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Photo credit: Yale University Art Gallery
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Photo credit: Yale University Art Gallery
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Photo credit: Yale University Art Gallery
Artist: Titian (Tiziano Vecellio), Italian, Venice, ca. 1488–1576

The Circumcision of Christ

ca. 1506–07

Oil on panel

Overall: 36.8 x 79.4 x 3.2cm (14 1/2 x 31 1/4 x 1 1/4in.) Framed: 62.2 x 104.8 x 8.3cm (24 1/2 x 41 1/4 x 3 1/4in.)
University Purchase from James Jackson Jarves
1871.95
Culture: 
Italian, Venice
Period: 
16th century
Classification: 
Paintings
Status: 
Not on view
Bibliography: 

David Alan Brown, “Titian and Bellini: from pupil to rival,” Arte Cristiana 93 (November–December 2005): 425–42, fig. 3.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 70–71, no. 77.

Catalogue of the Jarves Collection of Early Italian Pictures (Boston: W. F. Brown, 1871), 231–33, no. 95, ill.

William Rankin, “Some Early Italian Pictures in the Jarves Collection of the Yale School of Fine Arts at New Haven,” American Journal of Archaeology 10 (April-June 1895): 150, no. 77.

Frank Jewett Mather Jr., “The Jarves Collection,” Yale Alumni Magazine (May 1914): 965–70, fig. 77.

Lionello Venturi, Italian Paintings in America, 1 (Milan, Italy: U. Hoepli, 1933), fig. 504.

Wilhelm Suida, Le Titien (Paris: A. Weber, 1935), 16, 185, fig. 311.

George Martin Richter and Georges de Batz, Giorgione and His Circle, exh. cat. (Baltimore: The Johns Hopkins University, 1942), 27, no. 7.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 304.

Bernard Berenson, Italian Pictures of the Renaissance, 1 (London: Phaidon Press, 1957), 84.

Corrado Cagli, L’opera completa di Tiziano (Milan: Rizzoli International Publications, Inc., 1969), no. 21.

Harold Edwin Wethey, The Paintings of Titian Complete Edition, 1 (London: Phaidon, 1969), 171, no. X-8.

Charles Seymour, Early Italian Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1970), 243–246, no. 184.

Terisio Pignatti, Giorgione: Complete Edition, English Edition (New York: Phaidon, 1971), 129, fig. 174.

S. J. Freedberg, Painting in Italy: 1500 to 1600 (Harmondsworth, England: Penguin Books, 1971), 86–90, 478.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 600.

Italian Primitives: The Case History of a Collection and Its Conservation, exh. cat. (New Haven, Conn.: Yale University Press, 1972), 32–33, no. 20, fig. 20a–20e.

Konrad Oberhuber, Disegni di Tiziano e della sua cerchia, exh. cat. (Venice: Neri Pozza Editore, 1976), 20–23.

Charles Seymour, Jr., Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss: A Note on Early Titian: The Circumcision Panel at Yale, 1 and 2 (New York: New York University Press, 1977), 392–98, fig. 1–7, 11, 15.

Charles Hope, Titian (London: Jupiter Books, 1980), 40, note 19.

Hilliard T Goldfarb, “An Early Masterpiece by Titian Rediscovered, and Its Stylistic Implications,” Burlington Magazine 126 (July 1984): 420, 425, fig. 47.

Gilles Fage, Le Siècle de Titien: l’âge d’or de la peinture à Venise: Grand Palais, 9 mars-14 juin 1993, exh. cat. (Paris: Reunion des Musees Nationaux, 1993).

Paul Joannides, Titian to 1518: The Assumption of Genius (New Haven, Conn.: Yale University Press, 2001), fig. 77.

Filippo Pedrocco, Titian: The Complete Paintings (London: Thames and Hudson, 2001), 71, fig. 4.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.

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