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Bible


Bible



4,722 photos
Christ handing the keys to Saint Peter. Dated 1815. Paper,pen,brown ink and watercolour over pencil. 27 x 18,4 cm RF 1445
#33010921

Christ handing the keys to Saint Peter. Dated 1815. Paper,pen,brown ink and wat...

Heads of the Virgin and Child, 1508-1510. Silverpoint on orange-pink paper. PD, 1866-7-14-79
#33010937

Heads of the Virgin and Child, 1508-1510. Silverpoint on orange-pink paper. PD...

The massacre of the Innocents, around 1509. Pen and ink. Woman and soldier in the middle ground are the only two figures with red chalk underdrawing. PD, 1860-4-14-446
#33010938

The massacre of the Innocents, around 1509. Pen and ink. Woman and soldier in t...

Nude man with raised arms, 1511-1512. This is one of a series of black chalk drawings for an altarpiece on the Resurrecion of Christ. Raphael designed but never painted the altar for the Chigi Chapel in S. Maria della Pace in Rome. PD, 1854-5-13-11
#33010939

Nude man with raised arms, 1511-1512. This is one of a series of black chalk dra...

The Flight to Egypt, 1557-1559. Angels are shown pulling down the branches of a tree for the infant Jesus to take the fruit and eat. The Virgin Mary and the Christchild are riding on a donkey, led by the aged Saint Joseph.
#33010941

The Flight to Egypt, 1557-1559. Angels are shown pulling down the branches of a...

'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...

'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...

'Allegory on the Equality of all Mankind in Death', 1599. The complex meaning of this image is derived from the Latin inscriptions. The most important is that at the top of the tent: "MORS CERTA RELIGONIBUS AEQVAT" (Death makes the sceptre and spade equal). Death is therefore the equaliser of people of all classes, from the peasant on the left to the Emperor on the right. The skeletons show no social distinction. On the rim of the tent stand an owl and a lamp, symbols of death and life respectively. The round scenes show the Fall of Man and the Crucifixion, representing the introduction and the conquering of death. The Last Judgement painted in the centre reminds the viewer of Divine Judgement. The boy blowing bubbles is a traditional emblem of transience dictated by the words inscribed over his head: "HOMO BULLA" (Man is [as] a soap bubble). The drawing and print of this theme of mortality and the passing of human existence are therefore designed to encourage the renunciation of all worldly pleasures and to prepare the viewer for death. De Gheyn sympathized with Protestant or Calvinist teachings as this drawing fully illustrates. PD, 1895-9-15-1031
#33010957

'Allegory on the Equality of all Mankind in Death', 1599. The complex meaning of...

'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...

'Picture Puzzle of Jonah and the Whale and a Squatting Peasant', 1537. The anamorphic, or distorted, view in this large, dated print shows Jonah stepping out from an imaginative whale but the landscape is not distorted. In the foreground, the stretched inscription reads, WAS SICHST DV? ('What do you see?'), with the date and a small printer's name. To 'see' the subject correctly, a viewpoint from the lower right-hand corner is required. A squatting and defecating peasant then appears. The vulgarity is disguised by the distortion, but the goat on the far left about to charge the naked buttocks gives a clue to the woodcut's underlying peculiarity. PD, 1880-7-10-643 (CD I. 552,9)
#330111 2

'Picture Puzzle of Jonah and the Whale and a Squatting Peasant', 1537. The anamo...

Christmas.
#33011140

Christmas.