Drag the print to move it. The painting is shown at true scale; where its shape differs from the sheet the print has a paper border, not drawn here. Prints are sold unframed, and a frame here is only for planning.
The Mocking of Christ
c. 1280 · détrempe sur fond d'or sur bois (peuplier) (tempera on a gold ground on wood (poplar)) · Musée du Louvre, Paris
For Good Friday
Sizes
image 15.9×20 in on a 16×20 in sheet
What is dpi?
Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
Free shipping, included in the price, to all eight countries we ship to. Dispatched in 2–4 working days — nothing to send back if it arrives damaged.
Send as a gift
A printed card goes in the parcel with your message and the work’s museum record. No price is shown anywhere in the parcel. Enter the recipient’s address at checkout.
0 / 240Have a gift certificate?
The certificate’s balance is applied at checkout; any remainder is paid there. Check a balance or buy one.
Christmas: order by Monday 7 December for delivery in the United States before Christmas.
All editionsAbout this painting
A hand comes out of the crowd and takes hold of the halo, as if the gold could be pulled away. Christ stands in the press, arms hanging at His sides, eyes open. A staff comes down at His head; He does not shield His face. Apollo Magazine reads the reaching hand as an assault on who He is, not only on His body, and the two sheathed swords, set symmetrically, as steadying the frenzy and leading inward to His sorrowful face. Anne Derbes has shown that some of Cimabue's Tuscan contemporaries were already painting a seated, blindfolded Christ. This Christ stands unbound, and sees each one of them.
Sources: 'A long-lost Cimabue has emerged — and the first light of painting now burns brighter than ever', Apollo Magazine · Anne Derbes, Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant, Cambridge University Press, 1996 · Apollo Magazine article; Gordon, National Gallery catalogue, discusses same color logic across the three panels · Musée du Louvre, Département des Peintures, object record · Luke 22:64, Douay-Rheims (Challoner).
And they struck his head with a reed: and they did spit on him. And bowing their knees, they adored him.
Mark 15:19 · Douay-Rheims (Challoner)