Public domain paintings of the Passion of Jesus Christ.
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.
Wood engraving drawn by Gustave Doré, engraved by J. Gauchard Brunier. Printed in: Heilige Schrift 1867 by Stuttgarter Druck- und Verlagshaus Eduard Hallberger.
This painting was once part of the Saint Anne Altarpiece, a series of 10 panels set within an architectural frame that hung behind a church’s altar. Gerard David and his workshop produced this large-scale project for export to Spain.
Brutal tormentors surround the suffering figure of Jesus as he carries his cross to Calvary, the site of his crucifixion. In the upper-left corner, his mother, Mary, and her companion are also reviled by the crowd.
Throughout his career Édouard Manet managed to shock and confound the public with his bold technique and unorthodox approach to subject matter. The most startling feature of this painting is that he painted it at all.
Carlo Crivelli’s vivid style married the beautiful with the grotesque. Here, the Virgin Mary and Saint John the Evangelist gaze in anguish at Jesus on the cross.
Paintings of the crucifixion in this style are often created as private devotional art for viewing and meditation on Christ's passion.
Hans Thoma was a German painter. He was born on 2 October 1839 in Bernau, Grand Duchy of Baden, in the Black Forest, Germany. He was the son of a miller and was trained in the basics of painting by a painter of clock faces.
