Savanarola: Operetta Molto Divota, Firenze, 1508 woodcut of the crucixion

Christ with the Cross, Nicolaes Ryckmans, After Peter Paul Rubens, 1630 - 1706 print print maker: Southern Netherlandspublisher: Amsterdam paper engraving Christ

Christ on the Cross, 1400s. Germany, 15th century. Woodcut with watercolor added by hand;

. Diana seen on the back, represented as the moon goddess Luna with the crescent lake on her head. Pendant of Apollo as the Sun God Helios (SOL).

Here, John Valdor (1), 1590 - 1645 print Southern Netherlands paper engraving Pilate Showing Christ to the People, 'Display Christ', 'Here man' (John 19: 4-6)

Leeping of Dead Christ by Maria, Anonymous, After Marcantonio Raimondi, After Rafaël, 1602 print paper engraving 'Pietà', 'Vesperbild', 'Marienklage' (no others present): Christ, either with or without crown of thorns, mourned by Mary

Christ as a man of sorrows, anonymous, 1550 - 1650 print Netherlands paper engraving Man of Sorrows, 'Imago Pietatis', 'Erbärmdebild', 'Schmerzensmann'; the upright Christ showing his wounds, usually bearing the crown of thorns, and accompanied by the instruments of the Passion, standing or sitting in his tomb

Retreen Christ standing between Saints Andreas and Longinus, Andrea Mantegna, 1470 - 1474 print Italy paper engraving the risen Christ (with wounds, but without crown of thorns), sometimes holding the cross. the apostle Andrew; possible attributes: book, X-shaped cross, fish, fishing-net, rope, scroll. the soldier Longinus (the centurion) of Caesarea; possible attributes: lance, pyx

Crossing, 1596 - 1598 print Men on ladders remove the nails and the body of Christ is lifted down. In the foreground, Maria and John are sitting on the right. There are two women on the left. Eleventh print in a series of performances of the suffering story. Print is part of an album. paper engraving descent from the cross: Christ is taken down from the cross, usually by Nicodemus and Joseph of Arimathaea who are standing on the ladders (both arms of Christ detached)

Christ on the Cross Between Mary and Saint John 1460-1470 Southern Germany. Like the Man of Sorrows nearby (1944.172), this woodcut depicting Christís mother and his most beloved apostle in mourning is a rare example of European medieval devotional practices. The print was found pasted with several others in a book in the library of the Abbey of Saint Gall. Christís Crucifixion and Resurrection formed the crux of Christian belief, and so these events were depicted frequently. The hand-colored blood on Christís body has since faded to light brown, softening its visual impact. As a result, however, this image becomes even more quietly poignant and melancholy.. Handcolored woodcut, printed through rubbing, on paper . Unknown artist

Albrecht Dürer (1471-1528). Saint Sébastien attached to a tree (Bartsch 55). 1500-1501. Museum of Fine Arts of the City of Paris, Petit Palais. 77214-16 Chretian art, religious art, bible, Christianity, biblical character, holy character, biblical rear, Christian religion, renaissance, biblical scene, religious scene, life Christ, 16th XVI 16th 16th 16th 16 century, engraving

Jacques Callot, The Holy Trinity in the Tree of Life, Adored by Franciscans, in or after 1621 The Holy Trinity in the Tree of Life, Adored by Franciscans

Christ as Man of Sorrows Devotion prints (series title), Christ sits with spread arms on the edge of a basin. He shows his wounds and lets the blood flow into the basin. A few passion tools in the background. Above the representation God the Father and around smaller cartouches with eight crucifixions of various saints, Man of Sorrows, 'Imago Pietatis', 'Erbärmdebild', 'Schmerzensmann', the upright Christ showing his wounds, usually bearing the crown of thorns, and accompanied by the instruments of the Passion, standing or sitting in his tomb, Pierre Firens (mentioned on object), Paris (possibly), 1600 - 1639, paper, engraving, h 137 mm × w 95 mm

Leeping of Dead Christ by Maria, Marcantonio Raimondi, After Rafaël, 1515 - 1517 print paper engraving 'Pietà', 'Vesperbild', 'Marienklage' (no others present): Christ, either with or without crown of thorns, mourned by Mary

Christ on the Cross with Three Angels, woodcut by Albrecht Duerer, historical, digitally improved reproduction of an old woodcut

The Crucifixion, Arent van Bolten (attributed to), c. 1610 A silver driven plaque with a representation of the crucifixion. In the middle Christ on the cross. At the foot of the cross, Maria Magdalena kneels, on the right, Maria and John are standing. silver (metal) A silver driven plaque with a representation of the crucifixion. In the middle Christ on the cross. At the foot of the cross, Maria Magdalena kneels, on the right, Maria and John are standing. silver (metal)

Umbria Perugia San Giacomo di Spoleto S. Giacomo0. Hutzel, Max 1960-1990 One exterior view and many negatives of this thirteenth-century church. Interior views focus on the apse and side chapel frescoes. In the apse: St. Mary Magdalen, St. Apollonia, St. James and two of his miracles, the Coronation of the Virgin. In the Cappella S. Sebastiano: St. Sebastian, St. Roch and Pope Gregory (1528 frescoes by Lo Spagna). To the right of the apse: the Madonna, Angels, Saints Peter, Anthony Abbot, and Bartholomew. Also views of altar paintings, reliquaries, gilt crucifix, and two wooden candle holders/statues of boys (17th century). Object Notes: Hutzel made two photo campaigns of this church, first on February 7, 1982 and then on January 31, 1983. There are only 50 different views for the 82 prints. Thus it seems that most of the photographs come from the same campaign though Hutzel made two separate worksheets. The photos have been renumbered. German-born photographer and scholar Max Hutzel (

Crucifixion of Christ, Hieronymus Wierix, 1563 - before 1619

Saint Sebastiaan. The Sacred Sebastiaan, tied to a pillar, arrows in his body.

Christ on the Cross, Raphaël Sadeler (I), 1617 print Christ on the cross with the Ten Commandments in Latin in the margin. München paper engraving comprehensive representations of the events on Golgotha during Christ's hanging on the cross, no particular event emphasized - DD - only Christ on the cross. the ten commandments represented together. devotion ~ Christ

Anonymous drawing of Christ on the cross, executed in red chalk and chalk, with paper crease near the cross.

The Holy Sebastian. Saint Sebastian, tied to a tree, arrows in his body.

Rate Christ between Petrus and John the Evangelist. The resurrection Christ shows the cross wound in his side. He stands between H. Petrus (with key) and the H. Johannes (with eagle). In the margin a title in Hebrew, a three-legged bible quote from hand. 4 and a four-line bible quote from hand. 3, in two columns, in Latin.

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