Paintings
- The Destruction of Jerusalem by Titus by Wilhelm von Kaulbach (1846). Oil on canvas, 585 x 705 cm. Neue Pinakothek, Munich. An allegorical depiction of the destruction of Jerusalem, dramatically centered around the figure of Titus.
- The Destruction of the Temple at Jerusalem by Nicolas Poussin (1637). Oil on canvas, 147 x 198,5 cm. Kunsthistorisches Museum, Vienna. Depicts the destruction and looting of the Second Temple by the Roman army led by Titus.
- The Destruction of the Temple of Jerusalem by Francesco Hayez (1867). Oil on canvas, 183 x 252 cm. Galleria d'Arte Moderna, Venice. Depicts the destruction and looting of the Second Temple by the Roman army.
- The Siege and Destruction of Jerusalem by the Romans Under the Command of Titus, A.D. 70 by David Roberts (1850). Oil on canvas, 136 x 197 cm. Private collection. Depicts the burning and looting of Jerusalem by the Roman army under Titus.
- The Triumph of Titus and Vespasian by Giulio Romano (1540). Oil on wood, 170 x 120 cm. Louvre, Paris. Depicts Titus and Vespasian as they ride into Rome on a triumphal chariot, preceded by a parade carrying spoils from the war in Judaea. The painting anachronistically features the Arch of Titus, which was not completed until the reign of Domitian.
- The Triumph of Titus by Lawrence Alma-Tadema (1885). Oil on canvas. Private collection. This painting depicts the triumphal procession of Titus and his family. Alma-Tadema was known for his meticulous historical research on the ancient world. Vespasian, dressed as Pontifex Maximus, walks at the head of his family, followed by Domitian and his first wife Domitia Longina, who he had only recently married. Behind Domitian follows Titus, dressed in religious regalia. An exchange of glances between Titus and Domitia suggests an affair which historians have speculated upon.
Read more about this topic: Titus, Legacy, Titus in Later Arts
Famous quotes containing the word paintings:
“Not “Seeing is Believing” you ninny, but “Believing is Seeing.” For modern art has become completely literary: the paintings and other works exist only to illustrate the text.”
—Tom Wolfe (b. 1931)
“the great orange bed where we lie
like two frozen paintings in a field of poppies.”
—Anne Sexton (1928–1974)
“The invention of photography provided a radically new picture-making process—a process based not on synthesis but on selection. The difference was a basic one. Paintings were made—constructed from a storehouse of traditional schemes and skills and attitudes—but photographs, as the man on the street put, were taken.”
—Jean Szarkowski (b. 1925)