Public domain paintings of the Passion of Jesus Christ.
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
Mass-produced plaquettes like this work offered high quality devotional images for private use. The Latin title of this work, according to the Gospel of John (19:1-5), refers to the words that were spoken by Pontius Pilate, the Roman governor of Judea, when he presented Christ, scourged and crowned
Public-domain paintings and sculptures of the Pietà and the Lamentation of Christ, from medieval Vesperbilder to Baroque masterpieces, free to download.
Twelve public-domain paintings of the Crucifixion, from Gothic panels to Baroque masterpieces, all free to download.
This painting shows a Carthusian monk kneeling in devotion and prayer before the Crucifixion. It is likely that this panel was intended for the cell of a monk in an unknown monastery. The Carthusians were particularly devoted to the Passion and Crucifixion of Christ, and devotional images were provi
For his depiction of Golgotha, the mountain on which Christ was crucified, the artist chose a high viewpoint. In doing so, he created a vast landscape in which to represent successive episodes of the Passion of Christ simultaneously. This narrative convention was often used in medieval painting.
This painting shows the body of Christ being laid in the tomb after the Crucifixion. It is by the Flemish Baroque painter Jacob Jordaens, who, alongside Rubens and van Dyck, was one of the leading painters working in Antwerp in the 17th century.
North French illuminated leaf from a Book of Hours showing the Descent from the Cross, made in the late 15th century. Tempera, ink, and shell gold on parchment, 8.7 x 6.9 cm.
These panels were among thirty scenes of an extensive narrative cycle that formed part of a large altarpiece from the Neustädter Marienkirche in Bielefeld, Westphalia. They were created two decades before panel painting underwent a revolution through the art of Jan van Eyck, Robert Campin, and Rogie
Nicholaos Tzafouris was one of the many icon painters working in the city of Candia (now Iraklion) in Crete at the time when Crete was under the control of Venice. The combination of Byzantine and Latin elements seen in many Cretan icons was well received locally and in Italy. The Greek inscription
Tempera on wood panel with a gold ground showing the Crucifixion of Christ. The panel measures 43.5 x 20 cm.
This triptych icon was probably commissioned by a lay person for private prayer and meditation. It could be folded and shut when not in use. Painted wood panel within an enameled brass frame, Russia, about 6.5 x 6.2 cm unframed.
Pen and brown ink, with brush and brown wash, with black chalk, heightened with lead white (partly discolored), on tan laid paper, laid down on gray wove paper.
Wtewael depicts when Peter denies knowing Jesus. Few works by this artist are known, and he draws on an unusual combination of styles.
Two Romans flog Jesus, bound to a stake on a hilly horizon. His expression conveys pain and compassion, as he endures cuts and bindings that secure him so tightly to the post that his feet are elevated off the ground.
Flemish oil on panel painting of Christ on the Cross, made in Flanders about 1575-1605. The panel measures 40.1 x 32.3 cm.
Medium: paint, gold and poplar wood. Dimensions: height: 25.8 cm (10.1 in); width: 20.3 cm (7.9 in).
Pen and brown and black ink, brush and black, brown, and red-brown wash, over black chalk; framing lines in pen and brown ink.
