Not currently on view
In the collection of Cleveland Museum of Art, Cleveland · as of July 2026
FROM THE CLEVELAND MUSEUM OF ART’S CATALOG
To make this monumental woodcut—considered one of the most ambitious prints of the Renaissance—Titian probably drew directly on the wooden blocks, after which a skilled cutter completed the blocks. The size rivals that of a painting, and the composition would have hung on a wall. Titian’s bold vision presents nature as a vehicle of God’s mercy and wrath. Moses, at right, having parted the seas for the Israelites to pass, commands them to close over the Egyptian forces (Exodus 14:21–31). Titian propelled the narrative with remarkable unity, dedicating entire blocks to the turbulent sea and rolling clouds that culminate in a magnificent cliff and Renaissance city. Some have interpreted the scene as an allegory of Venice’s troubles with the League of Cambrai, a military alliance that threatened the island city.
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Titian — The Submersion of Pharaoh's Army in the Red Sea
Albrecht Dürer — The Bearing of the Cross, from The Large Pa
Niccolo Boldrini (Italian, c. 1500–after 1566) — Saint Franc
Hans Baldung Grien — The Lamentation
Nicolò Boldrini — Saint Francis Receiving the Stigmata
Domenico Campagnola (Italian, 1500–1564) — The Assumption of
Jean Duvet (French, 1485–1561) — Huntsman Presenting a Gift
Albrecht Dürer (German, 1471–1528) — The Repose in Egypt
Giulio Bonasone (Italian, c. 1510–after 1576) — Silenus and
Albrecht Dürer — The Lamentation, from The Large Passion
Hans Weiditz (German, c. 1495-c. 1536) — The Agony in the Ga
Jacob de Gheyn, II — Fortune-Teller