Mater Dolorosa with Raised Hands (Prado, 1554)

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Title: Mater Dolorosa with Raised Hands (Prado, 1554)

Date work started: 1554

Date work completed: 1554

Place created: Venice

Patron: Charles V

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Material: oil on marble

Dimensions: 68.0cm X 53.0cm

Genre: religious

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  • Sequence: Itinerary 1 of 8

    Owner Name: unknown

    In possession from: 1554 to 1554

    Location: Casa Grande

    Notes:

    Wethey, Harold, The Paintings of Titian, v. 1: The Religious Paintings, pp. 115-116.

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  • Sequence: Itinerary 2 of 8

    Owner Name: Charles V

    In possession from: 1554 to 1556

    Location: Coudenberg Palace

    Notes:

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  • Sequence: Itinerary 3 of 8

    Owner Name: Charles V

    In possession from: 1556 to 1574

    Location: Monasterio de Yuste

    Notes:

    Wethey, I (1969), pp. 115-116.

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  • Sequence: Itinerary 4 of 8

    Owner Name: Spanish Royal Family

    In possession from: 1574 to 1600

    Location: El Escorial

    Notes:

    Wethey, I (1969), pp. 115-116. Wethey explains that in 1574 at the Escorial, this Mater Dolorosa and an Ecce Homo (1547), painted on slate) were joined together in a diptych.

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  • Sequence: Itinerary 5 of 8

    Owner Name: Spanish Royal Family

    In possession from: 1600 to 1734

    Location: Alcazar de Madrid

    Notes:

    Since this painting and the Ecce Homo (1547, painted on slate) were joined together as a diptych in 1574, Wethey refers back to the Ecce Homo's entry for the rest of the painting's provenance. Wethey, I (1969), pp. 86-87.

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  • Sequence: Itinerary 6 of 8

    Owner Name: Spanish Royal Family

    In possession from: 1734 to 1747

    Location: Palacio Buen Retiro

    Notes:

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  • Sequence: Itinerary 7 of 8

    Owner Name: Spanish Royal Family

    In possession from: 1747 to 1821

    Location: Palacio Real de Madrid

    Notes:

    Wethey, I (1969), pp. 86-87.

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  • Sequence: Itinerary 8 of 8

    Owner Name: Museo del Prado

    In possession from: 1821 to Present

    Location: Museo del Prado

    Notes:

    Wethey, I (1969), pp. 86-87 and 115-116.

    Citations:


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