Choice ID Image Painting (From A to Z) Details
49704
They most konstnarerna wonder that term had telephone if alike nagon insight in navy thing ocb had darfor svarigheter that picture one vessel accurate
mk203
nagot as underline of that picture
49637
They Spanish conquistadorena each they flush as cranberry through they tropical regnskogarna in Sydamerika wide 1500- digits midst.
mk199
They sokte behind guld,kryddor and nya omraden that settlement.
49557
They three appear men
mk201
A malning of Benozzo Gozzoli in Palace Medicine in Florence
73729
Third Eye by Irina Belova
oil on canvas, 70x50cm
cyf
40162
Third Quarter of the 14 th c
mk156
Manuscript illumination
Stolen from the Library St.Petersburg
56945
Third-class compartment
mk250 Year in 1862. Oil on canvas, 65.4 x 90.2 cm around. New York Metropolitan Museum of Art
49734
This anslaende portrait of captain James Cook,en of 1700- digits djarvaste sjofarare,ar millings of N.Dance
mk203
Ansiktsuttrycket am failing bestamt,men also sensible and thoughtful avenue if the expressive a certain countless and accustom pa that konstnaren bark become fardig
56782
This conception
mk250 Year in 1333. Wood and gold leaf color Eggs, about 307.3 x 266 cm. Uffizi in Florence.
56809
This conception
mk250 Florence, Italy, San Marco Church, about the year in 1400-1445. Frescoes, 215.9 x 320 cm.
43466
THis Detail illustrates
mk172
the characteristic plastework covering the walls and vault of the Chamber of the Virgin of Loreto
43493
This painting Allows us to picture the interior of a church in new spain
mk172
The altarpiece is in the background
43474
This painting signed
mk172
by Jose de Ibarra exemplifies one of the Baroque-s most outstanding characteristics
49643
This Portrait of Mackenzie with a am matching in hand emphasize his importance as kartlaggare and upptackare
mk199
49699
This portrait of Vasco da Gama to clerical error Gregorio Lopez.
mk203
Map am arriving stamp a am handwriting in savages a of Magellans besattningsman
52731
This tapestry is one of a set of four depicting
mk223
Oil on canvas
77716
Thom Thomson, Le Pin, 1916-1917.
Thom Thomson, Le Pin, 1916-1917.
cjr
41375
Thomas Cranmer,Archbishop of Canterbury
mk160
41388
Thomas Cromwell,1 st Earl of Essex
mk160
Secretary of State to Henry VIII and Lord Privy Seal
50936
Thomas Fitztrick
mk217
71069
Thomas Middleton of Crowfield and His Daughter Mary
Thomas Middleton of Crowfield and His Daughter Mary"
1776
Medium Oil on canvas
72224
Thomas Middleton of Crowfield and His Daughter Mary
Date circa 1776
Medium Oil on canvas
cyf
76132
Thorvaldsen
Oil on canvas, 32.5 x 23.5 cm
cyf
38356
Three Boys in Zouave Costume
mk136
Oil on canvas
about 1863
73182
Three Breton Girls Lighting their Candles before the Process
Oil painting reproduction of Ferdinand du Puigaudeau.
30353
Three Graces,from Pompeii
mk68
Naples,
National
Archaeological Museum
57118
Three icon
mk253 plank in Moscow 1422-1427, the State Tretyakov Gallery collection.
56995
Three musicians
mk250 Year in 1921. Oil on canvas, 200.7 x 221 cm. New York Museum of Modern Art.
56779
Throne of the Virgin and Child with Saints
mk250 Lee Italy Siena Cathedral. In the year 1308-1311. Mussel board. 213 x 396.2 cm. Siena Cathedral Museum.
42577
Throning Virgin with Child Between St. Theodorus and St. Joris
MK169
6e century n. Chr. Painting on panel
68.6x47.9cm
76166
Through Wind and Rain
1875. Oil on canvas, by William McTaggart. In the public domain. Source [1]
cyf
43486
Throughout three centuries
mk172
we come upon the same typologies of portraiture,with rare excenptions
48902
Thursday battle with jattarna
mk187
1872
Oil slick pa screen
487x336cm
61313
tidstypiksk inredning i det ovre borgerskapet en sa kallad makartsa long
mk274 tidstypiksk inredning i det ovre borgerskapet en sa kallad makartsa long
49707
Tiger
mk203
harness prompt and accumulator devoid hind leg
30357
Tiger Attacking a Bull
mk68
Inlaid marble
Rome
Capitoline Museums
c.300-400
46305
Tigers 022
This is oil painting of Tigers on canvas.
46309
Tigers 026
This is oil painting of Tigers on canvas.
56896
Tingzhong of Krishna and Lade Ha
mk250 India's Punjab province, the year 1760. Matt watercolor on paper. 28.3 x 19.7 cm. In a new National Museum.
37389
Tinkle a Cat
mk125
48897
Tiondemotet in Scandal
mk187
1865
Oil slick pa screen
91x123cm
57787
titelsidan
mk260
titelsidan av carsten niebuhrs reise beschreibung medett portratt av niebuhr i sitt 76:e levnadsar
30199
To England with weapons and Wine
nn05
58168
To expose the truth to deceive
mk261 canvas painting, Florence, hunting and the boundaries of the Museum of History
49775
To grand hojder an giraffe nar no other landvarelse wonder utovande of slaktbestyren
mk204
79120
To sigojnerkvinder uden for deres bolig.
To sigojnerkvinder uden for deres bolig. 1878 Two gypsy women outside their home, 1878 painting by P. S. Krøyer. Oil on canvas
cjr
49752
To sjoss each fire and ice varre enemies an nagonsin stormar,vilket Urville smartsamt was getting go through the 9 Feb. 1838
mk203
His infrusna Astrologer millings of konstnaren,forfattaren,sjomannen and intersects Ambroise Louis Garneray
57201
To the Red Army
mk253 canvas 200 x 360 cm in 1961 in St. Petersburg, Russia museum
45535
Tobias and the angel
mk186
around 1465 Turin, Galleria Sabauda
69242
tobias som laker sin blinda faders ogon
olja på duk 70x90cm
se
35424
Tomb and distant View of the Rajmahal Hills
mk101
Probably 1781
Oil on canvas
66.2x72.4cm
64999
Tomb of Don Sancho Saiz de Carillo
1300 Tempera on wood Museu Nacional d'Art de Catalunya, Barcelona In the mid 13th century a new type of funeral monument appeared in France: a marble or stone tomb on which the figure of the deceased is lying and its sides representing the participants of the funeral procession in reliefs. This type also appeared in Spain, however, corresponding to the local traditions, it was realized from wood with side panels covered by paintings instead of sculptures. The panels shown come from the tomb of Sancho Saiz de Carillo in Burgos. The arrangement of the figures follows the frieze-type. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1251-1300 , Spanish , painting , religious
65008
Tomb of Don Sancho Saiz de Carillo
1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The linear style is remarkable for its subtlety. It is characterized, particularly in northern Spain, by undulating rhythms and a refined color scale. The backgrounds, in which architecture, furniture, and occasionally utensils are schematically represented, are in monochrome, but the figures that occupy the foreground have an expressive humanity, very different from the hieratic formalism of the past. A typical and very ancient example of the calligraphic style is the decoration of the tomb of Don Sancho Saiz de Carrillo (Barcelona Museum). This comes from Mahamud (Burgos) and marks the beginning of the Gothic style in Castile. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious
65009
Tomb of Don Sancho Saiz de Carillo
1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The so-called Linear Style of the Gothic painting developed principally in the north of Spain, its straight lines and rigid figurative scheme recalling contemporary Romanesque Apocalypse manuscripts. The row of lamenting women on the ceiling of the tomb, now in Barcelona, of Sancho Saiz Carillo, a nobleman from Burgos, is Gothic only in that the figures are positioned in rows and overlap. The posture and gestures, even the physiognomies, are borrowed from a largely traditional style that still clearly bears signs of the Romanesque. The work's firm lines make it a particularly bold exmple of the Linear Style, which dominated Spanish painting in the years between 1290 and 1350. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious
62414
Tomb of Empress
1825 Marble Church, Rueil-Malmaison When Jos?phine de Beauharnais ((Marie Jos?phe Rose, Tascher de la Pagerie) died on May 29th 1814, her children decided to pay her a tribute by building a tomb deserving her and her legendary generosity. After eleven years of delay - explained by political background, opposition of State officials and hesitations from the commissioners - on September 28th 1825, however, the mortal remains of the Empress were put down in a white-marble tomb due to Louis Berthault, architect, and Pierre Cartellier, sculptor. The kneeling figure of the praying Empress surmounts her tomb
63038
Tomb of Gregory XIII
1719-25 Marble Basilica di San Pietro, Vatican The process of populating the churches of Rome with statues and carved tombs continued at the beginning of the eighteenth century, and the sculptors' workshops were extremely active. (They even produced for export, e.g. statues were ordered from Rome for the Palace-Monastery of Mafra near Lisbon.) Sculpture was now firmly fixed in the style of Bernini. Camillo Rusconi, the Frenchman Pierre Legros (1666-1719) and Ren?Michel (called Michel-Ange) Slodtz are among the sculptors most typical of this continuation of the Baroque. The tomb of Pope Gregory XIII in St Peter's is one of Rusconi's masterpieces. Like most such memorials in the early eighteenth century, it is subscribed to the basic formula of Algardi's tomb of Leo XI, albeit with Berninesque touches. Religion looks up to the figure of the Pope giving benediction as Fortitude lifts the massive drapery to reveal a sarcophagus with a relief commemorating the Gregorian emendation of the calendar. Despite the ostensible religious context of the monument, its focal point remained the Pope as enlightened reformer rather than spiritual leader. Artist: RUSCONI, Camillo Painting Title: Tomb of Gregory XIII , 1701-1750 Painting Style: Italian , sculpture Type: religious
62393
Tomb of Juan de Padilla
1489-93 Alabaster Museo Provincial, Burgos The kneeling figure is a detail from the Tomb of Juan de Padilla, carved in the same period than the Tomb of Infante Alfonso in the Monastery of Miraflores, Burgos. Original location of the tomb was the Monastery of Fresdelval
63095
Tomb of Pope Benedict XIII
1734 Marble Santa Maria sopra Minerva, Rome Pietro Braci was - together with Filippo della Valle - the pupil of Camillo Rusconi. He applied more painterly effects than his master and the other pupils by using multi-coloured marble. The tomb of Pope Benedict XIII was designed by Carlo Marchionni and carried out in collaboration with Bartolomeo Pincelotti (died in 1740), who was responsible for the figure of Humility. The tomb takes after the by now established Algardian model due to the ways Rusconi worked. Bracci sculpted the statue of Purity and, above all, the statue of the pope, clearly configured as an eighteenth-century reinterpretation of Bernini's figure of Alexander VII at prayer, realized for the funerary monument of the pontiff. Bracci's choice is, however, much more theatrical: Benedict XIII, seated on a throne, holds his hand to his breast in a gesture partly of Christian submission, and partly as an eternal promise of faith. Artist: BRACCI, Pietro Painting Title: Tomb of Pope Benedict XIII , 1701-1750 Painting Style: Italian , sculpture Type: religious
49787
Topiantilopen bags yarn pa brood varifran the able general view country
mk204
48544
Topographical View of Wilton
mk190
c.1700
75793
Torre del Greco near Pompeii and Naples
1846
Oil on canvas
22,5 ?? 60,4 cm
cjr
75956
Toulouse Street, French Quarter
"Toulouse Street, French Quarter". Painting of street in the Freench Quarter of New Orleans, by Harry A. Nolan.
cjr
48538
Town Garden in Dogpole,Shrewsbury
mk190
c.1710
73541
Townsfolk shopping along the Oudegracht
Date 1883
cyf
72041
Townsfolk shopping along the Oudegracht, Utrecht, The Netherlands
Townsfolk shopping along the Oudegracht, Utrecht, The Netherlands
1883(1883)
cjr
34093
Trajjan-s Grand Plan for the Heart of rome The libraries of Trajan-s Forum
mk88
34202
Transfiguration of Christ
mk90
The theophany
Twelfth-century Byzantine Mosaic in the monastic church at Daphni
71963
Transport der Freudenmadchen zur Polizeiwache
1745(1745)
Oil on canvas
65 X 82 cm (25.59 X 32.28 in)
73383
Transport der Freudenmadchen zur Polizeiwache
Date 1745(1745)
Medium Oil on canvas
Dimensions 65 X 82 cm (25.59 X 32.28 in)
cyf
42524
Trapvormige pyramid and palace of king Zoser Sakkara
mk169
Egypt ca.2770v.Chr
65101
Traveller's Missal
1360-64 Illumination on parchment Knihovna N?rodniho Muzea, Prague The manuscript served as a Missal for masses during traveling. The name of the owner (Johann von Neumarkt) can be read in Latin below the frame at the bottom. The initial G represents the scene of Annunciation. At the upper right corner of the initial Prophet Isaias, at the upper left corner King David and a bird can be seen. , MINIATURIST, Bohemian , Traveller's Missal , 1351-1400 , Bohemian , illumination , religious
41256
Trees and Flowers by a Stream
mk161
73865
Trees and Pool
Date between 1840(1840) and 1850(1850)
Medium Oil on panel
Dimensions 21.1 X 31 cm (8.31 X 12.2 in)
cyf
41254
Tribute Horse
mk161
42537
Tribuut Bringing subjects, relief at the stair to the audientie-hall Persepolis, iran
MK169
ca. 500 v. Chr.
52781
Trim Castle
mk223
Oil on canvas
64135
Trinity Piet
1415-30 Oil on oak panel, 23,2 x 15,9 cm Wallraf-Richartz Museum, Cologne The Man of Sorrows in the arms of God the Father with the Holy Ghost between them both is a kind of Seat of Mercy or more exactly a Trinity Piet? The type is met with frequently in French and Burgundian court painting from the end of the fourteenth century onwards. One of the best known and earliest preserved examples is the tondo by Jean Malouel in the Louvre. Both in the common Man of Sorrows type and in the Trinity Piet? angels are often supporting Christ's body on both sides or carrying instruments of the Passion. The small Cologne work is part of this tradition. The Man of Sorrows is flanked by four angels, with two of them holding the Flagellation column, the scourge, the stick with the sponge and the lance. This type clearly forms the basis of the Man of Sorrows borne by an angel by Master Francke which in turn led to the Virgin showing Man of Sorrows by Memling (Melbourne). The reverse features a Holy Face of Christ. The panel is attributed to the Master of Sankt Laurenz (St Lawrence), the pupil of the Cologne Master of St Veronica. It is also assumed that this small panel was the left wing of a diptych having, on the right, a Mater Dolorosa. , Artist: UNKNOWN MASTER, German , Trinity Piet? , 1401-1450 , German , painting , religious
32200
Triptych
Panel
Museo Cerralbo, Madrid
64922
Triptych
45 x 56 cm Gallerie dell'Accademia, Venice Much more of an innovator than either Catarino or Lorenzo Veneziano was Jacobello Alberegno, who in the Triptych with Crucifixion and Saints, his only signed work, reveals himself to be an artist of penetrating refinement. If it is true that the two lateral saints, St Gregory and St Jerome, are examples of stylized Gothic figures, the images of the small central panel display a naturalness worthy of one of the best of Giotto's disciples. An extraordinary human dimension seems to govern the expression of sentiments in the picture: a grief-stricken St John the Evangelist clutches his cloak to his breast while the Virgin extends imploring arms and stares transfixed with anguish at her crucified son. , ALBEREGNO, Jacobello , Triptych , 1351-1400 , Italian , painting , religious
65033
Triptych
85,3 x 95 cm (central panel), 86,3 x 41 (wings) Wallraf-Richartz Museum, Cologne The painter of this altarpiece, the central panel of which depicting the extended Holy Family ('Holy Kinship') is referred to as The Elder Master of the Holy Kinship. , UNKNOWN MASTER, German , Triptych , 1401-1450 , German , painting , religious
51075
Triptych The Adoration of the Magi
1475-1500
Oil on wood,
29 x 39 cm
51068
Triptych with Scenes from the Life of Christ
Oil on panel,
83,7 x 68,8 cm
64131
Triptych with Scenes from the Life of Christ
1500-05 Oil on panel, 58 x 46 cm (centre), 57,5 x 16,5 cm (each wing) Private collection, Milan This remarkable work which came to light recently seems to be by the same Memling follower who painted the Santa Barbara Lamentation (Museum of Art). In the larger Lamentation, however, the painter is more precise in the details than in the miniature scenes, which seem to be painted with an unruly brush. Typologically, however, everything corresponds: the rather stiff figures with wooden gestures and attitudes, the hard folds, the trees with thick burly foliage, the plump clouds with heavy lighted edges. Remarkable about this triptych is the fact that many of the little scenes have been taken from well-known Memling compositions: it is largely conceived as a pastiche of Memling fragments. From left to right and from top to bottom, the triptych contains the following scenes: Left wing 1. Annunciation 2. Visitation 3. Nativity 4. Jesus among the Pharisees Central panel 5. Presentation in the Temple 6. Flight into Egypt 7. Mourning Mary and Joseph 8. Flagellation 9. Carrying of the Cross 10. Crucifixion 11. Lamentation 12. Entombment 13. Circumcision 14. Mount of Olives 15. Christ at the column 16. Christ released from the Flagellation column by Mary and John 17. Crowning with Thorns 18. Mocking of Christ 19. Christ nailed to the Cross 20. Crucifixion Right panel 21. Resurrection 22. Ascension 23. Descent of the Holy Ghost 24. Death of the Virgin. The work is popular in conception and there is hardly any logic in the arrangement of the scenes. Following the example of contemporaneous miniature painting (Simon Bening) they are enclosed in a painted window in early Renaissance style. Only the wings are arranged in chronological order with scenes from the Childhood and scenes after the Christ's death. In the central panel, which is mainly devoted to the Passion, everything is mixed up. Spatially the artist has shown a degree of circumspection, for the scenes at the top have a very low horizon, while the lower scenes exhibit the usual foreshortening in successive plans. The conscious reference to various works by Memling (with some scenes possibly deriving from lost compositions) clearly points to a painter who had access to these works while they were still in the workshop or to whom working drawings were available. It is also remarkable that the borrowings come from late works. It can be assumed therefore that we are here dealing with a student or assistant of Memling. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ , 1501-1550 , Flemish , painting , religious
64132
Triptych with Scenes from the Life of Christ
1500-05 Oil on panel Private collection, Milan The picture represents scene 2 of the left wing, the Visitation. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious
64133
Triptych with Scenes from the Life of Christ
1500-05 Oil on panel Private collection, Milan The picture represents scene 9 of the central panel, the Carrying of the Cross. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious
64134
Triptych with Scenes from the Life of Christ
1500-05 Oil on panel Private collection, Milan The picture represents scene 21 of the right wing, the Resurrection. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious
64040
Triptych with the Family of St Anne
1490s Oil on panel, 87,4 x 92,5 cm (centre), 87,3 x 37,1 cm (left), 87,4 x 39,2 cm (right) Museum voor Schone Kunsten, Ghent An impression of Ghent panel painting in the shadow of the leading masters is provided by a number of works from religious institutions in the city that have been attributed to local workshops on stylistic grounds. There is , for instance, the Triptych with the Family of St Anne. This work prompted the coinage of the name 'The Master of the Family of St Anne', an anonymous artist to whom several other panels in Ghent have been attributed. The most clearly discernible influence in his work is that of Van der Goes' realism. , Artist: UNKNOWN MASTER, Flemish , Triptych with the Family of St Anne , 1451-1500 , Flemish , painting , religious
73355
Tristan and Isolde
Tristan and Isolde
cjr
30417
Triumph of Death
mk68
Fresco
Palermo
Regional Gallery of Sicily
1449
ltaly
63079
Triumph of Death
1350 (?) Fresco Campo Santo, Pisa The celebrated frescoes, the Triumph of Death, with accompanying scenes of the Last Judgment, Hell, and Legends of the Hermits were attributed for long time to Francesco Traini. These, among the outstanding Italian paintings of the 14th century, were badly damaged by bombs in the Second World War, but this brought to light, by way of partial compensation, the beautiful 'sinopie, which are now shown in the Museo delle Sinopie. The frescoes include many telling details of death's victims and are usually seen as a reflection of the horrors of the Black Death of 1348, but some authorities consider them earlier and attribute them to the mysterious Buffalmacco. Artist: BUFFALMACCO, Bounamico Painting Title: Triumph of Death (detail) , 1301-1350 Painting Style: Italian , , mythological
76740
Triumph of Flora
Date ca. 1627-1629(1627-1629)
Medium Oil on canvas
Dimensions 165 ?? 241 cm (65 ?? 94.9 in)
cyf
77687
Triumphzug des Bacchus
ca. 1536-1537
oak panel
56.3 ?? 106.5 cm (22.2 ?? 41.9 in)
cjr
74474
Trompe-l ail mit Atelierwand und Vanitasstillleben
1665
Oil on canvas
cjr
49296
Troops at Pittsburg Landsing April,1862
mk195
Pencil
New York Public
72294
Trouville
Trouville," oil on panel, by the French artist Eugene Louis Boudin. Yale University Art Gallery, gift of Mrs. Joseph M. Flint. Courtesy of Yale University, New Haven, Conn.
cjr
49703
Truly Catarina lavatory Monte Sinai
mk203
one Portuguese orlogsfartyg,var bribe with more an kanoner,aven if absence each latta pjaser.
49120
Tsar Ivan the Terrible
mk193
1897
Oil on canvas
247x132cm
74386
Tsar Ivan the Terrible and the priest Sylvester
English: Tsar Ivan the Terrible and the priest Sylvester, 24 June, 1547 (oil painting, 1856).
Date 1856
cyf
61455
tsar nikolaus i
mk275 dostojevskij deltog i en sammansvarjning mot honom och domdes till doden men benadades i sista stund
56965
Tub
mk250 Year in 1886. Pastel painting, 29.2 x 82.2 cm. Baliaosai Museum.
48413
Tudor Court Scene in a Walled enclosure probably a garden
mk190
1500
Poems of Charles d-Orleans
