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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
Madonna with child, a sainted bishop and the hermit Saint Onofrio, 1508 Wood, 67 x 63 cm
#39150637

Madonna with child, a sainted bishop and the hermit Saint Onofrio, 1508 Wood, 6...

Circumcision. The temple in the centre resembles Bramante's Tempietto in Rome; The priest blesses the child, who holds out his arms to Saint Joseph. The Virgin Mary on the left. Second half 16th. Wood, 215 x 195 cm
#39150643

Circumcision. The temple in the centre resembles Bramante's Tempietto in Rome; T...

Sacred Love and Profane Love, around 1515. Painted for the wedding of Niccolo Aurelio and Laura Bargotto, Titian uses the neoplatonic topic of the various degrees of love, the nude woman (Venus) representing the intellectual and divine love, while the other, with rose and myrtle, represents human love. Canvas, 118 x 279 cm
#39150644

Sacred Love and Profane Love, around 1515. Painted for the wedding of Niccolo Au...

Adoration of the shepherds. End 16th. Canvas, 76 x 94 cm.
#39150646

Adoration of the shepherds. End 16th. Canvas, 76 x 94 cm.

Madonna and child with Saints Francis Assisi and Petrus Martyr, a Doinican from Verona, sent to Lombardy as Pope Gregor IX's Inquisitor. Because of the zeal with which he carried out his duties, he was murdered at Easter 1252. He was sainted the year after his death. 1590 Canvas, 228 x 136 cm
#39150647

Madonna and child with Saints Francis Assisi and Petrus Martyr, a Doinican from...

Marco Polo (1254-1324) before the Grand Khan of the Tartars.Canvas; 1863.
#39150654

Marco Polo (1254-1324) before the Grand Khan of the Tartars.Canvas; 1863.

Tavola Strozzi depicting the Naples waterfront and the return of the Aragonese fleet from the battle of Ischia. Painted 1465.
#39150656

Tavola Strozzi depicting the Naples waterfront and the return of the Aragonese f...

The Holy Family with young Saint John Baptist in a landscape. Canvas, 81 x 108 cm INV. 745
#39150657

The Holy Family with young Saint John Baptist in a landscape. Canvas, 81 x 108...

The Council of Trient, probably the 23rd session. Canvas, 117 x 176 cm INV. 751
#39150662

The Council of Trient, probably the 23rd session. Canvas, 117 x 176 cm INV. 75...

Portrait of a viola player. Wood, 89,1 x 62,5 cm M.I. 610
#39150663

Portrait of a viola player. Wood, 89,1 x 62,5 cm M.I. 610

'View of the Capitol, Rome', c1761. The view shows the Capitol, the administrative centre of ancient and modern Rome. The Renaissance architecture of Michelangelo's Palazzo dei Conservatori fills the sheet in the background. In the foreground, stretching across the width of the sheet, are important Roman antiquities. They are arranged symmetrically on each side of the head of the stairs which mount the Capitoline Hill. Though Piranesi recorded the site fairly accurately, he was also interested in creating the impression of the grandeur that was ancient Rome and how it still dominated the eighteenth century city. So the Trophies of Marius and the two Dioscuri, or heavenly twins (Castor and Pollux) with their horses tower over the small human figures. This is one of Piranesi's few surviving drawings for his series of 133 etchings, the "Vedute di Roma" (Views of Rome). PD, 1908-6-16-45
#39150665

'View of the Capitol, Rome', c1761. The view shows the Capitol, the administrati...

'Head of a Woman', c1475. This is one of several drawings, including one on the reverse of this sheet, for the head of a nymph or Venus. Black chalk has been used softly to suggest the gentle shadows on her cheeks, while white chalk heightens the fall of light. Verrocchio was a sculptor as well as a painter, and his feeling for three-dimensional form is apparent here in the careful shading that creates a sense of volume. Her hair is thin and wispy and is drawn in rapid, thin strokes. When not in elaborate braided patterns and knots, it falls in curls over her shoulders. PD, 1895-9-15-785 (recto)
#39150666

'Head of a Woman', c1475. This is one of several drawings, including one on the...