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Fine Arts


Painting, Watercolour, Plastic Arts, Woodcuts, Etching, Drawing.



22 subcategories
Altars

ALTARS

Armours

ARMOURS

Book Illumination

BOOK ILLUMINATION

Carvings

CARVINGS

Ceramic

CERAMIC

Drawing

DRAWING

Enamel

ENAMEL

Engravings

ENGRAVINGS

Fresco and Wallpainting

FRESCO AND WALLPAINTING

Goldsmith Works

GOLDSMITH WORKS

Handicraft

HANDICRAFT

Jewelry

JEWELRY

Mosaics

MOSAICS

Painting

PAINTING

Plastic Arts

PLASTIC ARTS

Posters

POSTERS

Prints

PRINTS

Relief

RELIEF

Sculpture

SCULPTURE

Silverwork

SILVERWORK

Textile Works

TEXTILE WORKS

Watercolour

WATERCOLOUR

14,174 photos
'The Entombment', 1530. This later version of the plate shows the crown of thorns held over Christ's head like a victor's wreath. The graceful movements of the women turning towards or away from the light, and the virtuoso draughtsmanship of the artist, confer on the work a self-conscious style, or maniera, much admired in the Italian courts. This work represents Parmigianino's greatest success. The image is as much an exercise in virtuoso etching as it is a religious image. PD, 1835-7-11-28 (Bartsch XVI, 8.5)
#33010949

'The Entombment', 1530. This later version of the plate shows the crown of thorn...

'Rest on the Flight to Egypt', 1565 - 1570. The Holy Family are resting on their flight from Bethlehem to Egypt. The Virgin Mary is seated, preparing to feed the twisting Christ Child in her arms. To the right is the standing figure of St Joseph and to the left the horse feeding on hay. Behind are the branches of a palm tree and a rocky outcrop. PD, 1854-6-28-4
#33010950

'Rest on the Flight to Egypt', 1565 - 1570. The Holy Family are resting on their...

Saint Michael and demons,1450-1460. Drawing, 41,5 x 35,5 cm INV.1855-8-11-48 From the Sketchbook of Jacopo Bellini.
#33010951

Saint Michael and demons,1450-1460. Drawing, 41,5 x 35,5 cm INV.1855-8-11-48...

'The Shell', 1650. The shell is a Conus marmoreus, which is native to south-east Africa, Polynesia and Hawaii. The shell's striking pattern, with the tight spiral of its base, has been captured in great detail. PD, 1868-8-22-672 (Hind 248, Bartsch 159)
#33010953

'The Shell', 1650. The shell is a Conus marmoreus, which is native to south-east...

'The Entombment', c1654. One of a series of prints that depict episodes from the life of Christ. The bearded old man standing on the left may be Joseph of Arimathaea, who gave up his tomb for Christ. Below him, Mary's slumped frame carries the curve of the design towards the limp body of her son, supported by five men. One of them has jumped into the grave to lift the body from below, while the bearded figure must be holding the lamp that illuminates the scene. In the opposite corner, a group of mourning women look away from this painful sight. PD, 1910-2-12-360 (state I);PD, 1843-5-13-249 (sta
#33010954

'The Entombment', c1654. One of a series of prints that depict episodes from the...

'The Printer's Workshop', 1568. In the background two men are selecting letters from a double-type case, which they then would assemble in a line on a hand-held tray according to the manuscripts pinned beside them. On our right, a youth is inking the lines of type with dabbers, while his companion lifts a printed page off its spikes from the hinged frame. A further hinged frame would be closed over a new sheet, to hold the paper in place as it is folded over the type. The whole assembly is then slid under the press, which is forced down by one horizontal pull of the handle. Woodcut blocks can be printed in this press at the same time as text. From "The Book of Trades" this small, but informative, print is one of 114 woodcuts by Amman illustrating the 'ranks' of society or trades, from paper-maker to pope. Each picture was accompanied by a poem by Hans Sachs. PD, Book 159.D.11 (Bartsch 371)
#33010955

'The Printer's Workshop', 1568. In the background two men are selecting letters...

'An Allegory of a Prosperous Germany', 1586. Seated in the centre is Pallas Athene, the Greek goddess of wisdom. She is attended by Bacchus, god of wine, and Ceres, goddess of wheat. They represent the abundance of drink and food. In the foreground are two German river gods: the Rhine on the left, the Danube on the right. Water flows from beside them, filled with eels, fish and birds.In the sky above, various figures with Latin titles represent further aspects of Germany's victorious and harmonious rule. The figure of Victory rides an eagle on the left and on the right, the figures of Religion, Prudence and Understanding, represent peace. Faith and Constancy rule in the centre, topped by Justice who is crowned by Fame. In the background are details of life and work which reflect the allegorical figures above. To the left are scenes of mining, hunting and warfare. To the right are scenes of shipping and trade, astronomy, painting, printing and building. PD, 1949-4-11-105
#33010956

'An Allegory of a Prosperous Germany', 1586. Seated in the centre is Pallas Athe...

'Head of a Woman', 1520. Woman's face with closed eyes; the light falls down the exact centre of her face with the left side in shadow. Her closed eyes and her ideal face may reflect Dürer's construction of an ideal, and not a real head studied from life, although it could be an idealisation of a real model. Dürer was deeply interested in the ideal, human form and had travelled to Italy to study classical sculptures and their proportions. For Dürer, the chief purpose of these theoretical studies was to discover the mathematical proportions of the ideal human body. From his research, he wrote an important treatise, Four Books on Human Proportion. PD, Sl 5218-43
#33010958

'Head of a Woman', 1520. Woman's face with closed eyes; the light falls down the...

'The Virgin and Child and the Dove of the Holy Spirit', 1512-1517. Seated on a flowery bank, the Virgin Mary holds the infant Jesus in her arms and is attended by two playful putti. In the lower left corner a tree stump and spray of flowers create a visual balance to the Virgin's long, flowing locks. The Dove of the Holy Spirit hovers and casts Divine rays over the scene. A putto in the lower right corner gently tugs at her cloak, while his playmate dominates the sky above, pulling the Virgin's drapery with him. PD, SL.5218-179
#33010959

'The Virgin and Child and the Dove of the Holy Spirit', 1512-1517. Seated on a f...

'A wild man brandishing an uprooted tree trunk', c1528. The style of this drawing, with its simplified outlines, is typical of a design for a glass painting. The figure is framed in pen and ink by elaborate classical architecture. The grey, brown and blue washes are used broadly to suggest the shadows. It was probably intended for a window in the meeting-place of the civic society Zur Hären ('Wild man' or literally, 'the hairy man'), which was based in the north part of the city of Basel. PD, 1895-9-15-992
#33010960

'A wild man brandishing an uprooted tree trunk', c1528. The style of this drawin...

'Portrait of an English Woman', c1535. She is drawn in red and black chalk with touches of bodycolour to highlight her features. Holbein used the point of a brush with black ink to reinforce the edge of her cap and facial features. Her eyebrows and eyelashes are particularly delicate. It is likely that she was a lady at the English court of Henry VIII. The original paper was prepared with a soft pink ground, which suggests her flesh tones. However, at some stage the drawing was cut out from its original paper and laid down on another sheet so that the figure is now silhouetted. PD, 1910-2-12-105
#33010961

'Portrait of an English Woman', c1535. She is drawn in red and black chalk with...

'Albion Rose', c1796. Also known as 'Glad Day' or 'The Dance of Albion', in which the figure of Albion, a personification of humanity and of Britain, is freeing himself from the shackles of materialism. This plate was once part of the "Large Book of Designs" which Blake printed in 1796 for the miniature painter Ozias Humphrey. PD, 1856-2-9-417
#33010962

'Albion Rose', c1796. Also known as 'Glad Day' or 'The Dance of Albion', in whic...