Public domain paintings of the Passion of Jesus Christ.
Christ on the cross, with the Virgin Mary and Saint John standing beneath, and angels above. An icon of the Przemyśl school of icon painting, mid-16th century, from the Church of the Archangel Michael in Stara Skvariava, now in the Andrey Sheptytsky National Museum in Lviv, Ukraine.
Taken at Our Lady of Perpetual Help Byzantine Catholic Church in Virginia Beach, Virginia, on the Sunday of the Holy Cross, March 8, 2026. On the third Sunday of Great Lent, the cross is brought out for veneration and decorated with red and white carnations between two red vigil lamps.
The Lamentation of Christ. Mary, Mary Magdalene and John, shown half-length, gather around the body of Christ. Medium: Oil on panel. Measurements: support 35.5 x 42.9 cm.
A triptych with the Lamentation. On the central panel Christ is mourned in a landscape, his body resting against the knee of Mary, surrounded by the holy women, John, Joseph and a monk. The Lamentation is a free copy after the painting by Geertgen tot Sint Jans in Vienna. On the inside of the left w
A Calvary crowded with figures and several episodes of the Passion. In the center Christ hangs on the cross while four angels catch his blood. In the foreground are Mary Magdalene, Mary, John and Saint Veronica with her veil; on the edge of her mantle is written Salve Sancta Facies Nostri Redemptori
Christ on the cross with angels on either side. Beneath the cross at left stand John, Mary, Mary Magdalene and the holy women. In the background are Longinus and the centurion who is healed of his blindness, with two horsemen at right. Medium: Oil on panel.
The Crucifixion. Christ hangs on the cross, with Mary fainting at the left together with John, Mary Magdalene and the holy women, and Pilate and soldiers at the right. The panel is part of a large altarpiece from the former Augustinian canons' monastery at Rottenbuch. Three of the other panels are i
Christ on the cross. To the left of the cross Saint John supports Mary, and Mary Magdalene kneels at the foot of the cross. At left stand Saint Cecilia and Saint Barbara, and at right Saint Peter, Saint Francis and Saint Jerome. The panel comes from the convent of Marienwater at Koudewater near 's-H
A devout Catholic, Maurice Denis sought to create what he described as “imperishable icons.” In this small painting, he used flat planes of intense colors to conjure emotion in the viewer. Here, a somber group of women, depicted as amorphous black forms, gather around an orange figure of Christ on t
The painted scenes on this plate depicting the Passion of Christ include the betrayal of Jesus by his disciple Judas (right); the arrest and condemnation by the Jews (left); the bearing of the cross (top); the Crucifixion (middle); and the resurrection (bottom). At least one of the scenes (the conde
This diptych, or two-panel painting, is hinged at the center so that it could be opened and closed and easily transported. It was clearly designed as an object for private devotion. The owner would have been able to contemplate the Passion of Christ and pray before these scenes. The top two images d
Christ carries the cross to Calvary in the midst of a vast crowd that fills a Flemish landscape, a composition made popular by the Brueghel family workshop. The Flemish painter Pieter Brueghel the Younger (1565-1636) repeated his father's famous design in many versions.
Christ carries the cross on his shoulders, half kneeling. Grinning soldiers on either side pull on a rope tied around his waist. Behind him a herald blows a trumpet from which hangs a banner with a double-headed eagle, and at right in the distance lies Golgotha. Medium: Oil on panel. Measurements:
Christ on the cross. Below the cross stand, at left, Saint Mary Magdalene and Mary. Saint Francis of Assisi kneels and embraces the cross. At right stand John and Saint Ignatius of Antioch. Two angels catch the blood of Christ in chalices, and at right is a banderole with text. Medium: Tempera on p
Archbishop Timothy Broglio, Archbishop for the Military Services USA, conducts a Good Friday service at Sustainer Theater on April 10. Several hundred service members and Joint Base Balad personnel attended the service.
A half-length image of the suffering Christ by the Florentine painter Jacopo del Sellaio (1441-1493). Christ wears the crown of thorns and crosses his wounded hands over his chest, surrounded by the instruments of the Passion, including the scourge and rope.
Simon of Cyrene, played by U.S. Air Force Staff Sgt. Jamie Vergara, helps Jesus, played by Taylor Rogalski, carry the cross during the "Living Stations of the Cross" at the Whiteman Air Force Base Chapel, Mo., March 22, 2013. The "Living Stations of the Cross" is an old Easter tradition carried on b
As Christ dragged his cross through the streets of Jerusalem, Veronica wiped sweat from Christ’s face, which was miraculously imprinted on the fabric. This relief probably came from a choir screen, a barrier between the altar and the congregation, common in medieval churches. Yet the sculpture is mo
This small picture belonged to a predella, a series of subsidiary panels consisting of narrative scenes and situated at the bottom of an altarpiece. Predella paintings are significant because the artist was allowed more freedom and inventiveness here than in the higher part of the altarpiece. In thi
This small altarpiece, intended for a domestic interior or private chapel, consists of three panels, allowing it to be folded and easily transported. Surrounding the Virgin and Child in the center are various saints. On the left is Saint Andrew crucified, with St. Francis and St. Paul below; on the
This diptych, or two-panel painting, is hinged at the center so that it could be opened and closed and easily transported. It was clearly designed as an object for private devotion. The owner would have been able to contemplate the Passion of Christ and pray before these scenes. The top two images d
These figures of the Virgin and Saint John once formed part of a Crucifixion group that would have originally included a figure of Christ on the cross shown at center. Fortunately the original polychromy of the two figures has been preserved, affording the viewer a rare opportunity to appreciate a r
These intricately carved ivory panels once decorated the sides of a portable altar. Three of the plaques, those depicting Christ in Majesty and his apostles, were the first major acquisition of William M. Milliken, the museum's first curator of decorative arts and later director (1930–58). They were
The visual focus of this altarpiece is the suffering and death of Christ on the cross. So-called Passion cycles in art include the events leading up to and following the Crucifixion, not only as single subjects but as scenes meant to be read in sequence. Passion cycles were promoted by the two great
