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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 ...
Tintoretto depicted himself within the work as the bearded man beside the camel. [2] He portrays Torcello and Malamocco carrying Mark's body as they arrived back in Venice. The Piazza San Marco, or St. Mark's Square is displayed in the painting with onlookers fleeing in the background.
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
Among the pieces stolen was Vermeer's The Concert, which is considered to be the most valuable stolen painting in the world. A reward of $10,000,000 is still offered for information leading to their return. Part of a $500,000,000 heist [4] $10,000,000 The Storm on the Sea of Galilee by Rembrandt van Rijn: March 18, 1990
Christ at the Sea of Galilee (c. 1575–1580) It was probably in 1560, the year in which he began working in the Scuola di S. Rocco, that Tintoretto commenced his numerous paintings in the Doge's Palace; he then executed there a portrait of the Doge, Girolamo Priuli.
painting : Genre: religious art : ... Christ at the Sea of Galilee (c. 1575–80), 117 x 168,5 cm. National Gallery of Art, Washington ... WikiProject sum of all ...
Paintings by Jacopo Tintoretto (1518−1594) — a Late Italian Renaissance and Mannerist painter from the Republic of Venice. Pages in category "Paintings by Tintoretto" The following 40 pages are in this category, out of 40 total.
Both paintings suggest the simultaneous existence of different levels of reality through the use of a range of pictorial techniques." [4] According to art historian Augusto Gentili, the iconography of the painting suggests that it represents not the finding of the body of Saint Mark, but Miracles of Saint Mark in the church of Boucolis in ...