| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 27397 |
 |
The agony in the garden |
mk56
oil on silvered copper
Francesco Trevisani
|
| 40147 |
 |
The Agony in the Garden |
mk156
c.1350
Tempera on panel
100x92cm
|
| 56920 |
 |
the agriculture god swallows his child |
mk250 A.D. 1819-1823 years. On after mural canvas's part, entire picture 144.8 x 81.3 centimeters. Madrid pula art museum. |
| 39432 |
 |
The Anastasis (resurrection) |
mk148
Adam takes icon out of the Novgorod-school, Russia, late 14.Jh.Christus at hand and leads it and the further deceased biblical persons out of the hell |
| 42587 |
 |
The angels Gods Defeat the Enemies of the Israelieten illuminatie |
MK169 width 12 cm from Reims ca.820-32 n.
Chr. universities library Utrecht |
| 41773 |
 |
THe Annuciation |
mk165
Saint Catherine Monastery
Mount Sinai
Egypt
|
| 41879 |
 |
The Annuciation |
mk165
Novgorod
41x33cm
|
| 41782 |
 |
The Annuciation,The Archangel Gabriel |
mk165
Church of the virgin peribleptos of Ohrid |
| 41783 |
 |
The Annunciation |
mk165
Church of the Peribleptos of Ohrid |
| 41810 |
 |
The Annunciation |
mk165
Egg tempera on plaster on wood
55x43cm
|
| 41828 |
 |
The Annunciation |
mk165
43x34cm
|
| 64183 |
 |
The Annunciation |
1410s Woollen tapestry, 345 X 290 cm The Cloisters Collection, Metropolitan Museum of Art, New York Tapestries provided a very suitable medium for the stylistic expression of the International Gothic art. While, in general, tapestry weaving attempted to solve the same problems as those raised by painting, the opposite can be observed in the period about 1400: it was then in fact painters who endeavoured to achieve effects like tapestry by the homogeneous texture of their pictures, which were made up from tiny, dense and decoratively stylized repeated elements. It is a characteristic feature of the International Gothic style to endeavour to make the various motifs appear to be of the same quality, and to give them the fluid lines of textiles. These endeavours felicitously made use of the possibilities offered by tapestry-weaving. In general terms the composition follows that of Broederlam's Annunciation; it is from the open air that the angel approaches the Virgin, who is enthroned in a chapel-like building. The upper outlines of the chapel are set off by the contrast of the brown mountain which looms up behind the building. On the left luxuriant vegetation stretches up towards the sky, where a half length figure of God the Father appears surrounded by a golden mandorla. Narrow bands of white cloud form a rhythmically repeated pattern on the sky around him. The building looks as if it were made of some rigid fabric, for its column is like a thick cluster of cables, decorated with recurrent multicoloured motifs. The bottom edge is a fluctuating line, as if the ground were creeping up the wall. This may be a stylized version of the hillside to be seen beside Broederlam's pavilion. As though to counter-balance the luxuriant vegetation on the left side, the floor of the chapel is covered with a mosaic of amazing variety. There are no duplicates among the geometrical forms, which alternate with stylized foliate motifs. The natural surroundings are also luxuriantly decorative: plants of different kinds will spring from the same stock. However, it is not only with the abundance of forms of trees, leaves and flowers that the forest astonishes us, but with its sense of magic and mystery. The trunks of the trees with their vibrant lines, the flowers, which resemble stars, and the clusters of leaves are illuminated by shimmering lights. The same vegetation that is resplendent in bright colours in front of the building and on the left side of the tapestry, darkens behind the angel on the right creating, as if by magic, a mysterious, nocturnal darkness around the heavenly messenger, a darkness out of which only a few stylized foliate forms shine forth. The rigid stems apparontly have no connection with the petals (for example between the wings and the back of the angel). This vegetation has marked affinities with the foliate forms in the so-called Paris Apocalypse, a work also produced in the Low Countries, where the same motifs again produce a most expressive effect. , Artist: UNKNOWN MASTER, Flemish , The Annunciation , 1401-1450 , Flemish , painting , religious |
| 65001 |
 |
The Annunciation |
1430 Wood, 140 x 169 cm Museu Nacional d'Art de Catalunya, Barcelona The anonymous Castilian painter who in the first half of the fifteenth century painted this Annunciation was probably more of a craftsman than an artist. Certainly he had not assimilated the pictorial innovations already evident in Italy and north of the Alps. The work reveals an independence in the treatment which calls to mind the way in which the peasant craftsmen of Eastern Europe freely adapted acknowledged styles to suit local tastes when they decorated some of the churches of the Carpathian Basin. This work owes a great deal to Gothic art, but the Castilian painter has given free rein to his love of ornamentation. The lack of perspective seems unimportant where there is such a decorative use of colour for the garments, and the vase with three lilies distracts us from the clumsy proportions of the figure of Mary. , UNKNOWN MASTER, Spanish , The Annunciation , 1401-1450 , Spanish , painting , religious |
| 79184 |
 |
The Annunciation |
"The Annunciation" by Geronimo Lucenti da Correggio
Painting, Oil on copperplate, 67x51 cm
First quarter of the 17th century
cjr |
| 41811 |
 |
The Annunciation of Ustyug |
mk165
From the Saint George Monastgery at Novgorod
|
| 43483 |
 |
The Apocalyptic Texts |
mk172
by John of Patmos inspired a series of Images that nourished the Figurative arts throughout Western history
|
| 41832 |
 |
THe Apostle Peter |
mk165
1387-95
148x98cm
|
| 53638 |
 |
The apostle Peter, from Oscottpsaltaren |
mk234
about 1270
3019cm |
| 41791 |
 |
The Apostle Phillip and the Saints Theodore and Demetrius |
mk165
Egg Tempera on plaster on wood
41x50cm
|
| 71922 |
 |
The Appian Way |
ca. 1869(1869)
Oil on canvas
9.2 x 98.4 x 206.5 cm (3.62 x 38.74 x 81.3 in)
|
| 41802 |
 |
The Archangel Gabriel |
mk165
1387-1395
Egg tempera on plaster on canvas mounted on wood
146x106cm
|
| 41803 |
 |
The Archangel Gabriel |
mk165
National Museum
Lviv
Ukraine
|
| 41815 |
 |
The Archangel Gabriel |
mk165
48x239cm
The State Russian Museum
|
| 41789 |
 |
The Archangel Michael |
mk165
From the Church of Saints-Cyrius and juliette
Lagourka
Georgia
|
| 41839 |
 |
The Archangel Michael |
mk165
33x50
From the Church of the Exaltation of the Holy Cross
Drogobytch
|
| 64921 |
 |
The Archangel Michael |
127 x 78 cm Museu Nacional d'Art de Catalunya, Barcelona The archangel Michael was, like St. George the dragon-killer, one of the typically warlike saints so greatly approved in the age of chivalry. The Bible tells us that he fought with Satan for the body of Moses and we can read in the Apocalypse how he defeated the dragon with seven heads and ten horns. St. Michael was therefore looked upon as one of the principal patrons of the Church who, having overcome Satan, could protect all innocent souls from the Devil. This painting illustrates the somewhat provincial style of Juan de la Abadia of Huesca. The heritage of the Trecento can be seen in the delicate, girlish countenance of the saint and the brilliant tints of the wings, but blended with it is the elegance associated with the International Gothic style. The figures are wooden and lifeless and the artist's limited knowledge of anatomy may be seen in his representation of the soul; but the carefully arranged pattern of the floor creates the illusion of space, indicating that the artist was aware of the later developments of Gothic art and was to some extent influenced by early Renaissance art. , ABADIA, Juan de la , The Archangel Michael , 1451-1500 , Spanish , painting , religious |
| 41776 |
 |
THe Archangel Saint Michael |
mk165
Icon of Gilded silver
Enamel and precious stones
Saint Marc Basilica-s Treasure
Venice
|
| 41906 |
 |
The Archimandrite Zinon,Saint Sergius of Radonezh |
mk165
Dormition Monastery
Pskov
Russia
|
| 42684 |
 |
The Ardebil-rugs |
MK169
1540 Pole of full 10.5x5.3m Victoria and Albert Museum Rewarded |
| 49275 |
 |
The Army of the Potomac Landing at Fort Monroe |
mk195
1862
Watercolor on paper
4x6
|
| 49218 |
 |
The Army of the Potomac Marching up Pennsylvania Avenue,Washington |
mk195
1861
Oil on canvas
39x50
|
| 44307 |
 |
The Arrest of Christ |
1290s Fresco |
| 79125 |
 |
The arrest of Christ |
ca. 1530-1550
Oil on panel
51.2 x 80.8 cm (20.2 x 31.8 in)
cjr |
| 78753 |
 |
The Artist with his Daughter Antonia |
ca. 1750(1750)
Oil on canvas
159 x 118 cm (62.6 x 46.5 in)
cjr |
| 79789 |
 |
The Artist's Daughters on the Way to School |
Oil on canvas, 134 x 105.5 cm
Date 1851(1851)
cjr |
| 64338 |
 |
the artist's wife and sister |
1088
orleans, museum |
| 56838 |
 |
The artist's younger brother and sister portrait |
mk250 About 1555. Methuen collection, the United Kingdom Wiltshire Ke Shamu Castle. |
| 52578 |
 |
The Artist-s Sisters |
1843 Oil on canvas, 180 x 135 cm |
| 42727 |
 |
The arts ares and her daughter |
MK169
ca. 1785 Cloth 130x94cm |
| 41911 |
 |
The Ascension |
mk165
around 1680
Valachia
Romania
National Art Museum of Romania
|
| 27344 |
 |
The astrologer copernicus seated at a table strewn with papers,books and a globe,a negro attendant standing beside him |
mk56
oil on canvas
|
| 67280 |
 |
The Astronomer |
Year Unknown
Technique Oil on panel
Dimensions 7 3/8 ?? 10 inches (19 ?? 25.4 cm)
|
| 42008 |
 |
The Asuncion of Holy Mari Mary magdalene |
mk166
near 1565
Tempera on wood Galeria
National of Ireland, Dublin |
| 52582 |
 |
The Attack of Zrinyi |
1825 Oil on canvas, 455 x 645 cm |
| 68411 |
 |
The Bagpiper |
Oil on panel, 101 cm ?? 83 cm |
| 53627 |
 |
The baker and his wife |
mk234
forsta arhundradet
58x52cm |
| 63829 |
 |
The Ball at the Court |
1604 Oil on wood, 50 x 66 cm Pushkin Museum, MoscowArtist:PEPIJN, Marten Title: The Ball at the Court Painted in 1601-1650 , Flemish - - painting : genre |
| 60111 |
 |
the band of stings and horns at the san beneto teatro |
mk270 the band of stings and horns at the san beneto teatro. the musicians are placed in two serried ranks at the side of the hall in venice. |
| 72417 |
 |
The Banks of the Loire |
Oil painting reproduction of Ferdinand du Puigaudeau. |
| 41775 |
 |
The Baptism of Christ |
mk165
Saint Catherine Monastery
Mount Sinai
Egypt
|
| 64775 |
 |
The Baptism of Christ |
Oil on canvas Mus?e du Louvre, Paris , CORNELIS VAN HAARLEM , The Baptism of Christ , 1551-1600 , Dutch , painting , religious |
| 71749 |
 |
The Bard, |
The Bard, 1774, by Welsh artist Thomas Jones. Oil on Canvas, now belonging to the National Museum of Wales in Cardiff |
| 75101 |
 |
The barque Annie Burrill |
Oil on canvas
45.7 X 63.5 cm (17.99 X 25 in)
cjr |
| 41827 |
 |
THe Battle Between the Novgorodians and the Suzdalians or the virgin of the sign |
mk165
Novgorod School
The State Tretyakov Gallery
Moscow
|
| 74277 |
 |
The battle of pharsala by Georgios Roilos |
Oil Painting , The battle of pharsala by Georgios Roilos (1867-1928)
1898(1898)
cjr |
| 73978 |
 |
The Battle of Saint Gotthard, bavarian oil-painting |
The Battle of Saint Gotthard, bavarian oil-painting
1665(1665)
cjr |
| 27502 |
 |
The Battle of the amazons |
mk56
oil on panel
Follower of Adriaen van Stalbemt
|
| 98403 |
 |
The Battle of the Ticino |
1550s
Medium Distemper on sheets of paper mounted on canvas
Dimensions Height: 385 cm (151.6 in). Width: 655 cm (257.9 in).
|
| 30197 |
 |
The Bayeux Tapestry |
nn05
after 1066
Propaganda on cloth
|
| 72295 |
 |
The Beach at Trouville |
"The Beach at Trouville," oil on panel, by the French artist Eugene Louis Boudin. 8 3/8 in. x 16 in. Yale University Art Gallery, Collection of Mr. and Mrs. Paul Mellon, B.A. 1929. Courtesy of Yale University, New Haven, Conn.
cjr |
| 78190 |
 |
The Belgian Refugee, |
The Belgian Refugee, oil on canvas painting by Norah Neilson Gray
Date 1915(1915)
cjr |
| 45695 |
 |
The belief |
mk186
around 1470 Florence, Uffizien |
| 42822 |
 |
The Betrayal of Judas and the Arrest of Christ |
mk170
circa 1325
Tempera on poplar
40.5x58.5cm
|
| 27431 |
 |
The Betrothal |
mk56
oil on panel
After Lucas van Leyden
|
| 27358 |
 |
The Betrothal of the virgin |
mk56
oil on canvas
Franco-Flemish School,17th Century
|
| 64345 |
 |
the billet- doux |
1808
leeuwarden, fries museum |
| 34166 |
 |
The bird Simurgh carries the child Zal aloft into the mountains |
mk90
Illustration to Firdawsi\'s Book of Kings
|
| 39426 |
 |
The birth |
mk146
byzantinisches fresco church of Karamlik Kilise, Kappadozien, around 1175. in accordance with apokrypher delivery Maria in a cave releases under presence of two nurse one by the name of Salome) |
| 39425 |
 |
The birth of the virgin |
mk146
Italian Schule,15.Jh. Anna mounted washed becomes itself in bed during (in the foreground) the wrapped baby Maria by a nurse |
| 42020 |
 |
The birth of the Virgin one |
mk166
the middle of the 17th Century I Wave on cloth 168x119cm Museum of the
Louvre, Paris |
| 49288 |
 |
tHE Blockade Runner Ashore |
mk195
1864
Watercolor
10x16
|
| 79261 |
 |
The Blue Head |
The Blue Head, painting, oil on canvas, 49.5 x 39.4 cm, by Peter Purves Smith
Date 1937(1937)
cjr |
| 72177 |
 |
The Boar Hunt |
between 1525(1525) and 1530(1530)
Oil on cradled panel
21 X 38.7 cm (8.27 X 15.24 in)
|
| 30337 |
 |
The Book of the Dead of Padiameet |
mk68
C.1985-1650BCE
Papyrus,
London,British Museum
|
| 73230 |
 |
The Bourg-de-Batz Church under the Moon |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
| 73962 |
 |
The Boy with the Bird |
Der Knabe mit dem Vogel
cjr |
| 75202 |
 |
The Bridge at Remich |
"The Bridge at Remich", oil painting by Luxembourg post-impressionist painter
cyf |
| 77500 |
 |
The burning of the English fleet off Chatham, 20 June 1667. |
ca. 1670(1670) (1667-1700)
Oil on panel
73 ?? 108 cm (28.7 ?? 42.5 in)
cjr |
| 27415 |
 |
The Calling of peter,christ healing the blind man |
mk56
a pair,both oil on copper
|
| 35382 |
 |
The Cape of Good Hope |
mk102
c.1731-32
Oil on canvas
78.5x117.0cm
|
| 33034 |
 |
The Captive |
nn08
Collection of the Cincinnati Art Museum
|
| 44720 |
 |
The Capture of Porto Bello |
mk175
21 November 1739
A drawing of this action was sent back by Capt.Durell
|
| 49574 |
 |
The Caroline envaldet Fellow XI and his family pa 1690- digits |
mk201
King stout to blemish. in the double portrattet upon him had konstnaren millings his doda gemal |
| 62884 |
 |
The Castle of Batavia |
Seen from Kali Besar West 1656 Oil on canvas, 108 x 151,5 cm Rijksmuseum, Amsterdam Dutch expansion overseas was in both directions, eastward and westwards. In particular, it was the establishment of the Dutch East India Company (VOC) in 1602 and the Dutch West India Company (WIC) in 1621, each with clearly demarcated areas of activity, that caused the number of Dutch overseas territories to increase rapidly. Some of the settlements in the western hemisphere were only briefly under Dutch administration: Northern Brazil (1624-1661) and New Holland, with the city of New Amsterdam ethe future New York eat the mouth of the Hudson river (1628-1664). On the other hand, the islands of Curacao, Aruba, Bonaire, St. Eustatius, Saba and St. Martin are still Dutch, while Surinam became independent in 1975. The Far Eastern territories were the most important, including settlements in India, Ceylon (now Sri Lanka), Malacca (now part of Malaysia), Formosa (now Taiwan), the Japanese island of Deshima and the Indonesian archipelago. It was here, in Batavia on the island of Java, that the VOC established its administrative headquarters, with a governor-general in charge from 1610 onwards. Trading contracts were signed and alliances concluded with local princes. In 1652, a staging post for VOC ships was established at the southern tip of Africa, known as the Cape of Good Hope. The arrival of settlers was to transform this into a fully-fledged Dutch colony. In the background of the paianting is the castle of Batavia, the bastion of Dutch rule in Asia. This was where the VOC's administrators lived. The governor-general is just arriving in town with his retinue. In the foreground is a market by the Kali Besar, or Great River. The Dutch built Batavia in 1619 on the site of Jakarta, which they had destroyed. Beeckman was commissioned by the voc to paint this peaceful scene on the spot. Artist: BEECKMAN, Andries Title: The Castle of Batavia, Seen from Kali Besar West , painting Date: 1651-1700 Dutch : landscape |
| 37399 |
 |
The Cat |
mk125
|
| 70654 |
 |
The Charter Oak |
1857
Wadsworth Athaneum
oil on canvas
109.54 cm (43.12 in.), Width: 137.95 cm (54.31 in.) |
| 72632 |
 |
The Charter Oak |
"The Charter Oak," oil on canvas, by American artist Charles De Wolf Brownell. Courtesy of the Wadsworth Atheneum, Hartford, Connecticut.
cjr |
| 77300 |
 |
The Children of Comte Louis Amedie de Barjerac |
The Children of Comte Louis Amedie de Barjerac", oil on canvas painting by Franz (François) Fleischbein (c. 1801-1868), 1839
cjr |
| 78390 |
 |
The children of the comte d'Artois |
1781(1781)
Oil on canvas
80 x 100 cm (31.5 x 39.4 in)
cjr |
| 27517 |
 |
The Christ child appearing to saint anthony of padua |
mk56
oil on canvas
After Bartolome Esteban Murillo
|
| 41887 |
 |
The Christ in the Royal Crown |
mk165
|
| 50608 |
 |
The Church break down |
mk213
Oil on canvas
|
| 43467 |
 |
The Church of San Francisco |
mk172
Javier contains a lateral altarpiece dedicated to the founders of religious orders
|
| 44848 |
 |
The Colosseum |
mk176
Concrete Romer |
| 45705 |
 |
The composure |
mk186
around 1470 Florence, Uffizien |
| 78237 |
 |
The Comtesse de Selve. |
1787(1787)
cjr |
| 75005 |
 |
The Concert |
The Concert
1624
Oil on canvas, 168 cm x 178 cm
cjr |
| 52607 |
 |
The Congregation of the Archangels |
Tempera on panel Vatopediou Monastery |
| 74069 |
 |
The connoisseurs |
"The connoisseurs", oil painting on panel by Theodore Gerard (1829-1895); private collection
cjr |
| 33055 |
 |
The convalescent |
nn08
1890
|
