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The Crossing of the Red Sea, by Nicolas Poussin (1633–34). The Crossing of the Red Sea or Parting of the Red Sea (Hebrew: קריעת ים סוף, romanized: Kriat Yam Suph, lit. "parting of the sea of reeds") [1] is an episode in The Exodus, a foundational story in the Hebrew Bible.
It depicts the Israelites crossing the Red Sea from the book of Exodus and Moses commissioning Joshua to lead the Israelites into the Promised Land from the book of Numbers. It is housed in the Palazzo Vecchio, Florence. In 1540, Cosimo I de' Medici and/or his wife, Eleanor of Toledo, commissioned this and other frescoes for Eleanor's private ...
During the Exodus, Moses stretches his hand with the staff to part the Red Sea. While in the "wilderness" after leaving Egypt, Moses follows God's command to strike a rock with the rod to create a spring for the Israelites to drink from (Exodus 17:5–7). Moses does so, and water springs forth from the rock in the presence of the Elders of Israel.
[203] [page needed] [206] Freud's interpretation of the historical Moses is not well accepted among historians, and is considered pseudohistory by many. [207] [page needed] Thomas Mann's novella The Tables of the Law (1944) is a retelling of the story of the Exodus from Egypt, with Moses as its main character. [208]
Pages in category "Paintings of Moses" The following 42 pages are in this category, out of 42 total. ... Crossing of the Red Sea (Bronzino)
The Israelites exclaim to Moses that they would be overtaken by Pharaoh and his army. In response, God commands Moses to strike the Red Sea with his staff, instructing them not to fear being inundated or drowning in sea water. Upon striking the sea, Moses splits it into two parts, forming a path that allows the Israelites to pass through.
'Reed Sea') or Red Sea, sometimes translated as Sea of Reeds, is the body of water which the Israelites are said to have crossed in the story of their exodus from Egypt. The same phrase appears in over 20 other places in the Hebrew Bible .
The Crossing of the Red Sea was acquired by Kenneth Clark for the National Gallery of Victoria in 1948 [2] [3] using money from the Felton Bequest, a fund originally left to the gallery in 1904 by the industrialist Alfred Felton. [4] In 2011 it underwent a major conservation project. [5]