Not currently on view
In the collection of Cleveland Museum of Art, Cleveland · as of August 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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Anonymous, German, 16th century — A princely wedding perform
Jean Duvet (French, 1485–1561) — The Apocalpse: An Innumera
Jean Duvet (French, 1485–1561) — The Apocalypse: Christ Mou
Jean Duvet (French, 1485–1561) — The Apocalypse: An Innumer
Giovanni Battista Piranesi (Italian, 1720–1778) — The Triump
Jean Duvet (French, 1485–1561) — The Apocalpse: St. John Su
Lucas Cranach (German, 1472–1553) — The Tournament with Samp
Giulio Campagnola (Italian, 1482–1515) — The Triumphs of Cae
Jean Duvet (French, 1485–1561) — The Apocalypse: The Dragon
Andrea Mantegna (Italian, about 1431–1506) — The Triumphs of
Andrea Andreani|Andrea Mantegna|Bernardo Malpizzi — Sheet 1:
Giovanni Battista Piranesi (Italian, 1720–1778) — The Prison