Collection of Prints and Drawings

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Giovanni Battista Franco (Print made by)artist bio
Franco, (Giovanni) Battista [Baptista Veneziano; il Semolei]
b Venice, ?1510; d Venice, 1561
Title / Description
The Flagellation of Christ
c. 1552-61
etching, engraving
413 x 541 mm (sheet, trimmed close to platemark)
Signed lower left: 'Battista Franco facciebat', numbered in pen and ink lower right: 'No.188'
first state of two
visible, height: 72 mm, width: 45 mm
Nikolaus Esterházy (Lugt 1965)
Bartsch XVI.122.10 (as after Titian, first state of
two) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Catelli Isola 1976-77, no. 60 (first state of two) info
Maria Catelli Isola, Immagini da Tiziano: Stampe dal sec. XVI al sec. XIX dalle collezioni del Gabinetto Nazionale delle Stampe, exhibition catalogue, Rome, Villa Farnesina 1976-77

Dillon in Venice 1981, no. 152 info
Gianvittorio Dillon in Da Tiziano a El Greco: Per la storia del Manierismo a Venezia, ed. Rodolfo Palluchini, exhibition catalogue, Venice, Palazzo Ducale 1981

Van der Sman 2003, no. IV.13 (first state of two) info
Gert Jan van der Sman, Le siècle de Titien: Gravures vénitiennes de la Renaissance, exhibition catalogue, Maastricht, Bonnefantenmuseum and Bruges, Musée des Beaux-Arts 2003

Bury in Edinburgh 2004, no. 135 info
Michael Bury in The Age of Titian: Venetian Renaissance Art from Scottish Collections, eds. Peter Humfrey, Timothy Clifford, Aiden Westen-Lewis, and Michael Bury, exhibition catalogue, Edinburgh, National Galleries of Scotland 2004
It had been thought for long that the print was based on a painting by Titian (see Wethey 1969, pp. 93-94, with a reference to Giorgio Vasari). However, two preparatory drawings by Giovanni Battista Franco (Metropolitan Museum, New York, inv. no. 1962.119.10, Van der Sman 2003, cat. no. IV.11; and Windsor Castle, inv. no. 048, Van der Sman 2003, cat. no. IV.12) definitely prove that it is the printmaker's own invention. Van der Sman supposed that the drawings were originally intended for a painting and later utilized for the print. Christ's figure is related to Sebastiano del Piombo's fresco in San Pietro in Montorio, Rome, based on Michelangelo's design. Some details derive from Titian's destroyed altarpiece representing the Martyrdom of St Peter of the Order of Predicant Friars, painted in 1530 for the church of SS Giovanni e Paolo, Venice. Caravaggio probably used this print as a source for his painting today in Rouen, Musée des Beaux-Arts.
Inventory Number
Prints: Italian: 16th century: Mounted II
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