Religious Art Depicting Biblical Scenes

Artworks illustrating key Biblical moments, featuring figures in historical attire. The mood is often serious, with dark colors and dramatic lighting.

The Unbelief of Thomas James Tissot (1836-1902/French)

The Unbelief of Thomas James Tissot (1836-1902/French)

VENDEDORAS DE BUÑUELOS - SIGLO XIX. Location: MUSEO NACIONAL DE HISTORIA CASTILLO DE CHAPULTEPEC. MEXICO CITY. CIUDAD DE MEXICO.

Scene from the biblical story, The birth of Jesus in Bethlehem is the central event of the Christmas story, told in the Bible where Mary and Joseph had to travel there because of a census and Jesus was placed in a manger in a stable or a grotto, authentic reproduction of a school mural, historical, around 1900

Jesus with the woman caught in adultery

Abruzzo, L'Aquila, Celano, S. Maria Valleverde, Italy, 20th century, photo, photography, Europe

Fresco depicting the life of St. Benedict, by Signorelli, scene 27, Benedict revealing the deception of the Gothic King Totila who sent a servant disguised as the king, cloister of Abbazia di Monte Oliveto Maggiore Abbey, Tuscany, Italy, Europe

Scene from the biblical story, The Birth of Jesus, authentic reproduction of a school mural, historical, around 1900

Matt. 1613-20. When Jesus came into the coasts of Caesarea Philippi, He asked His disciples, saying, Whom do men say that I the Son of Man am. 1950, Syria, Damascus Province, Bāniyās

Christ among sick people and the Pharisees ('The hundred guilder print'). Wood engraving by H. Linton after T. Beech () after Rembrandt, 1649.

The Pharisee and the Publican - New Testament Proverb

Burial of John the Baptist. Engraving, 19th century.

Jordi Arenas / "La primera pascua" (The first Easter), 1960, fresco painting, chapel of the sacrament, church of Santa Anna de Mataró. Author: JORDI ARENAS I CLAVELL.

Divine Comedy, Russia, Minsk, National Art Museum of Belorussian Republic, 51x37, 5

Le possédé au pied du Thabor (The Possessed Boy at the Foot of Mount Tabor) James Tissot (French, 1836-1902). Le possédé au pied du Thabor (The Possessed Boy at the Foot of Mount Tabor), 1886-1896. Opaque watercolor over graphite on gray wove paper, Image: 9 5/16 x 6 1/2 in. (23.7 x 16.5 cm). European Art 1886-1896

Biblical Scene, John and the Galilee, Historical, Digital Reproduction of an Original 19th century Artwork

Biblische Szene, johannes und der galilees, Historisch, digitale Reproduktion einer Originalvorlage aus dem 19. Jahrhundert

Simon of Cyrene & His Two Sons James Tissot (1836-1902 French)

Fresco of the Stations of the Cross, portico of the pilgrimage church ofSacro Monte della Santissima Trinita di Ghiffa in Ghiffa on Lake Maggiore, Piedmont, Italy, Europe

painting by Paul Delaroche: le Christ, espoir et soutien des Affligés, Robert Jefferson Bingham, Goupil & Cie, 1858.

I Thirst, Vinegar Given to Jesus James Tissot(1836-1902/French)

Mosaic at Church of All Nations, alternative name Basilica of Agony; Mount Of Olives, Jerusalem, Israel

Painting depicting the return of the prodigal son

Spanish civil war: The Jesuits Abandon The Leprosy Of Fontilles

The First Denial of Saint Peter (Premier reniement de Saint Pierre ) James Tissot (French, 1836-1902). , 1886-1894. Opaque watercolor over graphite on gray wove paper, image: 10 1/2 x 7 1/16 in. (26.7 x 17.9 cm). When warned by Jesus that he would deny him three times before the cock crowedbefore the dawnPeter vehemently objected, asserting his fidelity and pledging to die alongside Jesus. However, the prophecy is realized. Peter first denies his status as a disciple to the maidservant who points an accusatory finger at him while guarding the door to the chief priest’s chamber. Later, admitted to the priest’s rooms, where he warms himself by the fire, Peter again rejects the association when asked a second time; his hands are raised in protest as all await his response. Finally, questioned a third time, Peter again denies knowing Jesus, just as the cock crows. Betrayed by his disciple, as he had foretold, Jesus in this image looks in Peter’s direction with sadness, as he is escorted

The nativity, Birth of Christ in the manger, Illustration from the Dore Bible 1866. In 1866, the French artist and illustrator Gustave Doré (18321883), published a series of 241 wood engravings for a new deluxe edition of the 1843 French translation of the Vulgate Bible, popularly known as the Bible de Tours. This new edition was known as La Grande Bible de Tours and its illustrations were immensely successful.

The Procession in the Streets of Jerusalem (Le cortège dans les rues de Jérusalem) James Tissot (French, 1836-1902). The Procession in the Streets of Jerusalem (Le cortège dans les rues de Jérusalem), 1886-1894. Opaque watercolor over graphite on gray wove paper, Image: 8 7/8 x 6 15/16 in. (22.5 x 17.6 cm). Sitting astride a donkey, Jesus enters Jerusalem during the Passover season in triumph, receiving the acclamation of his followers, who call him the prophet of Nazareth and place garments or other textiles in his path, a homage typically reserved for kings. The multitudes also register their respect with bowed heads, outstretched arms, and clapping hands. Several of his followers celebrate his arrival with palm fronds, a symbol of victory in Jewish tradition. These palms subsequently gave the name to the Sunday that begins Holy Week and leads to the Passion. In the foreground, the figures of two young boys from Tissots drawings are repeated several times in a variety of poses and

Jordi Arenas / "La presencia del maná en el desierto" (The presence of manna in the desert) (detail), 1960, Fresco painting, chapel of the sacrament, church of Santa Anna de Mataró. Author: JORDI ARENAS I CLAVELL.

British emigrants on their way to America as steerage passengers. From 'The Graphic', London, March 1870. Wood engraving

The Two Men Possessed with Devils (Les deux démoniaques) James Tissot (French, 1836-1902). The Two Men Possessed with Devils (Les deux démoniaques), 1886-1894. Opaque watercolor over graphite on gray wove paper, Image: 6 5/8 x 9 7/8 in. (16.8 x 25.1 cm). As earlier temptation episodes foretold, the devil left Jesus for a season” but reappeared time and again to test him in the form of possessed outcasts. Here, in a barren landscape pocked with caves and tombs—a terrain familiar from Tissot’s sketches of the Valley of Hinnom—Jesus encounters two men afflicted with demons, while a herd of swine wanders on the horizon. Tissot notes that the Gentiles, sometimes in the employ of Jews, tended swine in these lands, despite Jewish tradition, which regarded the animals as unclean. According to Matthew, so fearsome were these possessed men that few dared to roam in these lands. Nude, emaciated, and long-haired, the men jump and flail before Jesus and the disciples. Casting the devils out, Jesu

Sermon on the Mount by Gustave Dore, print, (1832-1883)

A 1519 chiaroscuro woodcut by Hans Springinklee from two plates depicting the Holy Family, with Mary, Joseph, and infant Jesus.

Burial of Jesus. The crucified Jesus is laid to rest in the sepulcher (John 19: 41-42) New Testament. Antique bible illustration by Gustave Dore (1832-1883)

Jesus Heals a Mute Possessed Man (Jésus guérit un possédé muet) James Tissot (French, 1836-1902). Jesus Heals a Mute Possessed Man (Jésus guérit un possédé muet), 1886-1896. Opaque watercolor over graphite on gray wove paper, Image: 9 13/16 x 6 3/16 in. (24.9 x 15.7 cm). European Art 1886-1896

Adulterous Woman by Gustave Dore, illustration, (1832-1883)

"I Thirst": The Vinegar Given to Jesus ("J'ai soif." Le vinaigre donné à Jésus) James Tissot (French, 1836-1902). "I Thirst": The Vinegar Given to Jesus ("J'ai soif." Le vinaigre donné à Jésus), 1886-1894. Opaque watercolor over graphite on gray wove paper, Image: 10 1/16 x 7 3/8 in. (25.6 x 18.7 cm). European Art 1886-1894

St. John Leading Home His Adopted Mother Dyce, William(1806-1864 British) Oil On Panel Christie's Images, London, England

The Good Samaritan brings the injured man to the inn (Luke 10:34) New Testament. Antique digitally colored Biblical illustration by Gustave Doré (1832-1883)

Biblical story, Jesus awakens the daughter of Darius, Historical steel engraving from 1860

The Winnower James Tissot (1836-1902 French)

Isaac blesses Jacob, chromolithograph from a home bible, 1870

Fresco of the Stations of the Cross, portico of the pilgrimage church ofSacro Monte della Santissima Trinita di Ghiffa in Ghiffa on Lake Maggiore, Piedmont, Italy, Europe

Antwerp, Jode, Gerard de, Broeck, Crispijn van den, Wierix, Johannes, Mnimata Dominicae Passionis Historiam Necisque Nostrae Mortem Complexa, Passion of Christ, Entombment, Christ is laid in the rock tomb by Joseph of Arimathea, John, Nicodemus and the Marys. One of the men shows the crown of thorns. Below the representation is a seven-line text in Latin. This print is part of an album., print, album sheet, prints, height 167 mm, width 128 mm, Southern Netherlands, 1549 - 1618, print maker, printmaker, 1572 - 1572, paper, engraving, engraving (printing process), Work conception, 1524 - 1591, after a design by, Publication (Event), Publication, Northern Netherlands, 1509 - 1591-02-05, publisher

Scene from the biblical story, The Garden of Gethsemane is the place at the foot of the Mount of Olives in Jerusalem where Jesus prayed with his disciples the night in front of his crucifixion, authentic reproduction of a school mural, historic, around 1900

Jesus Found in the Temple (Jesus retrouvé dans le temple) James Tissot (French, 1836-1902). Jesus Found in the Temple (Jesus retrouvé dans le temple), 1886-1894. Opaque watercolor over graphite on gray wove paper, Image: 10 1/8 x 6 15/16 in. (25.7 x 17.6 cm). European Art 1886-1894

Rembrandt, Harmensz van Rijn, (1606 - 1669), etching, ""Jesus healing the sick"", 1647 - 1649, 27,8 x 38,8 cm, Rijksmuseum, Amsterdam,

Shepherds On The Hillside by Cleveland Woodward

Jesus Christ descending into Hell, carrying with him the victorius Standard of the Cross and trampling under foot the spirit of evil, the wall of separation reared by sin falls to the ground, and the Saints of the Old Testament are set free

All the City Was Gathered Together James Tissot (1836-1902 French)

Mary Magdalene and the Holy Women at the Tomb James Tissot (1836-1902/French)

The Return from Golgotha by Paul Delaroche. Unknown

Christ blessing the children, by Gaetano Esposito (1858-1911).

Campania Caserta Capua Museo Campano38. Hutzel, Max 1960-1990 Medieval: Byzantine architectural fragments; parchment fragments with miniatures (12th century) from Montecassino; painted wooden crucifix (13th century); Carolingian crucifixes; Bishop's miter (11th century) of gold and silver damask; fresco (13th century). Post-medieval: Architecture (15th century). Formerly the Palazzo Antignano. Unusual Catalan/Moorish-style portal; Paintings on panel and canvas (15th-18th centuries); marble intarsia (16th century); marble sculpture: busts of Christ and Mary (17th century); sculpture of saints in marble and in wood (15th century); painted and gilded sculpture in wood; marble grave sculpture (16th century); sarcophagus with allegorical carvings; gold reliquary "Rosa d'Oro"; crucifix made of elephant tusk Specific Location: Pianterreno Antiquities: Italic sculpture (seated women holding babies); inscription. Photo campaign #1: 533 photos. Roman relief and sculpture; cinerary urns; Greek an

Gravestone by De Albertis in the cemetery of Staglieno in Genoa Italy, Anonymous, 1850-1876, Italy.

Oriental Bazaar or Souk

Scene from the biblical story, The story of the birth of Jesus and the shepherds, authentic reproduction of a school mural, historical, around 1900

Biblical History, St. Agnes, Historical Steel Engraving from 1860

Scene from the biblical story, Adoration of the Shepherds, a central scene of the Christmas story immediately following the birth of Jesus, authentic reproduction of a school mural, historical, around 1900

Brothers Sell Joseph into Slavery, 1855. Oil on canvas. Konstantin Flavitsky (1830-1866) Russian painter. Brothers count their money as half-naked Joseph is loaded onto a camel. Religion Judeo-Christian Old Testament

Biblical Story, Old and Young Tobias, Historical steel engraving from 1860

Gideon the Hebrew leader allows his soldiers to drink before battle. illustration by Arthur A. Dixon 1872-1959. From the Precious Gift: Bible Stories for Children by T W Wilson (1910).

The ecstasy of Saint Francis of Assisi; two angels next to him. Mezzotint by W. Say after L. Carracci, 18--.

Two of Those Sages - Like Pedlars among us - Scene from Gulliver's Travels

Biblical Story, Invocation of the Saints, Historical Steel Engraving from 1860

Scene from the biblical story, Elijah at Horeb, Sinai, a central biblical story in which the prophet Elijah flees into the desert after a confrontation with Queen Jezebel, is strengthened there by angels and reaches Mount Horeb after 40 days and nights, authentic reproduction of a school mural, historical, around 1900

The Women at the Sepulchre 1768 Benjamin West (1738-1820 American) Oil on Canvas Christie's Images, New York, USA

The Crucifixion, by Castiglione Giovanni Benedetto known as il Grechetto, 17th Century, 1660, oil on canvas, cm 60 x 45

Palestine is a name given to the geographic region between the Mediterranean Sea and the Jordan River. The region is also known as the Land of Israel, the Holy Land and the Southern Levant. In 1832 Palestine was conquered by Muhammad Ali's Egypt, but in 1840 Britain intervened and returned control of the Levant to the Ottomans in return for further capitulations. The end of the 19th century saw the beginning of Zionist immigration and the Revival of the Hebrew language. The movement was publicly supported by Great Britain during World War I with the Balfour Declaration of 1917. The British captured Jerusalem a month later, and were formally awarded a mandate in 1922. In 1947, following World War II and the Holocaust, the British Government announced their desire to terminate the Mandate, and the United Nations General Assembly voted to partition the territory into a Jewish state and an Arab state. The Jewish leadership accepted the proposal but the Arab Higher Committee rejected it; a

Stabat Mater (Women Behold Thy Son) James Tissot (1836-1902 French)

Jesus Heals the Blind and Lame on the Mountain (Sur la montagne Jésus guérit les aveugles et les boiteux) James Tissot (French, 1836-1902). Jesus Heals the Blind and Lame on the Mountain (Sur la montagne Jésus guérit les aveugles et les boiteux), 1886-1896. Opaque watercolor over graphite on gray wove paper, Image: 6 3/4 x 9 3/16 in. (17.1 x 23.3 cm). European Art 1886-1896

Glad Tidings to the Shepherds Mazuranic, Vladimir (Yugoslavian)

SAN JOAQUIN ENTRE LOS PASTORES - 1302-1305 - FRESCO - TRECENTO ITALIANO - ESCUELA FLORENTINA. Author: Giotto. Location: CAPILLA DE LOS SCROVEGNI. Padua. ITALIA.

Virgin Mary and Saint John returning from the tomb of Jesus Christ. Old 19th century engraved illustration from El Mundo Ilustrado 1880

Jesus is attended by angels. Colored Illustration for The life of Our Lord Jesus Christ written by the four evangelists, 1853

The caption for this illustration reads: He could not find a word to say. According to the tale: An old man went to the palace of the tsar to beg. The tsar was amazed at his eloquent speech and asked how he came to speak as he d id. Th eold man said his daughter had taught him. The tsar then assigned the old man impossible tasks. The daughter reocgnized them and had her father counter each with an impossible task for the tsar to do. Finally, the tsar wanted to meet the daughter, fell in love and married her. The girl had one condition that if he left her, she could take with her what she valued most. Years later the tsar told his wife to leave - she did but asked to stay one night. She got the tsar drunk and then placed him in a coach and the two went back to her father. When the tsar woke, he was angry, the girl showed him the letter with her one demand (shown here) - what she had taken was the tsar himself. He fell in love again, and they all went back to the palace. The The illustr

Biblical story, Catherine of Siena feeds the poor, Historical steel engraving from 1860

Christ in the Realm of the Dead. Date/Period: From 1891 until 1894. Painting. Oil on canvas. Height: 3,515 mm (11.53 ft); Width: 4,890 mm (16.04 ft). Author: JOAKIM SKOVGAARD.

The Ointment of the Magdalene (Le parfum de Madeleine) James Tissot (French, 1836-1902). The Ointment of the Magdalene (Le parfum de Madeleine), 1886-1894. Opaque watercolor over graphite on gray wove paper, Image: 8 3/4 x 10 15/16 in. (22.2 x 27.8 cm). Mary Magdalene kneels before Christ and anoints his feet, wiping away the excess oil with her hair, a gesture of deference and devotion. The disciplesespecially Judas Iscariot, Tissot notes, in a commentary based on John’s accountare indignant at the gesture’s expense, asking could not this costly ointment be sold and its profits given to the poor? However, Jesus defends Mary’s prescience: “She did it,” he tells them, “for my burial.” European Art 1886-1894

"Ruth and Naomi" Philip Hermogenes Calderon. 1886.

The return of the prodigal son. Son in the arms of his father. Engraving. Luke 15:20. Bible Illustration by Gustave Dore. 19th century. Later colouration.

Passage to Bethlehem Anton Becker

Appearance of Jesus Christ to Maria Magdalena - Alexander Ivanov, 1835

Priestesses of the goddess Vesta in the temple. Engraving. Colored.

'Death of St Francis and Inspection of Stigmata', c1320. Artist: Giotto

The Virgin and St John, detail from the Crucifixion of the Isenheim Altarpiece, ca 1515, by Mathias Grunewald (1475-1528), oil on panel.

The Plague of Locusts Vittorio Bianchini (1797-1880,Italian)

Antwerp, Galle, Philips, Florence, Straet, Jan van der, Passio, mors et resurrection dn. Nostri Iesu Christ, Passion, death and resurrection of Christ, Funeral procession leaves the tomb of Christ, verso center bottom - stamped, After the burial, Christ's friends and family leave the tomb. John and some women mourn the death of Christ. The print has a Latin caption and is part of a series on the passion, death and resurrection of Christ., print, prints, 358, recto top right - written, verso, verso bottom middle - stamped, height 194 mm, width 264 mm, South Netherlands, 1537 - 1612-03-29, print maker, printmaker, 1585 - 1586, paper, engraving, engraving (printing process), Work conception, 1523 - 1605-11-02, after a design by, Publication (Event), Publication, publisher

Depicts the meeting of kings, created by Nikolaus Alexander Mair von Landshut around 1500 using copper engraving. The work emphasizes royal figures, gestures, and courtly interaction.

The Resurrection 'His countenance was like lightning and his raiment white as snow: And for fear of him the keepers did shake, and became as dead men'. Matthew 28-29. From JJ Tissot 'The Life of our Saviour Jesus Christ' c1890. Oleograph

'The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection', c1898, ( Artist: Eugene Burnand.

'The Resurrection of Lazarus', 1855, Oil on canvas, 169 x 127 cm, Inv. 0284. Author: JOSE CASADO DEL ALISAL (1831-1886). Location: ACADEMIA DE SAN FERNANDO-PINTURA. MADRID. SPAIN. JESUS. MARY MAGDALENE. LAZARUS OF BETHANY. MARTA DE BETANIA S I. MARIA DE BETANIA S I.

The Angel Appears to Joseph in a Dream, Rembrandt, Harmensz van Rijn, 1645.

Jesus and Mary Magdalene, colour post card from a Uvatypie template, Oberammergau Passion Play 1930, Upper Bavaria, Bavaria, Germany, Europe

Detail of The Visitation; 1640; Oil on cedar panel Rembrandt Harmensz van Rijn; Dutch; 1606-69

The Visitation James Tissot (1836-1902 French)

Jesus is Taken Down From the Cross (13th station of the Cross) by Martin Ritter von Feuerstein, oil painting, circa 1898, 1856 - 1931, Germany, Munich, Saint Anna Church

$Isaac is deceived by Jacob\nGenesis. Chaper 27. Engraving by Gustave Dore (1832-1883).$

The Russian Museum. Mikhail Nesterov. Holy Russia. 1906 Saint Petersburg. Russia.

Noah Preparing to Enter the Ark - page from the bible by the Reverend John Brown of Haddington (1722-1787), a Scottish minister well know for his theological works. The illustrations in the bible are engravings some of which were hand colored in each copy of the bible.

My God, My God, why hast thou forsaken me (Eli, Eli lama sabactani) James Tissot (French, 1836-1902). My God, My God, why hast thou forsaken me (Eli, Eli lama sabactani), 1886-1894. Opaque watercolor over graphite on gray wove paper, Image: 11 1/2 x 8 13/16 in. (29.2 x 22.4 cm). In the ninth hour of the Passion (three o’clock in the afternoon), Jesus “gives utterance to that cry of anguish, the most heartrending which ever resounded upon this earth,” Tissot writes. In his commentary, Tissot indicates that Christ’s words—the title of this work—are derived from the opening verse of the 22nd Psalm, a text that begins with a lamentation on God’s seeming absence or desertion. European Art 1886-1894

Sacred image, St. Elisabeth, Historical, digitally restored reproduction of an original from the 19th century, exact original date unknown

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