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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Francis Seymour Haden (British, 1818–1910) — Out of Study Wi
Francis Seymour Haden (British, 1818–1910) — Out of Study Wi
Francis Seymour Haden (British, 1818–1910) — Out of Studio W
Maxime Lalanne (French, 1827–1886) — Dives (Calvados)
Maxime Lalanne (French, 1827–1886) — View from Port du Dives
Rodolphe Bresdin — L'Homme à L'Âne (The Man with Donkey)
Alphonse Legros (French, 1837–1911) — Valley of the Dunes (L
Jean Baptiste Camille Corot (French, 1796–1875) — A Souvenir
Jacopo de' Barbari (Italian, c. 1460/70–c. 1516) — View of V
Félix Hilaire Buhot (French, 1847–1898) — The Chapel Saint-M
Ernest Haskell (American, 1876–1925) — Crest of the Hill
Rembrandt van Rijn (Dutch, 1606–1669) — The Three Trees