| ID |
Bilder |
Oljemålningar Från A till Z |
Information |
| 73292 |
|
Studlhutte im Jahre |
Studlhutte im Jahre 1874
cjr |
| 72592 |
|
Study for Welch Mountain from West Compton |
Date ca. 1856(1856)
Medium Oil on paperboard
Dimensions 20.6 X 31 cm (8.11 X 12.2 in)
cyf |
| 71456 |
|
Study for Welch Mountain from West Compton, New Hampshire |
ca. 1856(1856)
Oil on paperboard
20.6 x 31 cm (8.11 x 12.2 in)
|
| 27368 |
|
Study of a bearded old man,possibly a hermit,half-length |
mk56
oil on canvas,unframed
Circle of Jusepe de Ribera,called lo Spagnoletto
|
| 79839 |
|
Study of Hawaiian Fish |
1898(1898)
Oil on canvas
cjr |
| 49686 |
|
Sturt and his foljeslagare wonder kartmatning wide farden to the interior of Anustralien 1844-45 |
mk199 |
| 45700 |
|
Style life with hobem beer glass |
MK186 1653 Oxford, Ashmolean museum |
| 45575 |
|
Style life with strawberries and Artischocken |
mk186
around 1650 Poggio a Caiano, villa Medicea, Museo della Natura Morta
|
| 76064 |
|
Sultan Abdulmecid. |
1850-1859
Oil on canvas
81.5 ?? 60 cm (32.1 ?? 23.6 in)
cjr |
| 34205 |
|
Sultan Husayn Mirza in mystical contemplation of the rose |
mk90
Detail of the frontispiece to the manuscrept of the Bustan
|
| 34169 |
|
Sultan Husayn on this throne |
mk90
Detail from the Illustration
|
| 34190 |
|
Sultan Muhmud of Ghazni depicted as a young Safavid prince visiting a hermit |
mk90
Mashhad
c.1577-88
|
| 72178 |
|
Sultan Sanjar and the Old Woman |
between 1735(1735) and 1765(1765)
Oil on canvas
91.4 X 88.9 cm (35.98 X 35 in)
|
| 73798 |
|
Sultan Sanjar and the Old Woman |
Date between 1735(1735) and 1765(1765)
Medium Oil on canvas
Dimensions 91.4 X 88.9 cm (35.98 X 35 in)
cyf |
| 76323 |
|
Sultan Selim III in Audience |
1803(1803)
Medium English: Oil
cyf |
| 74854 |
|
Sultan Selim III in Audience. |
1803(1803)
Oil
cjr |
| 74000 |
|
Summer Pastoral, Bresle Valley |
Digital Reproduction of an original oil painting "Summer Pastoral, Bresle Valley" by Emile van Marcke de Lummen.
Français : Summer Pastoral, Bresle Valley
cjr |
| 74001 |
|
Summery landscape |
"Summery landscape", oil painting on wood, 39 x 34 cm, by Louis Robbe (1806-1887); private collection
cjr |
| 75501 |
|
Summery landscape |
English: "Summery landscape", oil painting on wood, 39 x 34 cm, by Louis Robbe (1806-1887); private collection
cyf |
| 49723 |
|
Sun Royal |
mk203
barley 1669,var one of they fornamsta farygen in Ludvig XIV. |
| 71251 |
|
sunday |
mk290 1888-1890 59x59in private collection |
| 73542 |
|
Sunday Evening |
Oil painting on canvas
cjr |
| 41881 |
|
Sunday of the Triumph of the Orthodoxy |
mk165
Melkite icon of the 18century
|
| 49241 |
|
Sunday Review at Bayley Cross Roads |
mk195
1861
Watercolor on paper
6x9
|
| 26613 |
|
Sunlit Farm |
mk51
Watercolor
10x14
|
| 73265 |
|
Sunrise at Batz-sur-Mer |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
| 56895 |
|
Sunrise in the thin Zachary |
mk250 year in 1660-1670. Matt watercolor, gold and silver paper-winged canopy, 24.8 x 21 cm. Philadelphia, Barack ovens private collections. |
| 74003 |
|
Sunset at sea |
"Sunset at sea", oil painting on canvas (34 x 44 cm), door Romain Steppe (1859-1927); private collection
cjr |
| 75502 |
|
Sunset at sea |
English: "Sunset at sea", oil painting on canvas (34 x 44 cm), door Romain Steppe (1859-1927); private collection
cyf |
| 73172 |
|
Sunset by the Sea, Brittany |
Oil painting reproduction of Ferdinand du Puigaudeau
cjr |
| 73549 |
|
Sunset in Briere I |
Oil painting reproduction of Ferdinand du Puigaudeau.
cyf |
| 73168 |
|
Sunset in Briere II |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
| 73543 |
|
Sunset in Briere III |
English: Oil painting reproduction of Ferdinand du Puigaudeau.
cyf |
| 79490 |
|
Sunset in the Forest |
1878
Oil on canvas
106.5 x 81 cm (41.9 x 31.9 in)
cjr |
| 73547 |
|
Sunset of the Breton Coast |
: Oil painting reproduction of Ferdinand du Puigaudeau.
cyf |
| 73162 |
|
Sunset on the Coast |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
| 73156 |
|
Sunset on the Grande Briere |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
| 79715 |
|
Sunset on the Passaic |
1891(1891)
Source Honolulu Academy of Arts
cyf
|
| 57178 |
|
Supremacists No. 58 |
mk253 oil painting in 1916 in St. Petersburg, Russia museum |
| 75103 |
|
Sur la place ensoleillee de l eglise |
Date 19th century
Medium Oil on panel
Dimensions 52 X 40 cm (20.47 X 15.75 in)
cyf |
| 49234 |
|
Surprise of the Pickets at Peck-s House |
mk195
1861
Watercolor on paper
6x9
|
| 63846 |
|
Surrender of the Burghers of Ghent in |
. 1454 Illumination on parchment, 20,8 x 14,7 cm ?sterreichische Nationalbibliothek, Vienna The miniature comes from the manuscript Privileges and Statutes of Ghent and Flanders, the artist is referred to as the Master of the Privileges of Ghent and Flanders. Philip the Good had this manuscript written and magnificently illuminated after his decisive victory over the citizens of Ghent. The full-page miniature faithfully depicts the scene described in the text, when the defeated burghers came out to meet Philip wearing only their shirts or a black robe, barefoot and bareheaded, and had to beg for mercy. We can see them surrendering their guild banners, symbols of civic self-determination.Artist:MINIATURIST, Netherlandish Title: Surrender of the Burghers of Ghent in 1453 Painted in 1451-1500 , Flemish - - illumination : historical |
| 73507 |
|
Susanna. |
Medium ?
Dimensions ? X ? cm
cyf |
| 77907 |
|
Suspicion |
"Suspicion", 28.5 x 38 1/4" oil-on-canvas painting by Herbert William Weekes (fl. 1864-1904) This is a faithful photographic reproduction of an original two-dimensional work of art. The original image comprising the work of art itself is in the public domain because its copyright has expired. Under UK copyright law, originality of expression is necessary for copyright protection, and a mere photograph of an out-of-copyright work may not be protected under UK copyright law. This photographic reproduction is therefore also in the public domain.
cjr |
| 61301 |
|
svaalt och hungersnod fran tiden for franska revolutinen |
mk274 svaalt och hungersnod fran tiden for franska revolutinen |
| 59851 |
|
svarttjarn |
mk269 1852 olja pa duk 108 x 155.5 cm privatago |
| 57158 |
|
Swan Princess |
mk253 canvas 142.5 x 93.5 cm Moscow in 1900, the State Tretyakov Gallery collection |
| 49568 |
|
Swede arm gar over river Lech |
mk201
It was in this knock the katolske faltherren To Sarajevo to dods. Whys did cinnamon the lattare ago equestrienne that attend to over river |
| 48906 |
|
Swede landskap,motiv stamp Kolmarden |
mk187
1866
Oil slick pa screen
169x226cm |
| 48898 |
|
Swede watercolour |
mk187
1856
Oil slick pa screen
85.5x71.5cm |
| 62504 |
|
Swiss Guard and Wounded Veteran |
1819 Lithograph, 393 x 330 x 362 mm Mus?e du Louvre, Paris Like Goya G?ricault turned to printmaking, choosing the new technique of lithography to reach a popular audience. There is pity in his lithographs of the wounded returning from campaign, above all in The Retreat from Russia. These exhausted soldiers stand for an entire nation; but that they have not lost their pride is clear from a companion print, in which a one-legged veteran defiantly shows off his campaign medals to a slouching Swiss guard outside the Louvre, forcing him to present arms. Author: G?RICAULT, Th?odore Title: Swiss Guard and Wounded Veteran Form: graphics , 1801-1850 , French , other |
| 68225 |
|
sylvius malning av exotiska besokarese |
se |
| 67286 |
|
Szermentowski |
Description Bydlo na pastwisku by J??zef Szermentowski.jpg
Polski: "Bydło na pastwisku"
Date
Source http://pinakoteka.zascianek.pl
|
| 49614 |
|
T.v. This average manuscript am exposing how Alexandria guddar Later generation in Persia was considering Alexandria wrap somen halvgud and Shelf him |
mk199
|
| 62429 |
|
Tabernacle |
1283 Marble Santa Cecilia in Trastevere, Rome The tabernacle on the altar of Santa Cecilia in Trastevere seems to be complete in its state of conservation. According to a recently discovered inscription, it was made by Arnolfo di Cambio in 1293. It forms part of the final moment of an ample and consistent effort at restoration of the entire decorative system of the church of Santa Cecilia, which included the well-known Cavallini frescoes, the liturgical furnishings, and sculptural ornament. The obvious Gothic 'Rayonnant' character of this revision has recently been attributed to the patronage of a French cardinal, while the direction of the whole project has been attributed to Arnolfo, who, working in the last decades of the thirteenth century in the service of the major families, the new preaching orders, and the popes, without a shadow of doubt dominated the panorama of the most innovative Roman trends in the artistic field. The tabernacle repeats the structural complex and decorative scheme of the San Paolo fuori le Mura tabernacle but simplifies and strengthens the Gothic forms, creating a new proportional balance between the parts and revoking the concept of the whole in light of a more mature assimilation of the classical references. With respect to his first interpretation in Rayonnant taste, here Arnolfo reduced and redirected the ascending elements of the base of the cupola and the pendentives of the crown, and in addition attenuated the vertical soaring of the four gables and the trefoil arcades of the baldacchino, but created a notable development in the height of the supporting columns, to which he also added the original solution of cube-shaped dosserets, decorated with Cosmatesque mosaic. Author: ARNOLFO DI CAMBIO Title: Tabernacle , 1251-1300 , Italian Form: sculpture , religious |
| 35409 |
|
Tahiti Revisited |
mk102
1776
Oil on canvas
92.7x138.4cm
|
| 35413 |
|
Tahiti,bearing South East |
mk102
c.1775
Oil on panel
24.1x45.2cm
|
| 48826 |
|
Takmalning in Save kyrka,Bohuslan |
mk187
1704 Oils pa tra Motivate am failing hamtat from Luneburgerbibeln pressure 1672 Bergen in background had suit to they bohuslanska klippornas double pious. |
| 48774 |
|
Takmalning pappa |
av ta aterger Stefanslegenden.Omkring 1275-130 |
| 74407 |
|
Tallinna vaade Piritalt |
English: Oil on canvas. 35.5 x 71 cm.
Eesti: "Tallinna vaade Piritalt" (19.- 20. saj. vahetus)
Materjal: Õli, lõuend
Mõõdud: 35,5 x 71 cm
cyf |
| 64229 |
|
tapestry of courtly life |
late fifteenth century
paris, muse'e de cluny |
| 67368 |
|
Targ w Opatowie |
Year 1845(1845)
Technique Oil on canvas
Dimensions 56 ?? 76.4 cm (22.05 ?? 30.08 in)
|
| 72308 |
|
Tatra Mountains |
Date 1870(1870)
Medium Oil on canvas
Dimensions 90 X 127 cm (35.43 X 50 in)
cyf |
| 56801 |
|
Tax money |
mk250 Florence, Italy, Ya Kami Mary's church in Chapel Bulangkaqi. About the year 1427. Frescoes, 246.4 x 596.9 cm |
| 42551 |
|
Teaching Buddha from Sarnath |
MK169
india Gupta 5e century n. Chr. Sand stone height 157.5cm Museum of Sarnath |
| 73875 |
|
Teekond Noa laeva |
Date ca. 1650(1650)
Medium Oil on canvas
Dimensions 94 X 122 cm (37.01 X 48.03 in)
cyf |
| 52605 |
|
Tempera and leaf on panel |
121 x 96,5 cm |
| 48533 |
|
Temple and flowerbed in the garden of the Hon |
mk190
Richard Bateman at Grove House
|
| 56735 |
|
Temple of Hera |
mk250 Italy's Sturm Bo Ai, about 460 years BC. |
| 48875 |
|
Teresa Vandoni,italiensk sangerska wide royal Opera in Stockholm |
mk187
1797
Oil slick pa screen
178x150cm |
| 71056 |
|
tete de femme |
mk289 besancon musee des beaux arts |
| 39829 |
|
Thakur Daulat Singh,His Minister,His Nephew and Others in a Council |
mk153
ca.1820
29.1x39.4cm
|
| 49702 |
|
That a unusual ocb nagot forbryllande cartoon of Bruegbel d a am exposing battle as gar among quay ocb they with latinsegel riggade superb galeonerna |
mk203
They langa diagonal spirorna pa vessel to blemish give a assignment if unborn riggar |
| 49745 |
|
That aquarium of the American fregatten Constitution millings of command John Rogers,som had chosen benne as flagship anti Barbareskstaternas sjorovar |
mk203
This vessel am failing the American people chart and raddades stamp upphuggning per a rousing poem of Olive Wendell Holmes |
| 49731 |
|
That boljande tvatt am creating a stammer of bekymmerslos jolly as konstnaren Ozanne very whale bare fangat |
mk203
Cannons avlossas,standar,flaggor ocb ensign blasphemy and sail flutter in the wind nar besattningen am grabbing anti gastritis ago a feast aboard |
| 49728 |
|
That cartoon of Experiment Herring |
mk203
am exposing vessel to boger with a flag pa mizzen mast as designates that the back a royal fleet |
| 49724 |
|
That etching of Ozanne,kalled Drawing of one vessel forelagges king of they French provinserna place if cage Choiseul wonder Ludving XV pa one stralan |
mk203
Vessel had sometimes provinsnamn sasom Artesien and Bourgogne. |
| 49615 |
|
That French malning am exposing how Alexandria and his medelhavssjoman flush arrived in switch with tide wide river Industry lower bore |
mk199
|
| 49638 |
|
That guldlama - the usual lastdjuret in Sydamerika am exposing one test pa collect guldmideskonst |
mk199
They anvande metal only ago ornamental breath |
| 49727 |
|
That luxuriant ocb in bow pitch allegorise marinmalnig of Ludolf Backbuysen |
mk203
paminner if that might ocb macaw be added the nation as bare berravalde to sjoss |
| 49556 |
|
That malning from a average bonbok am describing a pious woman motel with the sacred The virgin |
mk201 |
| 49711 |
|
That malning of Creditable Cornelis Vroom am exposing |
mk203
The lucky aterkomsten to Amsterdam the 19 a hiding 1599 of Jacob cornelis motor van Neck s second expedition til lOstindien |
| 49726 |
|
That malning of the younger motor van they Velad |
mk203
am exposing Gouden Leeuw,eller The Oriole Lejonet,den depend bollandske admiral COrnelis Trombone Flaggskepp,som am laying in Amsterdam to trangsel full bamn am failing 1680 |
| 49631 |
|
That maps am exposing the vague as Stamp Kite expedition 1583 taken anti Hispaniola |
mk199
Cartagena and St.Augustine in Veil. |
| 49713 |
|
That maps over Still sea tillskrius Hessel they Gerritsz |
mk203
Avenue if the am failing langtifran fullstandig am exposing the in large what husband candied til in this omrade dren about 1630 |
| 49678 |
|
That prospect stamp Mc Murdosundet millings of dr Edward Wilson |
mk199
som each scientific partners in Scotts go bathing expedition |
| 49760 |
|
That valijakt - scene of Louis tbe Breton,en sjoman - artist as after all 1866,praglas by an sallsynt exactitude and observationsformaga |
mk203
A American valfangare am laying bees in British farvatten,under Royal Navys vacancies oga,medan bennes battle forsoker that weather sits loot said nare coast |
| 49751 |
|
That vy over Nelson Sea pa New Zealand millings 1841 of T.Allom and am combining a charmfull konstnarlig maybe with a very grand precise in detaljer,s |
mk203
Countless sadana konstnarliga evidence stayed accomplishment of expedition as bekostades of England. |
| 49649 |
|
The 24 am failing ancient scotch sheet Mungo Park be in charge a of they flush expeditionerna to Africa 1795 |
mk199
His moths each that find Nigers calling and estuary |
| 35447 |
|
The Adelphi under Construction |
mk102
c.1771
Oil on canvas
46.4x60.3cm
|
| 27363 |
|
THe adoration of the shepherds |
mk56
oil on panel,arched top
Attributed to Orazio Samacchini
|
| 27389 |
|
The adoration of the shepherds |
mk56
oil on canvas
Studio of jacopo da ponte,called jacopo bassano
|
| 27366 |
|
The Adoration of the magi |
mk56
oil on canvas
Venetian School,circa 1600
|
| 63959 |
|
The Adoration of the Magi |
1380-90 Tempera on wood, 50 X 31 cm Museo Nazionale del Bargello, Florence The left-hand panel of this diptych depicts the adoration of the Infant Jesus by the Magi; the right-hand panel represents the Crucifixion. This is another of the pictures whose origin has been the subject of considerable speculation among scholars, for the international uniformity which is the hallmark of the International Gothic style has led to the picture being ascribed to Avignon, Paris, Franco-Flemish, Austrian and Bohemian artists. Perhaps the closest analogy can be found in the works of the Master of Trebon (the folds of the Virgin's mantle, undulating in a similar manner, or the insubstantial birds on the roof of the Bethlehem stable). On the other hand, these details could be coincidental, or derived from a common source; until the coat of arms on the ornate bed can be positively identified these questions will remain open to speculation. Seated on her canopied bed, the Virgin receives the homage of the Magi, who are taking off their crowns. In the upper left corner we can see the Magi and their horses assembling from different directions. In the bottom right corner Joseph is sitting; when the guests arrived he was warming his feet at a brazier. Now, like the Magi, he, too, takes off his headgear with a humble gesture. (If we want to find the prototype of the figure, we could see it in the representations of the month of February in calendars of books of hours: the figure of an elderly man warming himself at the fire was the personification of February.) The picture is a strange mixture of marked condensation and of anecdotal details. The story is circumstantially told by merely putting the most important characters and decor side by side. The wealth of small objects set beside one another gradually overlap and cover the whole surface of the picture. The Virgin's canopied bed is a throne too, while its top has a double role and is also the roof of the Bethlehem building crowded with dovecotes. The space left empty by the structure of the bed-throne is filled up by a bastion. Space, as a substance, is not conveyed; the motifs are linked with one another in the way the words of a sentence are. The star, for example, is given emphasis by the small spot of nocturnal darkness surrounding it and separating it from the golden background. , Artist: UNKNOWN MASTER, French , The Adoration of the Magi (Bargello Diptych) , 1351-1400 , French , painting , religious |
| 63962 |
|
The Adoration of the Magi |
44 x 30 cm Musee Bonnat, Bayonne , Artist: UNKNOWN MASTER, French , The Adoration of the Magi , 1451-1500 , French , painting , religious |
| 63966 |
|
The Adoration of the Magi |
1420 Tempera on pine, 100 x 81 cm Hessisches Landesmuseum, Darmstadt The picture is the right-side wing of a triptych (the Ortenberg Altarpiece), the central panel of which represents the Virgin and other members of her family, whilst on the left-hand wing the Nativity is depicted. The relatively large-size work, which used to decorate the high altar of the parish church of Ortenberg, was painted by a master of the Middle Rhineland, who was influenced by the Frech and Italian art of the period. The scene takes place in front of a golden background, in a narrow space, in surroundings which look like stage sets. The Virgin is seated on a red bed on the left in the tiny hut-small in proportion to the size of the figures-in Bethlehem and, holding the naked Infant on her lap. She receives the homage of the Magi who are arriving from the right. Strangely enough, the shed is attached to the dark rocks, whereas on the right it is directly adjacent to a tower in the town. With a na'ive ingenuity the painter represented the hut as if seen from above, while the tower is depicted from a point of view below it. Thus he was able to give the impression that the latter was higher. Without using this solution he would have been obliged to cut the tower into two and could not have shown the characteristic ridge of its roof. Or else, he should not have allowed the hut to reach the frame-and in this case what would have filled up the top left corner of the picture? Evidently it was important for him to fill up the whole surface of the picture. That is why he painted the jug above the bent back of Joseph, who is squatting in the left corner, and this is the purpose, among others, of the little red table and the bread-basket which is hung on the rocky wall. It is with infinite humility and devotion that the two kneeling Magi kiss the hand and the foot of Jesus. As an expression of their veneration they also take off their crown. The one nearer to the spectator puts it on the large table, a round object rather similar to the haloes, as if he were solemnly placing a gift on an altar. This symbolic meaning of the table is perhaps stressed by the bread-basket hung on the wall above the head of Jesus and which refers to the Eucharist. The frame, like a setting of some precious stone or noble metal, encloses the picture and contributes to its markedly sublime and solemn mood. Indeed, the painting is full of representation of fine examples of the goldsmith s art, e.g. the crowns, the gold sword and the huge, heavy haloes which resemble golden dishes, and what is more, the technique of the painting itself has affinities with the work executed by goldsmiths of the period. The silver underpaint of the garments lends a metallic sheen to the translucent, enamel-like top layer of yellowish paint. , Artist: UNKNOWN MASTER, German , The Adoration of the Magi , 1401-1450 , German , painting , religious |
| 65022 |
|
The Adoration of the Magi |
1505 Oak, 57,2 x 50,7 cm Wallraf-Richartz Museum, Cologne In contrast to most of the large-scale and ceremonious images of the Magi in Cologne this small-format picture depicts an intimate and familiar scene. Idealism is combined with realistic observation. The artist of the panel is referred to as the Master of St Severin. , UNKNOWN MASTER, German , The Adoration of the Magi , 1501-1550 , German , painting , religious |
| 29815 |
|
The Adoration of the Magi and The Crucifixion |
mk67
Panel
21 1/4x41in
Bargello,Museum
|
| 27388 |
|
The adoration of the shepherds |
mk56
oil on canvas
Venetian School,18th Century
|
| 43455 |
|
The Ages of man was a subject of meditation |
mk172
Favored by the Baroque culture
|
