Exhibitions

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Cristoforo Solari (fl. 1489–1524), attributed to, Man of Sorrows, c.1500. Marble, 67.5 x 32 cm (26.57 x 12.59 in.) Art Institute, Dayton, OH, inv. 1970.29.
Anonymous German or Northern sculptor, Memento Mori, mid-sixteenth century. Boxwood, height 11.4 cm (4.3 in.); with figure released and standing, approx. 20 cm (7.87 in.) Fine Arts Museums of San Francisco, Legion of Honor. Gift of Albert C. Hooper, inv. no. 41751.
Man of Sorrows, late sixteenth century. Polychromed and gilded wood, total height, 227 x 44.5 x 26 cm (7.44 ft. x 17.51 in. x 10.23 in.); crowning sculpture, 73 x 44.5 x 17 cm (28.74 x 17.51 x 6.69 in.) San Travaso, Venice
Paolo Veronese (1528–1588), The Dead Christ Supported by Angels, c.1580–1588. Oil on canvas, 98.1 x 71.4 cm (38.6 x 28.1 in.) Museum of Fine Arts, Boston, Maria Antoinette Evans Fund, inv. 30.773
Bill Viola (b. 1951), Man of Sorrows, 2001. Color video on freestanding LCD flat panel, 48.26 x 38.1 x 15.24 cm (19 x 15 x 6 in.) Duration: 11 minutes, Viola Studios LLC.
Battista Franco, Dead Christ Supported by an Angel, c.1550–1555. Pen and brown ink, 166 x 119 mm (6.53 x 4.68 in.) The Art Museum, Princeton University, Princeton, NJ. Laura P. Hall Memorial Fund, 75–241

Passion in Venice

Crivelli to Tintoretto and Veronese

February 10–June 12, 2011

Passion in Venice presents a sacred theme central to the history of Christian Art: Christ as Man of Sorrows. Its origins rooted in Byzantium, the figure entered Venetian art in the late Middle Ages after which it flourished locally for centuries, eventually acquiring its own name in dialect, Cristo Passo. Drawn from international loans, Passion in Venice examines the rich visual tradition of the sorrowful Christ in Venice across different media, including illuminated manuscripts, paintings, prints, sculpture, and liturgical objects. The exhibition also will address the issue of how this iconography reflected and shaped Venetian piety in the Renaissance and immediately thereafter.