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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Domenico dalle Greche|Titian (Tiziano Vecellio)|Bernardino B
Titian — The Submersion of Pharaoh's Army in the Red Sea
Hendrick Goltzius (Dutch, 1558–1617) — Four Small Landscapes
Ernest Haskell (American, 1876–1925) — Sunrise
Albrecht Dürer (German, 1471–1528) — The Angel with the Suda
Hendrick Goltzius — Cliff on a Seashore
Jacopo de' Barbari (Italian, c. 1460/70–c. 1516) — View of V
Albrecht Dürer — The Four Horsemen of the Apocalypse, from T
Titian — The Submersion of Pharaoh's Army in the Red Sea
Philipp Uffenbach (German, 1566–1636) — The Resurrection
Salvator Rosa (Italian, 1615–1673) — St. William the Hermit
Alphonse Legros (French, 1837–1911) — La Mort et le Bûcheron