|
ID |
Image |
Painting (From A to Z) |
Details |
|
43441 |
|
The Conversion process |
mk172
Some believed that it was better to gradually convert the indians in order to guaarantee their grasp of the Catholic religion-s basic principles,while others favored mass baptisms.
|
|
42824 |
|
The Coronation of the Virgin |
mk170
1370-1371
206.5x113.5cm
|
|
52683 |
|
The Coronation of the Virgin |
1645 Oil on canvas, 178 x 135 cm |
|
41778 |
|
The Council of Nicaea i,Melkite icon from the 17 century |
mk165
|
|
78520 |
|
The Count Potocki and his sons |
1790(1790)
Oil on canvas
138 x 119 cm (54.3 x 46.9 in)
cjr |
|
78706 |
|
The Count Potocki and his sons |
1790(1790)
Oil on canvas
138 x 119 cm (54.3 x 46.9 in)
cjr |
|
52682 |
|
The Count-Duke of Olivares on Horseback 1634 |
1634 Oil on canvas, 314 x 240 cm |
|
39375 |
|
The creation the separation of light and darkness |
mk148
Mosaic in the St.-Markus-Basilika.Venedig(12.-13.Jh.).Es shows an angel as a mediator of the divine commands in accordance with 2 Henoch and other nichtkanonischen texts. |
|
34216 |
|
The Crescent moon turned downwards |
mk90
Detail from Nizami s Shade Welcomes the Poets jami and Mir Ali Sher Nawa in the Dream Garden |
|
41779 |
|
The Cross Raised on Three Levels |
mk165
Half-dome of the sanctuary apse
Saint irenen Basilica
Constantinople
|
|
27434 |
|
The crucifixion |
mk56
oil on panel,the reverse stamped with the brand of the Antwerp panelmaker s Guild,and a panel maker s mark
|
|
29916 |
|
The Crucifixion |
mk67
Oil on panel
22 7/16x18 1/2in
Uffizi,Gallery
|
|
41797 |
|
The Crucifixion |
mk165
National Museum of History and Ethnography of Svanetia
|
|
41823 |
|
The Crucifixion |
mk165
Byzantine Museum
Athens
|
|
41824 |
|
The Crucifixion |
mk165
Church of the Virgin Peribleptos of Ohrid
|
|
41861 |
|
The Crucifixion |
mk165
c.1500
Egg tempera on lime tree panel
85x52cm
|
|
44843 |
|
The Crucifixion |
mk176
c.1420-25
canvas transferred from panel
|
|
41772 |
|
The Crucifixion and Saints in Medallions |
mk165
Saint Catherine Monastery
Mount Sinai
Egypt
|
|
40146 |
|
The Crucifixion of Christ |
mk156
c.1340
Tempera on panel
76x29.5cm
|
|
39430 |
|
The crucifixion with scenes of the suffering Christs |
mk148
Toskanische school Italy over 1175. |
|
42938 |
|
The Crucifixion,Christ Led from the Praetorium,the Descent from the Cross |
mk170
Circa 1510
Oil on oak
central 98.2x105cm
|
|
73190 |
|
The Customs Cabin |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
|
43389 |
|
The cut in Toledo in 1528 |
mk171
the New Espana remained incorporated al empire by means of the trophies of war
|
|
64397 |
|
The Dauphin |
16 x 13 cm Koninklijk Museum voor Schone Kunsten, Antwerp The court painter Jean Clouet's royal child belongs to the tradition of courtly painting. It is a little stiff, and rather idealises its subject with a great deal of attention to external decoration. A chalk study for this little portrait, in its fine, antique style frame in imitation marble, is now kept in the museum at Chantilly. Artist:CLOUET, Jean Title: The Dauphin Fran?ois, Son of Fran?ois I, 1501-1550, French , painting , portrait |
|
63041 |
|
The Dead Icarus |
1743 Marble Musee du Louvre, Paris The Icarus is a brilliant piece of drama, in one way an academically respectable study of the nude, in another highly picturesque. The almost pretty handling of the long feathers of the wings and the loops of ribbon is counteracted by the starkly dramatic pose of the broken body, whose flotsam-like character is conveyed by its being supported on the crest of a wave. It is raised only to be about to fall again; and already the water draws away in foam at the lower right. While remaining elegant, the piece yet manages to convey a sense of shock; in its effect it is not so much Rococo as romantic. Artist: SLODTZ, Paul-Ambroise Painting Title: The Dead Icarus , 1701-1750 Painting Style: French , sculpture Type: mythological |
|
27364 |
|
The Death of adonis |
mk56
oil on canvas,unframed
Alvise Benfatti,called dal Friso
|
|
71797 |
|
The Death of Czarniecki. |
1860(1860)
Oil painting
102 x 63 cm (40.16 x 24.8 in)
|
|
42687 |
|
The death of Imayat Chan |
MK169
ca. 1618 Paint on paper 12.5x15.3cm Cura-tower of the Bodleian Library. Oxford |
|
30444 |
|
The Death of Majnun on Layla's Grave,from the khamsa by Nazami |
mk68
Manuscript illustration
London,British Library
|
|
41234 |
|
The Death of Sarpedon |
mk161
|
|
91828 |
|
The death of Simon Magus |
1493(1493)
Medium oil on canvas
cjr |
|
62826 |
|
The Death of Socrates |
1787 Oil on canvas, 98 x 133 cm Statens Museum fur Kunst, Copenhagen Peyron's The Death of Socrates, commissioned by d'Angiviller for the Crown, was in competition with Jacques-Louis David's work of the same subject. David's confidence in surpassing his rival, coupled with his aggressive and ambitious nature, make it very possible that he chose to paint his own Socrates when he learned of Peyron's plans. The force and clarity of David's version was thrown into even sharper relief by the lack of drama and focus in Peyron's work, and both the public and critics declared David's work to be far superior. David eclipsed his long-time rival once and for all, and from then on Peyron had to be content with a subordinate role in the art world |
|
63077 |
|
The Death of St Agnes |
1660-64 Marble, over life-size Sant'Agnese in Agone, Rome Ferrata's high altar sculpture, representing St Agnes on the pyre, bears unmistakable, though not entirely reconciled, elements drawn from Algardi and Bernini. The saint's pose is indebted to one of Algardi's most emotive works, the St Mary Magdalene, but the head and drapery are more classically correct. These elements are overlaid by two touches worthy of Bernini: the fire at St Agnes's feet and the drapery billowing out for no apparent reason behind her shoulders. The result is a work whose impact is weakened by overly theatrical gestures. Artist: FERRATA, Ercole Painting Title: The Death of St Agnes , 1601-1650 Painting Style: Italian , sculpture Type: religious |
|
63044 |
|
The Death of St Stanislas Kostka |
1705 Marble Sant'Andrea al Quirinale, Rome Le Gros' artistic makeup was such a successful synthesis of Italian and French elements that he never lacked work; his commissions, however, frequently embodied retardataire taste, none more so than the extraordinary multicolored St Stanislaus Kostka on his Deathbed. Here Le Gros'work looks back to the tradition of ecstatic or dying saints created by Bernini and Caffa, but instead of a white marble figure set off by coloured marbles, colour forms an integral part of Le Gros' work: black touchstone for the Jesuit habit, Sicilian jasper and yellow marble for the bedding, and gilt bronze for the fringe. The saints hands, feet and head are carved from white Carrara marble, with the hair left rough and unpolished and the nails and eyes delicately incised. The work's purpose was to shock visitors entering the room where the young man once lived, by conveying the impression of someone actually dying, and the Jesuits resisted Le Gros' attempts to have the sculpture moved from their novitiate to the church of Sant'Andrea al Quirinale, largely because of its effectiveness in its intended setting. Artist: LE GROS, Pierre Painting Title: The Death of St Stanislas Kostka , 1651-1700 Painting Style: French , , religious |
|
39406 |
|
The death of the Jesaja |
mk148
French Bible of 1526. A version of the legend purported that Jesaja apart saws became (vgl. Hebr 11,37),während it in a tree hid itself |
|
38393 |
|
The Death of the Virgin |
1490s
Panel transferred to canvas, 212 x 113 cm
Museo del Prado, Madrid |
|
74307 |
|
The Death of Willem Barentsz |
1836
oil on canvas
990 x 1333 mm
cjr |
|
41891 |
|
The Decollation of Saint John the Baptist |
mk165
Ico musuem
Recklinghausen
Germany
|
|
43391 |
|
The degollamiento of the espanoles or a tzompantili pro-Indian of 1898 |
mk171
the revenge before the invader |
|
79165 |
|
The Delft City Wall with the Houttuinen |
ca. 1650(1650)
Oil on canvas
Width: 76 cm (29.9 in). Height: 53 cm (20.9 in).
cjr |
|
71824 |
|
The Departure |
The Departure: An Episode of the Child's Crusade 12th Century oil on canvas private collection |
|
42951 |
|
The Deposition |
mk170
1500-1505
Oil on oak
74.9x47.3cm
|
|
79726 |
|
The Deposition |
The Deposition" oil on Canvas.
cjr |
|
86758 |
|
The Deposition |
Date 1470s
Medium Oil on oak panel
Dimensions Height: 129 cm (50.8 in). Width: 95 cm (37.4 in).
cjr |
|
86778 |
|
The Deposition |
Date c. 1460(1460)
Medium Oil on oak panel
Dimensions Height: 57 cm (22.4 in). Width: 52 cm (20.5 in).
cjr |
|
41825 |
|
THe Descent from the Cross |
mk165
91x62cm
|
|
42556 |
|
The descent of the Course, Mahabalipuram |
MK169
detail 6e-7e century n. Chr |
|
41991 |
|
The descent of the Espiritu Holy, of Heures to l-usage of Rome |
mk166
Between ends of the 14th century and
principles of the XVI Manuscript visionary Paris |
|
27577 |
|
The Destruction of troy |
mk56
oil on panel,circular,in an engaged frame
Cicle of Monsu Desiderio
|
|
80345 |
|
The Dismayed Artist |
The painting 'The Dismayed Artist' by Frederick Daniel Hardy. Oil on canvas, 1866.
cjr |
|
71022 |
|
The distant Princess |
1899
Oil on canvas
|
|
41396 |
|
The Ditchley Portrait of Queen Elizabeth |
mk160
c.1592
|
|
79810 |
|
The Dock Facing the Doge's Palace |
Oil on canvas, 73.4 x 117.4 cm
Date 1720s
cjr |
|
41872 |
|
The Dormition |
mk165
113x81cm
The State Tretyakov Gallery
Moscow
|
|
39391 |
|
The dream Jakobs |
mk148
Painting cut in the gate cello-cathedral, Venice. leader next to the sleeping Jakob, on which angels up-and descend |
|
42546 |
|
The Dream of Maya and the Birth of Buddha, plate at the basement of the stupa of Amaravati |
MK169
india ca. 200 n. Chr. White marble
160x97.8cm |
|
78072 |
|
The Dubufe Family in 1820. |
1820(1820)
Oil on canvas
64 x 84 cm (25.2 x 33.1 in)
cjr |
|
64349 |
|
the duc de bordeaux and his sister |
1821
versailles, museum |
|
41367 |
|
The earliest painting of London |
mk160
|
|
76028 |
|
the Edge of a Wood |
the Edge of a Wood. en:1885. en:John Singer Sargent. Oil on canvas. 54.0 x 64.8 cm. en:Tate Gallery, en:London.
cyf |
|
31768 |
|
The Education of the virgin |
mk76
Painted c.1650
Oil on canvs
33x39 1/2in
|
|
75892 |
|
The Education of the Virgin |
The Education of the Virgin, oil on canvas painting attributed to Diego Velazquez, ca. 1617?C18, Yale University Art Gallery.
cjr |
|
43417 |
|
The effects of the tappet or the return al refuge of the warrior. |
mk171
|
|
78060 |
|
The Elector's family |
1772(1772)
Oil on canvas
cjr |
|
30363 |
|
The Emperor justinian and his Court |
mk68
Mosaic
Ravenna
Church of San Vitale
c.547
|
|
48799 |
|
The empire men bord.Lasarustavlan Okand artist |
mk187
1583
Oil slick pa tra
72x72cm |
|
48787 |
|
The Empire men table |
mk187
Okand artist 1583 Olije farg pa tra 72x72cm Mariakyrkan,Helsingborg |
|
78469 |
|
The Empress Dona Margarita de Austria in Mourning Dress |
1666(1666)
Medium Oil on canvas
Dimensions 209 x 147 cm (82.3 x 57.9 in)
cyf |
|
30364 |
|
The Empress Theodora and Her Court |
mk68
Mosaic
Ravenna
Church of San Vitale
c.547
Italy
|
|
49601 |
|
The enogde Oden with sina tva korpar,Hugin and Munin mk202 |
mk202
|
|
40975 |
|
The Entombment |
mk159
1480s
Tempera and oil on panel
94x182cm
|
|
40967 |
|
The Entry into Jerusalem |
mk159
Tempera on panel
116.5X51.5cm
|
|
41862 |
|
The Entry into Jerusalem |
mk165
Moscow
71x56cm
The State Tretyakov Gallery
Moscow
|
|
29168 |
|
The Entry of Christ into Jerusalem |
mk65
Oil on canvas
46x20"
|
|
76734 |
|
The Eruption of Vesuvius |
The Eruption of Vesuvius, oil on canvas painting by Johan Christian Dahl, 1824, private collection.
cjr |
|
73183 |
|
The Fair at Pont-Aven |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
|
52672 |
|
The Family of El Greco |
c. 1605 Oil on canvas, 97 x 51,5 cm |
|
48408 |
|
The Family of Henry Viii |
mk190
c.1545
|
|
90813 |
|
The Family of Philip V |
1743(1743)
Medium oil on canvas
cjr |
|
76864 |
|
The family of the Duke of Penthievre |
1768(1768)
Oil on canvas
176 ?? 256 cm (69.3 ?? 100.8 in)
cjr |
|
79973 |
|
The family of the Duke of Penthievre |
1768(1768)
Medium Oil on canvas
Dimensions 176 x 256 cm (69.3 x 100.8 in)
cyf |
|
41395 |
|
The Famous Hilliard miniature usually described as A Young Man among roses |
mk160
he has a closed ruff and a cloak over one shoulder
|
|
49705 |
|
The fanns yet exception which underline of that picture stamp 1588 of Cornelis Claesz motor van Wieringen |
mk203
Pinassen,som anvandes in Spanish navy wonder Branch Ii. |
|
88490 |
|
The Feast of Trotters |
oil on canvas, 53.5 x 76 cm.
Date mid 18th century
cjr |
|
43396 |
|
The fever of the gold or the interrogations of Coyoacan |
mk171
|
|
64924 |
|
The Fight between David and Goliath |
1123 Mural, 82 x 75 cm Museu Nacional d'Art de Catalunya, Barcelona This mural, removed from the wall of the church of Santa Maria at Tahull, is one of the most famous surviving examples of Catalonian Romanesque painting. The artist of this painting is referred to as the Master of Tahull. The rigid hieratic saints or Christs enthroned seen in earlier works are here replaced by a vivid and expressive representation of the fight between young David and the champion Goliath, who is depicted in chain armour and armed with a spear and shield. When the fresco was first made it included a scene in which David and Goliath were depicted side by side, David using his sling and Goliath slain by the stone. These details have been damaged beyond restoration and there remains only this scene in which David beheads Goliath. Here too the colours have faded in the course of centuries. In the Romanesque fresco we see the decorative manner of representation characteristic of the Mozarabic miniatures, that is to say, the fight is not shown as taking place in any particular landscape setting, but is depicted against a background divided horizontally by lines similar to the fesses of a heraldic escutcheon. There is also some of the crudeness seen in miniatures, for example, the exaggerated size of the hands. But the fresco represents a conscientious effort to depict the story with great accuracy, for these murals served not only to decorate the church but also to instruct the people in Biblical history. The artist clearly attempted to give the faces of David and Goliath certain individual features, introducing also such realistic details as the carrion bird beside the body, the lively drapery of the cloak and the Jewish cap on David's head. The fresco dates from a period when the fight between David and Goliath was thought of as an Old Testament manifestation of the struggle between Christ and Satan. , UNKNOWN MASTER, Spanish , The Fight between David and Goliath , 1101-1150 , Spanish , painting , religious |
|
49236 |
|
The Fight for the Standard |
mk195
1865
Oil on canvas
26x21
|
|
43479 |
|
The Figure of Christ |
mk172
crucified was intensely exploited by Asian ivory artisans
|
|
75682 |
|
the first President of the United States which took place on April 30, 1789. |
Oil painting of George Washington's inauguration as the first President of the United States which took place on April 30, 1789.
cyf |
|
72011 |
|
The First Sense of Coquetry |
1804 |
|
79292 |
|
The first settlers discover Buckley |
The first settlers discover Buckley, painting, oil on canvas, 62.5 x 95.5 cm, by Frederick William Woodhouse
Date 1861(1861)
cjr |
|
79996 |
|
The First Tear |
1884(1884)
Oil on canvas
cjr |
|
27352 |
|
The Five Seneses |
mk56
Studion of Jan Brueghel the Elder
Studion of Frans Francken the Younger
Oil on panel,in a carved and gilt wood frame
|
|
49612 |
|
The fjattrade Fenrisulven,en of Lokes son |
mk202
|
|
27521 |
|
The flagellation |
mk56
a pair,both oil on panel
|
|
79301 |
|
The flood in the Darling, |
The flood in the Darling, 1890, painting, oil on canvas, 122.5 x 199.3 cm, by William Charles Piguenit
Date 1895(1895)
cjr |
|
79407 |
|
The Flood on the Darling River |
The Flood on the Darling River, New South Wales, painting, oil on canvas, 76.5 x 126.0 cm, by William Charles Piguenit
Date 1890(1890)
cjr |
|
48519 |
|
The flower garden at Liancourt |
mk190
1654
|
|
76682 |
|
The Flower Seller |
??The Flower Seller??, oil on canvas
cjr |
|
57433 |
|
the flowering of baroque music |
mk257 the sense of heaing represented allegorically as domestic music-making in this seventeenth-century french painting. |
