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The Incredulity of Saint Thomas is a painting of the subject of the same name by the Italian Baroque master Caravaggio, c. 1601–1602. It is housed in the Sanssouci Picture Gallery, now a museum, in Potsdam, Germany.

It shows the episode that gave rise to the term "Doubting Thomas" which, formally known as the Incredulity of Thomas, had been frequently represented in Christian art since at least the 5th century, and used to make a variety of theological points. According to St John's Gospel, Thomas the Apostle missed one of Jesus's appearances to the Apostles after His resurrection, and said "Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it." John 20:25[1] A week later Jesus appeared and told Thomas to touch Him and stop doubting. Then Jesus said, "Because you have seen me, you have believed; blessed are those who have not seen and yet have believed." John 20:29[2]

In the painting, Thomas's face shows surprise as Jesus holds his hand and guides it into the wound.[3] The absence of a halo emphasizes the corporeality of the risen Christ.[4] The work is in chiaroscuro.

This picture is probably related to Saint Matthew and the Angel (1602) and the Sacrifice of Isaac (1603), all having a model in common.[5] It belonged to Vincenzo Giustiniani before entering the Prussian royal collection, surviving the Second World War intact.

A second version of "The Incredulity of Saint Thomas" has been re-discovered in Trieste, Italy in a private collection. It is published in the Maurizio Marini corpus catalogico "Caravaggio - Pictor praestantissimus" Newton & Compton - 2005 in the position Q50. The painting is declared "d'interesse artistico e storico" by the "Ministero per i Beni e le Attività Culturali Sopraintendenza Regionale del Fiuli - Venezia Giulia". Its authenticity has been attested by several experts including Maurizio Marini, Maria Ranacher and Sir Denis Mahon and confirmed by a court in Trieste.

L'Incredulità di san Tommaso è un dipinto a olio su tela di 107 × 146 cm realizzato tra il 1600 ed il 1601 dal pittore italiano Caravaggio. È conservato nella Bildergalerie di Potsdam.

Old Master's copy, oil on canvas, 148 x 108 cm
The Incredulity of Saint Thomas is a painting of the subject of the same name by the Italian Baroque master Caravaggio, c. 1601–1602. It is housed in the Sanssouci Picture Gallery, now a museum, in Potsdam, Germany.

It shows the episode that gave rise to the term "Doubting Thomas" which, formally known as the Incredulity of Thomas, had been frequently represented in Christian art since at least the 5th century, and used to make a variety of theological points. According to St John's Gospel, Thomas the Apostle missed one of Jesus's appearances to the Apostles after His resurrection, and said "Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it." John 20:25[1] A week later Jesus appeared and told Thomas to touch Him and stop doubting. Then Jesus said, "Because you have seen me, you have believed; blessed are those who have not seen and yet have believed." John 20:29[2]

In the painting, Thomas's face shows surprise as Jesus holds his hand and guides it into the wound.[3] The absence of a halo emphasizes the corporeality of the risen Christ.[4] The work is in chiaroscuro.

This picture is probably related to Saint Matthew and the Angel (1602) and the Sacrifice of Isaac (1603), all having a model in common.[5] It belonged to Vincenzo Giustiniani before entering the Prussian royal collection, surviving the Second World War intact.

A second version of "The Incredulity of Saint Thomas" has been re-discovered in Trieste, Italy in a private collection. It is published in the Maurizio Marini corpus catalogico "Caravaggio - Pictor praestantissimus" Newton & Compton - 2005 in the position Q50. The painting is declared "d'interesse artistico e storico" by the "Ministero per i Beni e le Attività Culturali Sopraintendenza Regionale del Fiuli - Venezia Giulia". Its authenticity has been attested by several experts including Maurizio Marini, Maria Ranacher and Sir Denis Mahon and confirmed by a court in Trieste.

L'Incredulità di san Tommaso è un dipinto a olio su tela di 107 × 146 cm realizzato tra il 1600 ed il 1601 dal pittore italiano Caravaggio. È conservato nella Bildergalerie di Potsdam.

Old Master's copy, oil on canvas, 148 x 108 cm
The Incredulity of Saint Thomas is a painting of the subject of the same name by the Italian Baroque master Caravaggio, c. 1601–1602. It is housed in the Sanssouci Picture Gallery, now a museum, in Potsdam, Germany.

It shows the episode that gave rise to the term "Doubting Thomas" which, formally known as the Incredulity of Thomas, had been frequently represented in Christian art since at least the 5th century, and used to make a variety of theological points. According to St John's Gospel, Thomas the Apostle missed one of Jesus's appearances to the Apostles after His resurrection, and said "Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it." John 20:25[1] A week later Jesus appeared and told Thomas to touch Him and stop doubting. Then Jesus said, "Because you have seen me, you have believed; blessed are those who have not seen and yet have believed." John 20:29[2]

In the painting, Thomas's face shows surprise as Jesus holds his hand and guides it into the wound.[3] The absence of a halo emphasizes the corporeality of the risen Christ.[4] The work is in chiaroscuro.

This picture is probably related to Saint Matthew and the Angel (1602) and the Sacrifice of Isaac (1603), all having a model in common.[5] It belonged to Vincenzo Giustiniani before entering the Prussian royal collection, surviving the Second World War intact.

A second version of "The Incredulity of Saint Thomas" has been re-discovered in Trieste, Italy in a private collection. It is published in the Maurizio Marini corpus catalogico "Caravaggio - Pictor praestantissimus" Newton & Compton - 2005 in the position Q50. The painting is declared "d'interesse artistico e storico" by the "Ministero per i Beni e le Attività Culturali Sopraintendenza Regionale del Fiuli - Venezia Giulia". Its authenticity has been attested by several experts including Maurizio Marini, Maria Ranacher and Sir Denis Mahon and confirmed by a court in Trieste.

L'Incredulità di san Tommaso è un dipinto a olio su tela di 107 × 146 cm realizzato tra il 1600 ed il 1601 dal pittore italiano Caravaggio. È conservato nella Bildergalerie di Potsdam.

Old Master's copy, oil on canvas, 148 x 108 cm
The Incredulity of Saint Thomas is a painting of the subject of the same name by the Italian Baroque master Caravaggio, c. 1601–1602. It is housed in the Sanssouci Picture Gallery, now a museum, in Potsdam, Germany.

It shows the episode that gave rise to the term "Doubting Thomas" which, formally known as the Incredulity of Thomas, had been frequently represented in Christian art since at least the 5th century, and used to make a variety of theological points. According to St John's Gospel, Thomas the Apostle missed one of Jesus's appearances to the Apostles after His resurrection, and said "Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it." John 20:25[1] A week later Jesus appeared and told Thomas to touch Him and stop doubting. Then Jesus said, "Because you have seen me, you have believed; blessed are those who have not seen and yet have believed." John 20:29[2]

In the painting, Thomas's face shows surprise as Jesus holds his hand and guides it into the wound.[3] The absence of a halo emphasizes the corporeality of the risen Christ.[4] The work is in chiaroscuro.

This picture is probably related to Saint Matthew and the Angel (1602) and the Sacrifice of Isaac (1603), all having a model in common.[5] It belonged to Vincenzo Giustiniani before entering the Prussian royal collection, surviving the Second World War intact.

A second version of "The Incredulity of Saint Thomas" has been re-discovered in Trieste, Italy in a private collection. It is published in the Maurizio Marini corpus catalogico "Caravaggio - Pictor praestantissimus" Newton & Compton - 2005 in the position Q50. The painting is declared "d'interesse artistico e storico" by the "Ministero per i Beni e le Attività Culturali Sopraintendenza Regionale del Fiuli - Venezia Giulia". Its authenticity has been attested by several experts including Maurizio Marini, Maria Ranacher and Sir Denis Mahon and confirmed by a court in Trieste.

L'Incredulità di san Tommaso è un dipinto a olio su tela di 107 × 146 cm realizzato tra il 1600 ed il 1601 dal pittore italiano Caravaggio. È conservato nella Bildergalerie di Potsdam.

Old Master's copy, oil on canvas, 148 x 108 cm
The Incredulity of Saint Thomas is a painting of the subject of the same name by the Italian Baroque master Caravaggio, c. 1601–1602. It is housed in the Sanssouci Picture Gallery, now a museum, in Potsdam, Germany.

It shows the episode that gave rise to the term "Doubting Thomas" which, formally known as the Incredulity of Thomas, had been frequently represented in Christian art since at least the 5th century, and used to make a variety of theological points. According to St John's Gospel, Thomas the Apostle missed one of Jesus's appearances to the Apostles after His resurrection, and said "Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it." John 20:25[1] A week later Jesus appeared and told Thomas to touch Him and stop doubting. Then Jesus said, "Because you have seen me, you have believed; blessed are those who have not seen and yet have believed." John 20:29[2]

In the painting, Thomas's face shows surprise as Jesus holds his hand and guides it into the wound.[3] The absence of a halo emphasizes the corporeality of the risen Christ.[4] The work is in chiaroscuro.

This picture is probably related to Saint Matthew and the Angel (1602) and the Sacrifice of Isaac (1603), all having a model in common.[5] It belonged to Vincenzo Giustiniani before entering the Prussian royal collection, surviving the Second World War intact.

A second version of "The Incredulity of Saint Thomas" has been re-discovered in Trieste, Italy in a private collection. It is published in the Maurizio Marini corpus catalogico "Caravaggio - Pictor praestantissimus" Newton & Compton - 2005 in the position Q50. The painting is declared "d'interesse artistico e storico" by the "Ministero per i Beni e le Attività Culturali Sopraintendenza Regionale del Fiuli - Venezia Giulia". Its authenticity has been attested by several experts including Maurizio Marini, Maria Ranacher and Sir Denis Mahon and confirmed by a court in Trieste.

L'Incredulità di san Tommaso è un dipinto a olio su tela di 107 × 146 cm realizzato tra il 1600 ed il 1601 dal pittore italiano Caravaggio. È conservato nella Bildergalerie di Potsdam.

Old Master's copy, oil on canvas, 148 x 108 cm

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"Unbelief of St. Thomas_Incredulità di Tommaso", after Caravaggio Painting

Old Masters Tizzano

Italy

Painting, Oil on Canvas

Size: 57.5 W x 45.7 H x 1.2 D in

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ABOUT THE ARTWORK

The Incredulity of Saint Thomas is a painting of the subject of the same name by the Italian Baroque master Caravaggio, c. 1601–1602. It is housed in the Sanssouci Picture Gallery, now a museum, in Potsdam, Germany. It shows the episode that gave rise to the term "Doubting Thomas" which, formally known as the Incredulity of Thomas, had been frequently represented in Christian art since at least the 5th century, and used to make a variety of theological points. According to St John's Gospel, Thomas the Apostle missed one of Jesus's appearances to the Apostles after His resurrection, and said "Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it." John 20:25[1] A week later Jesus appeared and told Thomas to touch Him and stop doubting. Then Jesus said, "Because you have seen me, you have believed; blessed are those who have not seen and yet have believed." John 20:29[2] In the painting, Thomas's face shows surprise as Jesus holds his hand and guides it into the wound.[3] The absence of a halo emphasizes the corporeality of the risen Christ.[4] The work is in chiaroscuro. This picture is probably related to Saint Matthew and the Angel (1602) and the Sacrifice of Isaac (1603), all having a model in common.[5] It belonged to Vincenzo Giustiniani before entering the Prussian royal collection, surviving the Second World War intact. A second version of "The Incredulity of Saint Thomas" has been re-discovered in Trieste, Italy in a private collection. It is published in the Maurizio Marini corpus catalogico "Caravaggio - Pictor praestantissimus" Newton & Compton - 2005 in the position Q50. The painting is declared "d'interesse artistico e storico" by the "Ministero per i Beni e le Attività Culturali Sopraintendenza Regionale del Fiuli - Venezia Giulia". Its authenticity has been attested by several experts including Maurizio Marini, Maria Ranacher and Sir Denis Mahon and confirmed by a court in Trieste. L'Incredulità di san Tommaso è un dipinto a olio su tela di 107 × 146 cm realizzato tra il 1600 ed il 1601 dal pittore italiano Caravaggio. È conservato nella Bildergalerie di Potsdam. Old Master's copy, oil on canvas, 148 x 108 cm

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Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

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57.5 W x 45.7 H x 1.2 D in

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"When in one of my works I mention someone else's, or when I scrupulously copy the masterpieces of the past, I know I am not original or expressing particular ideas; but I share feelings, emotions and universal meanings. I see myself as a simple narrator and perpetuator of archetypes and techniques. Citing and paying homage to colleagues and Masters has always been normal in the past and it is what has allowed man to improve the means and the expression of traditional values, as well as to avoid that so many works lost, stolen or destroyed, disappeared forever. From a certain point on, all this was sacrificed on the altar of the search for the new and for originality: what derived from it was an incremental loss of quality in almost all areas." Massimo Tizzano Zuigan is an Italian painter mainly inspired by the works of Baroque painters such as Titian, Rembrandt, Caravaggio and many other Ancient Masters. He has been drawing and painting since he was a child, but he began his formal education in the visual arts field only much later in life, with the practice of Japanese calligraphy (Shodo) under the guidance of Sensei Norio Nagayama from whom he received the name Oto Mi and the qualification to teach the principles of this noble art. After 8 years of practice with Indian ink and rice paper, he began painting with oil paints and began studying the oil painting techniques of the Italian and Flemish masters of the fifteenth and seventeenth centuries as self-taught. In 2010 he met the work of Odd Nerdrum and in 2012 he was selected to become his studio assistant in Norway, where he deepened his painting technique and the understanding of kitsch philosophy related to the history of art. Tizzano has been operating in the artistic and cultural sector for over ten years, dealing with the creation and reproduction of works of art according to traditional painting techniques, the preparation of themed exhibitions, as well as the organization of practical theoretical courses related to the ancient traditional techniques of oil painting. In particular Tizzano is known for making art copies of the most beloved Masters of the most flourishing and significant period of Western painting (14th / 17th century: Leonardo, Caravaggio, Ver Meer, Rembrandt, Perugino, Cagnacci, etc.). The copies, faithfully realized according to the techniques and materials of originals, boast national and international awards and admirers.

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