| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 27526 |
 |
The madonna and child |
mk56
oil on canvas
Followers of Pierre Mignard
|
| 27529 |
 |
The madonna and child |
mk56
oil on canvas
Follower of Luca Cambiaso
|
| 66883 |
 |
The Madonna and Child |
Early 14th century painting on gold ground panel 47.3 x 34 cm. |
| 27448 |
 |
The madonna and child enthroned,attended by angels playing musical instruments |
mk56
oil on panel
Manner of Hans Memling
|
| 27572 |
 |
The Madonna and child with saint dominic |
mk56
oil on canvas
Venice 1708/9-1787
|
| 27510 |
 |
The madonna and child with saint lucy |
mk56
oil on panel
|
| 27361 |
 |
The Madonna and child with the infant saint john the baptist |
mk56
oil on panel,unframed
Workshop of Michele Tosini, called Michele di Ridolfo del Ghirlandaio
Florence 1503-1577
|
| 27362 |
 |
The Madonna and child with the infant saint john the baptist |
mk56
oil on panel
Attributed to Bartolomeo Ramenghi,called Bagnacavallo
|
| 41976 |
 |
The Madonna and the Nino enthroned, with the holy Catalina and Barbara |
mk166
1520
I Wave on board of wood
87x73cm
Uffizi, Florence |
| 44431 |
 |
The Madonna as Advocate |
Tempera on panel covered with canvas,
107 x 57.5 cm |
| 41984 |
 |
The Madonna enthroned, with ten holy |
mk166
1522 I Wave on anel of mdera 350x259cm Galeria Palace Pitti Florence |
| 64728 |
 |
The Madonna of St Vitus Cathedral in Prague |
1420 Tempera on wood, 89 x 77 cm National Gallery, Prague The half length figure of the Virgin holding her Child in front of her on her right side appears in an ornate, three-dimensional frame - though we are not sure whether the frame originally belonged to the picture. Although the whole composition and the manner in which Mary is showing her Child to the congregation of the faithful has preserved the formal solemnity of devotional pictures, the almost coquettish posture of her head and the animation of the Child radiate a natural atmosphere. The striking three-dimensional qualities of the painting point to the influence of the sculptures of "Beautiful Madonnas" of the period, indeed, some scholars believe that the painter is identical with the master of the Beautiful Madonna of Krumlov. Precise and subtle modelling conveys the full forms of the figures, as do the deep, falling folds of the Virgin's mantle, which is made of some heavy fabric; the Child's body and hands are represented organically, and the two figures constitute a group imagined in spatial terms. The Virgin is depicted in a complicate counterpoise: her body is not only bent sidewise, but is also drawn backwards, whereas the whole torso of Jesus faces the spectator. The movements of the two figures in opposite directions stress that the construction of the composition is determined by the two diagonals of the oblong standing frame. The torso of the Virgin is bent into the direction of the diagonal line directed towards the upper right corner, while her head and the Child's body parallel with it point to the opposite direction. The two flesh-coloured areas, the face and the body, are placed in the middle of that diagonal line. The harmonious overall effect of the well-poised composition is intensified by the fact that the Infant's right shoulder is merged with that of His mother and by this means a single, undisturbed outline encloses the two figures. Artist:UNKNOWN MASTER, Bohemian Title: The Madonna of St Vitus Cathedral in Prague, 1401-1450, Bohemian , painting , religious |
| 41997 |
 |
The Madonna of the cloak of proteccion |
mk166
Around the anus 1480 Wood polychrome State Museum Berlin |
| 27527 |
 |
The madonna of the rose |
mk56
oil on canvas
Follower of Simon Vouet
|
| 41998 |
 |
The Madonna Platytera |
mk166
Final of the fifteenth century Sculpture in altorrelieve Museum Victory and
Alberto. London |
| 42000 |
 |
The Madonna with a dress detrigo |
mk166
Toward 1450 Sterzing North of Italy |
| 41913 |
 |
The maestro,los pupilos,the godly and the mino |
mk166
Painting At wall of one lunette |
| 73184 |
 |
The Magic Lantern |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
| 72656 |
 |
The Making of Ammunition |
"The Making of Ammunition," oil on canvas, by the American artist Tompkins Harrison Matteson. 36 in. x 48.5 in. Courtesy of the Chrysler Museum of Art. Image courtesy of The Athenaeum.
cjr |
| 50634 |
 |
The man lean on the barrier |
mk213
Oil on canvas
|
| 56795 |
 |
The man was wearing a Red Hat |
mk250 Year in 1433. Canvas board, about 26 x 17 cm. London National Gallery. |
| 76720 |
 |
The Marlborough family |
1690s
cjr |
| 43465 |
 |
The Marrian Devotion |
mk172
of the Virgin of Loreto was promoted in New Spain by the Company of Jesus
|
| 41908 |
 |
The Martyr of Saint George |
mk165
|
| 64201 |
 |
The Martyrdom of St |
11,000 Virgins 1492-1496 Oil on panel Victoria and Albert Museum, London In 1903, the famous art historian J.M. Friedlender attributed the Scenes from the Life of St Ursula, today in the Groeninge Museum, Bruges, to a painter he called the Master of the Legend of St Ursula. He saw this artist as a particularly talented disciple of Hans Memling and Rogier van der Weyden. In 1921 it was proposed that this anonymous artist was one Pieter Casembroot, a painter from Bruges who had apprenticed to Arnout de Mol, before becoming a master himself in 1459, none of whose works had hitherto been identified. Today, this hypothesis is widely accepted. Casembroot's most productive years were those between 1480 and 1500. We also know that, in around 1480, he began to receive so many commissions that he had to follow the example of his more illustrious colleagues and set up a studio in his own name. , Artist: MASTER of the Legend of St. Ursula , The Martyrdom of St. Ursula and the 11,000 Virgins , 1451-1500 , Flemish , painting , religious |
| 52620 |
 |
The Martyrdom of St Catherine of Alexandria |
c. 1617 Oil on canvas, 157 x 207,5 cm |
| 52625 |
 |
The Martyrdom of St Maurice |
1583 Oil on canvas, 540 x 288 cm |
| 41416 |
 |
The Mary Rose |
mk160
Sister ship to Henry VIII-sflagship
|
| 31920 |
 |
THe Mason Children:David,Joanna,and Abigail |
mk77
1670
Oil on canvas
39x42 1/2in
|
| 27524 |
 |
The massacre of the innocents |
mk56
oil on canvas
Attributed to Giovanni Battista Merano
|
| 34162 |
 |
The Master of the garden espies the maidens bathing in his pool |
mk90
Illustration to Nizami\'s Tale of the Princess of the White Pavilion in the seven lcons
|
| 45418 |
 |
the meal in the house of the Pharisaers Simon 15 Jh |
mk186
Nurnberg, Germanic national
museum |
| 50894 |
 |
The Medieval retable |
mk216
In St Luke-s Chapel was given to the cathedral |
| 72596 |
 |
The Mill |
Oil painting reproduction of Ferdinand du Puigaudeau.
cjr |
| 41860 |
 |
The Miracle of Saint George Sltying the Dragon |
mk165
89x67cm
From the village of Chenkoursk
Vologda Region
|
| 41833 |
 |
THe Miracle of Saints Florus and Laurus |
mk165
Egg tempera on lime tree panel
47x37cm
|
| 52611 |
 |
The Miracle of The Fervent |
Oil on canvas, 665 x 450 cm |
| 52748 |
 |
The Miraculous Draught of fishes |
mk223
oil on canvas
|
| 53451 |
 |
The Mirror of Venues |
mk231
1877
Oil on ca nvas
|
| 77589 |
 |
The Misses Plowden |
1819(1819)
Oil on canvas
127 ?? 103 cm (50 ?? 40.6 in)
cjr |
| 43498 |
 |
The Miter and the keys |
mk172
symbols of the church founded by Christ
|
| 27376 |
 |
The mocking of christ |
mk56
oil on canvas
|
| 68476 |
 |
The model rest |
1882(1882)
Oil on canvas
98 ?? 131 cm (38.58 ?? 51.57 in)
|
| 27396 |
 |
The Modonna adoring the sleeping child |
mk56
oil on canvas
Giovanni Battista Salvi,called il Sassoferrato
|
| 45838 |
 |
The Mongolen Sturmen and conquer Baghdad in 1258 |
mk178
manuscripts Paris |
| 45918 |
 |
The month of August out of the hours book of the duke of Berry |
mk178
around 1415
parchments 22.5x13.6cm
|
| 41406 |
 |
The Month of September |
mk160
one of a series of Flemish illuminated manuscripts know as The Golf Book
|
| 43401 |
 |
The Monument to the independence to middle to build and the independence |
mk171
from Palace, Compromised for the future
|
| 43448 |
 |
The Mosaic technique of plumes |
mk172
know as featherwork of plumary art.
|
| 42579 |
 |
The Mother Gods |
MK169 867 Detail of the apsismozaiek Aya Sophia Istanbul |
| 52616 |
 |
The Mother of God Hodigitria |
1502-03 Egg tempera on panel Russian Museum |
| 27365 |
 |
The Mystic marriage of saint catherine |
mk56
oil on canvas,in a carved and gilt wood frame
Follower of Paolo Caliari,called il Veronese
|
| 43497 |
 |
The Mystical Lamb |
mk172
resting on the Book of the Seven Seals is a vistion described in St.John-s Apocalypse
|
| 43473 |
 |
The naive Plastework |
mk172
design created by indian artist features a playful angel placed on one of the volutes while virtually embracing an adjacent trellis
|
| 57001 |
 |
The naked down the stairs, No. 2 |
mk250 Year in 1912. Oil on canvas, about 147.3 x 88.9 cm. Philadelphia Museum of Art. |
| 33041 |
 |
The Nation Makers |
nn08
june 2 1906
|
| 43393 |
 |
The nations barbaras in imperial audience |
mk171
the portrait of carlos v in the wall, like the witness of honor
|
| 65253 |
 |
The Nativity |
1400 Tempera on walnut, 41 x 29,5 cm Galerie mittelalterlicher ?sterreichischer Kunst, Vienna The artist of this painting is referred to as Master of Salzburg. In this picture the scene of the Nativity is represented according to an apocryphal story of the Gospel: the Virgin is reclining on her bed while two midwives are on the point of giving a bath to the Infant. The woman in green is taking the Child from His mother, while the other is taking care that the bathwater is at right temperature. The bath puts an emphasis on the human aspect of the divine Child and is a hint to baptism. Joseph is seated on the right-hand side deep in thought. He holds his staff with his left hand, and is supporting his head with his right hand. The ox and the ass at the manger in the back seem to warm the straw and the small cambric kerchief with their breath. In addition to some stylistic resemblances the painting is reminiscent in other respects too of the Trebon Master's picture of the same scene. In both pictures the composition is divided by the building of the stable, with the difference that here the supports of the stable look like the frame of the scene represented, and divide the surface into two parts and not into three. In both pictures the supporting pole, emphatically placed in the foreground, separates Joseph, who views the events from the back and plays a role similar to the spectator's. In this picture too we can see birds on the roof of the stable, but they are shaped more firmly and realistically (as are the figures) than in the work of the Master of Trebon. In spite of the simplicity of the presentation and the somewhat rugged shaping of the figures with their rather large heads the susceptibility of the International Gothic style to elegance and decorative patterns evinces itself in this painting too. The elegance can be seen in the buoyant lines of the draperies, and in the Virgin's mantle, which clings to her body as if it were wet; the decorativeness in the way in which the painter has used the opportunities inherent in the rustic surroundings, and brought into harmony the pattern of the thatched roof, the mat and the fence, which are made of similar materials, and there is an additional harmonious touch in the plaited hair of one of the midwives. As in a great many other pictures of the period the ground is exceedingly steep here; compared to the figures in the foreground the stable seems to be high, on the other hand the beam underneath the roof touches the animals' heads. Although the white piece of cloth between the two midwives-in all probability a napkin, another symbol of the human nature of Jesus-looks as though it were hovering, in fact it lies on the ground. All this is not surprising, since these forms do not convey space, they are meant, first and foremost, to fill up the surface of the picture. Artist: UNKNOWN MASTER, Austrian , The Nativity , 1351-1400 , Austrian , painting , religious |
| 27450 |
 |
The nativity encircled by a garland of flowers |
mk56
oil on copper,the reverse of the panel marked with the stamp of a panelmaker
Follower of jan Brueghel the Younger and Hendrick van Balen
|
| 41870 |
 |
The Nativity fo Christ |
mk165
National Art Museum of Ukraine
Kiev
|
| 41871 |
 |
The Nativity of Christ |
mk165
The State Tretyakov Gallery,Moscow
|
| 41882 |
 |
The Nativity of Christ |
mk165
Russian
131x83cm
|
| 41902 |
 |
The Nativity of Christ |
mk165
55x43.5cm
Village of Spirovo
St.Petersburg region
|
| 39478 |
 |
The Neva Embankment Near The Academy of Arts |
mk149
1835
|
| 43403 |
 |
The New Espana personified before the imperial majesty of Carlos V the isabel of Portugal |
mk171
Donates Carmen and Donates Navy, of the same lineage |
| 43404 |
 |
The New Espana personified before the imperial majesty of Carlos V the isabel of Portugal |
mk171
Donates Carmen and Donates Navy, of
the same lineage |
| 57190 |
 |
The new Moscow |
mk253 canvas 140 x 170 cm Moscow in 1937, the State Tretyakov Gallery collection |
| 50569 |
 |
The Nocturne under the black and gold |
mk212
1875
60.3x46.7cm
|
| 42581 |
 |
The Notification |
MK169
432-40 n. Chr. MK169 Detail of the Mozaiek on the triumph arc above the high altar, S.
Maria Maggiore, Rome |
| 35078 |
 |
The Novodevichy Monastery |
mk100
an architectural ensemble of the 16th-18th centuries
|
| 64264 |
 |
the nurse |
late sixteenth century
paris, muse'e des arts de'coratifts |
| 51073 |
 |
The Offering of the Heart |
c. 1410 |
| 35083 |
 |
The Old Moscow a street in Kitai-Gorod in the 17th century |
mk100
1900
Oil on canvas
125x178cm
|
| 49278 |
 |
The Old Westover Mansion |
mk195
1869
Oil on panel
11x14
|
| 41845 |
 |
The Only-Begotten Son |
mk165
1553-1554
From one of the icons of four panels
Cathedral of the Annuciation
Moscow
|
| 71357 |
 |
The Open Book |
ca. 1861(1861)
Oil on panel
23.3 x 30.7 cm (9.17 x 12.09 in)
|
| 49774 |
 |
The oppna terrangen am failing giraffe favoritmiljo |
mk204 |
| 64358 |
 |
the orangery, parma, c |
1850
parma, museum |
| 44570 |
 |
The Orators Journey |
mk173
1785
Engraving
27x36.5cm
|
| 57430 |
 |
the origings of western music |
mk257 veronese s marriage at cana, portrayed as a royal banquet in the second half of the sixteenth centuy,shows the importance of music at such an event. the instrumentalist in white could be a self-portrait of the artist, and the man in red playing the bass may be titian |
| 57429 |
 |
the origins of western music |
mk257 angels with musical instruments, detail of a painting by gaudenzio ferari, 1535-1536 |
| 43419 |
 |
The other I of the king or the different faces of the distant king |
mk171
|
| 58025 |
 |
the otjimbengue british volunteer artillery |
mk260
the otjimbengue british volunteer artillery,en malning av baimes 1865 . mannen i forgrunden med pistolen kan vara andersson. i bakgrunden ses fruarna andersson och hahn i krinoliner.pa tavlan har konstnaren skriuit |
| 79409 |
 |
The palace of Casimir, King of Poland |
The palace of Casimir, King of Poland
cjr |
| 44847 |
 |
The Pantheon |
mk176
118-125
marble
|
| 79405 |
 |
The Park, painting, |
The Park, painting, oil on canvas, 64.7 x 81.2 cm, by Peter Purves Smith
Date 1938(1938)
cjr |
| 35372 |
 |
The Pass of Sicri Gully from Bengal entering into the Province of Bahar |
mk102
National Maritime Museum
London
|
| 33043 |
 |
The Passing of the Farm |
nn08
1901
|
| 65098 |
 |
The Passion of Christ |
1420-30 Tempera on oak, 131 x 180 cm Wallraf-Richartz Museum, Cologne The suffering of Christ is portrayed in simultaneous scenes. The artist was obviously concerned to emphasize spatial qualities in the painting. The panel was donated by the wealthy patrician von dem Wasservass family to the Cologne parish church of St Columba, and the artist of the panel is referred to as the Master of the Wasservass Calvary. , UNKNOWN MASTER, German , The Passion of Christ , 1401-1450 , German , painting , religious |
| 70907 |
 |
The Patrician |
ca. 1878(1878)
Oil on canvas
55.8 x 45.5 cm (21.97 x 17.91 in)
|
| 27377 |
 |
The penitent magdalene |
mk56
oil on canvas
Alessandro Varotari,called il padovanino
|
| 27575 |
 |
The penitent magdalene |
mk56
oil on canvas
Follower of Guido Reni
|
| 78834 |
 |
The Penitent St Jerome in a landscape |
between 1525(1525) and 1530(1530)
Oil on panel
106 x 80 cm (41.7 x 31.5 in)
cjr |
| 49575 |
 |
The Peter erovrade they Swede ostersjo provinserna and created one Russian ostersjovalde |
mk201
He motor van a vigorous and viljestark harskare but at the same time cruel and hansynslos and very interested ago female and stout drinks |
| 27576 |
 |
The pieta |
mk56
oil on copper
After Annibale Carracci
|
| 44565 |
 |
The Pit Door |
mk173
1784
Mezzotint
32x24.9cm
|
| 51753 |
 |
The Plague of Locusts |
nn09
From Beatus de Liebana |
| 77838 |
 |
The Playground |
1st half of 19th century
Oil on canvas
45 cm (17.7 in). Height: 54 cm (21.3 in).
cjr |
| 34187 |
 |
The Poet Nizami sits in the highest rank among the great Persian poets of the past |
mk90
1486
|
| 34238 |
 |
The poet Sa di questions a young scholar before the mosque of Kashghar |
mk90
The interior of the mosque,through dual illustration,
However represents Majnun writing verses in Praise of Layli framed within her prayer niche.
|
