| marking | key | engine | updatedAt | text | targetText |
|---|---|---|---|---|---|
| t | 795ENb32519e95ed4d-da-libre | libre |
en->da
Etching and aquatint from the First Suite of ten prints on blue-toned laid paper
| Etching og akvatint fra første suite af ti prints på plantonet papir | |
| t | 795ENe69a5ac8b16b5-da-libre | libre |
en->da
Table Runner
| Tabelrunner | |
| t | 795ENb32519e95ed4d-es-libre | libre |
en->es
Etching and aquatint from the First Suite of ten prints on blue-toned laid paper
| Etching y aquatint de la Primera Suite de diez impresiones en papel pintado azul | |
| t | 795ENb32519e95ed4d-de-libre | libre |
en->de
Etching and aquatint from the First Suite of ten prints on blue-toned laid paper
| Radierung und Aquatint aus der First Suite von zehn Drucken auf blau-tonigem Papier | |
| t | 795ENe69a5ac8b16b5-es-bing | bing |
en->es
Table Runner
| Camino de mesa | |
| t | 795ENe69a5ac8b16b5-de-libre | libre |
en->de
Table Runner
| Tischläufer | |
| t | 78aEN64a3631b1a554-de-libre | libre |
en->de
brass with gilt grip
| Messing mit vergoldetem Griff | |
| t | 795ENa17c5752f1f2d-da-libre | libre |
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This work has been associated with Johann Pieter Wagner, one of the leading Austrian sculptors of the second half of the 18th century. Because of its small size, it was most likely either a model for a larger altarpiece or an object designed for private devotion. Gold serves as celestial decoration around the border and on the figures. The Virgin Mary stands upon billowing clouds held up by angels, a variant on the Madonna of Victory, which features Mary or Jesus holding a spear. Mary holds the infant Jesus, while trampling a serpent-symbolizing the triumph of good over evil. The holy child holds a bouquet of flowers, representing his ability to bestow grace, expressing the benevolence associated with the cult of the Immaculate Conception.
| Dette arbejde har været forbundet med Johann Pieter Wagner, en af de førende østrigske billedhuggere i anden halvdel af det 18. århundrede. På grund af sin lille størrelse, var det højst sandsynligt enten en model for en større altarpiece eller et objekt designet til privat hengivenhed. Guld tjener som himmelsk dekoration omkring grænsen og på figurerne. Jomfru Maria står på glødende skyer holdt op af engle, en variant på Madonna af Sejr, som har Mary eller Jesus holder et spyd. Mary holder barnet Jesus, mens trampning en serpent- symboliserer triumf af godt over det onde. Det hellige barn har en buket af blomster, der repræsenterer hans evne til at skænke nåde, udtrykker velvilje forbundet med kulten af den immaculate Conception. | |
| t | 78aEN2cca815c1376b-de-libre | libre |
en->de
Amulets
| Amulette | |
| t | 78aEN64a3631b1a554-da-libre | libre |
en->da
brass with gilt grip
| messing med forgyldt greb | |
| t | 78aEN6e76ae5f0e38e-es-libre | libre |
en->es
In the concluding illustration to the parrot's story on the eighth night, the prince is enthroned at the top of the composition to the accompaniment of musical fanfare. His father the king, in blue at the lower right, heads off to retirement in the forest, as was customary, with his walking stick and prayer beads. The ends of garments visible below the picture plane reveal that another earlier composition was painted over—a common practice throughout the <em>Tales of a Parrot</em> in which new recruits to the atelier were experimenting with a new style.
| En la ilustración final a la historia del loro en la octava noche, el príncipe está entronizado en la parte superior de la composición al acompañamiento del fanfarrón musical. Su padre el rey, en azul a la derecha baja, se dirige a la jubilación en el bosque, como era costumbre, con su palo de caminar y cuentas de oración. Los extremos de las prendas visibles debajo del plano de la imagen revelan que otra composición anterior fue pintada sobre - una práctica común a lo largo de la <em>Tales de un Loro</em> en el que nuevos reclutas al taller estaban experimentando con un nuevo estilo. | |
| t | 795ENe69a5ac8b16b5-es-libre | libre |
en->es
Table Runner
| Table Runner | |
| t | 78cEN308f74c303e74-de-libre | libre |
en->de
manuscript on paper bound in leather with gilt decoration
| Manuskript auf Papier gebunden in Leder mit vergoldeter Dekoration | |
| t | 78aEN83ae8228fb428-da-libre | libre |
en->da
Tibet, Ming dynasty (1368-1644)
| Tibet, Ming dynasti (1368- 1644) | |
| t | 78aENa06a797028138-es-libre | libre |
en->es
Dinner Service (Rousseau service): Flowers (no. 23)
| Servicio de Cena (Servicio de Rousseau): Flores (no. 23) | |
| t | 78aEN6e76ae5f0e38e-de-libre | libre |
en->de
In the concluding illustration to the parrot's story on the eighth night, the prince is enthroned at the top of the composition to the accompaniment of musical fanfare. His father the king, in blue at the lower right, heads off to retirement in the forest, as was customary, with his walking stick and prayer beads. The ends of garments visible below the picture plane reveal that another earlier composition was painted over—a common practice throughout the <em>Tales of a Parrot</em> in which new recruits to the atelier were experimenting with a new style.
| In der abschließenden Illustration zur Geschichte des Papagei in der achten Nacht wird der Prinz an der Spitze der Komposition zur Begleitung der musikalischen Fanfare gethront. Sein Vater, der König, in Blau unten rechts, geht in den Ruhestand im Wald, wie es üblich war, mit seinem Gehstock und Gebet Perlen. Die Enden der Kleidungsstücke, die unterhalb der Bildebene sichtbar sind, zeigen, dass eine andere frühere Komposition über dem <em>Geschichten von einem Papagei</em> in dem neue Rekruten zum Atelier mit einem neuen Stil experimentierten. | |
| t | 795ENa17c5752f1f2d-de-libre | libre |
en->de
This work has been associated with Johann Pieter Wagner, one of the leading Austrian sculptors of the second half of the 18th century. Because of its small size, it was most likely either a model for a larger altarpiece or an object designed for private devotion. Gold serves as celestial decoration around the border and on the figures. The Virgin Mary stands upon billowing clouds held up by angels, a variant on the Madonna of Victory, which features Mary or Jesus holding a spear. Mary holds the infant Jesus, while trampling a serpent-symbolizing the triumph of good over evil. The holy child holds a bouquet of flowers, representing his ability to bestow grace, expressing the benevolence associated with the cult of the Immaculate Conception.
| Diese Arbeit wurde mit Johann Pieter Wagner, einem der führenden österreichischen Bildhauer der zweiten Hälfte des 18. Jahrhunderts, verbunden. Aufgrund seiner geringen Größe war es wahrscheinlich entweder ein Modell für ein größeres Altarbild oder ein Objekt für private Hingabe. Gold dient als himmlische Dekoration um die Grenze und auf die Figuren. Die Jungfrau Maria steht auf den Wolken, die Engel halten, eine Variante auf der Madonna des Sieges, die Maria oder Jesus mit einem Speer zeigt. Maria hält das Kind Jesus, während sie einen Schlangensymbolisierenden den Triumph des Guten über das Böse trampelt. Das heilige Kind hält einen Blumenstrauß, repräsentiert seine Fähigkeit, Gnade zu verleihen, Ausdruck der Wohlwollen mit dem Kult der Unbefleckten Empfängnis verbunden. | |
| t | 78aENaa07e37b1cc68-es-libre | libre |
en->es
pen and ink over graphite
| pluma y tinta sobre grafito | |
| t | 78aENaa07e37b1cc68-de-libre | libre |
en->de
pen and ink over graphite
| Stift und Tinte über Graphit | |
| t | 78aEN712a38ab41f33-es-libre | libre |
en->es
China, Jingdezhen, Jiangxi province, Qing dynasty (1644–1911), Kangxi reign (1662–1722)
| China, Jingdezhen, provincia de Jiangxi, dinastía Qing (1644–1911), reinado de Kangxi (1662–1722) | |
| t | 78aENc03e69d507f4a-es-libre | libre |
en->es
Fragment of a Border with Abstract Pattern
| Fragmento de una frontera con patrón abstracto | |
| t | 78aEN712a38ab41f33-de-libre | libre |
en->de
China, Jingdezhen, Jiangxi province, Qing dynasty (1644–1911), Kangxi reign (1662–1722)
| China, Jingdezhen, Jiangxi Provinz, Qing Dynastie (1644).1911, Kangxi Herrschaft (1662) | |
| t | 78aENc03e69d507f4a-da-libre | libre |
en->da
Fragment of a Border with Abstract Pattern
| Fragment af en kant med abstrakt mønster | |
| t | 78aEN712a38ab41f33-da-libre | libre |
en->da
China, Jingdezhen, Jiangxi province, Qing dynasty (1644–1911), Kangxi reign (1662–1722)
| Kina, Jingdezhen, Jiangxi provinsen, Qing dynasti (1644- 1911), Kangxi regeringstid (1662- 1722) | |
| t | 795ENcc0c501ed8157-da-libre | libre |
en->da
brown, white, and black chalk
| brun, hvid, og sort kridt | |
| i | 78bEN06577de5ab548-da-libre | libre |
en->da
Oculate Being Mask
| Oculate Being Mask | |
| t | 78bEN1d797c43b45ce-es-libre | libre |
en->es
Fragmentary embroidered tiraz
| Fragmentario bordado tiraz | |
| t | 78aEN83ae8228fb428-de-libre | libre |
en->de
Tibet, Ming dynasty (1368-1644)
| Tibet, Ming Dynastie (1368-1644) | |
| t | 78bEN1d797c43b45ce-da-libre | libre |
en->da
Fragmentary embroidered tiraz
| Fragmentær broderet tiraz | |
| t | 78bEN1eb8f45fc07d9-es-libre | libre |
en->es
pen and black ink and watercolor and collage; envelope: pen and black ink
| pluma y tinta negra y acuarela y collage; sobre: pluma y tinta negra | |
| t | 78bEN1eb8f45fc07d9-de-libre | libre |
en->de
pen and black ink and watercolor and collage; envelope: pen and black ink
| Stift und schwarze Tinte und Aquarell und Collage; Umschlag: Stift und schwarze Tinte | |
| t | 78bEN1eb8f45fc07d9-da-libre | libre |
en->da
pen and black ink and watercolor and collage; envelope: pen and black ink
| pen og sort blæk og vandfarve og collage; kuvert: pen og sort blæk | |
| t | 78bEN2b293fe61b7f3-es-libre | libre |
en->es
Convent of St. Catherine with Mount Horeb
| Convento de Santa Catalina con el Monte Horeb | |
| t | 78aENa06a797028138-de-libre | libre |
en->de
Dinner Service (Rousseau service): Flowers (no. 23)
| Dinner Service (Service Rousseau): Blumen (Nr. 23) | |
| t | 795EN96f0a3055e651-da-libre | libre |
en->da
Aeneas Shown the Body of Pallas from Virgil's "Aeneid"
| Aeneas Shown te Body of Pallas fra Virgil's "Aeneid" | |
| t | 795ENa17c5752f1f2d-es-libre | libre |
en->es
This work has been associated with Johann Pieter Wagner, one of the leading Austrian sculptors of the second half of the 18th century. Because of its small size, it was most likely either a model for a larger altarpiece or an object designed for private devotion. Gold serves as celestial decoration around the border and on the figures. The Virgin Mary stands upon billowing clouds held up by angels, a variant on the Madonna of Victory, which features Mary or Jesus holding a spear. Mary holds the infant Jesus, while trampling a serpent-symbolizing the triumph of good over evil. The holy child holds a bouquet of flowers, representing his ability to bestow grace, expressing the benevolence associated with the cult of the Immaculate Conception.
| Esta obra se ha asociado con Johann Pieter Wagner, uno de los principales escultores austriacos de la segunda mitad del siglo XVIII. Debido a su pequeño tamaño, era más probable que sea un modelo para un retablo más grande o un objeto diseñado para la devoción privada. El oro sirve como decoración celestial alrededor de la frontera y en las figuras. La Virgen María se erige sobre las nubes abrasivas sostenidas por los ángeles, una variante en la Virgen de la Victoria, que cuenta con María o Jesús sosteniendo una lanza. María sostiene al niño Jesús, mientras pisotea una serpiente que simboliza el triunfo del bien sobre el mal. El niño santo tiene un ramo de flores, representando su capacidad de otorgar la gracia, expresando la benevolencia asociada con el culto de la Inmaculada Concepción. | |
| t | 78bEN6c1da16607cae-de-libre | libre |
en->de
Weight in the Form of a Hippopotamus Head
| Gewicht in Form eines Hippopotamus Kopfes | |
| t | 78bEN6c1da16607cae-da-libre | libre |
en->da
Weight in the Form of a Hippopotamus Head
| Vægt i form af en Hippopotamus Head | |
| t | 78bEN91fac071f30f3-es-libre | libre |
en->es
Wine Bottle with Plum and Pine Tree Design: Ko Imari Type
| Botella de vino con Plum y Pine Tree Design: Ko Imari Tipo | |
| t | 78bEN91fac071f30f3-de-libre | libre |
en->de
Wine Bottle with Plum and Pine Tree Design: Ko Imari Type
| Weinflasche mit Plum und Pine Tree Design: Ko Imari Typ | |
| t | 78bEN91fac071f30f3-da-libre | libre |
en->da
Wine Bottle with Plum and Pine Tree Design: Ko Imari Type
| Vinflaske med blomme og fyrretræ Design: Ko Imari Type | |
| t | 78aENaa07e37b1cc68-da-libre | libre |
en->da
pen and ink over graphite
| Pen og blæk over grafit | |
| t | 78bENb08ab1313a35a-de-libre | libre |
en->de
Saucer and Bowl
| Saucer und Schale | |
| t | 78bENb08ab1313a35a-da-libre | libre |
en->da
Saucer and Bowl
| Saucer og bowl | |
| t | 78bENd1ddcf0dbff5e-es-libre | libre |
en->es
Panel for a Headdress
| Panel para un tocado | |
| t | 78aENc03e69d507f4a-de-libre | libre |
en->de
Fragment of a Border with Abstract Pattern
| Fragment einer Grenze mit abstraktem Muster | |
| t | 78bENd1ddcf0dbff5e-da-libre | libre |
en->da
Panel for a Headdress
| Panel til en hovedadresse | |
| t | 78bENfae7460b3a152-es-libre | libre |
en->es
Les Penitents: Mort de Ste. Madeleine
| Les Penitents: Mort de Ste. Madeleine | |
| t | 78bENfae7460b3a152-de-libre | libre |
en->de
Les Penitents: Mort de Ste. Madeleine
| Les Penitents: Mort de Ste. Madeleine | |
| t | 78bEN06577de5ab548-es-libre | libre |
en->es
Oculate Being Mask
| Oculado Ser Mascara | |
| t | 795ENcc0c501ed8157-de-libre | libre |
en->de
brown, white, and black chalk
| braune, weiße und schwarze Kreide | |
| t | 78cEN18717cb38f885-de-libre | libre |
en->de
Silk Damask Fragments
| Seide Damast Fragmente | |
| t | 78cEN18717cb38f885-da-libre | libre |
en->da
Silk Damask Fragments
| Silkedamaskefragmenter | |
| t | 78cEN2e8686ae9c5bb-es-libre | libre |
en->es
Various Ships and Views of Amsterdam (Verscheÿde Schepen en Gesichten van Amstelredam), Part II: A Water-ship bound for the Soutketen. A Brewer's Water-ship
| Varios Barcos y Vistas de Ámsterdam (Verscheÿde Schepen en Gesichten van Amstelredam), Parte II: A Water-ship bound for the Soutketen. Un barco de agua de Brewer | |
| t | 78cEN2e8686ae9c5bb-de-libre | libre |
en->de
Various Ships and Views of Amsterdam (Verscheÿde Schepen en Gesichten van Amstelredam), Part II: A Water-ship bound for the Soutketen. A Brewer's Water-ship
| Verschiedene Schiffe und Ansichten von Amsterdam (Versche Maungde Schepen en Gesichten van Amstelredam), Teil II: Ein Wasserschiff für die Soutketen. Wasserschiff eines Brauereis | |
| t | 78cEN2e8686ae9c5bb-da-libre | libre |
en->da
Various Ships and Views of Amsterdam (Verscheÿde Schepen en Gesichten van Amstelredam), Part II: A Water-ship bound for the Soutketen. A Brewer's Water-ship
| Forskellige Skibe og Visninger af Amsterdam (Verschettale Schepen en Gesichten van Amstelredam), del II: Et vandskib på vej mod Soutketten. Et Brewers Vandskib | |
| t | 78bEN1d797c43b45ce-de-libre | libre |
en->de
Fragmentary embroidered tiraz
| Fragmentär bestickte Tiraz | |
| t | 78cEN308f74c303e74-da-libre | libre |
en->da
manuscript on paper bound in leather with gilt decoration
| manuskript på papir bundet i læder med forgyldt dekoration | |
| t | 78cEN5b4f27fdf0fc0-es-libre | libre |
en->es
Painting by chimpanzee whose creative activity was documented by Desmond Morrie in The Naked Ape
| Pintura por chimpancé cuya actividad creativa fue documentada por Desmond Morrie en The Naked Ape | |
| t | 78cEN5b4f27fdf0fc0-de-libre | libre |
en->de
Painting by chimpanzee whose creative activity was documented by Desmond Morrie in The Naked Ape
| Gemälde von Schimpansen, deren kreative Tätigkeit von Desmond Morrie in The Naked Ape dokumentiert wurde | |
| t | 78cEN5b4f27fdf0fc0-da-libre | libre |
en->da
Painting by chimpanzee whose creative activity was documented by Desmond Morrie in The Naked Ape
| Maleri af chimpanse hvis kreative aktivitet blev dokumenteret af Desmond Morrie i Den Nøgne Ape | |
| t | 78cEN6234fd4edcfc3-es-libre | libre |
en->es
This engraving is part of the Tarocchi group marked with the letter “E,” and named <em>Conditions of Man</em>. This series outlines the social and hierarchical order of ten characters (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Emperor, and Pope), starting from the lower grade and ending with the most important one. <br><br>Here, <em>Re </em>(The King) is shown as a full-length crowned male figure, facing front. The ruler is seated on his throne, and holds a scepter with his right hand.
| Este grabado es parte del grupo Tarocchi marcado con la letra E, y nombrado <em>Condiciones del hombre</em>. Esta serie describe el orden social y jerárquico de diez personajes (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Emperor, and Pope), comenzando desde el grado inferior y terminando con el más importante. <br/><br/>Aquí, <em>Re </em>(El Rey) se muestra como una figura masculina coronada de longitud completa, frente al frente. El gobernante está sentado en su trono, y tiene un cetro con su mano derecha. | |
| t | 78cEN6234fd4edcfc3-de-libre | libre |
en->de
This engraving is part of the Tarocchi group marked with the letter “E,” and named <em>Conditions of Man</em>. This series outlines the social and hierarchical order of ten characters (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Emperor, and Pope), starting from the lower grade and ending with the most important one. <br><br>Here, <em>Re </em>(The King) is shown as a full-length crowned male figure, facing front. The ruler is seated on his throne, and holds a scepter with his right hand.
| Dieses Gravur ist Teil der Tarocchi Gruppe mit dem Buchstaben markiert, <em>Bedingungen des Menschen</em>. Diese Serie beschreibt die soziale und hierarchische Ordnung von zehn Zeichen (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Kaiser und Papst), beginnend von der unteren Klasse und endet mit dem wichtigsten. <br/><br/>Hier. <em>Zurück </em>(Der König) wird als eine volllange gekrönte männliche Figur dargestellt, die nach vorne gerichtet ist. Der Herrscher sitzt auf seinem Thron und hält einen Zepter mit seiner rechten Hand. | |
| t | 78cEN6234fd4edcfc3-da-libre | libre |
en->da
This engraving is part of the Tarocchi group marked with the letter “E,” and named <em>Conditions of Man</em>. This series outlines the social and hierarchical order of ten characters (Beggar, Servant, Artisan, Merchant, Gentleman, Knight, Doge King, Emperor, and Pope), starting from the lower grade and ending with the most important one. <br><br>Here, <em>Re </em>(The King) is shown as a full-length crowned male figure, facing front. The ruler is seated on his throne, and holds a scepter with his right hand.
| Denne gravering er en del af Tarocchi gruppen markeret med bogstavet "E", og navngivet <em>Menneskets tilstand</em>. Denne serie skitserer den sociale og hierarkiske rækkefølge af ti tegn (Beggar, Tjener, Kunstner, Merchant, gentleman, Knight, Doge King, Kejser, og Pope), startende fra den nederste klasse og slutter med den vigtigste. <br/><br/>Her. <em>Re </em>(Kongen) er vist som en fuld længde kronet mandlige figur, vender foran. Fyrsten sidder på sin trone og har et scepter med højre hånd. | |
| t | 78cEN6e2d2df79cba6-es-libre | libre |
en->es
These figures represent the supernatural patrons of the visual arts and writing: the brothers Hun Batz and Hun Chuen ("One Monkey" and "One Artisan"). The two were refined artists but also bullies who tormented their younger brothers, who took revenge by transforming their elders into monkeys. Many Maya representations of the painter-scribes immortalize this fate by depicting the pair with both simian and human features, as here. The brothers are shown engaged in artistic or scribal pursuits. Sitting on high-domed bases that may have served as the lids of incense or offering bowls, each apparently once grasped a tool in his upper hand-for instance, a paint brush or a stylus for writing. In the lower hand, one cradles a small mask and the other, a piece of bark that likely refers to the beaten bark from which the Maya made books.
| Estas figuras representan a los patrones sobrenaturales de las artes visuales y la escritura: los hermanos Hun Batz y Hun Chuen ("Un mono" y "Un Artisan"). Los dos eran artistas refinados, pero también matones que atormentaron a sus hermanos más jóvenes, que se vengaron transformando a sus ancianos en monos. Muchas representaciones mayas de los escribas inmortalizan este destino representando el par con características tanto simianas como humanas, como aquí. Los hermanos se muestran comprometidos en actividades artísticas o escribidas. Sentada sobre bases de alto nivel que podrían haber servido como tapas de incienso o ofreciendo tazones, cada uno aparentemente una vez comprendió una herramienta en su mano superior, por ejemplo, un pincel de pintura o un estilís para escribir. En la mano inferior, una cuna una máscara pequeña y la otra, un pedazo de corteza que probablemente se refiere a la corteza batida de la que los mayas hicieron libros. | |
| t | 78cEN6e2d2df79cba6-de-libre | libre |
en->de
These figures represent the supernatural patrons of the visual arts and writing: the brothers Hun Batz and Hun Chuen ("One Monkey" and "One Artisan"). The two were refined artists but also bullies who tormented their younger brothers, who took revenge by transforming their elders into monkeys. Many Maya representations of the painter-scribes immortalize this fate by depicting the pair with both simian and human features, as here. The brothers are shown engaged in artistic or scribal pursuits. Sitting on high-domed bases that may have served as the lids of incense or offering bowls, each apparently once grasped a tool in his upper hand-for instance, a paint brush or a stylus for writing. In the lower hand, one cradles a small mask and the other, a piece of bark that likely refers to the beaten bark from which the Maya made books.
| Diese Figuren repräsentieren die übernatürlichen Mäzene der Bildenden Künste und des Schreibens: die Brüder Hun Batz und Hun Chuen ("One Monkey" und "One Artisan"). Die beiden waren raffinierte Künstler, aber auch Tyrannen, die ihre jüngeren Brüder quälten, die sich durch die Umwandlung ihrer Ältesten in Affen rächen. Viele Maya-Präsentationen der Maler-Schriftsteller verewigen dieses Schicksal, indem sie das Paar mit den gleichen und menschlichen Merkmalen wie hier darstellen. Die Brüder werden in künstlerischen oder kribalen Verfolgungen gezeigt. Sitzend auf hochdomierten Basen, die als Deckel des Weihrauchs dienen oder Schüsseln anbieten können, fasste jeder scheinbar einmal ein Werkzeug in seiner Oberhand - zum Beispiel eine Farbbürste oder ein Stylus zum Schreiben. In der unteren Hand, eine Wiege eine kleine Maske und die andere, ein Stück Rinde, die wahrscheinlich bezieht sich auf die geschlagene Rinde, aus denen die Maya machte Bücher. | |
| t | 78cEN6e2d2df79cba6-da-libre | libre |
en->da
These figures represent the supernatural patrons of the visual arts and writing: the brothers Hun Batz and Hun Chuen ("One Monkey" and "One Artisan"). The two were refined artists but also bullies who tormented their younger brothers, who took revenge by transforming their elders into monkeys. Many Maya representations of the painter-scribes immortalize this fate by depicting the pair with both simian and human features, as here. The brothers are shown engaged in artistic or scribal pursuits. Sitting on high-domed bases that may have served as the lids of incense or offering bowls, each apparently once grasped a tool in his upper hand-for instance, a paint brush or a stylus for writing. In the lower hand, one cradles a small mask and the other, a piece of bark that likely refers to the beaten bark from which the Maya made books.
| Disse tal repræsenterer de overnaturlige protektorer af billedkunst og skrivning: brødrene Hun Batz og Hun Chuen ("One Monkey" og "One Artisan"). De to var raffinerede kunstnere, men også bøller, der pinte deres yngre brødre, der tog hævn ved at omdanne deres ældre til aber. Mange Maya repræsentationer af malerskribenter udødeliggøre denne skæbne ved at skildre parret med både simian og menneskelige træk, som her. Brødrene er vist engageret i kunstneriske eller skribent forfølgelser. Sidder på højbuede baser, der kan have tjent som låg af røgelse eller tilbyder skåle, hver tilsyneladende en gang greb et værktøj i hans øverste hånd-for eksempel, en maling børste eller en stilus til skrivning. I den nederste hånd, den ene vugger en lille maske og den anden, et stykke bark, der sandsynligvis refererer til den slået bark, hvorfra Maya lavet bøger. | |
| t | 78cEN71b22c917c4e5-es-libre | libre |
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Jade hilt with iron and gold; steel blade with iron and gold; wood sheath covered in velvet with metallic thread
| Hilo de jade con hierro y oro; hoja de acero con hierro y oro; vaina de madera cubierta de terciopelo con hilo metálico | |
| t | 78cEN71b22c917c4e5-de-libre | libre |
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Jade hilt with iron and gold; steel blade with iron and gold; wood sheath covered in velvet with metallic thread
| Jade Hilt mit Eisen und Gold; Stahlklinge mit Eisen und Gold; Holzhülle mit Metallgewinde bedeckt | |
| t | 78bEN2b293fe61b7f3-de-libre | libre |
en->de
Convent of St. Catherine with Mount Horeb
| Kloster der heiligen Katharina mit dem Berg Horeb | |
| t | 78cEN71b22c917c4e5-da-libre | libre |
en->da
Jade hilt with iron and gold; steel blade with iron and gold; wood sheath covered in velvet with metallic thread
| Jade fæste med jern og guld; stålklinge med jern og guld; træskede dækket med fløjl med metaltråd | |
| t | 78aEN2cca815c1376b-da-libre | libre |
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Amulets
| Amuletter | |
| t | 795EN96f0a3055e651-es-libre | libre |
en->es
Aeneas Shown the Body of Pallas from Virgil's "Aeneid"
| Eneas Muestra el Cuerpo de Pallas del "Aeneid" de Virgil | |
| t | 78dEN7e168adffd8df-es-libre | libre |
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Text, folio 87 (verso), from a Gospel Book with Commentaries
| Texto, folio 87 (verso), de un Libro Evangelio con Comentario | |
| t | 78cEN751ad31f3b9f6-de-libre | libre |
en->de
Rosa's scene at noon showcases several hoary hags that exemplify his treatment of witches. Clutching skulls, wielding brooms, and slicing lizards, the witches prepare to travel to the Sabbath, an orgy of witches. One witch flays the skin of a thrashing lizard to extract the innards needed to concoct magical unguents, while her companions brandish skulls. Goats were the common mode of transportation for witches, but Rosa substitutes an owl, a harbinger of evil. Although Rosa foregrounds the violent cruelty of witchcraft, situating the grotesque hags in the full light of day introduces a comic aspect to the scene. Rosa's use of comedy and the unexpected to critique the world around him stemmed from the satirical poetry he wrote throughout his stay in Florence and his return to Rome in 1649. By lightening the palette and mood of the painting, Day reflects his interest in satire and his self-appointed role to expose and critique human folly.
| Rosas Szene am Mittag zeigt mehrere Hoary Hags, die seine Behandlung von Hexen veranschaulichen. Die Hexen bereiten sich auf die Reise zum Sabbat vor, eine Hexenorgie. Eine Hexe flattert die Haut einer thrashing Eidechse, um die Innards zu extrahieren, die benötigt werden, um magische Ungeziefer zu koncoct, während ihre Begleiter brandige Schädel. Ziegen waren die übliche Art des Transports für Hexen, aber Rosa ersetzt eine Eule, ein Vorbote des Bösen. Obwohl Rosa die gewalttätige Grausamkeit der Hexerei im Vordergrund stellt, stellt die groteske Hags im vollen Licht des Tages einen komischen Aspekt der Szene vor. Rosas Gebrauch von Komödie und die unerwartete Kritik an der Welt um ihn herum stammte von der satirischen Poesie, die er während seines Aufenthaltes in Florenz und seiner Rückkehr nach Rom im Jahre 1649 schrieb. Indem er die Palette und Stimmung des Gemäldes erhellt, reflektiert Day sein Interesse an Satire und seiner selbsternannten Rolle, menschliche Torheit zu entlarven und zu kritisieren. | |
| t | 78cEN751ad31f3b9f6-da-libre | libre |
en->da
Rosa's scene at noon showcases several hoary hags that exemplify his treatment of witches. Clutching skulls, wielding brooms, and slicing lizards, the witches prepare to travel to the Sabbath, an orgy of witches. One witch flays the skin of a thrashing lizard to extract the innards needed to concoct magical unguents, while her companions brandish skulls. Goats were the common mode of transportation for witches, but Rosa substitutes an owl, a harbinger of evil. Although Rosa foregrounds the violent cruelty of witchcraft, situating the grotesque hags in the full light of day introduces a comic aspect to the scene. Rosa's use of comedy and the unexpected to critique the world around him stemmed from the satirical poetry he wrote throughout his stay in Florence and his return to Rome in 1649. By lightening the palette and mood of the painting, Day reflects his interest in satire and his self-appointed role to expose and critique human folly.
| Rosas scene ved middagstid viser flere horehuse, der illustrerer hans behandling af hekse. Heksene er klar til at rejse til sabbatten, et orgie af hekse. En heks flår huden af et pralende firben for at udtrække de indvolde, der er nødvendige for at konkokke magiske unguents, mens hendes ledsagere brandlige kranier. Geder var den almindelige transportform for hekse, men Rosa erstatter en ugle, en budbringer af ondskab. Selv om Rosa er fortaler for heksekunstens voldelige grusomhed, introducerer det at placere de groteske hekse i dagens lys en tegneserie. Rosa 's brug af komedie og det uventede at kritisere verden omkring ham stammede fra den satiriske poesi han skrev under hele sit ophold i Firenze og hans tilbagevenden til Rom i 1649. Ved at lette maleriets palette og humør, afspejler Dag hans interesse for satire og hans selvudnævnte rolle til at afsløre og kritisere menneskelig dumhed. | |
| t | 78cEN86a755639fb5d-es-libre | libre |
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These gold discs, each with the image of a richly dressed Chimú lord, originally were attached to the fronts of ear ornaments equipped with long, thick shafts that passed through the ear lobes. Such ornaments were important markers of wealth and elite status.
| Estos discos de oro, cada uno con la imagen de un señor Chimú ricamente vestido, originalmente estaban apegados a los frentes de ornamentos de oídos equipados con ejes largos y gruesos que pasaban por los lóbulos del oído. Tales ornamentos eran importantes marcadores de riqueza y estado de élite. | |
| t | 78cEN86a755639fb5d-de-libre | libre |
en->de
These gold discs, each with the image of a richly dressed Chimú lord, originally were attached to the fronts of ear ornaments equipped with long, thick shafts that passed through the ear lobes. Such ornaments were important markers of wealth and elite status.
| Diese Goldscheiben, jede mit dem Bild eines reich gekleideten Chimú Lord, wurden ursprünglich an den Fronten der Ohrschmuck mit langen, dicken Schächten, die durch die Ohrlappen. Solche Ornamente waren wichtige Marker von Reichtum und Elite Status. | |
| t | 78cEN86a755639fb5d-da-libre | libre |
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These gold discs, each with the image of a richly dressed Chimú lord, originally were attached to the fronts of ear ornaments equipped with long, thick shafts that passed through the ear lobes. Such ornaments were important markers of wealth and elite status.
| Disse guld diske, hver med billedet af en rigt klædt Chimú herre, oprindeligt var fastgjort til fronterne af øre ornamenter udstyret med lange, tykke aksler, der gik gennem øreklapperne. Sådanne ornamenter var vigtige markører for rigdom og elite status. | |
| t | 78cEN916078ebea832-es-libre | libre |
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Standing Buddha
| Buda Permanente | |
| t | 78cEN916078ebea832-de-libre | libre |
en->de
Standing Buddha
| Buddha stehend | |
| t | 78cEN916078ebea832-da-libre | libre |
en->da
Standing Buddha
| Stående Buddha | |
| t | 78cEN9bfd609c2b587-es-libre | libre |
en->es
Mask of Napoleon
| Máscara de Napoleón | |
| t | 78cEN9bfd609c2b587-de-libre | libre |
en->de
Mask of Napoleon
| Maske von Napoleon | |
| t | 78bENb08ab1313a35a-es-libre | libre |
en->es
Saucer and Bowl
| Saucer y Bowl | |
| t | 78cEN9d95a2bfbe094-es-libre | libre |
en->es
Textile Panel for Fire Screen (replacement)
| Panel Textil para Pantalla de Fuego (sustitución) | |
| t | 78cEN9d95a2bfbe094-de-libre | libre |
en->de
Textile Panel for Fire Screen (replacement)
| Textile Panel für Fire Screen (Ersatz) | |
| t | 78cEN9d95a2bfbe094-da-libre | libre |
en->da
Textile Panel for Fire Screen (replacement)
| Tekstilpanel til brandskærm (erstatning) | |
| t | 78cENa94bd8ab14430-es-libre | libre |
en->es
Leaf from a Missal: The Crucifixion (Frontispiece for the Canon of the Mass)
| Hoja de un Missal: La crucifixión (Frontispiece for the Canon of the Mass) | |
| t | 78cENa94bd8ab14430-de-libre | libre |
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Leaf from a Missal: The Crucifixion (Frontispiece for the Canon of the Mass)
| Blatt von einem Missal: Die Kreuzigung (Frontispiece für den Kanon der Messe) | |
| t | 78cENa94bd8ab14430-da-libre | libre |
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Leaf from a Missal: The Crucifixion (Frontispiece for the Canon of the Mass)
| Blad fra en Missal: Korsfæstelsen (Frontispice for kanonen af massen) | |
| t | 78cENaa00cdf1fb21d-es-libre | libre |
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One of the most lavish tributes paid to the memory of Jean-Antoine Watteau (1684-1721) was the publication of four volumes of more than 600 prints (1726-35) after all the paintings and drawings known by the master. Boucher was one of the printmakers who worked on the project, which enabled him to study Watteau's draftsmanship, one of the most significant lessons of his early career.
| Uno de los más lujosos homenajes pagados a la memoria de Jean-Antoine Watteau (1684-1721) fue la publicación de cuatro volúmenes de más de 600 impresiones (1726-35) después de todas las pinturas y dibujos conocidos por el maestro. Boucher fue uno de los grabadores que trabajaron en el proyecto, lo que le permitió estudiar el borrador de Watteau, una de las lecciones más importantes de su carrera temprana. | |
| t | 78cENaa00cdf1fb21d-de-libre | libre |
en->de
One of the most lavish tributes paid to the memory of Jean-Antoine Watteau (1684-1721) was the publication of four volumes of more than 600 prints (1726-35) after all the paintings and drawings known by the master. Boucher was one of the printmakers who worked on the project, which enabled him to study Watteau's draftsmanship, one of the most significant lessons of his early career.
| Einer der verschwenderischsten Tribute, die dem Gedenken an Jean-Antoine Watteau (1684-1721) gewidmet sind, war die Veröffentlichung von vier Bänden von mehr als 600 Drucken (1726-35) nach allen vom Meister bekannten Gemälden und Zeichnungen. Boucher war einer der Drucker, der an dem Projekt arbeitete, was ihm ermöglichte, Watteaus Entwurf zu studieren, einer der wichtigsten Lehren seiner frühen Karriere. | |
| t | 78bENd1ddcf0dbff5e-de-libre | libre |
en->de
Panel for a Headdress
| Panel für eine Adresse | |
| t | 78cENaa00cdf1fb21d-da-libre | libre |
en->da
One of the most lavish tributes paid to the memory of Jean-Antoine Watteau (1684-1721) was the publication of four volumes of more than 600 prints (1726-35) after all the paintings and drawings known by the master. Boucher was one of the printmakers who worked on the project, which enabled him to study Watteau's draftsmanship, one of the most significant lessons of his early career.
| En af de mest overdådige hyldest til mindet om Jean- Antoine Watteau (1684- 1721) var udgivelsen af fire bind af mere end 600 prints (1726- 35) efter alle de malerier og tegninger, som mesteren kendte. Boucher var en af de printmakers der arbejdede på projektet, som gjorde det muligt for ham at studere Watteau 's forfatterskab, en af de mest betydningsfulde lektioner i hans tidlige karriere. | |
| t | 78cENd8b90e1d364d9-es-libre | libre |
en->es
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 56r
| Horas de la Reina Isabella la Católica, Reina de España: Fol. 56r | |
| t | 78cENd8b90e1d364d9-de-libre | libre |
en->de
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 56r
| Stunden der Königin Isabella der Katholik, Königin von Spanien: Fol. 56r | |
| t | 78cENd8b90e1d364d9-da-libre | libre |
en->da
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 56r
| Timer af dronning Isabella den katolske, dronning af Spanien: Fol. 56r | |
| t | 78cENdb0b28ef3e361-es-libre | libre |
en->es
The mysterious image of a deerlike animal gazing up at the moon among clouds has been variously interpreted over many centuries. The animal, lying down with one foreleg extended and looking back, originated as a <em>djeiran</em>, or Central Asian antelope. Commonly appearing on Sogdian silver from the 600s onward, the motif migrated via the trade routes to northern China. There, during the Jin and Yuan (1279–1368) dynasties, it was very popular and always depicted with the moon supported by clouds. Chinese writers often identify the djeiran as the mythical rhinoceros (<em>xi'niu</em>) that is said to gaze at the moon, or as the cow of Wu "panting upon seeing the moon."
| La misteriosa imagen de un animal de ciervo mirando hacia arriba en la luna entre las nubes ha sido interpretada de varias maneras a lo largo de muchos siglos. El animal, acostado con una pierna extendida y mirando hacia atrás, se originó como <em>Djeiran</em>, o antílope de Asia Central. Comúnmente apareciendo en plata de Sogdian desde los años 600, el motivo emigró a través de las rutas comerciales al norte de China. Allí, durante las dinastías de Jin y Yuan (1279–1368), era muy popular y siempre representado con la luna apoyada por las nubes. Los escritores chinos a menudo identifican al djeiran como el rinoceronte mítico (<em>xi'niu</em>) que se dice mirar a la luna, o como la vaca de Wu "esperando al ver la luna." | |
| t | 78dEN7e168adffd8df-de-libre | libre |
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Text, folio 87 (verso), from a Gospel Book with Commentaries
| Text, folio 87 (verso), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 78dEN7e168adffd8df-da-libre | libre |
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Text, folio 87 (verso), from a Gospel Book with Commentaries
| Tekst, folio 87 (verso), fra en evangeliebog med kommentarer | |
| t | 78bENfae7460b3a152-da-libre | libre |
en->da
Les Penitents: Mort de Ste. Madeleine
| Les Penitents: Mort de Ste. Madeleine | |
| t | 78bEN06577de5ab548-de-libre | libre |
en->de
Oculate Being Mask
| Okulate Wesen Maske | |
| t | 795ENcc0c501ed8157-es-libre | libre |
en->es
brown, white, and black chalk
| marrón, blanco y negro tiza | |
| t | 78cENdb0b28ef3e361-da-libre | libre |
en->da
The mysterious image of a deerlike animal gazing up at the moon among clouds has been variously interpreted over many centuries. The animal, lying down with one foreleg extended and looking back, originated as a <em>djeiran</em>, or Central Asian antelope. Commonly appearing on Sogdian silver from the 600s onward, the motif migrated via the trade routes to northern China. There, during the Jin and Yuan (1279–1368) dynasties, it was very popular and always depicted with the moon supported by clouds. Chinese writers often identify the djeiran as the mythical rhinoceros (<em>xi'niu</em>) that is said to gaze at the moon, or as the cow of Wu "panting upon seeing the moon."
| Det mystiske billede af et dyrisk dyr, der stirrer op på månen blandt skyer, er blevet fortolket forskelligt over mange århundreder. Dyret, liggende ned med en forret udvidet og ser tilbage, opstod som en <em>djeiran</em>eller centralasiatisk antilope. Almindeligt optræder på sogdiansk sølv fra 600s videre, motivet migrerede via handelsruterne til det nordlige Kina. Der, under Jin og Yuan (1279- 1368) dynastier, det var meget populær og altid afbildet med månen understøttes af skyer. Kinesiske forfattere ofte identificere djeiran som mytiske rhinoceros (<em>xi 'niu</em>) der siges at stirre på månen, eller som ko Wu "pustende på at se månen" | |
| t | 78cENea014a07a53f6-es-libre | libre |
en->es
Central Asia, Jin dynasty (1115-1234)
| Asia central, dinastía Jin (1115-1234) | |
| t | 78cENea014a07a53f6-de-libre | libre |
en->de
Central Asia, Jin dynasty (1115-1234)
| Zentralasien, Jin Dynastie (1115-1234) | |
| t | 78cENea014a07a53f6-da-libre | libre |
en->da
Central Asia, Jin dynasty (1115-1234)
| Centralasien, Jin dynasti (1115- 1234) | |
| t | 78cENf113f0d1001fa-es-libre | libre |
en->es
steel with brass rivets, roped edges terminating in decorative spiral; fragments of leather liner
| acero con remaches de latón, bordes enrollados terminando en espiral decorativo; fragmentos de revestimiento de cuero | |
| t | 78cENf113f0d1001fa-de-libre | libre |
en->de
steel with brass rivets, roped edges terminating in decorative spiral; fragments of leather liner
| Stahl mit Messingnieten, Seilkanten, die in dekorativer Spirale enden; Fragmente aus Leder | |
| t | 78cENf113f0d1001fa-da-libre | libre |
en->da
steel with brass rivets, roped edges terminating in decorative spiral; fragments of leather liner
| stål med messingnitter, riflede kanter, der slutter i dekorative spiral; fragmenter af læderforing | |
| t | 78cENf1e17ddad4f56-es-libre | libre |
en->es
Tenpō Tsūhō Coin
| Tenpō Tsūhō Coin | |
| t | 78cENf1e17ddad4f56-es-bing | bing |
en->es
Tenpō Tsūhō Coin
| Moneda Tenpō Tsūhō | |
| t | 78cENf1e17ddad4f56-de-libre | libre |
en->de
Tenpō Tsūhō Coin
| Tenpō Tsūhō Münze | |
| t | 78cEN308f74c303e74-es-libre | libre |
en->es
manuscript on paper bound in leather with gilt decoration
| manuscrito sobre papel encuadernado en cuero con decoración gilt | |
| t | 78dEN0b620d015dff0-es-libre | libre |
en->es
Snuff Box with Clock
| Snuff Box con reloj | |
| t | 78dEN0b620d015dff0-de-libre | libre |
en->de
Snuff Box with Clock
| Snuff Box mit Uhr | |
| t | 78dEN0b620d015dff0-da-libre | libre |
en->da
Snuff Box with Clock
| Snuff boks med ur | |
| t | 78dEN1300aaf68c388-es-libre | libre |
en->es
Proper Left Arm (vambrace, rerebrace, couter)
| Brazo izquierdo adecuado (vambrace, rerebrace, couter) | |
| t | 78dEN1300aaf68c388-de-libre | libre |
en->de
Proper Left Arm (vambrace, rerebrace, couter)
| Richtiger linker Arm (Vambrace, Rembrace, Couter) | |
| t | 78dEN1300aaf68c388-da-libre | libre |
en->da
Proper Left Arm (vambrace, rerebrace, couter)
| Korrekt venstre arm (vambrace, rerebrace, couter) | |
| t | 78dEN2a08c314996d1-es-libre | libre |
en->es
Vessel Fragment
| Fragmento de buques | |
| t | 78dEN2a08c314996d1-de-libre | libre |
en->de
Vessel Fragment
| Schiffsfragment | |
| t | 78dEN2a08c314996d1-da-libre | libre |
en->da
Vessel Fragment
| Fartøjets fragment | |
| t | 78dEN3aac60ec8ba15-es-libre | libre |
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The axe-wielding red Zenki, and the vase-holding, bamboo backpack-wearing green Koki are both under the mystical control of the monk, En no Ozunu (legendarily 634–701), also known as En no Gyōja, or “En the Ascetic,” considered to have founded Shugendō, a style of religious practice focused on performing austerities in mountainous settings.
| El axe-wielding rojo Zenki, y el vase-holding, bamboo backpack-wearing green Koki están ambos bajo el control místico del monje, En no Ozunu (legendarily 634-701), también conocido como En no Gyōja, o “En el Ascético”, considerado haber fundado Shugendō, un estilo de práctica religiosa centrado en realizar austeridades en entornos montañosos. | |
| t | 78dEN3aac60ec8ba15-de-libre | libre |
en->de
The axe-wielding red Zenki, and the vase-holding, bamboo backpack-wearing green Koki are both under the mystical control of the monk, En no Ozunu (legendarily 634–701), also known as En no Gyōja, or “En the Ascetic,” considered to have founded Shugendō, a style of religious practice focused on performing austerities in mountainous settings.
| Die Axt-wielding rot Zenki, und die Vase-holding, Bambus Rucksack-wearing green Koki sind beide unter der mystischen Kontrolle des Mönchs, En no Ozunu (Legendarly 634 / 7001), auch bekannt als En no Gyōja, oder En the Ascetic, als Shugendō gegründet haben, ein Stil der religiösen Praxis konzentriert sich auf die Durchführung von Austeritäten in Bergkulisse. | |
| t | 78dEN3aac60ec8ba15-da-libre | libre |
en->da
The axe-wielding red Zenki, and the vase-holding, bamboo backpack-wearing green Koki are both under the mystical control of the monk, En no Ozunu (legendarily 634–701), also known as En no Gyōja, or “En the Ascetic,” considered to have founded Shugendō, a style of religious practice focused on performing austerities in mountainous settings.
| Den axe- wielding røde Zenki, og vase- bedrift, bambus backpack- iført grøn Koki er begge under den mystiske kontrol af munken, En no Ozunu (legendariske 634- 701), også kendt som En no Gybja, eller "En Asketic", anses for at have grundlagt Shugendatus, en stil af religiøs praksis fokuseret på at udføre brutalitet i bjergrige omgivelser. | |
| t | 78dEN4f587a9bce0c9-es-libre | libre |
en->es
Silk, metal, dye
| Seda, metal, tinte | |
| t | 78dEN4f587a9bce0c9-de-libre | libre |
en->de
Silk, metal, dye
| Seide, Metall, Farbstoff | |
| t | 78dEN4f587a9bce0c9-da-libre | libre |
en->da
Silk, metal, dye
| silke, metal, farvestof | |
| t | 78dEN58e58f10586e7-es-libre | libre |
en->es
Finial with the temptation of Buddha by Mara
| Finial con la tentación de Buda por Mara | |
| t | 78dEN58e58f10586e7-de-libre | libre |
en->de
Finial with the temptation of Buddha by Mara
| Finial mit der Versuchung von Buddha von Mara | |
| t | 78dEN58e58f10586e7-da-libre | libre |
en->da
Finial with the temptation of Buddha by Mara
| Finial med fristelsen til Buddha af Mara | |
| t | 78dEN74f3a52059f5b-es-libre | libre |
en->es
stoneware with incised and impressed decoration and natural ash glaze
| gresería con decoración incisiva e impresionada y el esmalte de ceniza natural | |
| t | 78dEN74f3a52059f5b-de-libre | libre |
en->de
stoneware with incised and impressed decoration and natural ash glaze
| Steinzeug mit incized und beeindruckt Dekoration und natürliche Asche Glasur | |
| t | 78dEN74f3a52059f5b-da-libre | libre |
en->da
stoneware with incised and impressed decoration and natural ash glaze
| stentøj med indsnit og imponeret dekoration og naturlig aske glasur | |
| t | 78dEN7c37336529b6c-es-libre | libre |
en->es
charcoal with white heightening
| carbón con altura blanca | |
| t | 78dEN7c37336529b6c-de-libre | libre |
en->de
charcoal with white heightening
| Holzkohle mit weißer Erhöhung | |
| t | 78dEN7c37336529b6c-da-libre | libre |
en->da
charcoal with white heightening
| kul med hvid forhøjelse | |
| t | 78dEN7d3a2cbec83df-es-libre | libre |
en->es
This sheet of studies was made as a preparatory design for a series of stained glass windows for the Chapel of Saint Ferdinand in Paris. Here, Jean- Auguste-Dominique Ingres sketched four sets of hands that seem to cascade down the page in one rhythmic motion, masterfully illustrating the beauty of <em>mise en page</em>. In his use of graphite, Ingres alluded to the metalpoint drawings of Raphael, intentionally channeling the Renaissance master.
| Esta hoja de estudios fue hecha como un diseño preparatorio para una serie de vidrieras para la Capilla de San Fernando en París. Aquí, Jean- Auguste-Dominique Ingres dibujado cuatro conjuntos de manos que parecen cascada por la página en un movimiento rítmico, ilustrando magistralmente la belleza de <em>mise en página</em>. En su uso de grafito, Ingres aludió a los dibujos metálicos de Rafael, canalizando intencionalmente al maestro renacentista. | |
| t | 78dEN7d3a2cbec83df-de-libre | libre |
en->de
This sheet of studies was made as a preparatory design for a series of stained glass windows for the Chapel of Saint Ferdinand in Paris. Here, Jean- Auguste-Dominique Ingres sketched four sets of hands that seem to cascade down the page in one rhythmic motion, masterfully illustrating the beauty of <em>mise en page</em>. In his use of graphite, Ingres alluded to the metalpoint drawings of Raphael, intentionally channeling the Renaissance master.
| Dieses Studienblatt wurde als Vorbereitung für eine Reihe von Glasfenstern für die Kapelle des Heiligen Ferdinand in Paris erstellt. Hier, Jean. Auguste-Dominique Ingres skizzierte vier Sätze von Händen, die die Seite in einer rhythmischen Bewegung zu kaskadieren scheinen, meisterhaft die Schönheit von <em>Seite</em>. In seiner Verwendung von Graphit, Ingres deutete auf die Metallpunkte Zeichnungen von Raphael, absichtlich Kanaling der Renaissance Meister. | |
| t | 78dEN86fd35ef61170-da-libre | libre |
en->da
Chasuble Fragment with Realistic Animals
| Chasuble Fragment med realistiske dyr | |
| t | 78dEN87339b715ae33-es-libre | libre |
en->es
Petra, Eastern End of the Valley
| Petra, East End of the Valley | |
| t | 78dEN87339b715ae33-de-libre | libre |
en->de
Petra, Eastern End of the Valley
| Petra, östliches Ende des Tals | |
| t | 78bEN2b293fe61b7f3-da-libre | libre |
en->da
Convent of St. Catherine with Mount Horeb
| Kloster af St. Catherine med Mount Horeb | |
| t | 78aEN6e76ae5f0e38e-da-libre | libre |
en->da
In the concluding illustration to the parrot's story on the eighth night, the prince is enthroned at the top of the composition to the accompaniment of musical fanfare. His father the king, in blue at the lower right, heads off to retirement in the forest, as was customary, with his walking stick and prayer beads. The ends of garments visible below the picture plane reveal that another earlier composition was painted over—a common practice throughout the <em>Tales of a Parrot</em> in which new recruits to the atelier were experimenting with a new style.
| I den afsluttende illustration til papegøjens historie på den ottende nat, er prinsen i toppen af kompositionen til akkompagnement af musikalsk fanfare. Hans far kongen, i blå ved den nederste højre, hovedet ud til pensionering i skoven, som det var sædvane, med hans walking pind og bøn perler. Enderne af beklædningsgenstande, der er synlige under billedplanet, viser, at en anden tidligere sammensætning er malet over - en almindelig praksis i hele <em>Tales of a Parrot</em> hvor nye rekrutter til atelieren eksperimenterede med en ny stil. | |
| t | 78bEN6c1da16607cae-es-libre | libre |
en->es
Weight in the Form of a Hippopotamus Head
| Peso en la Forma de una Cabeza Hippotamus | |
| t | 795EN96f0a3055e651-de-libre | libre |
en->de
Aeneas Shown the Body of Pallas from Virgil's "Aeneid"
| Aeneas Zeigte den Körper von Pallas von Virgils "Aeneid" | |
| i | 78dENae19c89af1a61-da-libre | libre |
en->da
Fragment of Needlepoint (Cutwork) Lace
| Fragment of Needlepoint (Cutwork) Lace | |
| t | 78dENc72ab0b18ace0-es-libre | libre |
en->es
Tetradrachm: Head of Artemis/Arethousa, dolphins (reverse)
| Tetradrachm: Jefe de Artemis/Arethousa, delfines (reverso) | |
| t | 78dENc72ab0b18ace0-de-libre | libre |
en->de
Tetradrachm: Head of Artemis/Arethousa, dolphins (reverse)
| Tetradrachm: Leiter der Artemis/Arethousa, Delfine (Reverse) | |
| t | 78dENc72ab0b18ace0-da-libre | libre |
en->da
Tetradrachm: Head of Artemis/Arethousa, dolphins (reverse)
| Tetradrachm: Leder af Artemis / Aretumas, delfiner (omvendt) | |
| t | 78dENcafd8ee7e75a8-es-libre | libre |
en->es
Moles
| Moles | |
| t | 78dENcafd8ee7e75a8-es-bing | bing |
en->es
Moles
| Topos | |
| t | 78dENcafd8ee7e75a8-de-libre | libre |
en->de
Moles
| Mole | |
| t | 78dENcafd8ee7e75a8-da-libre | libre |
en->da
Moles
| Moler | |
| t | 78dENdd8014b5dda71-es-libre | libre |
en->es
Voyages pittoresques et romantiques dans l'ancienne France. Bretagne: Eglise de Roscoff
| Voyages pittoresques et romantiques dans l'ancienne France. Bretagne: Eglise de Roscoff | |
| t | 78dENdd8014b5dda71-de-libre | libre |
en->de
Voyages pittoresques et romantiques dans l'ancienne France. Bretagne: Eglise de Roscoff
| Voyages pettoresques et romantiques dans l'ancienne France. Bretagne: Eglise de Roscoff | |
| t | 78dENdd8014b5dda71-da-libre | libre |
en->da
Voyages pittoresques et romantiques dans l'ancienne France. Bretagne: Eglise de Roscoff
| Voyages pittoresques et romantiques dans l 'ancienne Frankrig. Bretagne: Eglise de Roscoff | |
| t | 78eEN2dff1092c275a-es-libre | libre |
en->es
Returning Sails off a Distant Shore, from Eight Views of Xiao-Xiang
| Devolviendo velas de un Distant Shore, de ocho vistas de Xiao-Xiang | |
| t | 78eEN2dff1092c275a-de-libre | libre |
en->de
Returning Sails off a Distant Shore, from Eight Views of Xiao-Xiang
| Rückgabe von Segeln aus einem entfernten Shore, aus acht Ansichten von Xiao-Xiang | |
| t | 78eEN2dff1092c275a-da-libre | libre |
en->da
Returning Sails off a Distant Shore, from Eight Views of Xiao-Xiang
| Return Sails off a Distant Shore, from Eight Views of Xiao-Xiang | |
| t | 78eEN2f0ee74ae339e-es-libre | libre |
en->es
This ceramic figurine—in the style of Tlatilco, an early village site in central Mexico—depicts a female with an enigmatic motif incised on the back of her head and substantial traces of red and white pigment. Since many figurines from the period depict females, modern interpreters usually connect them to fertility concerns. They also seem to testify to the importance of women among early Mesoamerican cultures.
| Esta figura cerámica, al estilo de Tlatilco, un antiguo lugar de la aldea en el centro de México, ilustra a una hembra con un motivo enigmático incidido en la parte posterior de su cabeza y rastros sustanciales de pigmento rojo y blanco. Dado que muchas figuras del período representan a las mujeres, los intérpretes modernos generalmente las conectan a preocupaciones de fertilidad. También parecen dar testimonio de la importancia de las mujeres entre las culturas mesoamericanas tempranas. | |
| t | 78eEN2f0ee74ae339e-de-libre | libre |
en->de
This ceramic figurine—in the style of Tlatilco, an early village site in central Mexico—depicts a female with an enigmatic motif incised on the back of her head and substantial traces of red and white pigment. Since many figurines from the period depict females, modern interpreters usually connect them to fertility concerns. They also seem to testify to the importance of women among early Mesoamerican cultures.
| Diese Keramikfigur im Stil von Tlatilco, ein frühes Dorf im Zentrum Mexikos, zeichnet ein Weibchen mit einem rätselhaften Motiv auf der Rückseite ihres Kopfes und erheblichen Spuren von rot-weißem Pigment aus. Da viele Figuren aus der Zeit Frauen darstellen, verbinden moderne Dolmetscher sie in der Regel mit Fruchtbarkeitsproblemen. Sie scheinen auch zu bezeugen, wie wichtig Frauen in frühen mesoamerikanischen Kulturen sind. | |
| t | 78eEN2f0ee74ae339e-da-libre | libre |
en->da
This ceramic figurine—in the style of Tlatilco, an early village site in central Mexico—depicts a female with an enigmatic motif incised on the back of her head and substantial traces of red and white pigment. Since many figurines from the period depict females, modern interpreters usually connect them to fertility concerns. They also seem to testify to the importance of women among early Mesoamerican cultures.
| Denne keramik figur - i stil med Tatilco, en tidlig landsby i det centrale Mexico - viser en kvinde med en gådefuld motiv indsnit på bagsiden af hendes hoved og væsentlige spor af rød og hvid pigment. Da mange figurer fra perioden skildrer kvinder, moderne tolke normalt forbinde dem til fertilitet bekymringer. De synes også at vidne om betydningen af kvinder blandt tidlige mesoamerikanske kulturer. | |
| t | 78eEN373e480c73986-es-libre | libre |
en->es
A Painter
| A Painter | |
| t | 78eEN373e480c73986-es-bing | bing |
en->es
A Painter
| Un pintor | |
| t | 78eEN373e480c73986-de-libre | libre |
en->de
A Painter
| Ein Maler | |
| t | 78eEN373e480c73986-da-libre | libre |
en->da
A Painter
| En maler | |
| t | 78eEN45a3fe9c81974-es-libre | libre |
en->es
turquoise faience with black decoration
| faiencia turquesa con decoración negra | |
| t | 78eEN45a3fe9c81974-de-libre | libre |
en->de
turquoise faience with black decoration
| türkis Faience mit schwarzer Dekoration | |
| t | 78cEN9bfd609c2b587-da-libre | libre |
en->da
Mask of Napoleon
| Napoleons maske | |
| t | 78eEN45a3fe9c81974-da-libre | libre |
en->da
turquoise faience with black decoration
| turkis fajance med sort dekoration | |
| t | 78eEN4a1e0a4ef87f7-es-libre | libre |
en->es
Mold for a Eulogia (Blessing) Bread
| Molde para una pan de Eulogia (Bendición) | |
| t | 78eEN4a1e0a4ef87f7-de-libre | libre |
en->de
Mold for a Eulogia (Blessing) Bread
| Mahl für ein Eulogia-Brot | |
| t | 78eEN4a1e0a4ef87f7-da-libre | libre |
en->da
Mold for a Eulogia (Blessing) Bread
| Mold til en Eulogia (Velsignelse) Brød | |
| t | 78eEN61bcb51d82806-es-libre | libre |
en->es
aquatint and collage
| aquatint y collage | |
| t | 78eEN61bcb51d82806-de-libre | libre |
en->de
aquatint and collage
| Aquatint und Collage | |
| t | 78eEN61bcb51d82806-da-libre | libre |
en->da
aquatint and collage
| aquatint og collage | |
| t | 78eEN706732e80d543-es-libre | libre |
en->es
Study of the Sabine Statue from the Villa Medici
| Estudio de la Estatua Sabina de la Villa Medici | |
| t | 78eEN706732e80d543-de-libre | libre |
en->de
Study of the Sabine Statue from the Villa Medici
| Studie der Sabine Statue aus der Villa Medici | |
| t | 78eEN706732e80d543-da-libre | libre |
en->da
Study of the Sabine Statue from the Villa Medici
| Undersøgelse af Sabine statue fra Villa Medici | |
| t | 78eEN7ba7625dd3a42-es-libre | libre |
en->es
Book of Hours (Use of Rouen): fol. 32v
| Libro de Horas (Uso de Rouen): fol. 32v | |
| t | 78eEN7ba7625dd3a42-de-libre | libre |
en->de
Book of Hours (Use of Rouen): fol. 32v
| Stundenbuch (Nutzung von Rouen): fol. 32v | |
| t | 78eEN7ba7625dd3a42-da-libre | libre |
en->da
Book of Hours (Use of Rouen): fol. 32v
| Timebog (brug af Rouen): føl. 32v | |
| t | 78eEN7c380620f1ba5-es-libre | libre |
en->es
Italy, Tuscany (probably Florence), 16th century
| Italia, Toscana (probablemente Florencia), siglo XVI | |
| t | 78eEN7c380620f1ba5-de-libre | libre |
en->de
Italy, Tuscany (probably Florence), 16th century
| Italien, Toskana (wahrscheinlich Florenz), 16. Jahrhundert | |
| t | 78eEN7c380620f1ba5-da-libre | libre |
en->da
Italy, Tuscany (probably Florence), 16th century
| Italien, Toscana (sandsynligvis Firenze), 16. århundrede | |
| t | 78eEN7f93d6fef53a2-es-libre | libre |
en->es
The Horrors of War: They Escape Through the Flames
| Los horrores de la guerra: escapan a través de las llamas | |
| t | 78eEN7f93d6fef53a2-de-libre | libre |
en->de
The Horrors of War: They Escape Through the Flames
| Die Schrecken des Krieges: Sie entkommen durch die Flammen | |
| t | 78eEN7f93d6fef53a2-da-libre | libre |
en->da
The Horrors of War: They Escape Through the Flames
| Krigens rædsler: de flygter gennem flammerne | |
| t | 78eENa32020bc34566-es-libre | libre |
en->es
Colombia, Quimbaya or Yotoco style
| Colombia, Quimbaya o estilo Yotoco | |
| t | 78eENa32020bc34566-de-libre | libre |
en->de
Colombia, Quimbaya or Yotoco style
| Kolumbien, Quimbaya oder Yotoco Stil | |
| t | 78eENa32020bc34566-da-libre | libre |
en->da
Colombia, Quimbaya or Yotoco style
| Colombia, Quimbaya eller Yotoco stil | |
| t | 78eENb1f434230acf9-es-libre | libre |
en->es
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 155v
| Horas de la Reina Isabella Católica, Reina de España: Fol. 155v | |
| t | 78eENb1f434230acf9-de-libre | libre |
en->de
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 155v
| Stunden der Königin Isabella der Katholik, Königin von Spanien: Fol. 155v | |
| t | 78eENb1f434230acf9-da-libre | libre |
en->da
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 155v
| Timer af dronning Isabella den katolske, dronning af Spanien: Fol. 155v | |
| t | 78eENce7a7d66b201c-es-libre | libre |
en->es
France, Paris?, Gothic period, 13th century
| ¿Francia, París? Período gótico, siglo XIII | |
| t | 78eENce7a7d66b201c-de-libre | libre |
en->de
France, Paris?, Gothic period, 13th century
| Frankreich, Paris? Gotik, 13. Jahrhundert | |
| t | 78eENce7a7d66b201c-da-libre | libre |
en->da
France, Paris?, Gothic period, 13th century
| Frankrig, Paris? Gotisk periode, 13. århundrede | |
| t | 78eENd227ba1ee34c3-es-libre | libre |
en->es
Morning
| Buenos días | |
| t | 78eENd227ba1ee34c3-de-libre | libre |
en->de
Morning
| Morgen | |
| t | 78eENd227ba1ee34c3-da-libre | libre |
en->da
Morning
| Morgen | |
| t | 78eENfb46f940c0faa-es-libre | libre |
en->es
This sensitive portrait of Catherine Clemens and her son, John Marcus, was painted around 1800 and exemplifies the prettiness for which Cosway was so well known. The artist’s trademark turquoise blue sky is reflected in the boy’s brilliant blue eyes and the bow on the frock that slips informally off his shoulder. This miniature also showcases Cosway’s mature technique of delicate stipplework throughout the faces, contrasted with looser brushstrokes for the hair and garments. Both John Marcus and his mother are swathed in white ruffled fabric, against which the paleness of their skin seems even more pronounced. Like his contemporaries, Cosway used the bare ivory ground to enhance the creaminess of flesh tones. John Marcus wears a coral necklace, frequently given to children during this period as a talisman believed to ward off illness. His innocent, childish gesture of reaching down his mother’s dress for her breast is awkward considering his disproportionately large size. The fact that he is still young enough to wear a gown rather than breeches suggests that he is under four years of age, and yet his head and lips are larger than his mother’s. During the final decades of the eighteenth century, aristocratic women as prominent as the Duchess of Devonshire were electing to breastfeed their children rather than send them to wet nurses, and this may be a delicate reference to Catherine Clemens’s philosophy of “natural” parenting.
| Este retrato sensible de Catalina Clemens y su hijo, Juan Marcus, fue pintado alrededor de 1800 y ejemplifica la belleza por la que Cosway era tan conocido. El cielo azul turquesa de la marca del artista se refleja en los brillantes ojos azules del niño y el arco en la cubierta que se desliza informalmente de su hombro. Esta miniatura también muestra la técnica madura de Cosway de delicados estipulos a lo largo de las caras, contrastada con pinceladas más sueltas para el cabello y las prendas. Tanto John Marcus como su madre se intercambian en tejido blanco rofado, contra el cual la pálida de su piel parece aún más pronunciada. Como sus contemporáneos, Cosway utilizó el suelo de marfil desnudo para mejorar la cremosidad de los tonos de carne. John Marcus lleva un collar de coral, frecuentemente dado a los niños durante este período como talismán que se cree para evitar enfermedades. Su inocente y infantil gesto de alcanzar el vestido de su madre para su pecho es incómodo considerando su tamaño desproporcionadamente grande. El hecho de que todavía es lo suficientemente joven para usar una bata en lugar de breeches sugiere que es menor de cuatro años, y sin embargo su cabeza y sus labios son más grandes que los de su madre. Durante las últimas décadas del siglo XVIII, las mujeres aristócratas tan prominentes como la Duquesa de Devonshire estaban optando por amamantar a sus hijos en lugar de enviarlos a enfermeras mojadas, y esto puede ser una referencia delicada a la filosofía de Catherine Clemens de la paternidad “natural”. | |
| t | 78eENfb46f940c0faa-de-libre | libre |
en->de
This sensitive portrait of Catherine Clemens and her son, John Marcus, was painted around 1800 and exemplifies the prettiness for which Cosway was so well known. The artist’s trademark turquoise blue sky is reflected in the boy’s brilliant blue eyes and the bow on the frock that slips informally off his shoulder. This miniature also showcases Cosway’s mature technique of delicate stipplework throughout the faces, contrasted with looser brushstrokes for the hair and garments. Both John Marcus and his mother are swathed in white ruffled fabric, against which the paleness of their skin seems even more pronounced. Like his contemporaries, Cosway used the bare ivory ground to enhance the creaminess of flesh tones. John Marcus wears a coral necklace, frequently given to children during this period as a talisman believed to ward off illness. His innocent, childish gesture of reaching down his mother’s dress for her breast is awkward considering his disproportionately large size. The fact that he is still young enough to wear a gown rather than breeches suggests that he is under four years of age, and yet his head and lips are larger than his mother’s. During the final decades of the eighteenth century, aristocratic women as prominent as the Duchess of Devonshire were electing to breastfeed their children rather than send them to wet nurses, and this may be a delicate reference to Catherine Clemens’s philosophy of “natural” parenting.
| Dieses sensible Porträt von Catherine Clemens und ihrem Sohn, John Marcus, wurde um 1800 gemalt und veranschaulicht die Schönheit, für die Cosway so bekannt war. Die Marke türkisblauer Himmel spiegelt sich in den brillanten blauen Augen des Jungen und dem Bogen auf dem Felsen wider, der informell von seiner Schulter rutscht. Diese Miniatur zeigt auch die reife Technik der zarten Stelzenarbeit in den Gesichtern, kontrastiert mit lockereren Pinselstrichen für das Haar und die Kleidung. Sowohl John Marcus als auch seine Mutter sind in weiß gerafftem Stoff gewischt, gegen den die Blassenheit ihrer Haut noch ausgeprägter wirkt. Wie seine Zeitgenossen benutzte Cosway den nackten Elfenbeingrund, um die Cremigkeit von Fleischtönen zu verbessern. John Marcus trägt eine Korallenkette, die häufig Kindern in dieser Zeit als Talisman glaubte, Krankheit abzuwehren. Seine unschuldige, kindische Geste, seine Mutter zu erreichen, Kleid für ihre Brust ist unangenehm angesichts seiner unverhältnismäßig großen Größe. Die Tatsache, dass er noch jung genug ist, um ein Kleid anstatt Hosen zu tragen, deutet darauf hin, dass er unter vier Jahren ist, und doch sind sein Kopf und seine Lippen größer als seine Mutter. Während der letzten Jahrzehnte des achtzehnten Jahrhunderts, aristokratische Frauen so prominent wie die Herzogin von Devonshire wurden gewählt, um ihre Kinder zu stillen, anstatt sie zu feuchten Krankenschwestern zu schicken, und dies kann ein zarter Verweis auf Catherine Clemens Philosophie der natürlichen Elternschaft. | |
| t | 78dEN86fd35ef61170-es-libre | libre |
en->es
Chasuble Fragment with Realistic Animals
| Fragmento de Chasuble con animales realistas | |
| t | 78dEN86fd35ef61170-de-libre | libre |
en->de
Chasuble Fragment with Realistic Animals
| Chaos Fragment mit realistischen Tieren | |
| t | 78cEN18717cb38f885-es-libre | libre |
en->es
Silk Damask Fragments
| Fragmentos de Damasco de Seda | |
| t | 78cENdb0b28ef3e361-de-libre | libre |
en->de
The mysterious image of a deerlike animal gazing up at the moon among clouds has been variously interpreted over many centuries. The animal, lying down with one foreleg extended and looking back, originated as a <em>djeiran</em>, or Central Asian antelope. Commonly appearing on Sogdian silver from the 600s onward, the motif migrated via the trade routes to northern China. There, during the Jin and Yuan (1279–1368) dynasties, it was very popular and always depicted with the moon supported by clouds. Chinese writers often identify the djeiran as the mythical rhinoceros (<em>xi'niu</em>) that is said to gaze at the moon, or as the cow of Wu "panting upon seeing the moon."
| Das geheimnisvolle Bild eines Hirschtiers, das unter den Wolken auf den Mond schaut, wurde über viele Jahrhunderte hinweg unterschiedlich interpretiert. Das Tier, liegend mit einem Vorbein ausgedehnt und zurückblickend, entstand als <em>Djeiran</em>== Einzelnachweise == Häufig auf Sogdian Silber aus den 600er Jahren auftauchend, wanderte das Motiv über die Handelsrouten nach Nordchina aus. Dort, während der Jin und Yuan (1279/1368) Dynastien, war es sehr beliebt und immer dargestellt mit dem Mond unterstützt von Wolken. Chinesische Schriftsteller identifizieren den Djeiran oft als mythische Nashörner (<em>xi'niu</em>) das heißt, auf den Mond zu schauen, oder als die Kuh von Wu "auf den Mond schauend." | |
| t | 78aEN64a3631b1a554-es-libre | libre |
en->es
brass with gilt grip
| latón con empuñadura gilt | |
| t | 78eENfb46f940c0faa-da-libre | libre |
en->da
This sensitive portrait of Catherine Clemens and her son, John Marcus, was painted around 1800 and exemplifies the prettiness for which Cosway was so well known. The artist’s trademark turquoise blue sky is reflected in the boy’s brilliant blue eyes and the bow on the frock that slips informally off his shoulder. This miniature also showcases Cosway’s mature technique of delicate stipplework throughout the faces, contrasted with looser brushstrokes for the hair and garments. Both John Marcus and his mother are swathed in white ruffled fabric, against which the paleness of their skin seems even more pronounced. Like his contemporaries, Cosway used the bare ivory ground to enhance the creaminess of flesh tones. John Marcus wears a coral necklace, frequently given to children during this period as a talisman believed to ward off illness. His innocent, childish gesture of reaching down his mother’s dress for her breast is awkward considering his disproportionately large size. The fact that he is still young enough to wear a gown rather than breeches suggests that he is under four years of age, and yet his head and lips are larger than his mother’s. During the final decades of the eighteenth century, aristocratic women as prominent as the Duchess of Devonshire were electing to breastfeed their children rather than send them to wet nurses, and this may be a delicate reference to Catherine Clemens’s philosophy of “natural” parenting.
| Dette følsomme portræt af Catherine Clemens og hendes søn, John Marcus, blev malet omkring 1800 og eksemplificerer den prettiness, som Cosway var så kendt for. Kunstnerens varemærke turkis blå himmel afspejles i drengens strålende blå øjne og sløjfen på frøkenen, der glider uformelt af hans skulder. Denne miniature også showcases Cosway 's modne teknik af sarte stillearbejde i hele ansigterne, kontrastet med løsere børstestrøg til hår og beklædningsgenstande. Både John Marcus og hans mor er svøbt i hvidt rufflet stof, som bleghed af deres hud synes endnu mere udtalt. Ligesom hans jævnaldrende, Cosway brugt den nøgne elfenben jord til at øge creaminess kød toner. John Marcus bærer en koralhalskæde, ofte givet til børn i denne periode som en talisman menes at afværge sygdom. Hans uskyldige, barnlige gestus at nå ned hans mors kjole for hendes bryst er akavet i betragtning af hans uforholdsmæssigt store størrelse. Det faktum, at han stadig er ung nok til at bære en kjole snarere end knickers tyder på, at han er under fire år, og alligevel hans hoved og læber er større end hans mors. I løbet af de sidste årtier af det attende århundrede, aristokratiske kvinder så fremtrædende som hertuginden af Devonshire var at vælge at amme deres børn i stedet for at sende dem til våde sygeplejersker, og dette kan være en delikat henvisning til Catherine Clemens filosofi om "naturlige" forældre. | |
| t | 78fEN011feefcec38e-es-libre | libre |
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Grasset, greatly influenced by the art of Japan, Persia, and Egypt, created designs for stained glass windows, furniture, tapestries, and fabrics. This female allegory of Sculpture was meant for an 1898 exhibition poster. Only the black areas and lines were printed. Rather than using a separate stone to print each color, watercolor was applied with the aid of a stencil.
| Grasset, muy influenciado por el arte de Japón, Persia y Egipto, creó diseños para vidrieras, muebles, tapices y telas. Esta alegoría femenina de la escultura estaba destinada a un cartel de exposición de 1898. Sólo las áreas y líneas negras fueron impresas. En lugar de utilizar una piedra separada para imprimir cada color, se acuarela se aplicó con la ayuda de un plantilla. | |
| t | 78fEN011feefcec38e-de-libre | libre |
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Grasset, greatly influenced by the art of Japan, Persia, and Egypt, created designs for stained glass windows, furniture, tapestries, and fabrics. This female allegory of Sculpture was meant for an 1898 exhibition poster. Only the black areas and lines were printed. Rather than using a separate stone to print each color, watercolor was applied with the aid of a stencil.
| Grasset, stark beeinflusst von der Kunst Japans, Persiens und Ägyptens, schuf Entwürfe für Glasfenster, Möbel, Wandteppiche und Stoffe. Diese weibliche Allegorie der Skulptur war für ein Ausstellungsplakat von 1898 gedacht. Nur die schwarzen Flächen und Linien wurden gedruckt. Anstatt einen separaten Stein zu verwenden, um jede Farbe zu drucken, wurde Aquarell mit Hilfe einer Schablone aufgetragen. | |
| t | 78fEN011feefcec38e-da-libre | libre |
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Grasset, greatly influenced by the art of Japan, Persia, and Egypt, created designs for stained glass windows, furniture, tapestries, and fabrics. This female allegory of Sculpture was meant for an 1898 exhibition poster. Only the black areas and lines were printed. Rather than using a separate stone to print each color, watercolor was applied with the aid of a stencil.
| Grasset, i høj grad påvirket af kunsten Japan, Persien og Egypten, skabte designs til farvet glas vinduer, møbler, tapisserier, og stoffer. Denne kvindelige allegori af skulptur var beregnet til en 1898 udstilling plakat. Kun de sorte områder og linjer blev trykt. I stedet for at bruge en separat sten til at udskrive hver farve, vandfarve blev anvendt ved hjælp af en stencil. | |
| t | 78fEN01bb8027ea6ce-es-libre | libre |
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Pierre Paul Prud'hon
| Pierre Paul Prud'hon | |
| t | 78fEN01bb8027ea6ce-es-bing | bing |
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Pierre Paul Prud'hon
| Pierre Paul Prud'hon | |
| i | 78fEN01bb8027ea6ce-de-libre | libre |
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Pierre Paul Prud'hon
| Pierre Paul Prud'hon | |
| t | 78fEN01bb8027ea6ce-da-libre | libre |
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Pierre Paul Prud'hon
| Pierre Paul Prud 'hon | |
| t | 78fEN06068fcc312a6-es-libre | libre |
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Blade from a Ceremonial Adze
| Blade de un Adze ceremonial | |
| t | 78fEN06068fcc312a6-de-libre | libre |
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Blade from a Ceremonial Adze
| Klinge aus einem feierlichen Adze | |
| t | 78fEN06068fcc312a6-da-libre | libre |
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Blade from a Ceremonial Adze
| Blade fra en ceremoniel Adze | |
| t | 78fEN0bdbe163dfa37-es-libre | libre |
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Wristlets or Anklets for Children
| Wristlets or Anklets for Children | |
| t | 78fEN0bdbe163dfa37-es-bing | bing |
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Wristlets or Anklets for Children
| Muñequeras o tobilleras para niños | |
| t | 78fEN0bdbe163dfa37-de-libre | libre |
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Wristlets or Anklets for Children
| Wristlets oder Knöchel für Kinder | |
| t | 78fEN0bdbe163dfa37-da-libre | libre |
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Wristlets or Anklets for Children
| Armbåndsure eller ankelsæt til børn | |
| t | 78fEN0ccb73da3ff52-es-libre | libre |
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Tremissis of Honorius
| Tremissis of Honorius | |
| t | 78fEN0ccb73da3ff52-es-bing | bing |
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Tremissis of Honorius
| Tremissis de Honorio | |
| t | 78fEN0ccb73da3ff52-de-libre | libre |
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Tremissis of Honorius
| Tremisis von Honorius | |
| t | 78fEN0ccb73da3ff52-da-libre | libre |
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Tremissis of Honorius
| Tremisse of Honorius | |
| t | 78fEN209d7058ac00d-es-libre | libre |
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Earring (one of a pair)
| Pendiente (uno de un par) | |
| t | 78fEN209d7058ac00d-de-libre | libre |
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Earring (one of a pair)
| Ohrring (ein Paar) | |
| t | 78cENf1e17ddad4f56-da-libre | libre |
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Tenpō Tsūhō Coin
| Tenpsorius Tsūhias Coin | |
| t | 78fEN504719bebc0bd-es-libre | libre |
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Carvel Vessel with an Underworld Diety (God L)
| Carvel Vessel con un Inframundo Diety (Dios L) | |
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Carvel Vessel with an Underworld Diety (God L)
| Karvelschiff mit Unterwelt Diety (Gott L) | |
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Carvel Vessel with an Underworld Diety (God L)
| Carvel Fartøj med underverden Diety (Gud L) | |
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On the obverse of this highly symbolic coin is the head of Arethousa, a local goddess of Syracuse who fled from mainland Greece and arose on the site as a freshwater fountain. Four dolphins swim around her, suggesting Syracuse’s humble beginnings as a small island colony. On the reverse, a racing four-horse chariot recalls Syracuse’s past victories in Panhellenic games.
| En el reverso de esta moneda altamente simbólica es la cabeza de Arethousa, una diosa local de Syracuse que huyó de Grecia continental y surgió en el sitio como una fuente de agua dulce. Cuatro delfines nadan alrededor de ella, sugiriendo los humildes comienzos de Syracuse como una pequeña colonia de islas. En el reverso, un carro de cuatro caballos de carreras recuerda las victorias pasadas de Syracuse en los juegos Panhellenic. | |
| t | 78fEN80467731764e1-de-libre | libre |
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On the obverse of this highly symbolic coin is the head of Arethousa, a local goddess of Syracuse who fled from mainland Greece and arose on the site as a freshwater fountain. Four dolphins swim around her, suggesting Syracuse’s humble beginnings as a small island colony. On the reverse, a racing four-horse chariot recalls Syracuse’s past victories in Panhellenic games.
| Auf der Vorderseite dieser hochsymbolträchtigen Münze steht der Kopf von Arethousa, einer lokalen Göttin von Syrakus, die vom griechischen Festland geflohen ist und auf dem Gelände als Süßwasserbrunnen entstand. Vier Delfine schwimmen um sie herum, was darauf hindeutet, dass Syracuse bescheidene Anfänge als kleine Inselkolonie. Auf der Rückseite erinnert ein vierhorniger Wagen an Syrakus-Siege in Panhellenic-Spielen. | |
| t | 78fEN80467731764e1-da-libre | libre |
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On the obverse of this highly symbolic coin is the head of Arethousa, a local goddess of Syracuse who fled from mainland Greece and arose on the site as a freshwater fountain. Four dolphins swim around her, suggesting Syracuse’s humble beginnings as a small island colony. On the reverse, a racing four-horse chariot recalls Syracuse’s past victories in Panhellenic games.
| På obverse af denne meget symbolske mønt er lederen af Aretumas, en lokal gudinde af Syracuse, der flygtede fra fastlandet Grækenland og opstod på stedet som et ferskvandsspringvand. Fire delfiner svømmer omkring hende, hvilket tyder på Syracuse 's ydmyge begyndelse som en lille ø koloni. På den anden side, en racing fire-hest vogn minder Syracuse' s tidligere sejre i Panhellenic spil. | |
| t | 78fENae6d6aceb4dcd-es-libre | libre |
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Bullfights: A Picador is Unhorsed and Falls Under the Bull
| Bullfights: Un Picador es descortés y cae bajo el toro | |
| t | 78fENae6d6aceb4dcd-de-libre | libre |
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Bullfights: A Picador is Unhorsed and Falls Under the Bull
| Bullfights: Ein Picador ist ungehorsam und fällt unter den Bullen | |
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Bullfights: A Picador is Unhorsed and Falls Under the Bull
| Bullfights: En Picador er unhorsed og falder under Bull | |
| t | 78fENb970afa9d2bc9-es-libre | libre |
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wood with painting and gilding
| madera con pintura y dorado | |
| t | 78fENb970afa9d2bc9-de-libre | libre |
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wood with painting and gilding
| Holz mit Malerei und Vergoldung | |
| t | 78fENb970afa9d2bc9-da-libre | libre |
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wood with painting and gilding
| træ med maleri og forgyldning | |
| t | 78fENbbfd74504eda0-es-libre | libre |
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The Four Continents
| Los Cuatro Continentes | |
| t | 78fENbbfd74504eda0-de-libre | libre |
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The Four Continents
| Die vier Kontinente | |
| t | 78fENbbfd74504eda0-da-libre | libre |
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The Four Continents
| De fire kontinenter | |
| t | 78fENf345dbe2e0178-es-libre | libre |
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Central Mexico, Tacuba, Aztec, Post-Classic Period
| México central, Tacuba, Azteca, Período post-clásico | |
| t | 78fENf345dbe2e0178-de-libre | libre |
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Central Mexico, Tacuba, Aztec, Post-Classic Period
| Zentralmexiko, Tacuba, Aztec, Post-Classic | |
| t | 78fENf345dbe2e0178-da-libre | libre |
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Central Mexico, Tacuba, Aztec, Post-Classic Period
| Central Mexico, Tacuba, Aztec, Post- Classic Periode | |
| t | 78fENfba63b679f31d-es-libre | libre |
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China, Six Dynasties period (317-581), Northern Qi dynasty (550-577)
| China, Six Dynasties period (317-581), Northern Qi dinasty (550-577) | |
| t | 78fENfba63b679f31d-de-libre | libre |
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China, Six Dynasties period (317-581), Northern Qi dynasty (550-577)
| China, Sechs Dynastien Zeitraum (317-581), Northern Qi Dynastie (550-577) | |
| t | 78fENfba63b679f31d-da-libre | libre |
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China, Six Dynasties period (317-581), Northern Qi dynasty (550-577)
| Kina, Six Dynasties periode (317- 581), Northern Qi dynasty (550- 577) | |
| t | 790EN0a38e35d36f75-es-libre | libre |
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Cambodia, Khmer People, early 20th century
| Camboya, pueblo khmer, principios del siglo XX | |
| t | 790EN0a38e35d36f75-de-libre | libre |
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Cambodia, Khmer People, early 20th century
| Kambodscha, Khmer, Anfang des 20. Jahrhunderts | |
| t | 790EN0a38e35d36f75-da-libre | libre |
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Cambodia, Khmer People, early 20th century
| Cambodja, Khmer People, begyndelsen af det 20. århundrede | |
| t | 790EN1503338314453-es-libre | libre |
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Leaf Dish
| Leaf Dish | |
| t | 790EN1503338314453-es-bing | bing |
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Leaf Dish
| Plato de hojas | |
| t | 790EN1503338314453-de-libre | libre |
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Leaf Dish
| Blattschale | |
| t | 790EN1503338314453-da-libre | libre |
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Leaf Dish
| Bladskål | |
| t | 790EN15d6f880bac9d-es-libre | libre |
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Leaf from a Book of Hours: Coronation of the Virgin
| Hoja de un libro de horas: Coronación de la Virgen | |
| t | 790EN15d6f880bac9d-de-libre | libre |
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Leaf from a Book of Hours: Coronation of the Virgin
| Blatt aus einem Stundenbuch: Krönung der Jungfrau | |
| t | 790EN15d6f880bac9d-da-libre | libre |
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Leaf from a Book of Hours: Coronation of the Virgin
| Blad fra en bog af timer: Koronation af Jomfru | |
| t | 790EN1957a5254884f-es-libre | libre |
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England, Staffordshire, Burslem
| Inglaterra, Staffordshire, Burslem | |
| i | 790EN1957a5254884f-de-libre | libre |
en->de
England, Staffordshire, Burslem
| England, Staffordshire, Burslem | |
| i | 790EN1957a5254884f-da-libre | libre |
en->da
England, Staffordshire, Burslem
| England, Staffordshire, Burslem | |
| t | 790EN23ff24636ed18-es-libre | libre |
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Sketchbook, The Dells, N° 127, page 090 & 91: Harbor with a Road
| Sketchbook, The Dells, N° 127, page 090 & 91: Harbor with a Road | |
| t | 790EN23ff24636ed18-de-libre | libre |
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Sketchbook, The Dells, N° 127, page 090 & 91: Harbor with a Road
| Sketchbook, The Dells, Nr. 127, Seite 090 & 91: Hafen mit einer Straße | |
| t | 790EN23ff24636ed18-da-libre | libre |
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Sketchbook, The Dells, N° 127, page 090 & 91: Harbor with a Road
| Sketchbook, The Dells, N ° 127, side 090 & 91: Havn med vej | |
| t | 790EN43356f569b462-es-libre | libre |
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Book of Hours (Use of Rouen): fol. 129v
| Libro de Horas (Uso de Rouen): fol. 129v | |
| t | 790EN43356f569b462-de-libre | libre |
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Book of Hours (Use of Rouen): fol. 129v
| Stundenbuch (Nutzung von Rouen): fol. 129v | |
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Book of Hours (Use of Rouen): fol. 129v
| Timebog (brug af Rouen): føl. 129v | |
| t | 790EN50b50a7bc8bda-es-libre | libre |
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Hours of Charles the Noble, King of Navarre (1361-1425): fol. 32r, Text
| Horas de Carlos Noble, Rey de Navarra (1361-1425): Fol. 32r, Texto | |
| t | 790EN50b50a7bc8bda-de-libre | libre |
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Hours of Charles the Noble, King of Navarre (1361-1425): fol. 32r, Text
| Stunden Karls des Edlen, König von Navarra (1361-1425): fol. 32r, Text | |
| t | 791EN9765d1fa864d7-es-libre | libre |
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Basket with Raffle Top (lid)
| Cesta con Raffle Top (lid) | |
| t | 790EN50b50a7bc8bda-da-libre | libre |
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Hours of Charles the Noble, King of Navarre (1361-1425): fol. 32r, Text
| Hours of Charles the Noble, King of Navarre (1361- 1425): foll. 32r, Text | |
| t | 790EN5abe03bb80ea3-es-libre | libre |
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color photo screenprint
| pantalla de fotos de color | |
| t | 790EN5abe03bb80ea3-de-libre | libre |
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color photo screenprint
| Farbfoto-Bildschirmabdruck | |
| t | 790EN5abe03bb80ea3-da-libre | libre |
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color photo screenprint
| farvefoto screenprint | |
| t | 790EN5e56d21811764-es-libre | libre |
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Porcelain with underglaze blue and iron oxide
| Porcelana con óxido de azul y de hierro | |
| t | 790EN5e56d21811764-de-libre | libre |
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Porcelain with underglaze blue and iron oxide
| Porzellan mit Unterglasur blau und Eisenoxid | |
| t | 790EN5e56d21811764-da-libre | libre |
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Porcelain with underglaze blue and iron oxide
| Porcelæn med underglasur blå og jernoxid | |
| t | 790EN60ade54b3e33d-es-libre | libre |
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This fragment is part of an ancient statue that depicts the mythical god Apollo.
| Este fragmento es parte de una estatua antigua que representa al dios mítico Apolo. | |
| t | 790EN60ade54b3e33d-de-libre | libre |
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This fragment is part of an ancient statue that depicts the mythical god Apollo.
| Dieses Fragment ist Teil einer antiken Statue, die den mythischen Gott Apollo darstellt. | |
| t | 790EN60ade54b3e33d-da-libre | libre |
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This fragment is part of an ancient statue that depicts the mythical god Apollo.
| Dette fragment er en del af en gammel statue, der skildrer den mytiske gud Apollo. | |
| t | 790EN633d5a9d9d556-es-libre | libre |
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Fountain with Two Tritons Blowing Conch Shells
| Fountain with Two Tritons Blowing Conch Shells | |
| t | 790EN633d5a9d9d556-es-bing | bing |
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Fountain with Two Tritons Blowing Conch Shells
| Fuente con dos Tritones soplando caracolas | |
| t | 790EN633d5a9d9d556-de-libre | libre |
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Fountain with Two Tritons Blowing Conch Shells
| Brunnen mit zwei Tritons Blowing Conch Shells | |
| t | 790EN633d5a9d9d556-da-libre | libre |
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Fountain with Two Tritons Blowing Conch Shells
| Springvand med to tritoner blæser Conch Shells | |
| t | 790EN656764133722f-es-libre | libre |
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In most books of hours, the Hours of the Cross and the Hours of the Holy Spirit are much shorter than the Hours of the Virgin. Like the Hours of the Virgin, each hour consists of specific hymns, devotional poems, and prayers to be said throughout the day. Accompanying illustrations are either events surrounding the Crucifixion or the Pentecost, the descent of the Holy Spirit on the disciples of Jesus after his ascension to heaven. Traditionally, the Hours of the Cross begins with a scene of the Crucifixion of Christ. The illumination, or illustration, can help determine which series is indicated, as the Hours of the Cross and Holy Spirit begin with the same text. After 1400, such text no longer appeared solely in Latin but could be in French or Dutch, making it more accessible to laypeople.
| En la mayoría de los libros de horas, las Horas de la Cruz y las Horas del Espíritu Santo son mucho más cortas que las Horas de la Virgen. Al igual que las Horas de la Virgen, cada hora consiste en himnos específicos, poemas devocionales y oraciones que se dirán durante todo el día. Las ilustraciones acompañantes son o eventos que rodean la Crucifixión o el Pentecostés, el descenso del Espíritu Santo en los discípulos de Jesús después de su ascensión al cielo. Tradicionalmente, las Horas de la Cruz comienzan con una escena de la Crucifixión de Cristo. La iluminación, o la ilustración, puede ayudar a determinar qué serie se indica, ya que las Horas de la Cruz y el Espíritu Santo comienzan con el mismo texto. Después de 1400, este texto ya no apareció únicamente en latín, sino que podría estar en francés o holandés, lo que hace más accesible a los laicos. | |
| t | 78dEN87339b715ae33-da-libre | libre |
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Petra, Eastern End of the Valley
| Petra, den østlige ende af dalen | |
| t | 78cEN751ad31f3b9f6-es-libre | libre |
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Rosa's scene at noon showcases several hoary hags that exemplify his treatment of witches. Clutching skulls, wielding brooms, and slicing lizards, the witches prepare to travel to the Sabbath, an orgy of witches. One witch flays the skin of a thrashing lizard to extract the innards needed to concoct magical unguents, while her companions brandish skulls. Goats were the common mode of transportation for witches, but Rosa substitutes an owl, a harbinger of evil. Although Rosa foregrounds the violent cruelty of witchcraft, situating the grotesque hags in the full light of day introduces a comic aspect to the scene. Rosa's use of comedy and the unexpected to critique the world around him stemmed from the satirical poetry he wrote throughout his stay in Florence and his return to Rome in 1649. By lightening the palette and mood of the painting, Day reflects his interest in satire and his self-appointed role to expose and critique human folly.
| La escena de Rosa al mediodía muestra varios cerdos que ejemplifican su tratamiento de brujas. Cierra los cráneos, escobas peladoras y lagartos cortantes, las brujas se preparan para viajar al sábado, una orgía de brujas. Una bruja golpea la piel de un lagarto trillador para extraer los intestinos necesarios para conjugar infieles mágicos, mientras que sus compañeros marcan cráneos. Las cabras eran el modo común de transporte para las brujas, pero Rosa sustituye un búho, un harbinger del mal. Aunque Rosa pone en primer plano la crueldad violenta de la brujería, situando las brujas grotescas a plena luz del día presenta un aspecto cómico a la escena. El uso de la comedia y lo inesperado para criticar al mundo que le rodea se deriva de la poesía satírica que escribió a lo largo de su estancia en Florencia y su regreso a Roma en 1649. Al iluminar la paleta y el estado de ánimo de la pintura, Day refleja su interés en la sátira y su papel autodesignado para exponer y criticar la necedad humana. | |
| t | 78dENae19c89af1a61-es-libre | libre |
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Fragment of Needlepoint (Cutwork) Lace
| Fragment of Needlepoint (Cutwork) Lace | |
| t | 78aENa06a797028138-da-libre | libre |
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Dinner Service (Rousseau service): Flowers (no. 23)
| Middagstjeneste (Rousseau service): Blomster (nr. 23) | |
| t | 78dENae19c89af1a61-es-bing | bing |
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Fragment of Needlepoint (Cutwork) Lace
| Fragmento de encaje bordado (calado) | |
| t | 78dEN7d3a2cbec83df-da-libre | libre |
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This sheet of studies was made as a preparatory design for a series of stained glass windows for the Chapel of Saint Ferdinand in Paris. Here, Jean- Auguste-Dominique Ingres sketched four sets of hands that seem to cascade down the page in one rhythmic motion, masterfully illustrating the beauty of <em>mise en page</em>. In his use of graphite, Ingres alluded to the metalpoint drawings of Raphael, intentionally channeling the Renaissance master.
| Dette ark af undersøgelser blev lavet som et forberedende design til en række farvede glasvinduer til kapellet Saint Ferdinand i Paris. Her, Jean... Auguste- Dominique Ingres skitserede fire sæt hænder, der synes at kaskade ned siden i en rytmisk bevægelse, mesterligt illustrerer skønheden af <em>Anm.</em>. I brugen af grafit hentydede Ingres til Raphaels metalpunktstegninger, der bevidst kanaliserede renæssancemesteren. | |
| t | 78dENae19c89af1a61-de-libre | libre |
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Fragment of Needlepoint (Cutwork) Lace
| Fragment von Nadelpunkt (Cutwork) Spitze | |
| t | 790EN656764133722f-de-libre | libre |
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In most books of hours, the Hours of the Cross and the Hours of the Holy Spirit are much shorter than the Hours of the Virgin. Like the Hours of the Virgin, each hour consists of specific hymns, devotional poems, and prayers to be said throughout the day. Accompanying illustrations are either events surrounding the Crucifixion or the Pentecost, the descent of the Holy Spirit on the disciples of Jesus after his ascension to heaven. Traditionally, the Hours of the Cross begins with a scene of the Crucifixion of Christ. The illumination, or illustration, can help determine which series is indicated, as the Hours of the Cross and Holy Spirit begin with the same text. After 1400, such text no longer appeared solely in Latin but could be in French or Dutch, making it more accessible to laypeople.
| In den meisten Stunden sind die Stunden des Kreuzes und die Stunden des Heiligen Geistes viel kürzer als die Stunden der Jungfrau. Wie die Stunden der Jungfrau, jede Stunde besteht aus spezifischen Hymnen, hingebungsvollen Gedichten und Gebeten, die den ganzen Tag zu sagen sind. Begleitende Abbildungen sind entweder Ereignisse rund um die Kreuzigung oder die Pfingsten, die Herabkunft des Heiligen Geistes auf die Jünger Jesu nach seinem Aufstieg zum Himmel. Traditionell beginnen die Stunden des Kreuzes mit einer Szene der Kreuzigung Christi. Die Erleuchtung oder Illustration kann helfen festzustellen, welche Serie angezeigt wird, da die Stunden des Kreuzes und des Heiligen Geistes mit demselben Text beginnen. Nach 1400 erschien ein solcher Text nicht mehr ausschließlich in Latein, sondern könnte in Französisch oder Niederländisch sein, wodurch er den Laien zugänglicher wird. | |
| t | 790EN656764133722f-da-libre | libre |
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In most books of hours, the Hours of the Cross and the Hours of the Holy Spirit are much shorter than the Hours of the Virgin. Like the Hours of the Virgin, each hour consists of specific hymns, devotional poems, and prayers to be said throughout the day. Accompanying illustrations are either events surrounding the Crucifixion or the Pentecost, the descent of the Holy Spirit on the disciples of Jesus after his ascension to heaven. Traditionally, the Hours of the Cross begins with a scene of the Crucifixion of Christ. The illumination, or illustration, can help determine which series is indicated, as the Hours of the Cross and Holy Spirit begin with the same text. After 1400, such text no longer appeared solely in Latin but could be in French or Dutch, making it more accessible to laypeople.
| I de fleste tidebøger er Korsets Timer og Helligåndens Timer meget kortere end Jomfruens Timer. Ligesom Jomfruens Timer, hver Time består af specifikke salmer, devotionelle digte, og Bønner skal siges igennem Dagen. Ledsagende illustrationer er enten begivenheder omkring korsfæstelsen eller Pinsen, den hellige ånds nedstigning på Jesu disciple efter hans opstigning til himlen. Traditionelt begynder Korsets Timer med Kristi korsfæstelse. Belysningen eller illustrationen kan hjælpe med at bestemme hvilken serie der er angivet, da Korsets og Helligåndens Timer begynder med den samme tekst. Efter 1400 dukkede en sådan tekst ikke længere udelukkende op på latin, men kunne være på fransk eller hollandsk, hvilket gjorde den mere tilgængelig for lægfolk. | |
| t | 790EN6b342f63f5996-es-libre | libre |
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Sindhu Raga
| Sindhu Raga | |
| t | 790EN6b342f63f5996-es-bing | bing |
en->es
Sindhu Raga
| Sindhu Raga | |
| i | 790EN6b342f63f5996-de-libre | libre |
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Sindhu Raga
| Sindhu Raga | |
| i | 790EN6b342f63f5996-da-libre | libre |
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Sindhu Raga
| Sindhu Raga | |
| t | 790EN7e84cf4522f2e-es-libre | libre |
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Head with Animal Headdress
| Head with Animal Headdress | |
| t | 790EN7e84cf4522f2e-es-bing | bing |
en->es
Head with Animal Headdress
| Cabeza con tocado animal | |
| t | 790EN7e84cf4522f2e-de-libre | libre |
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Head with Animal Headdress
| Kopf mit Tier-Headd | |
| t | 790EN7e84cf4522f2e-da-libre | libre |
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Head with Animal Headdress
| Hoved med dyrehovedadresse | |
| t | 790EN82f2f25d710f6-es-libre | libre |
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lithograph and collage on wove paper
| litografía y collage sobre papel de tejedor | |
| t | 790EN82f2f25d710f6-de-libre | libre |
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lithograph and collage on wove paper
| Lithographie und Collage auf Wovenpapier | |
| t | 790EN82f2f25d710f6-da-libre | libre |
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lithograph and collage on wove paper
| litografi og collage på uldpapir | |
| t | 790ENb70a12d03b714-es-libre | libre |
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The tribulations of the Roman noblewoman Lucretia, a well-known story from classical antiquity, is represented here in a northern setting. Assaulted in the background by Tarquinius, she is sorrowful in the foreground. At her side are her two brothers who will seek revenge. The style is closely related to panel paintings by a distinct yet anonymous master whose best-known work is the triptych commissioned around 1526 by Jacob Kanis of Nijmegen and now housed in the museum Commanderie van Sint Jan of that city.
| Las tribulaciones de la nobleza romana Lucretia, una historia bien conocida de la antigüedad clásica, está representada aquí en un entorno norte. Agredida en el fondo por Tarquinius, ella es dolorosa en primer plano. A su lado están sus dos hermanos que buscarán venganza. El estilo está estrechamente relacionado con las pinturas de paneles de un maestro distinto pero anónimo cuya obra más conocida es el tríptico encargado alrededor de 1526 por Jacob Kanis de Nijmegen y ahora ubicado en el museo Commanderie van Sint Jan de esa ciudad. | |
| t | 790ENb70a12d03b714-de-libre | libre |
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The tribulations of the Roman noblewoman Lucretia, a well-known story from classical antiquity, is represented here in a northern setting. Assaulted in the background by Tarquinius, she is sorrowful in the foreground. At her side are her two brothers who will seek revenge. The style is closely related to panel paintings by a distinct yet anonymous master whose best-known work is the triptych commissioned around 1526 by Jacob Kanis of Nijmegen and now housed in the museum Commanderie van Sint Jan of that city.
| Die Trübsal der römischen Adligen Lucretia, eine bekannte Geschichte aus der klassischen Antike, ist hier in einer nördlichen Umgebung vertreten. Im Hintergrund von Tarquinius ist sie traurig im Vordergrund. An ihrer Seite sind ihre beiden Brüder, die Rache suchen. Der Stil ist eng mit Panel-Bildern von einem ausgeprägten noch anonymen Meister verbunden, dessen bekannteste Arbeit ist die Triptychon in Auftrag gegeben um 1526 von Jacob Kanis von Nijmegen und jetzt im Museum Commanderie van Sint Jan von dieser Stadt untergebracht. | |
| t | 790ENb70a12d03b714-da-libre | libre |
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The tribulations of the Roman noblewoman Lucretia, a well-known story from classical antiquity, is represented here in a northern setting. Assaulted in the background by Tarquinius, she is sorrowful in the foreground. At her side are her two brothers who will seek revenge. The style is closely related to panel paintings by a distinct yet anonymous master whose best-known work is the triptych commissioned around 1526 by Jacob Kanis of Nijmegen and now housed in the museum Commanderie van Sint Jan of that city.
| Den romerske adelskvinde Lucretias trængsler, en velkendt historie fra den klassiske antik, er repræsenteret her i et nordligt miljø. Overfald i baggrunden af Tarquinius, hun er bedrøvet i forgrunden. Ved hendes side er hendes to brødre, der vil søge hævn. Stilen er nært beslægtet med panelmalerier af en særskilt, men anonym mester, hvis bedst kendte arbejde er triptych bestilt omkring 1526 af Jacob Kanis af Nijmegen og nu huses i museet Commanderie van Sint Jan i denne by. | |
| t | 790ENc5f9a925b75f9-es-libre | libre |
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Blue Hyacinth and Yellow Narcissus, folio 18 (verso), from Florilegium (A Book of Flower Studies)
| Hiacinto Azul y Narciso Amarillo, folio 18 (verso), de Florilegium (A Book of Flower Studies) | |
| t | 790ENc5f9a925b75f9-de-libre | libre |
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Blue Hyacinth and Yellow Narcissus, folio 18 (verso), from Florilegium (A Book of Flower Studies)
| Blauer Hyazinth und Gelber Narzissus, folio 18 (verso), aus Florlegium (Ein Buch der Blumenstudien) | |
| t | 790ENc5f9a925b75f9-da-libre | libre |
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Blue Hyacinth and Yellow Narcissus, folio 18 (verso), from Florilegium (A Book of Flower Studies)
| Blue Hyacinth and Yellow Narcissus, folio 18 (verso), from Florentium (A Book of Flower Studies) | |
| t | 790ENdf3749a862802-es-libre | libre |
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This atmospheric view of the cliffs and bay of Saint-Malo describes the drama and grandeur of the Emerald Coast, the gateway to Brittany. Buhot, a prolific etcher, produced this image by printing from two copper plates, one for the evocative landscape and a second for the margin of remarques, or supplementary designs that the artist described as "symphonic" additions to the main image. Here, the remarques represent Breton villagers in traditional costume, a storm-tossed ship, the black rocks characteristic of the region, and various flora and fauna.
| Esta vista atmosférica de los acantilados y la bahía de Saint-Malo describe el drama y la grandeza de la Costa Esmeralda, la puerta de entrada a Bretaña. Buhot, un prolífico etcher, produjo esta imagen imprimiendo de dos placas de cobre, una para el paisaje evocativo y un segundo para el margen de remarques, o diseños complementarios que el artista describió como "sinfónica" adiciones a la imagen principal. Aquí, los remarques representan a los aldeanos Breton con traje tradicional, un barco asolado por tormentas, las rocas negras características de la región, y varias flora y fauna. | |
| t | 790ENdf3749a862802-de-libre | libre |
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This atmospheric view of the cliffs and bay of Saint-Malo describes the drama and grandeur of the Emerald Coast, the gateway to Brittany. Buhot, a prolific etcher, produced this image by printing from two copper plates, one for the evocative landscape and a second for the margin of remarques, or supplementary designs that the artist described as "symphonic" additions to the main image. Here, the remarques represent Breton villagers in traditional costume, a storm-tossed ship, the black rocks characteristic of the region, and various flora and fauna.
| Dieser atmosphärische Blick auf die Klippen und Bucht von Saint-Malo beschreibt das Drama und die Größe der Smaragdküste, das Tor zur Bretagne. Buhot, ein produktiver Etcher, produzierte dieses Bild durch das Drucken von zwei Kupferplatten, eine für die evokative Landschaft und eine Sekunde für den Rand von Remarques, oder zusätzliche Entwürfe, die der Künstler als "symphonische" Ergänzungen zum Hauptbild beschrieben. Hier stellen die Remarques bretonische Dorfbewohner in traditionellem Kostüm, einem Sturmschiff, den schwarzen Felsen, die für die Region charakteristisch sind, und verschiedenen Flora und Fauna dar. | |
| t | 790ENdf3749a862802-da-libre | libre |
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This atmospheric view of the cliffs and bay of Saint-Malo describes the drama and grandeur of the Emerald Coast, the gateway to Brittany. Buhot, a prolific etcher, produced this image by printing from two copper plates, one for the evocative landscape and a second for the margin of remarques, or supplementary designs that the artist described as "symphonic" additions to the main image. Here, the remarques represent Breton villagers in traditional costume, a storm-tossed ship, the black rocks characteristic of the region, and various flora and fauna.
| Denne atmosfæriske udsigt over klipperne og bugten Saint- Malo beskriver drama og storhed af Emerald Coast, porten til Bretagne. Buhot, en frodig etcher, producerede dette billede ved at udskrive fra to kobberplader, et for det stemningsfulde landskab og et sekund for marginen af remarques, eller supplerende design, som kunstneren beskrev som "symfoniske" tilføjelser til hovedbilledet. Her repræsenterer remarques Breton landsbyboere i traditionelle kostume, et storm- kastet skib, de sorte klipper karakteristisk for regionen, og forskellige flora og fauna. | |
| t | 791EN135998439d798-es-libre | libre |
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Lisbeth, Seen from Behind
| Lisbeth, visto desde atrás | |
| t | 791EN135998439d798-de-libre | libre |
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Lisbeth, Seen from Behind
| Lisbeth, gesehen von Hinter | |
| t | 791EN135998439d798-da-libre | libre |
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Lisbeth, Seen from Behind
| Lisbeth, set bagfra | |
| t | 791EN18e0c0056cdb0-es-libre | libre |
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Khurshid, kneeling on the right in the blue dress and orange cloak, has shaved her head and donned the robes of a holy man. A group of supplicants sit behind her. Below, the three men who wronged her seek cures for their ailments: Kaiwan holding a staff, has gone blind, Sharif has lost a hand to leprosy, and Latif has developed a palsy.
| Khurshid, arrodillado a la derecha en el vestido azul y el manto naranja, ha afeitado su cabeza y donado las túnicas de un hombre santo. Un grupo de súplicas se sienta detrás de ella. A continuación, los tres hombres que le hicieron daño buscan curas para sus enfermedades: Kaiwan sosteniendo un personal, se ha quedado ciego, Sharif ha perdido una mano para la lepra, y Latif ha desarrollado una parálisis. | |
| t | 791EN18e0c0056cdb0-de-libre | libre |
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Khurshid, kneeling on the right in the blue dress and orange cloak, has shaved her head and donned the robes of a holy man. A group of supplicants sit behind her. Below, the three men who wronged her seek cures for their ailments: Kaiwan holding a staff, has gone blind, Sharif has lost a hand to leprosy, and Latif has developed a palsy.
| Khurshid, knieend rechts im blauen Kleid und orangen Mantel, hat ihren Kopf rasiert und die Gewänder eines heiligen Mannes gedonnert. Hinter ihr sitzt eine Gruppe von Bittstellern. Unterhalb der drei Männer, die ihr Unrecht getan haben, suchen Heilmittel für ihre Beschwerden: Kaiwan hält einen Stab, ist blind geworden, Sharif hat eine Hand an Lepra verloren, und Latif hat eine Lähmung entwickelt. | |
| t | 791EN18e0c0056cdb0-da-libre | libre |
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Khurshid, kneeling on the right in the blue dress and orange cloak, has shaved her head and donned the robes of a holy man. A group of supplicants sit behind her. Below, the three men who wronged her seek cures for their ailments: Kaiwan holding a staff, has gone blind, Sharif has lost a hand to leprosy, and Latif has developed a palsy.
| Khurshid, knæler til højre i den blå kjole og orange kappe, har barberet hendes hoved og doneret klæder af en hellig mand. En gruppe supplicanter sidder bag hende. Nedenfor, de tre mænd, der krænkede hende søge helbredelse for deres lidelser: Kaiwan holder en stab, er blevet blind, Sharif har mistet en hånd til spedalskhed, og Latif har udviklet en bleg. | |
| t | 791EN2384a8fb913dc-es-libre | libre |
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plain cloth, screen printed: silk
| tela plana, pantalla impresa: seda | |
| t | 791EN2384a8fb913dc-de-libre | libre |
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plain cloth, screen printed: silk
| Klares Tuch, Siebdruck: Seide | |
| t | 791EN2384a8fb913dc-da-libre | libre |
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plain cloth, screen printed: silk
| lærredsvævet stof med påtryk: silke | |
| t | 791EN25b469e4ae157-es-libre | libre |
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Germany, 18th century
| Alemania, siglo XVIII | |
| t | 791EN25b469e4ae157-de-libre | libre |
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Germany, 18th century
| Deutschland, 18. Jahrhundert | |
| t | 791EN25b469e4ae157-da-libre | libre |
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Germany, 18th century
| Tyskland, 18. århundrede | |
| t | 791EN413291363deab-es-libre | libre |
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Netherlands, late 16th-early 17th century
| Países Bajos, finales del siglo XVI y XVII | |
| t | 791EN413291363deab-de-libre | libre |
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Netherlands, late 16th-early 17th century
| Niederlande, Ende 16. Anfang des 17. Jahrhunderts | |
| t | 791EN413291363deab-da-libre | libre |
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Netherlands, late 16th-early 17th century
| Nederlandene, sidst i det 16. århundrede | |
| t | 791EN4a91a45c7143b-es-libre | libre |
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Nepal, Kathmandu
| Nepal, Katmandú | |
| i | 791EN4a91a45c7143b-de-libre | libre |
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Nepal, Kathmandu
| Nepal, Kathmandu | |
| i | 791EN4a91a45c7143b-da-libre | libre |
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Nepal, Kathmandu
| Nepal, Kathmandu | |
| t | 791EN54546141d5a4e-es-libre | libre |
en->es
Van Audenaerd Album
| Van Audenaerd Album | |
| t | 791EN54546141d5a4e-es-bing | bing |
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Van Audenaerd Album
| Álbum de Van Audenaerd | |
| i | 791EN54546141d5a4e-de-libre | libre |
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Van Audenaerd Album
| Van Audenaerd Album | |
| i | 791EN54546141d5a4e-da-libre | libre |
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Van Audenaerd Album
| Van Audenaerd Album | |
| t | 791EN57a1681436160-es-libre | libre |
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Calligraphy
| Caligrafía | |
| t | 791EN57a1681436160-de-libre | libre |
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Calligraphy
| Kalligraphie | |
| t | 791EN57a1681436160-da-libre | libre |
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Calligraphy
| Kalligrafi | |
| t | 791EN7408949e666f3-es-libre | libre |
en->es
turquoise blue faience
| turquoise azul faience | |
| t | 791EN7408949e666f3-de-libre | libre |
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turquoise blue faience
| türkisblaue Faienz | |
| t | 791EN7408949e666f3-da-libre | libre |
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turquoise blue faience
| turkis blå fajance | |
| t | 791EN79959096b5547-es-libre | libre |
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Incorporating the first three letters of the city name—ΑΘΕ—with then-iconic images of the patron goddess Athena and her owl, the Athenian tetradrachm was among the most widely traded and most recognizable coins of the ancient world. The olive leaves on Athena’s helmet and the small crescent moon behind the owl date three of these coins after the Persian Wars.
| Incorporando las tres primeras letras del nombre de la ciudad —A OUA— con imágenes entonces-icónicas de la diosa patrona Athena y su búho, el tetradrachm ateniense estaba entre las monedas más ampliamente cotizadas y reconocibles del mundo antiguo. La aceituna sale en el casco de Athena y la pequeña luna de crescente detrás de la fecha del búho tres de estas monedas después de las guerras persas. | |
| t | 791EN79959096b5547-de-libre | libre |
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Incorporating the first three letters of the city name—ΑΘΕ—with then-iconic images of the patron goddess Athena and her owl, the Athenian tetradrachm was among the most widely traded and most recognizable coins of the ancient world. The olive leaves on Athena’s helmet and the small crescent moon behind the owl date three of these coins after the Persian Wars.
| Inklusive der ersten drei Buchstaben des Stadtnamens / der damaligen ikonischen Bilder der Schutzgöttin Athena und ihrer Eule, gehörte das Athenische Tetradrachm zu den am häufigsten gehandelten und bekanntesten Münzen der alten Welt. Die Olivenblätter auf Athenas Helm und der kleine Halbmond hinter der Eule datieren drei dieser Münzen nach den Persischen Kriegen. | |
| t | 791EN79959096b5547-da-libre | libre |
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Incorporating the first three letters of the city name—ΑΘΕ—with then-iconic images of the patron goddess Athena and her owl, the Athenian tetradrachm was among the most widely traded and most recognizable coins of the ancient world. The olive leaves on Athena’s helmet and the small crescent moon behind the owl date three of these coins after the Persian Wars.
| Med de første tre bogstaver af byens navn - ΑΣ Ε - med thenikoniske billeder af skytsgudinden Athena og hendes ugle, den athenske tetradrachm var blandt de mest handlede og mest genkendelige mønter i den gamle verden. Oliven blade på Athena hjelm og den lille halvmåne bag uglen dato tre af disse mønter efter de persiske krige. | |
| t | 791EN9765d1fa864d7-de-libre | libre |
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Basket with Raffle Top (lid)
| Korb mit Raffle Top (Lid) | |
| t | 791EN9765d1fa864d7-da-libre | libre |
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Basket with Raffle Top (lid)
| Kurv med Raffle Top (låg) | |
| t | 791ENa09095862b785-es-libre | libre |
en->es
South Sea Fishers
| South Sea Fishers | |
| t | 791ENa09095862b785-es-bing | bing |
en->es
South Sea Fishers
| Pescadores del Mar del Sur | |
| t | 791ENa09095862b785-de-libre | libre |
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South Sea Fishers
| Südseefischer | |
| t | 791ENa09095862b785-da-libre | libre |
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South Sea Fishers
| Sydsøfiskere | |
| t | 791ENa6c010ad99f85-es-libre | libre |
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The Dance by the River
| La danza junto al río | |
| t | 791ENa6c010ad99f85-de-libre | libre |
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The Dance by the River
| Der Tanz am Fluss | |
| t | 791ENa6c010ad99f85-da-libre | libre |
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The Dance by the River
| Dansen ved floden | |
| t | 791ENdd79cefd71e76-es-libre | libre |
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glass (with plastic?)
| vidrio (con plástico?) | |
| t | 791ENdd79cefd71e76-de-libre | libre |
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glass (with plastic?)
| Glas (mit Kunststoff?) | |
| t | 791ENdd79cefd71e76-da-libre | libre |
en->da
glass (with plastic?)
| glas (med plast?) | |
| t | 791ENe1672cff89ece-es-libre | libre |
en->es
Silk: compound twill weave
| Seda: tejedura twill compuesto | |
| t | 791ENe1672cff89ece-de-libre | libre |
en->de
Silk: compound twill weave
| Seide: zusammengesetztes Köpergewebe | |
| t | 791ENe1672cff89ece-da-libre | libre |
en->da
Silk: compound twill weave
| Silk: sammensatte twill | |
| t | 791ENf97a4eb0901e3-es-libre | libre |
en->es
Folded vinyl glove over tissue encapsulated in plastic
| Guante de vinilo plegado sobre tejido encapsulado en plástico | |
| t | 791ENf97a4eb0901e3-de-libre | libre |
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Folded vinyl glove over tissue encapsulated in plastic
| Gefalteter Vinylhandschuh über Gewebe verkapselt in Kunststoff | |
| t | 791ENf97a4eb0901e3-da-libre | libre |
en->da
Folded vinyl glove over tissue encapsulated in plastic
| Foldet vinylhandske over væv indkapslet i plast | |
| t | 791ENfef73807cea63-es-libre | libre |
en->es
Africa, East Africa, Somalia, unknown maker
| África, África oriental, Somalia, fabricante desconocido | |
| t | 791ENfef73807cea63-de-libre | libre |
en->de
Africa, East Africa, Somalia, unknown maker
| Afrika, Ostafrika, Somalia, unbekannter Hersteller | |
| t | 791ENfef73807cea63-da-libre | libre |
en->da
Africa, East Africa, Somalia, unknown maker
| Afrika, Østafrika, Somalia, ukendt skaber | |
| t | 792EN0c1ea6a211954-es-libre | libre |
en->es
Text, folio 115 (verso) from a Gandavyuha-sutra (Manuscript of the Supreme Array)
| Texto, folio 115 (verso) de un Gandavyuha-sutra (Manuscrito del Array Supremo) | |
| t | 792EN0c1ea6a211954-de-libre | libre |
en->de
Text, folio 115 (verso) from a Gandavyuha-sutra (Manuscript of the Supreme Array)
| Text, folio 115 (verso) aus einem Gandavyuha-Sutra (Handschrift des Obersten Array) | |
| t | 792EN0c1ea6a211954-da-libre | libre |
en->da
Text, folio 115 (verso) from a Gandavyuha-sutra (Manuscript of the Supreme Array)
| Tekst, folio 115 (verso) fra et Gandavyuha- sutra (Manuskript af den øverste array) | |
| t | 792EN27d71a175a2e8-es-libre | libre |
en->es
Sake Bottle with Three Figures (lid)
| Sake Bottle con tres figuras (lid) | |
| t | 792EN27d71a175a2e8-de-libre | libre |
en->de
Sake Bottle with Three Figures (lid)
| Sake Flasche mit drei Figuren (Folie) | |
| t | 792EN27d71a175a2e8-da-libre | libre |
en->da
Sake Bottle with Three Figures (lid)
| Sake flaske med tre figurer (låg) | |
| t | 792EN54bc7b583a950-es-libre | libre |
en->es
Sugar Basin (lid)
| Cuenca de azúcar (lid) | |
| t | 792EN54bc7b583a950-de-libre | libre |
en->de
Sugar Basin (lid)
| Zuckerbecken (rutschig) | |
| t | 792EN54bc7b583a950-da-libre | libre |
en->da
Sugar Basin (lid)
| Sukkerbasin (låg) | |
| t | 792EN5cc3702938947-es-libre | libre |
en->es
Native-tanned hide, glass beads, metal beads, sinew thread
| Escondite, cuentas de vidrio, cuentas de metal, hilo nuevo | |
| t | 792EN5cc3702938947-de-libre | libre |
en->de
Native-tanned hide, glass beads, metal beads, sinew thread
| Native-tanned Hide, Glasperlen, Metallperlen, Sehgewinde | |
| t | 792EN5cc3702938947-da-libre | libre |
en->da
Native-tanned hide, glass beads, metal beads, sinew thread
| Native- garvet skind, glasperler, metalperler, senet tråd | |
| t | 792EN5f89143230ee2-es-libre | libre |
en->es
Camera Work: Joachim
| Trabajo de cámara: Joachim | |
| t | 792EN5f89143230ee2-de-libre | libre |
en->de
Camera Work: Joachim
| Kameraarbeit: Joachim | |
| t | 792EN5f89143230ee2-da-libre | libre |
en->da
Camera Work: Joachim
| Kamera arbejde: Joachim | |
| t | 792EN69576e720779d-es-libre | libre |
en->es
red chalk heightened with white
| tiza roja agrandada con blanco | |
| t | 792EN69576e720779d-de-libre | libre |
en->de
red chalk heightened with white
| rote Kreide erhöht mit weiß | |
| t | 792EN69576e720779d-da-libre | libre |
en->da
red chalk heightened with white
| rødt kridt forhøjet med hvid | |
| t | 792EN6be4fc192e88d-es-libre | libre |
en->es
Silk Sleeve Decoration with Hunters
| Decoración de Sleeve de seda con cazadores | |
| t | 792EN6be4fc192e88d-de-libre | libre |
en->de
Silk Sleeve Decoration with Hunters
| Seide Ärmel Dekoration mit Jägern | |
| t | 792EN6be4fc192e88d-da-libre | libre |
en->da
Silk Sleeve Decoration with Hunters
| Silkeærme dekoration med jægere | |
| t | 792EN978722cac1b7f-es-libre | libre |
en->es
Iran, Luristan
| Irán, Luristan | |
| i | 792EN978722cac1b7f-de-libre | libre |
en->de
Iran, Luristan
| Iran, Luristan | |
| i | 792EN978722cac1b7f-da-libre | libre |
en->da
Iran, Luristan
| Iran, Luristan | |
| t | 792ENa8a5273a9c5d6-es-libre | libre |
en->es
Liber Veritatis: No. 68, A Landscape at Sunset with Fishermen Drawing a Net
| Liber Veritatis: No. 68, Un paisaje al atardecer con pescadores dibujando una red | |
| t | 792ENa8a5273a9c5d6-de-libre | libre |
en->de
Liber Veritatis: No. 68, A Landscape at Sunset with Fishermen Drawing a Net
| Liber Veritatis: No. 68, Eine Landschaft am Sonnenuntergang mit Fischern, die ein Netz zeichnen | |
| t | 792ENa8a5273a9c5d6-da-libre | libre |
en->da
Liber Veritatis: No. 68, A Landscape at Sunset with Fishermen Drawing a Net
| Liber Veritatis: No 68, A Landscape at Sunset med fiskere tegning et net | |
| t | 792ENb2bf6db2ff483-es-libre | libre |
en->es
Animalia: Ram and Sheep
| Animalia: Ram y ovejas | |
| t | 792ENb2bf6db2ff483-de-libre | libre |
en->de
Animalia: Ram and Sheep
| Animalia: Ram und Schafe | |
| t | 792ENb2bf6db2ff483-da-libre | libre |
en->da
Animalia: Ram and Sheep
| Animalia: Ram og får | |
| t | 792ENc544290723778-es-libre | libre |
en->es
Three of the four pictures in the series depict episodes from the life of the Old Testament figure of Abraham, beginning with the angels appearing to Abraham. According to Genesis 18, Abraham met three men at midday, and, recognizing that they were angels, humbly bowed down to them with his face touching the ground. The encounter incongruously takes place before a marble, classical portico in which a woman lurks, presumably his wife Sarah.
| Tres de las cuatro imágenes de la serie muestran episodios de la vida de la figura del Antiguo Testamento de Abraham, comenzando con los ángeles apareciendo a Abraham. Según Génesis 18, Abraham conoció a tres hombres al mediodía, y reconociendo que eran ángeles, humildemente se inclinó hacia ellos con su rostro tocando la tierra. El encuentro tiene lugar incongruentemente ante un mármol, pórtico clásico en el que una mujer se esconde, presumiblemente su esposa Sarah. | |
| t | 792ENc544290723778-de-libre | libre |
en->de
Three of the four pictures in the series depict episodes from the life of the Old Testament figure of Abraham, beginning with the angels appearing to Abraham. According to Genesis 18, Abraham met three men at midday, and, recognizing that they were angels, humbly bowed down to them with his face touching the ground. The encounter incongruously takes place before a marble, classical portico in which a woman lurks, presumably his wife Sarah.
| Drei der vier Bilder in der Serie zeigen Episoden aus dem Leben der alttestamentlichen Figur Abrahams, beginnend mit den Engeln, die Abraham erscheinen. Nach Genesis 18 traf Abraham drei Männer am Mittag, und als er erkannte, dass sie Engel waren, verneigte er sich demütig vor ihnen mit seinem Gesicht, das den Boden berührte. Die Begegnung findet unaufhaltsam vor einem Marmor statt, einem klassischen Portikus, in dem eine Frau lauert, vermutlich seine Frau Sarah. | |
| t | 792ENc544290723778-da-libre | libre |
en->da
Three of the four pictures in the series depict episodes from the life of the Old Testament figure of Abraham, beginning with the angels appearing to Abraham. According to Genesis 18, Abraham met three men at midday, and, recognizing that they were angels, humbly bowed down to them with his face touching the ground. The encounter incongruously takes place before a marble, classical portico in which a woman lurks, presumably his wife Sarah.
| Tre af de fire billeder i serien viser episoder fra livet af det gamle testamente figur Abraham, startende med englene viser sig for Abraham. Ifølge 1. Mosebog 18 mødte Abraham tre mænd ved middagstid, og da han erkendte, at de var engle, bøjede han sig ydmygt ned for dem med sit ansigt, der rørte ved jorden. Det møde incongruously finder sted før en marmor, klassisk portico, hvor en kvinde lurer, formentlig hans kone Sarah. | |
| t | 792ENcc9e59b8d0adb-es-bing | bing |
en->es
Head of Balzac
| Cabeza de Balzac | |
| t | 792ENcc9e59b8d0adb-de-libre | libre |
en->de
Head of Balzac
| Leiter von Balzac | |
| t | 792ENcc9e59b8d0adb-da-libre | libre |
en->da
Head of Balzac
| Chef for Balzac | |
| t | 793EN0b0d9cde9d66a-es-libre | libre |
en->es
Mary Fairlie Cooper
| Mary Fairlie Cooper | |
| t | 793EN0b0d9cde9d66a-es-bing | bing |
en->es
Mary Fairlie Cooper
| Mary Fairlie Cooper | |
| i | 793EN0b0d9cde9d66a-de-libre | libre |
en->de
Mary Fairlie Cooper
| Mary Fairlie Cooper | |
| i | 793EN0b0d9cde9d66a-da-libre | libre |
en->da
Mary Fairlie Cooper
| Mary Fairlie Cooper | |
| t | 793EN32c983841e52c-es-libre | libre |
en->es
Ornamental Panel (from a Ceiling?)
| Panel ornamental (de un techo?) | |
| t | 793EN32c983841e52c-de-libre | libre |
en->de
Ornamental Panel (from a Ceiling?)
| Ornamental Panel (von einer Decke?) | |
| t | 793EN32c983841e52c-da-libre | libre |
en->da
Ornamental Panel (from a Ceiling?)
| Ornamental Panel (fra et loft?) | |
| t | 793EN4970def502984-es-libre | libre |
en->es
Relief of Mars Ultor
| Socorro de Marte Ultor | |
| t | 793EN4970def502984-de-libre | libre |
en->de
Relief of Mars Ultor
| Relief des Mars Ultor | |
| t | 793EN4970def502984-da-libre | libre |
en->da
Relief of Mars Ultor
| Relief af Mars Ultor | |
| t | 793EN4bc75ddcfd585-es-libre | libre |
en->es
Siege of a Fortress: Right Portion
| Siege of a Fortress: Right Portion | |
| t | 793EN4bc75ddcfd585-de-libre | libre |
en->de
Siege of a Fortress: Right Portion
| Belagerung einer Festung: rechte Portion | |
| t | 793EN4bc75ddcfd585-da-libre | libre |
en->da
Siege of a Fortress: Right Portion
| Siege af en fæstning: Højre Portion | |
| t | 793EN755c629920aec-es-libre | libre |
en->es
Le Marché aux Pommes, No. 1
| Le Marché aux Pommes, No. 1 | |
| t | 78aEN83ae8228fb428-es-libre | libre |
en->es
Tibet, Ming dynasty (1368-1644)
| Tibet, Ming dinasty (1368-1644) | |
| t | 793EN755c629920aec-es-bing | bing |
en->es
Le Marché aux Pommes, No. 1
| Le Marché aux Pommes, No. 1 | |
| t | 793EN755c629920aec-de-libre | libre |
en->de
Le Marché aux Pommes, No. 1
| Le Marché aux Pommes, Nr. 1 | |
| i | 793EN755c629920aec-da-libre | libre |
en->da
Le Marché aux Pommes, No. 1
| Le Marché aux Pommes, No. 1 | |
| t | 793EN8a95c43ec6697-es-libre | libre |
en->es
Missale: Fol. 116: Saint Matthew with Angel
| Misale: Fol. 116: San Mateo con Ángel | |
| t | 793EN8a95c43ec6697-de-libre | libre |
en->de
Missale: Fol. 116: Saint Matthew with Angel
| Missale: Fol. 116: St. Matthew mit Engel | |
| t | 793EN8a95c43ec6697-da-libre | libre |
en->da
Missale: Fol. 116: Saint Matthew with Angel
| Missalg: Fol. 116: Saint Matthew med Angel | |
| t | 793EN96cda5045d6d3-es-libre | libre |
en->es
Sanjo Kantaro II in the Role of Urashima Taro
| Sanjo Kantaro II en el papel de Urashima Taro | |
| t | 793EN96cda5045d6d3-de-libre | libre |
en->de
Sanjo Kantaro II in the Role of Urashima Taro
| Sanjo Kantaro II in der Rolle von Urashima Taro | |
| t | 793EN96cda5045d6d3-da-libre | libre |
en->da
Sanjo Kantaro II in the Role of Urashima Taro
| Sanjo Kantaro II i rollen som Urashima Taro | |
| t | 793ENb7530224bb50e-es-libre | libre |
en->es
Greenstone ornaments were part of Maya nobles’ regalia. The hieroglyphs of the bead, which hung horizontally, refer to two Maya rulers.
| Los ornamentos de Greenstone formaban parte de la venganza de los nobles mayas. Los jeroglíficos de la cuentas, que colgaban horizontalmente, se refieren a dos gobernantes mayas. | |
| t | 793ENb7530224bb50e-de-libre | libre |
en->de
Greenstone ornaments were part of Maya nobles’ regalia. The hieroglyphs of the bead, which hung horizontally, refer to two Maya rulers.
| Greenstone Ornamente waren Teil von Maya Adels-Regalien. Die Hieroglyphen der Perle, die horizontal hingen, beziehen sich auf zwei Maya-Herrscher. | |
| t | 793ENb7530224bb50e-da-libre | libre |
en->da
Greenstone ornaments were part of Maya nobles’ regalia. The hieroglyphs of the bead, which hung horizontally, refer to two Maya rulers.
| Greenstone ornamenter var en del af Maya adelige 'regalia. De hieroglyffer af perle, som hang vandret, refererer til to Maya herskere. | |
| t | 793ENcf1d059ea7f9f-es-libre | libre |
en->es
Embroidered fragment with bird among vines
| Fragmento bordado con pájaro entre viñas | |
| t | 793ENcf1d059ea7f9f-de-libre | libre |
en->de
Embroidered fragment with bird among vines
| Gesticktes Fragment mit Vogel unter Reben | |
| t | 793ENcf1d059ea7f9f-da-libre | libre |
en->da
Embroidered fragment with bird among vines
| Broderet fragment med fugl blandt vinstokke | |
| t | 793ENd696eaadd0fd4-es-libre | libre |
en->es
A Rajput king on a nocturnal hunt points his rifle toward three boars standing amid faint tufts of grass. The raja and his two attendants sit concealed behind a hunting blind, and we see their figures through a thin white screen that blends with the mists and sands in the milky moonlight. The raja, dressed in a green<em> jama </em>(long belted tunic), eyes his quarry intently, nearly ready to fire a bullet, and his attendants anxiously observe.
| Un rey de Rajput en una cacería nocturna apunta su rifle hacia tres jabalíes de pie en medio de débiles tufts de hierba. El raja y sus dos asistentes se sientan escondidos detrás de un ciego de caza, y vemos sus figuras a través de una fina pantalla blanca que se mezcla con las niebla y arenas en la luz de la luna láctea. El raja, vestido de verde<em> jama </em>(túnica largamente cinturada), ojos su cantera intencionalmente, casi listo para disparar una bala, y sus asistentes con ansiedad observan. | |
| t | 793ENd696eaadd0fd4-de-libre | libre |
en->de
A Rajput king on a nocturnal hunt points his rifle toward three boars standing amid faint tufts of grass. The raja and his two attendants sit concealed behind a hunting blind, and we see their figures through a thin white screen that blends with the mists and sands in the milky moonlight. The raja, dressed in a green<em> jama </em>(long belted tunic), eyes his quarry intently, nearly ready to fire a bullet, and his attendants anxiously observe.
| Ein Rajput König auf einer nächtlichen Jagd zeigt sein Gewehr auf drei Wildschweine, die inmitten schwacher Grasbügel stehen. Der Raja und seine beiden Begleiter sitzen hinter einem Jagdblind versteckt, und wir sehen ihre Figuren durch einen dünnen weißen Bildschirm, der sich mit den Nebeln und Sanden im milchigen Mondschein vermischt. Die Raja, in einem grünen<em> Jama </em>(langgestreifte Tunika), Augen seinen Steinbruch Absicht, fast bereit, eine Kugel zu feuern, und seine Begleiter ängstlich beobachten. | |
| t | 793ENd696eaadd0fd4-da-libre | libre |
en->da
A Rajput king on a nocturnal hunt points his rifle toward three boars standing amid faint tufts of grass. The raja and his two attendants sit concealed behind a hunting blind, and we see their figures through a thin white screen that blends with the mists and sands in the milky moonlight. The raja, dressed in a green<em> jama </em>(long belted tunic), eyes his quarry intently, nearly ready to fire a bullet, and his attendants anxiously observe.
| En Rajput konge på en natlig jagt peger sin riffel mod tre orner stående midt i svage tufts af græs. Raja og hans to tilskuere sidder skjult bag en jagt blind, og vi ser deres figurer gennem en tynd hvid skærm, der blander med tåger og sand i det mælkeagtige måneskin. Den raja, klædt i en grøn<em> jama </em>(lang bæltet tunisk), øjne hans stenbrud intenst, næsten klar til at affyre en kugle, og hans tilskuere ængsteligt observere. | |
| t | 793ENea01a6b7f65bf-es-libre | libre |
en->es
Metallurgy advanced remarkably in the Goryeo period (918–1392), explaining why a large quantity of gilt-bronze artifacts were found in burial sites. This particular object was used to decorate a wooden coffin.
| Metallurgy avanzó notablemente en el período Goryeo (918–1392), explicando por qué una gran cantidad de artefactos gilt-bronze se encontraron en sitios de enterramiento. Este objeto en particular fue utilizado para decorar un ataúd de madera. | |
| t | 793ENea01a6b7f65bf-de-libre | libre |
en->de
Metallurgy advanced remarkably in the Goryeo period (918–1392), explaining why a large quantity of gilt-bronze artifacts were found in burial sites. This particular object was used to decorate a wooden coffin.
| Metallurgie entwickelte sich bemerkenswert in der Gorieo-Periode (918). Dieses Objekt wurde verwendet, um einen hölzernen Sarg zu dekorieren. | |
| t | 793ENea01a6b7f65bf-da-libre | libre |
en->da
Metallurgy advanced remarkably in the Goryeo period (918–1392), explaining why a large quantity of gilt-bronze artifacts were found in burial sites. This particular object was used to decorate a wooden coffin.
| Metallurgi avancerede bemærkelsesværdigt i Goryeo perioden (918- 1392), forklarer, hvorfor en stor mængde af gylt- bronze artefakter blev fundet på gravsteder. Dette særlige objekt blev brugt til at dekorere en trækiste. | |
| t | 793ENf3c50d28dd522-es-libre | libre |
en->es
spitbite aquatint
| spitbite aquatint | |
| t | 793ENf3c50d28dd522-es-bing | bing |
en->es
spitbite aquatint
| Aguatinta Spitbite | |
| t | 793ENf3c50d28dd522-de-libre | libre |
en->de
spitbite aquatint
| Spitbitaquatin | |
| t | 793ENf3c50d28dd522-da-libre | libre |
en->da
spitbite aquatint
| spitbitaquatint | |
| t | 794EN277bb3b169734-es-libre | libre |
en->es
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 35r, Text
| Horas de Carlos el noble, rey de Navarra (1361-1425): fol. 35r, Texto | |
| t | 794EN277bb3b169734-de-libre | libre |
en->de
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 35r, Text
| Stunden Karls des Edlen, König von Navarra (1361-1425): fol. 35r, Text | |
| t | 794EN277bb3b169734-da-libre | libre |
en->da
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 35r, Text
| Time of Charles the Noble, King of Navarre (1361- 1425): foll. 35r, Text | |
| t | 794EN40c030b43c3ef-es-libre | libre |
en->es
Melanesia, New Ireland, 19th century
| Melanesia, Nueva Irlanda, siglo XIX | |
| t | 794EN40c030b43c3ef-de-libre | libre |
en->de
Melanesia, New Ireland, 19th century
| Melanesia, New Ireland, 19. Jahrhundert | |
| i | d28EN4d0ce2c86189a-da-libre | libre |
en->da
Pomade Pot
| Pomade Pot | |
| t | 794EN40c030b43c3ef-da-libre | libre |
en->da
Melanesia, New Ireland, 19th century
| Melanesia, New Ireland, 19. århundrede | |
| t | 794EN490bd081952fe-es-libre | libre |
en->es
The Assembly of Tejaprabha Buddha
| La Asamblea de Tejaprabha Buda | |
| t | 794EN490bd081952fe-de-libre | libre |
en->de
The Assembly of Tejaprabha Buddha
| Die Versammlung von Tejaprabha Buddha | |
| t | 794EN490bd081952fe-da-libre | libre |
en->da
The Assembly of Tejaprabha Buddha
| Forsamlingen af Tejaprabha Buddha | |
| t | 794EN61c786d203762-es-libre | libre |
en->es
Jaguar
| Jaguar | |
| t | 794EN61c786d203762-es-bing | bing |
en->es
Jaguar
| Jaguar | |
| i | 794EN61c786d203762-de-libre | libre |
en->de
Jaguar
| Jaguar | |
| i | 794EN61c786d203762-da-libre | libre |
en->da
Jaguar
| Jaguar | |
| t | 794EN7b6277bd1ade3-es-libre | libre |
en->es
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 133r
| Horas de la Reina Isabella Católica, Reina de España: Fol. 133r | |
| t | 794EN7b6277bd1ade3-de-libre | libre |
en->de
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 133r
| Stunden der Königin Isabella der Katholik, Königin von Spanien: Fol. 133r | |
| t | 794EN7b6277bd1ade3-da-libre | libre |
en->da
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 133r
| Timer af dronning Isabella den katolske, dronning af Spanien: Fol. 133r | |
| t | 794EN8219c9c711551-es-libre | libre |
en->es
Study of a Fallen Soldier (possibly the Conversion of Saul) (recto)
| Estudio de un soldado caído (posiblemente la conversión de Saúl) (recto) | |
| t | 78fEN209d7058ac00d-da-libre | libre |
en->da
Earring (one of a pair)
| ørering (en af et par) | |
| t | 794EN8219c9c711551-de-libre | libre |
en->de
Study of a Fallen Soldier (possibly the Conversion of Saul) (recto)
| Studie eines gefallenen Soldaten (möglicherweise die Umwandlung von Saul) (recto) | |
| t | 794EN8219c9c711551-da-libre | libre |
en->da
Study of a Fallen Soldier (possibly the Conversion of Saul) (recto)
| Undersøgelse af en faldne soldat (eventuelt omstillingen af Saul) (recto) | |
| t | 794EN999602716be21-es-libre | libre |
en->es
France, probably Primavera, 20th century
| Francia, probablemente Primavera, siglo XX | |
| t | 794EN999602716be21-de-libre | libre |
en->de
France, probably Primavera, 20th century
| Frankreich, wahrscheinlich Primavera, 20. Jahrhundert | |
| t | 794EN999602716be21-da-libre | libre |
en->da
France, probably Primavera, 20th century
| Frankrig, sandsynligvis Primavera, 20. århundrede | |
| t | 794ENd66670c832c33-es-libre | libre |
en->es
This print was published in March 1834 as plate 20 from <em>The Monthly Association</em> (<em>l’Association Mensuelle</em>), a special edition of <em>La Caricature.</em>
| Esta impresión fue publicada en marzo de 1834 como placa 20 de <em>The Monthly Association</em> ()<em>l’Association Mensuelle</em>), una edición especial de <em>La Caricatura.</em> | |
| t | 794ENd66670c832c33-de-libre | libre |
en->de
This print was published in March 1834 as plate 20 from <em>The Monthly Association</em> (<em>l’Association Mensuelle</em>), a special edition of <em>La Caricature.</em>
| Dieser Druck wurde im März 1834 als Teller 20 von <em>Monatliche Vereinigung</em> (<em>1 Assoziation Mensuelle</em>), eine Sonderausgabe von <em>La Caricature.</em> | |
| t | 794ENd66670c832c33-da-libre | libre |
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This print was published in March 1834 as plate 20 from <em>The Monthly Association</em> (<em>l’Association Mensuelle</em>), a special edition of <em>La Caricature.</em>
| Dette print blev offentliggjort i marts 1834 som plade 20 fra <em>The Monthly Association</em> (<em>l 'Association Mensuelle</em>), en særudgave af <em>La Caricature.</em> | |
| t | 794ENdd3b4bfea97e9-es-libre | libre |
en->es
Long-Necked Flask with Strap Handle and Lid (Lid)
| Flask de cuello largo con mango y tapa de escoba (Lid) | |
| t | 794ENdd3b4bfea97e9-de-libre | libre |
en->de
Long-Necked Flask with Strap Handle and Lid (Lid)
| Long-Necked Flask mit Trägergriff und Deckel (Lid) | |
| t | 794ENdd3b4bfea97e9-da-libre | libre |
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Long-Necked Flask with Strap Handle and Lid (Lid)
| Long- necked Flask med strop greb og låg (Lid) | |
| t | 794ENf783ef9b6954d-es-libre | libre |
en->es
This painting and <a href="https://www.clevelandart.org/art/2015.590">CMA 2015.590</a> belong to a group that was likely mounted as a pair of four-panel folding screens focusing on the Eight Views of Xiao-Xiang, a theme centered on an area in southern China. This one represents the motif “Returning Sails Off a Distant Shore.” Both emulate the style of Chinese painter Li Tang (about 1050–after 1130). Some scholars believe the paintings are the work of Sesshū Tōyō (1420–1506), the only Japanese painter of his day to have traveled to China.
| Esta pintura y <a href="https://www.clevelandart.org/art/2015.590">CMA 2015.590</a> pertenecen a un grupo que probablemente fue montado como un par de pantallas plegables de cuatro paneles centrándose en las ocho vistas de Xiao-Xiang, un tema centrado en un área en el sur de China. Este representa el motivo “Retornar las velas de un Shore Distante”. Ambos emulan el estilo del pintor chino Li Tang (alrededor de 1050-después de 1130). Algunos eruditos creen que las pinturas son obra de Sesshū Tōyō (1420–1506), el único pintor japonés de su día para viajar a China. | |
| t | 794ENf783ef9b6954d-de-libre | libre |
en->de
This painting and <a href="https://www.clevelandart.org/art/2015.590">CMA 2015.590</a> belong to a group that was likely mounted as a pair of four-panel folding screens focusing on the Eight Views of Xiao-Xiang, a theme centered on an area in southern China. This one represents the motif “Returning Sails Off a Distant Shore.” Both emulate the style of Chinese painter Li Tang (about 1050–after 1130). Some scholars believe the paintings are the work of Sesshū Tōyō (1420–1506), the only Japanese painter of his day to have traveled to China.
| Dieses Gemälde und <a href="https://www.clevelandart.org/art/2015.590">CMA 2015.590</a> gehören zu einer Gruppe, die wahrscheinlich als ein Paar Vier-Panel-Faltbildschirme mit Fokus auf die Acht Ansichten von Xiao-Xiang montiert wurde, ein Thema, das auf einem Gebiet in Südchina zentriert wurde. Dieses repräsentiert das Motiv "Returning Sails Off a Distant Shore." Beide emulieren den Stil des chinesischen Malers Li Tang (etwa 1050/nach 1130). Einige Gelehrte glauben, dass die Gemälde das Werk von Sesshū Tōyō (1420/1506) sind, dem einzigen japanischen Maler seines Tages, der nach China gereist ist. | |
| t | 794ENf783ef9b6954d-da-libre | libre |
en->da
This painting and <a href="https://www.clevelandart.org/art/2015.590">CMA 2015.590</a> belong to a group that was likely mounted as a pair of four-panel folding screens focusing on the Eight Views of Xiao-Xiang, a theme centered on an area in southern China. This one represents the motif “Returning Sails Off a Distant Shore.” Both emulate the style of Chinese painter Li Tang (about 1050–after 1130). Some scholars believe the paintings are the work of Sesshū Tōyō (1420–1506), the only Japanese painter of his day to have traveled to China.
| Dette maleri og <a href="https://www.clevelandart.org/art/2015.590">CMA 2015.590</a> tilhører en gruppe, der var sandsynligvis monteret som et par af fire-panel folde skærme med fokus på de otte visninger af Xiao-Xiang, et tema centreret om et område i det sydlige Kina. Denne repræsenterer motivet "Returnering Sejl fra en Distant Shore". Begge efterligne stil kinesiske maler Li Tang (omkring 1050- efter 1130). Nogle lærde mener, at malerierne er det arbejde, der er af Sesshaffy Tinguy (1420-1506), den eneste japanske maler af hans dag til at have rejst til Kina. | |
| t | 795EN000710cf9e169-es-libre | libre |
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Italian Sketchbook: Sails (page 36)
| Libro italiano: Velas (página 36) | |
| t | 795EN000710cf9e169-de-libre | libre |
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Italian Sketchbook: Sails (page 36)
| Italienisches Skizzenbuch: Segel (Seite 36) | |
| t | 795EN000710cf9e169-da-libre | libre |
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Italian Sketchbook: Sails (page 36)
| Italiensk Sketchbook: Sejl (side 36) | |
| t | 795EN3ce6faef2dee1-es-libre | libre |
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Implements
| Ejecuciones | |
| t | 795EN3ce6faef2dee1-de-libre | libre |
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Implements
| Umsetzung | |
| t | 795EN3ce6faef2dee1-da-libre | libre |
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Implements
| Gennemførelse | |
| t | 795EN63e77ffa74f26-es-libre | libre |
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Album of Landscapes: Leaf 5
| Álbum de Paisajes: hoja 5 | |
| t | 795EN63e77ffa74f26-de-libre | libre |
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Album of Landscapes: Leaf 5
| Album der Landschaften: Blatt 5 | |
| t | 795EN63e77ffa74f26-da-libre | libre |
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Album of Landscapes: Leaf 5
| Album af landskaber: Leaf 5 | |
| t | 795EN6a255a790f6ae-es-libre | libre |
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Spanish Campaign: The Mires of Valderas, Province of Leon
| Campaña Española: Los Mires de Valderas, Provincia de León | |
| t | 795EN6a255a790f6ae-de-libre | libre |
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Spanish Campaign: The Mires of Valderas, Province of Leon
| Spanische Kampagne: Die Mires von Valderas, Provinz Leon | |
| t | 795EN6a255a790f6ae-da-libre | libre |
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Spanish Campaign: The Mires of Valderas, Province of Leon
| Spansk kampagne: Mires of Valderas, provinsen Leon | |
| t | 795EN8e4b894845d8b-fr-libre | libre |
en->fr
New Model for a Cartouche
| Nouveau modèle pour une cartouche | |
| t | 795EN8e4b894845d8b-es-libre | libre |
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New Model for a Cartouche
| Nuevo modelo para un cartouche | |
| t | 795EN8e4b894845d8b-de-libre | libre |
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New Model for a Cartouche
| Neues Modell für einen Kartuschen | |
| t | 795EN8e4b894845d8b-da-libre | libre |
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New Model for a Cartouche
| Ny model til en kartouche | |
| t | 795EN9557ed7cca9e5-es-libre | libre |
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Text, folio 168 (verso), from a Gospel Book with Commentaries
| Texto, folio 168 (verso), de un libro del Evangelio con comentarios | |
| t | 795EN9557ed7cca9e5-de-libre | libre |
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Text, folio 168 (verso), from a Gospel Book with Commentaries
| Text, folio 168 (verso), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 795EN9557ed7cca9e5-da-libre | libre |
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Text, folio 168 (verso), from a Gospel Book with Commentaries
| Tekst, folio 168 (verso), fra en evangeliebog med kommentarer | |
| t | 795ENec01619dbb472-es-libre | libre |
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Omnibus
| Omnibus |