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Christ at the Sea of Galilee is an oil painting by Jacopo Tintoretto, from the 1570s. The painting depicts Jesus Christ raises a hand toward the apostles, who appear in a boat amid hostile waves at sea. It is an example of mannerism, [1] a European art style that exaggerates proportion and favors compositional tension. This can be seen in the ...
Many valuable paintings have been stolen.The paintings listed are from masters of Western art which are valued in millions of U.S. dollars.The US FBI maintains a list of "Top Ten Art Crimes"; [1] a 2006 book by Simon Houpt, [2] a 2018 book by Noah Charney, [3] and several other media outlets have profiled the most significant outstanding losses.
Christ Calming the Storm on the Sea of Galilee, circa 1570, 117.1 × 169,2 cm, National Gallery of Art, Washington, Danaë, circa 1570, 142 × 182 cm, Musée des Beaux-Arts, Lyon; Ultima Cena, circa 1570, 228 × 535 cm, San Polo, Venice; Madonna and Child or Madonna of the Stars, early 1570s, 92,7 × 72,7 cm, National Gallery of Art, Washington
Virginia's state-run fine arts museum has begun the process of returning 44 pieces of ancient art to their countries of origin after law enforcement officials presented the institution with what ...
The Art Loss Register is a commercial computerized international database which captures information about lost and stolen art, antiques and collectables. It is operated by a commercial company based in London. In the U.S., the FBI maintains the National Stolen Art File, "a database of stolen art and cultural property. Stolen objects are ...
One of Spain's top museums welcomed a U.S. court decision allowing it to keep a French impressionist painting looted from a Jewish woman by the Nazis, which the museum said it had bought decades ...
The chalk-painting "Bord de Mer," by Claude Monet, created in 1865. The painting was stolen from Adalbert Parlagi by the Nazis in 1940, and returned to his descendants by the New Orleans FBI ...
The painting was a triumphant success, despite some detractors. Tintoretto's friend Pietro Aretino praised the work, calling particular attention to the figure of the slave, but warned Tintoretto against hasty execution. [15] As a result of the painting's success, Tintoretto received numerous commissions.