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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Jacopo de' Barbari (Italian, c. 1460/70–c. 1516) — View of V
Rodolphe Bresdin — L'Homme à L'Âne (The Man with Donkey)
James Bretherton (British, 1844) — The Three Trees
Francis Seymour Haden (British, 1818–1910) — Out of Study Wi
Hendrick Goltzius (Dutch, 1558–1617) — Four Small Landscapes
Ernest Haskell (American, 1876–1925) — Sunrise
Maxime Lalanne (French, 1827–1886) — Dives (Calvados)
Félix Hilaire Buhot (French, 1847–1898) — The Spirits from t
Jacopo de' Barbari (Italian, c. 1460/70–c. 1516) — View of V
Willem Pietersz Buytewech (Dutch, 1591/92–1624) — The Set of
William Blake (British, 1757–1827) — The Pastorals of Virgil
Nicolas-François Chifflart (French, 1825–1901) — Cholera in