| marking | key | engine | updatedAt | text | targetText |
|---|---|---|---|---|---|
| t | 7ccEN6d2e60e2320fa-es-libre | libre |
en->es
Figures in a variety of dress including military and ceremonial garb start to appear on Japanese earthen mounded tombs called old mounds (<em>kofun</em>) from the AD 400s to 500s. This fragment depicts a woman with red triangles on her face and wearing jewelry. Archaeologists speculate that the facial markings had a ritual or symbolic function, perhaps indicating she is a female shaman. Many figures of this kind have been found in digs in the Kanto region of eastern Japan. We can only guess at the meaning of the clay cylinders called <em>haniwa</em>.
| Las figuras en una variedad de vestidos, incluyendo el ginebra militar y ceremonial comienzan a aparecer en la tierra japonesa tumbas montículos llamados viejos montículos (<em>kofun</em>De los 400 dC a 500. Este fragmento representa a una mujer con triángulos rojos en su cara y con joyería. Los arqueólogos especulan que las marcas faciales tenían una función ritual o simbólica, tal vez indicando que es una mujer chamán. Muchas figuras de este tipo se han encontrado en excavaciones en la región de Kanto del este de Japón. Sólo podemos adivinar el significado de los cilindros de arcilla llamados <em>Haniwa</em>. | |
| t | 7ccEN6d2e60e2320fa-de-libre | libre |
en->de
Figures in a variety of dress including military and ceremonial garb start to appear on Japanese earthen mounded tombs called old mounds (<em>kofun</em>) from the AD 400s to 500s. This fragment depicts a woman with red triangles on her face and wearing jewelry. Archaeologists speculate that the facial markings had a ritual or symbolic function, perhaps indicating she is a female shaman. Many figures of this kind have been found in digs in the Kanto region of eastern Japan. We can only guess at the meaning of the clay cylinders called <em>haniwa</em>.
| Figuren in einer Vielzahl von Kleid einschließlich militärischer und zeremonialer Müll beginnen, auf japanischen Erdungen gehämmerte Gräber, genannt alte Hügel (<em>Kofun</em>== Weblinks ==== Einzelnachweise == Dieses Fragment zeigt eine Frau mit roten Dreiecken auf ihrem Gesicht und trägt Schmuck. Archäologen spekulieren, dass die Gesichtsmarkierungen eine rituelle oder symbolische Funktion hatten, vielleicht dass sie ein weiblicher Schamane ist. In der Region Kanto im Osten Japans wurden viele dieser Zahlen gefunden. Wir können nur erraten, was die Tonzylinder bedeuten. <em>Haniwa</em>. | |
| t | 7ccEN0ae7afb8d4df7-da-libre | libre |
en->da
The figure of Joseph, identified by his halo, sits in the center near the top of this painting of heroes and heroines of ten different Persian, Urdu, and Sanskrit romances. The depicted scene occurs after Joseph has been purchased by Zulaykha in Egypt. Zulaykha, wishing to show him off to her friends and acquaintances, invites them to her home where she supplies oranges and knives. When the women see Joseph, they all are so distracted by his divine beauty that they accidentally cut their hands while peeling their oranges, but remain mesmerized by his appearance. The dramatic scene in the center is from the Persian romance of Khusrau and Shirin, in which Farhad, a stonecutter who loved Shirin, threw himself to his death from a mountaintop after hearing news of Shirin’s death, falsely sent to him from his rival Khusrau. The emaciated Majnun is in the lower right corner. Every vignette has been identified with a tiny Persian inscription.
| Figuren af Joseph, identificeret ved hans halo, sidder i centrum nær toppen af dette maleri af helte og heltinder af ti forskellige persiske, Urdu, og Sanskrit romancer. Den afbildede scene opstår efter Joseph er blevet købt af Zulaykha i Egypten. Zulaykha, der ønsker at vise ham ud til sine venner og bekendte, inviterer dem til sit hjem, hvor hun leverer appelsiner og knive. Når kvinderne ser Josef, er de alle så distraheret af hans guddommelige skønhed, at de ved et uheld skærer deres hænder, mens de skræller deres appelsiner, men forbliver hypnotiseret af hans udseende. Den dramatiske scene i centrum er fra den persiske romance i Khusrau og Shirin, hvor Farhad, en stonecutter, der elskede Shirin, kastede sig ihjel fra en bjergtop efter at have hørt nyt om Shirin død, falsk sendt til ham fra hans rival Khusrau. Majnun er i nederste højre hjørne. Hver vignette er identificeret med en lille persisk inskription. | |
| t | 7ccEN550842eed87cb-da-libre | libre |
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The late 18th century saw the development of color printing, a laborious process in which the image is built up from separate plates for each color. Applying Newton’s theory of color, a plate was prepared for each of the three primary colors (blue, yellow, and red) as well as for a darker color (usually black, to provide a unifying background tone). These plates, too, were often embellished with hand work in watercolor
| I slutningen af det 18. århundrede oplevede udviklingen af farve trykning, en besværlig proces, hvor billedet er bygget op fra separate plader for hver farve. Anvendelse Newton 's teori om farve, en plade blev udarbejdet for hver af de tre primære farver (blå, gul og rød) samt for en mørkere farve (normalt sort, at give en ensartet baggrund tone). Disse plader, også, blev ofte udsmykket med hånd arbejde i vandfarve | |
| t | 7beENfed7effbccf77-da-libre | libre |
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tapestry weave: cotton and wool: (handspun and Germantown)
| Vævet stof af bomuld og uld: | |
| t | 7beENfadfa3cf2a335-da-libre | libre |
en->da
Saint Symeon the Younger was a stylite saint, an early Christian ascetic who fled the world for the desert and, perched on a column, spent his days fasting and praying. The site of Symeon’s column attracted many pilgrims during and after his lifetime. Medallions like this one, showing Symeon atop his column on one side and a cross on the other, were taken home by pilgrims in commemoration of their visit and were believed to serve their owners as protective talismans.
| Saint Symeon den Yngre var en stillite helgen, en tidlig kristen asketter, der flygtede verden for ørkenen og, perched på en kolonne, tilbragte sine dage fastende og bede. Stedet i Symeon 's kolonne tiltrak mange pilgrimme under og efter hans levetid. Medaljoner som denne, viser Symeon på sin kolonne på den ene side og et kors på den anden, blev taget hjem af pilgrimme i minde om deres besøg og blev menes at tjene deres ejere som beskyttende talismaner. | |
| t | 7ccEN08a0780d6c82a-de-libre | libre |
en->de
The Hittites migrated into Anatolia in the 3rd millennium BC and spoke an Indo-European language, a group that includes Greek, Latin, Persian, Sanskrit, English, and most modern European languages. They were the first ancient people to use iron for weapons. From about 1600–1200 BC their empire was at its peak, extending from central Anatolia to Syria, and south along the eastern Mediterranean. Their vast empire and interest in commerce enabled the Hittites to spread Mesopotamian ideas and culture throughout the ancient Mediterranean world. This large basalt sculpture is exceptionally rare in depicting a Hittite god or priest-king wearing a horned conical crown, false beard, and long robe. He holds a bowl in his right hand and once held something in his left, perhaps a staff or sword.
| Die Hethiter wanderten im 3. Jahrtausend v. Chr. nach Anatolien und sprachen eine indoeuropäische Sprache, eine Gruppe, die griechische, lateinische, persische, Sanskrit, Englische und modernste europäische Sprachen umfasst. Sie waren die ersten alten Menschen, die Eisen für Waffen benutzten. Von etwa 1600 / 12200 v. Chr. war ihr Imperium auf seinem Gipfel, von Zentralanatolien bis Syrien, und südlich entlang des östlichen Mittelmeers. Ihr riesiges Imperium und das Interesse am Handel ermöglichten es den Hethitern, Mesopotamien Ideen und Kultur in der antiken mediterranen Welt zu verbreiten. Diese große Basaltskulptur ist außergewöhnlich selten in der Darstellung eines Hittitergottes oder Priesterkönigs mit einer gehörnten konischen Krone, falschem Bart und langen Robe. Er hält eine Schüssel in seiner rechten Hand und hielt einmal etwas in seiner Linken, vielleicht einen Stab oder ein Schwert. | |
| t | 7ccEN0ae7afb8d4df7-de-libre | libre |
en->de
The figure of Joseph, identified by his halo, sits in the center near the top of this painting of heroes and heroines of ten different Persian, Urdu, and Sanskrit romances. The depicted scene occurs after Joseph has been purchased by Zulaykha in Egypt. Zulaykha, wishing to show him off to her friends and acquaintances, invites them to her home where she supplies oranges and knives. When the women see Joseph, they all are so distracted by his divine beauty that they accidentally cut their hands while peeling their oranges, but remain mesmerized by his appearance. The dramatic scene in the center is from the Persian romance of Khusrau and Shirin, in which Farhad, a stonecutter who loved Shirin, threw himself to his death from a mountaintop after hearing news of Shirin’s death, falsely sent to him from his rival Khusrau. The emaciated Majnun is in the lower right corner. Every vignette has been identified with a tiny Persian inscription.
| Die Figur von Joseph, identifiziert von seinem Halo, sitzt in der Mitte nahe der Spitze dieses Gemäldes von Helden und Helden von zehn verschiedenen persischen, Urdu und Sanskrit Romanzen. Die abgebildete Szene tritt auf, nachdem Joseph von Zulaykha in Ägypten gekauft wurde. Zulaykha, der ihn ihren Freunden und Bekannten zeigen wollte, lädt sie zu ihrem Haus ein, wo sie Orangen und Messer liefert. Wenn die Frauen Joseph sehen, sind sie alle so abgelenkt von seiner göttlichen Schönheit, dass sie versehentlich ihre Hände schneiden, während sie ihre Orangen schälen, aber durch sein Aussehen fasziniert bleiben. Die dramatische Szene in der Mitte ist von der persischen Romanze von Khusrau und Shirin, in der Farhad, ein Steinmetz, der Shirin liebte, warf sich zu seinem Tod von einem Berggipfel, nachdem er Nachricht von Shirins Tod hörte, falsch zu ihm von seinem Rivalen Khusrau geschickt. Der entzückte Majnun befindet sich in der unteren rechten Ecke. Jede Vignette wurde mit einer kleinen persischen Inschrift identifiziert. | |
| t | 7ccEN549e0109d913a-de-libre | libre |
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The Adoration of the Magi, from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier
| Die Anbetung der Magi, von einem Spiegel der Heiligkeit (Mir-at al-quds) von Pater Jerome Xavier | |
| t | 7ccEN550842eed87cb-de-libre | libre |
en->de
The late 18th century saw the development of color printing, a laborious process in which the image is built up from separate plates for each color. Applying Newton’s theory of color, a plate was prepared for each of the three primary colors (blue, yellow, and red) as well as for a darker color (usually black, to provide a unifying background tone). These plates, too, were often embellished with hand work in watercolor
| Das späte 18. Jahrhundert sah die Entwicklung des Farbdrucks, ein mühsamer Prozess, in dem das Bild von separaten Platten für jede Farbe aufgebaut ist. Bei Anwendung von Newtons Theorie der Farbe wurde eine Platte für jede der drei Primärfarben (blau, gelb und rot) sowie für eine dunklere Farbe (in der Regel schwarz, um einen vereinheitlichenden Hintergrundton) vorbereitet. Auch diese Platten wurden oft mit Handarbeit in Aquarell verschönert | |
| t | 7bfEN1bb144e449f97-da-libre | libre |
en->da
pen and brown ink and brush and brown wash over black chalk; framing lines in brown ink and graphite
| pen og brun blæk og børste og brun vask over sort kridt; indramming linjer i brun blæk og grafit | |
| t | 7bfEN2701b358c5b68-es-libre | libre |
en->es
watercolor on ivory on a gold locket
| acuarela sobre marfil en un medallón de oro | |
| t | 7bfEN2701b358c5b68-de-libre | libre |
en->de
watercolor on ivory on a gold locket
| Aquarell auf Elfenbein auf einem goldenen Schloss | |
| t | 7bfEN16b14bf0b0c51-es-libre | libre |
en->es
Round Segmentum from a Tunic
| Segmento redondo de un tunico | |
| t | 7cbENf077fcc629c58-es-libre | libre |
en->es
Two Pound Piece: William IV (obverse)
| Dos libras: William IV (obverso) | |
| t | 7ccEN08a0780d6c82a-es-libre | libre |
en->es
The Hittites migrated into Anatolia in the 3rd millennium BC and spoke an Indo-European language, a group that includes Greek, Latin, Persian, Sanskrit, English, and most modern European languages. They were the first ancient people to use iron for weapons. From about 1600–1200 BC their empire was at its peak, extending from central Anatolia to Syria, and south along the eastern Mediterranean. Their vast empire and interest in commerce enabled the Hittites to spread Mesopotamian ideas and culture throughout the ancient Mediterranean world. This large basalt sculpture is exceptionally rare in depicting a Hittite god or priest-king wearing a horned conical crown, false beard, and long robe. He holds a bowl in his right hand and once held something in his left, perhaps a staff or sword.
| Los hititas migraron en Anatolia en el 3er milenio a.C. y hablaron un idioma indoeuropeo, un grupo que incluye griego, latín, persa, sánscrito, inglés y los idiomas europeos más modernos. Eran los primeros ancianos en usar hierro para armas. Desde aproximadamente 1600–1200 aC su imperio estaba en su pico, extendiéndose desde el centro de Anatolia a Siria, y al sur a lo largo del Mediterráneo oriental. Su vasto imperio y su interés en el comercio permitieron a los hititas difundir ideas y cultura mesopotamianas en todo el antiguo mundo mediterráneo. Esta escultura de basalto grande es excepcionalmente rara en la representación de un dios hitita o sacerdotal usando una corona cónica cachonda, barba falsa y manto largo. Sostiene un tazón en su mano derecha y una vez sostenía algo en su izquierda, tal vez un equipo o espada. | |
| t | 7bfEN65fa754205a16-da-libre | libre |
en->da
silver inlaid with copper and gold
| Sølv indlagt med kobber og guld | |
| t | 7ceEN8c77c74339900-es-libre | libre |
en->es
The Fifty-Three Stations of the Tokaido: Chiryu
| Las 50 estaciones del Tokaido: Chiryu | |
| t | 7beENfadfa3cf2a335-es-libre | libre |
en->es
Saint Symeon the Younger was a stylite saint, an early Christian ascetic who fled the world for the desert and, perched on a column, spent his days fasting and praying. The site of Symeon’s column attracted many pilgrims during and after his lifetime. Medallions like this one, showing Symeon atop his column on one side and a cross on the other, were taken home by pilgrims in commemoration of their visit and were believed to serve their owners as protective talismans.
| San Simeón el Joven era un santo estilita, un asceta cristiano temprano que huyó del mundo por el desierto y, encaramado en una columna, pasó sus días ayunando y orando. El sitio de la columna de Symeon atrajo a muchos peregrinos durante y después de su vida. Medallions like this one, showing Symeon atop his column on one side and a cross on the other, were taken home by pilgrims in commemoration of their visit and were believed to serve their owners as protective talismans. | |
| t | 7ccEN549e0109d913a-es-libre | libre |
en->es
The Adoration of the Magi, from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier
| La adoración de los Magos, de un espejo de santidad (Mir’at al-quds) del Padre Jerome Xavier | |
| t | 7ccEN550842eed87cb-es-libre | libre |
en->es
The late 18th century saw the development of color printing, a laborious process in which the image is built up from separate plates for each color. Applying Newton’s theory of color, a plate was prepared for each of the three primary colors (blue, yellow, and red) as well as for a darker color (usually black, to provide a unifying background tone). These plates, too, were often embellished with hand work in watercolor
| A finales del siglo XVIII vio el desarrollo de la impresión de color, un proceso laborioso en el que la imagen se construye de placas separadas para cada color. Aplicando la teoría del color de Newton, se preparó un plato para cada uno de los tres colores primarios (azul, amarillo y rojo), así como para un color más oscuro (normalmente negro, para proporcionar un tono de fondo unificador). Estas placas, también, fueron a menudo embellecidas con el trabajo de mano en acuarela | |
| t | 7bfEN6bae1b88e75fa-de-libre | libre |
en->de
Northern India, Mathura, Kushan period
| Nordindien, Mathura, Kushan Zeitraum | |
| t | 7bfEN6bae1b88e75fa-da-libre | libre |
en->da
Northern India, Mathura, Kushan period
| Nordindiske, Mathura og Kushan periode | |
| t | 7bfEN7477302e746a5-es-libre | libre |
en->es
Algerian Woman
| Algerian Woman | |
| t | 7bfEN7477302e746a5-de-libre | libre |
en->de
Algerian Woman
| Algerische Frau | |
| t | 7bfEN7477302e746a5-da-libre | libre |
en->da
Algerian Woman
| Algerisk kvinde | |
| t | 7bfEN886f21658db49-es-libre | libre |
en->es
France, central France, 15th century
| Francia, Francia central, siglo XV | |
| t | 7bfEN886f21658db49-de-libre | libre |
en->de
France, central France, 15th century
| Frankreich, Mittelfrankreich, 15. Jahrhundert | |
| t | 7bfEN886f21658db49-da-libre | libre |
en->da
France, central France, 15th century
| Frankrig, det centrale Frankrig, 15. århundrede | |
| t | 7bfEN2701b358c5b68-da-libre | libre |
en->da
watercolor on ivory on a gold locket
| vandfarve på elfenben på en guldmedaljon | |
| t | 7beENfed7effbccf77-es-libre | libre |
en->es
tapestry weave: cotton and wool: (handspun and Germantown)
| tejido de tapiz: algodón y lana: (handspun y Germantown) | |
| t | 7cbENe6fea88fe082b-da-libre | libre |
en->da
California, Mono, LAke Paiute, late 19th- early 20th century
| California, Mono, Lake Paiute, slutningen af 19- begyndelsen af 20. århundrede | |
| t | 7bfEN65fa754205a16-de-libre | libre |
en->de
silver inlaid with copper and gold
| Silber eingelegt mit Kupfer und Gold | |
| t | 7cbENf87ba22352120-da-libre | libre |
en->da
The Gotha Missal: Fol. 96v, Text
| The Gotha Missal: Fol. 96v, Tekst | |
| t | 7bfENc39e76bfda119-da-libre | libre |
en->da
The darker ground of unbleached linen allows the meandering pattern completed in the filet/lacis technique using bleached linen to prominently stand out.
| Den mørkere grund af ubleget linned giver mulighed for at dæmpe mønster udfyldt i filet / lacis teknik ved hjælp af bleget linned til fremtrædende skiller sig ud. | |
| t | 7bfENdb64e54d7660e-es-libre | libre |
en->es
St. Bartholomews: The Green Churchyard on the Site of the Old South Transept
| St. Bartolomé: El cementerio verde en el sitio del antiguo transepto Sur | |
| t | 7c1ENca90293465837-da-libre | libre |
en->da
Italy or France, 18th century
| Italien eller Frankrig, 18. århundrede | |
| t | 7ccEN0ae7afb8d4df7-es-libre | libre |
en->es
The figure of Joseph, identified by his halo, sits in the center near the top of this painting of heroes and heroines of ten different Persian, Urdu, and Sanskrit romances. The depicted scene occurs after Joseph has been purchased by Zulaykha in Egypt. Zulaykha, wishing to show him off to her friends and acquaintances, invites them to her home where she supplies oranges and knives. When the women see Joseph, they all are so distracted by his divine beauty that they accidentally cut their hands while peeling their oranges, but remain mesmerized by his appearance. The dramatic scene in the center is from the Persian romance of Khusrau and Shirin, in which Farhad, a stonecutter who loved Shirin, threw himself to his death from a mountaintop after hearing news of Shirin’s death, falsely sent to him from his rival Khusrau. The emaciated Majnun is in the lower right corner. Every vignette has been identified with a tiny Persian inscription.
| La figura de José, identificada por su halo, se encuentra en el centro cerca de la parte superior de esta pintura de héroes y heroínas de diez romances persas, urdu y sánscritos diferentes. La escena representada ocurre después de que José haya sido comprado por Zulaykha en Egipto. Zulaykha, deseando mostrarle a sus amigos y conocidos, los invita a su casa donde suministra naranjas y cuchillos. Cuando las mujeres ven a José, todos están tan distraídos por su divina belleza que accidentalmente cortan sus manos mientras se pelan sus naranjas, pero permanecen mesmerizados por su apariencia. La escena dramática en el centro es del romance persa de Khusrau y Shirin, en el que Farhad, un apedreador que amaba a Shirin, se lanzó a su muerte desde una cima de montaña después de escuchar noticias de la muerte de Shirin, enviado falsamente a él de su rival Khusrau. El emaciado Majnun está en la esquina inferior derecha. Cada vignette ha sido identificada con una pequeña inscripción persa. | |
| t | 7beENfed7effbccf77-de-libre | libre |
en->de
tapestry weave: cotton and wool: (handspun and Germantown)
| Tapestry Webe: Baumwolle und Wolle: (Handspun und Germantown) | |
| t | 7beENfadfa3cf2a335-de-libre | libre |
en->de
Saint Symeon the Younger was a stylite saint, an early Christian ascetic who fled the world for the desert and, perched on a column, spent his days fasting and praying. The site of Symeon’s column attracted many pilgrims during and after his lifetime. Medallions like this one, showing Symeon atop his column on one side and a cross on the other, were taken home by pilgrims in commemoration of their visit and were believed to serve their owners as protective talismans.
| Der heilige Symeon the Younger war ein stilistischer Heiliger, ein frühchristlicher Asket, der die Welt für die Wüste geflohen hat und, auf einer Säule, seine Tage mit Fasten und Beten verbrachte. Die Stätte der Symeon-Spalte zog viele Pilger während und nach seinem Leben an. Medaillons wie diese, die Symeon auf seiner Säule auf der einen Seite und ein Kreuz auf der anderen zeigen, wurden von Pilgern zur Erinnerung an ihren Besuch nach Hause genommen und wurden geglaubt, ihren Besitzern als schützende Talismanen zu dienen. | |
| t | 7bfENe051c2d9af48a-de-libre | libre |
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granite and cast, laminated, and polished glass
| Granit und gegossenes, laminiertes und poliertes Glas | |
| t | 7bfEN1bb144e449f97-es-libre | libre |
en->es
pen and brown ink and brush and brown wash over black chalk; framing lines in brown ink and graphite
| pluma y tinta marrón y cepillo y lavado marrón sobre tiza negra; líneas de encuadre en tinta marrón y grafito | |
| t | 7bfENe051c2d9af48a-da-libre | libre |
en->da
granite and cast, laminated, and polished glass
| granit og støbt, lamineret og poleret glas | |
| t | 7ccEN549e0109d913a-da-libre | libre |
en->da
The Adoration of the Magi, from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier
| The Admoration of the Magi, from a Mirror of Hellighed (Mir 'at al- quds) of pastor Jerome Xavier | |
| i | 7bfENe44f153b8c381-de-libre | libre |
en->de
Long-Necked Flask (Krateriskos)
| Long-Necked Flask (Krateriskos) | |
| t | 7bfENe44f153b8c381-da-libre | libre |
en->da
Long-Necked Flask (Krateriskos)
| Langhalset flask (Krateriskos) | |
| t | 7bfENf17c18ae48ef1-es-libre | libre |
en->es
charcoal and white chalk (or white pastel)
| carbón y tiza blanca (o pastel blanco) | |
| t | 7bfENf17c18ae48ef1-de-libre | libre |
en->de
charcoal and white chalk (or white pastel)
| Holzkohle und weiße Kreide (oder weißer Pastell) | |
| t | 7bfENf17c18ae48ef1-da-libre | libre |
en->da
charcoal and white chalk (or white pastel)
| kul og hvidt kridt (eller hvid pastel) | |
| t | 7c0EN16f0d7ae8f8db-es-libre | libre |
en->es
Views: The Stone of Proclamation at Venice
| Vistas: La Piedra de la Proclamación en Venecia | |
| t | 7c0EN16f0d7ae8f8db-de-libre | libre |
en->de
Views: The Stone of Proclamation at Venice
| Ansichten: Der Stein der Proklamation in Venedig | |
| t | 7c0EN16f0d7ae8f8db-da-libre | libre |
en->da
Views: The Stone of Proclamation at Venice
| Visninger: The Stone of Proclamation i Venedig | |
| t | 7c0EN30d3d737fe16e-es-libre | libre |
en->es
Band
| Banda | |
| i | 7c0EN30d3d737fe16e-de-libre | libre |
en->de
Band
| Band | |
| i | 7c0EN30d3d737fe16e-da-libre | libre |
en->da
Band
| Band | |
| t | 7c0EN3271cb9a23b19-es-libre | libre |
en->es
Illustrations for Faust: Marguerite at church
| Ilustraciones para Faust: Marguerite en la iglesia | |
| t | 7c0EN3271cb9a23b19-de-libre | libre |
en->de
Illustrations for Faust: Marguerite at church
| Illustrationen für Faust: Marguerite in der Kirche | |
| t | 7c0EN3271cb9a23b19-da-libre | libre |
en->da
Illustrations for Faust: Marguerite at church
| Illustrationer til Faust: Marguerite i kirken | |
| t | 7c0EN5317bed3fc85e-es-libre | libre |
en->es
steel; wood, leather, sharkskin grip
| acero; madera, cuero, agarre de tiburones | |
| t | 7c0EN5317bed3fc85e-de-libre | libre |
en->de
steel; wood, leather, sharkskin grip
| Stahl; Holz, Leder, Haiekingriff | |
| t | 7bfEN9323b5ea9ddba-es-libre | libre |
en->es
red terracotta with yellow and transparent glaze
| terracota roja con esmalte amarillo y transparente | |
| t | 7c0EN5fe8c161ba329-es-libre | libre |
en->es
China, Republican period (1912-49)
| China, período republicano (1912-49) | |
| t | 7c0EN5fe8c161ba329-de-libre | libre |
en->de
China, Republican period (1912-49)
| China, Republikanische Periode (1912-49) | |
| t | 7bfEN16b14bf0b0c51-de-libre | libre |
en->de
Round Segmentum from a Tunic
| Rundes Segmentum aus einem Tunic | |
| t | 7bfEN9323b5ea9ddba-da-libre | libre |
en->da
red terracotta with yellow and transparent glaze
| rød terracotta med gul og gennemsigtig glasur | |
| i | 7c0EN6c7ad5ba47b95-de-libre | libre |
en->de
Poincarè Medal (obverse)
| Poincarè Medal (obverse) | |
| t | 7c0EN6c7ad5ba47b95-da-libre | libre |
en->da
Poincarè Medal (obverse)
| Poincarés medalje (obverse) | |
| t | 7bfENc39e76bfda119-es-libre | libre |
en->es
The darker ground of unbleached linen allows the meandering pattern completed in the filet/lacis technique using bleached linen to prominently stand out.
| El suelo más oscuro de lino sin blanquear permite el patrón de meandro completado en la técnica filet/lacis usando lino blanqueado para destacar prominentemente. | |
| t | 7cbENf87ba22352120-es-libre | libre |
en->es
The Gotha Missal: Fol. 96v, Text
| The Gotha Missal: Fol. 96v, Text | |
| t | 7cbENf87ba22352120-de-libre | libre |
en->de
The Gotha Missal: Fol. 96v, Text
| The Gotha Missal: Fol. 96v, Text | |
| t | 7c0EN85b44ea48b854-es-libre | libre |
en->es
Sketches at Home and Abroad: Trento
| Sketches at Home and Abroad: Trento | |
| t | 7c0EN85b44ea48b854-de-libre | libre |
en->de
Sketches at Home and Abroad: Trento
| Skizzen zu Hause und im Ausland: Trient | |
| t | 7c0EN85b44ea48b854-da-libre | libre |
en->da
Sketches at Home and Abroad: Trento
| Skitser i hjemmet og udlandet: Trento | |
| t | 7c0EN9d4463e5cb66b-es-libre | libre |
en->es
This mysterious drawing shows an encounter between elegantly dressed members of the noble class. The French inscription above the image suggests that the woman is addressing her suitors and makes it clear that they are concerned with the pursuit of love: He who will conquer my love / This [barrier] must overcome / Neither destroying it nor loosening it / Going neither below it nor above. The style of the clothing reflects French court fashions during the reign of Charles VIII (1483–98), and the subject relates to the tradition of late medieval collections of love riddles that involved verbal exchanges between courtly ladies and gentlemen.
| Este misterioso dibujo muestra un encuentro entre miembros elegantemente vestidos de la clase noble. La inscripción francesa por encima de la imagen sugiere que la mujer está abordando a sus pretendientes y deja claro que están preocupados por la búsqueda del amor: El que conquistará mi amor / Este [barrier] debe vencer / Ni destruirlo ni soltarlo / No ir abajo ni arriba. El estilo de la ropa refleja las modas de la corte francesa durante el reinado de Carlos VIII (1483–98), y el tema se relaciona con la tradición de colecciones medievales tardías de enigmas de amor que implicaban intercambios verbales entre damas y caballeros cortesanos. | |
| t | 7c0EN9d4463e5cb66b-de-libre | libre |
en->de
This mysterious drawing shows an encounter between elegantly dressed members of the noble class. The French inscription above the image suggests that the woman is addressing her suitors and makes it clear that they are concerned with the pursuit of love: He who will conquer my love / This [barrier] must overcome / Neither destroying it nor loosening it / Going neither below it nor above. The style of the clothing reflects French court fashions during the reign of Charles VIII (1483–98), and the subject relates to the tradition of late medieval collections of love riddles that involved verbal exchanges between courtly ladies and gentlemen.
| Diese geheimnisvolle Zeichnung zeigt eine Begegnung zwischen elegant gekleideten Mitgliedern der edlen Klasse. Die französische Inschrift über dem Bild deutet darauf hin, dass die Frau sich an ihre Verehrer wendet und deutlich macht, dass sie sich mit dem Streben nach Liebe beschäftigt: Wer meine Liebe erobern wird / Diese [Barriere] muss überwinden / Weder zerstören noch lockern / Gehen weder darunter noch oben. Der Stil der Kleidung spiegelt französische Hofmoden während der Herrschaft von Karl VIII (1483/98), und das Thema bezieht sich auf die Tradition der spätmittelalterlichen Sammlungen von Liebesrätseln, die mündlichen Austausch zwischen höfischen Damen und Herren. | |
| t | 7c1ENdda841b1d61b1-es-libre | libre |
en->es
Chüeh (Ornament)
| Chüeh (Ornament) | |
| t | 7bfEN66b90b3ae4df6-es-libre | libre |
en->es
engraving and roulette printed in brown ink
| grabado y roulette impreso en tinta marrón | |
| t | 7ccEN08a0780d6c82a-da-libre | libre |
en->da
The Hittites migrated into Anatolia in the 3rd millennium BC and spoke an Indo-European language, a group that includes Greek, Latin, Persian, Sanskrit, English, and most modern European languages. They were the first ancient people to use iron for weapons. From about 1600–1200 BC their empire was at its peak, extending from central Anatolia to Syria, and south along the eastern Mediterranean. Their vast empire and interest in commerce enabled the Hittites to spread Mesopotamian ideas and culture throughout the ancient Mediterranean world. This large basalt sculpture is exceptionally rare in depicting a Hittite god or priest-king wearing a horned conical crown, false beard, and long robe. He holds a bowl in his right hand and once held something in his left, perhaps a staff or sword.
| Hittitterne vandrede ind i Anatolien i det 3. årtusinde f.Kr. og talte et indo-europæisk sprog, en gruppe, der omfatter græsk, latin, persisk, sanskrit, engelsk og de fleste moderne europæiske sprog. De var de første, der brugte jern til våben. Fra omkring 1600- 1200 f.Kr. deres imperium var på sit højeste, strækker sig fra det centrale Anatolien til Syrien, og syd langs det østlige Middelhavsområde. Deres enorme imperium og interesse i handel gjorde det muligt for hittitterne at sprede Mesopotamian ideer og kultur i hele den gamle Middelhavsverden. Denne store basalt skulptur er usædvanligt sjælden ved at skildre en Hittite gud eller præst- konge iført en hornet konisk krone, falsk skæg, og lang kåbe. Han holder en skål i sin højre hånd og engang holdt noget i sin venstre, måske en stav eller sværd. | |
| i | 7bfENdb64e54d7660e-da-libre | libre |
en->da
St. Bartholomews: The Green Churchyard on the Site of the Old South Transept
| St. Bartholomews: The Green Churchyard on the Site of the Old South Transept | |
| t | 7bfEN66b90b3ae4df6-de-libre | libre |
en->de
engraving and roulette printed in brown ink
| Gravur und Roulette bedruckt in brauner Tinte | |
| t | 7bfENe051c2d9af48a-es-libre | libre |
en->es
granite and cast, laminated, and polished glass
| granito y yeso, laminado y pulido vidrio | |
| t | 7c0EN9d4463e5cb66b-da-libre | libre |
en->da
This mysterious drawing shows an encounter between elegantly dressed members of the noble class. The French inscription above the image suggests that the woman is addressing her suitors and makes it clear that they are concerned with the pursuit of love: He who will conquer my love / This [barrier] must overcome / Neither destroying it nor loosening it / Going neither below it nor above. The style of the clothing reflects French court fashions during the reign of Charles VIII (1483–98), and the subject relates to the tradition of late medieval collections of love riddles that involved verbal exchanges between courtly ladies and gentlemen.
| Denne mystiske tegning viser et møde mellem elegant klædte medlemmer af den ædle klasse. Den franske inskription over billedet tyder på, at kvinden henvender sig til sine bejlere og gør det klart, at de er optaget af forfølgelsen af kærlighed: Den, der vil erobre min kærlighed / denne [barriere] skal overvinde / hverken ødelægge det eller løsne det / gå hverken under det eller over. Den stil af tøj afspejler franske domstol mode under regeringstid Charles VIII (1483-98), og emnet vedrører traditionen for sene middelalderlige samlinger af kærlighed gåder, der involverede mundtlige udvekslinger mellem høflige damer og herrer. | |
| t | 7c0ENa64fd10d4c86d-es-libre | libre |
en->es
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 269r, SS. Philip and James
| Horas de Carlos el noble, rey de Navarra (1361-1425): fol. 269r, SS. Philip y James | |
| t | 7c0ENa64fd10d4c86d-de-libre | libre |
en->de
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 269r, SS. Philip and James
| Stunden Karls des Edlen, König von Navarra (1361-1425): fol. 269r, SS. Philip und James | |
| t | 7bfEN66b90b3ae4df6-da-libre | libre |
en->da
engraving and roulette printed in brown ink
| gravering og roulette trykt med brun blæk | |
| t | 7c0ENcaa8dcc7abd9b-es-libre | libre |
en->es
Peter Breughel the Elder
| Peter Breughel el Anciano | |
| t | 7c0ENcaa8dcc7abd9b-de-libre | libre |
en->de
Peter Breughel the Elder
| Peter Breughel der Ältere | |
| t | 7c0ENcaa8dcc7abd9b-da-libre | libre |
en->da
Peter Breughel the Elder
| Peter Breughel den Ældre | |
| t | 7bfEN6bae1b88e75fa-es-libre | libre |
en->es
Northern India, Mathura, Kushan period
| Northern India, Mathura, Kushan period | |
| t | 7bfEN1bb144e449f97-de-libre | libre |
en->de
pen and brown ink and brush and brown wash over black chalk; framing lines in brown ink and graphite
| Stift und braune Tinte und Pinsel und braunes Waschen über schwarze Kreide; Rahmenlinien in brauner Tinte und Graphit | |
| t | 7c0ENdbf85fda509d8-da-libre | libre |
en->da
glazed white clay
| glaseret hvidt ler | |
| t | 7c0ENdcaa13ed4161c-es-libre | libre |
en->es
mottled red sandstone
| piedra de arena roja moteada | |
| t | 7c0ENdcaa13ed4161c-de-libre | libre |
en->de
mottled red sandstone
| Roter Sandstein | |
| t | 7c0ENdcaa13ed4161c-da-libre | libre |
en->da
mottled red sandstone
| motted red sandstone | |
| t | 7c0ENdf356f4a38b01-es-libre | libre |
en->es
Boat on a Beach, Le Tréport
| Barco en una playa, Le Tréport | |
| t | 7c0ENdf356f4a38b01-de-libre | libre |
en->de
Boat on a Beach, Le Tréport
| Boot am Strand, Le Tréport | |
| t | 7c0ENdf356f4a38b01-da-libre | libre |
en->da
Boat on a Beach, Le Tréport
| Båd på en strand, Le Tréport | |
| t | 7c0ENedcb3b84a1683-es-libre | libre |
en->es
woodcut in black and brown
| corte de madera en negro y marrón | |
| t | 7c0ENedcb3b84a1683-de-libre | libre |
en->de
woodcut in black and brown
| Holzschnitt in Schwarz und Braun | |
| t | 7c0ENedcb3b84a1683-da-libre | libre |
en->da
woodcut in black and brown
| træsnit i sort og brun | |
| t | 7c0ENedddda9af56f8-es-libre | libre |
en->es
Northern India, Uttaranchal, Almoral, 10th century
| Norte de India, Uttaranchal, Almoral, siglo X | |
| t | 7c0ENedddda9af56f8-de-libre | libre |
en->de
Northern India, Uttaranchal, Almoral, 10th century
| Nordindien, Uttaranchal, Almoral, 10. Jahrhundert | |
| t | 7c0ENedddda9af56f8-da-libre | libre |
en->da
Northern India, Uttaranchal, Almoral, 10th century
| Nordindiske, Uttaranchal, Almoral, 10. århundrede | |
| t | 7c0ENfec4fde8ab8bb-es-libre | libre |
en->es
Relief of a King
| Socorro de un rey | |
| t | 7c0ENfec4fde8ab8bb-de-libre | libre |
en->de
Relief of a King
| Relief eines Königs | |
| i | 7c0ENfec4fde8ab8bb-da-libre | libre |
en->da
Relief of a King
| Relief of a King | |
| t | 7c1EN37d394f0a5274-es-libre | libre |
en->es
Laban Searching for his Stolen Household Gods
| Laban buscando por sus Dioses de Hogares Robados | |
| t | 7c1EN37d394f0a5274-de-libre | libre |
en->de
Laban Searching for his Stolen Household Gods
| Laban sucht nach seinen gestohlenen Haushaltsgöttern | |
| t | 7c1EN37d394f0a5274-da-libre | libre |
en->da
Laban Searching for his Stolen Household Gods
| Laban søger efter sine stjålne guder | |
| t | 7c1EN54cdea6a3fe92-es-libre | libre |
en->es
This sculpture is an excellent example of the Romanesque sculptor’s ability to accommodate his subject to the format of the capital. Much of the artistic quality of this work derives from the skillful contrast and balance of rounded solids, deep voids, and shallow prismatic hollows. It also illustrates the love of fanciful subject matter in largely religious contexts. A capital is essentially the top element of a column, usually carved, that acts as a mediator between the column and the load it supports. In this way, the subject of this capital serves as a metaphor.
| Esta escultura es un excelente ejemplo de la capacidad del escultor románico de acomodar su sujeto al formato de la capital. Gran parte de la calidad artística de esta obra se deriva del contraste y equilibrio de sólidos redondeados, vacíos profundos y huecos prismáticos poco profundos. También ilustra el amor de la materia fanciosa en contextos religiosos en gran parte. Un capital es esencialmente el elemento superior de una columna, generalmente tallada, que actúa como mediador entre la columna y la carga que soporta. De esta manera, el tema de esta capital sirve como metáfora. | |
| t | 7c1EN54cdea6a3fe92-de-libre | libre |
en->de
This sculpture is an excellent example of the Romanesque sculptor’s ability to accommodate his subject to the format of the capital. Much of the artistic quality of this work derives from the skillful contrast and balance of rounded solids, deep voids, and shallow prismatic hollows. It also illustrates the love of fanciful subject matter in largely religious contexts. A capital is essentially the top element of a column, usually carved, that acts as a mediator between the column and the load it supports. In this way, the subject of this capital serves as a metaphor.
| Diese Skulptur ist ein ausgezeichnetes Beispiel für die romanische Bildhauer-Situation Fähigkeit, sein Subjekt dem Format des Kapitals unterzubringen. Ein Großteil der künstlerischen Qualität dieser Arbeit ergibt sich aus dem geschickten Kontrast und Gleichgewicht von abgerundeten Feststoffen, tiefen Hohlräumen und flachen prismatischen Hohlräumen. Es illustriert auch die Liebe zu fantasievollen Subjekten in weitgehend religiösen Kontexten. Ein Kapital ist im Wesentlichen das obere Element einer Spalte, normalerweise geschnitzt, die als Vermittler zwischen der Spalte und der Ladung, die es unterstützt. Auf diese Weise dient das Thema dieser Hauptstadt als Metapher. | |
| t | 7c1EN54cdea6a3fe92-da-libre | libre |
en->da
This sculpture is an excellent example of the Romanesque sculptor’s ability to accommodate his subject to the format of the capital. Much of the artistic quality of this work derives from the skillful contrast and balance of rounded solids, deep voids, and shallow prismatic hollows. It also illustrates the love of fanciful subject matter in largely religious contexts. A capital is essentially the top element of a column, usually carved, that acts as a mediator between the column and the load it supports. In this way, the subject of this capital serves as a metaphor.
| Denne skulptur er et fremragende eksempel på den romanske billedhugger evne til at imødekomme sit emne til formatet af hovedstaden. Meget af den kunstneriske kvalitet af dette arbejde stammer fra den dygtige kontrast og balance af afrundede faste stoffer, dybe porids, og overfladiske prismatiske huller. Det illustrerer også kærligheden til fantasifulde emner i overvejende religiøse sammenhænge. En kapital er hovedsagelig det øverste element i en kolonne, normalt udskåret, der fungerer som en mægler mellem kolonnen og den belastning, den understøtter. På denne måde tjener denne kapital som metafor. | |
| t | 7c1EN6dad47341bdbf-es-libre | libre |
en->es
double-leaf from an accordion-style album; ink and color on silk (right), and ink on paper (left)
| doble hoja de un disco de acordeón; tinta y color sobre seda (derecha), y tinta sobre papel (izquierda) | |
| t | 7c1EN6dad47341bdbf-de-libre | libre |
en->de
double-leaf from an accordion-style album; ink and color on silk (right), and ink on paper (left)
| Doppelblatt aus einem Akkordeon-Album; Tinte und Farbe auf Seide (rechts) und Tinte auf Papier (links) | |
| t | 7c1EN6dad47341bdbf-da-libre | libre |
en->da
double-leaf from an accordion-style album; ink and color on silk (right), and ink on paper (left)
| dobbelt-blad fra en harmonika-stil album; blæk og farve på silke (højre), og blæk på papir (venstre) | |
| t | 7c1EN94a5002498ac2-es-libre | libre |
en->es
Printed ready-made on paper
| Impreso listo en papel | |
| t | 7c1EN94a5002498ac2-de-libre | libre |
en->de
Printed ready-made on paper
| Gedruckt auf Papier | |
| t | 7c1EN94a5002498ac2-da-libre | libre |
en->da
Printed ready-made on paper
| Trykt read-made på papir | |
| t | 7c1ENaad02c1f94432-es-libre | libre |
en->es
The Omnibus: Full!
| ¡Lista! | |
| t | 7c1ENaad02c1f94432-de-libre | libre |
en->de
The Omnibus: Full!
| Voll! | |
| t | 7c1ENaad02c1f94432-da-libre | libre |
en->da
The Omnibus: Full!
| Omnibus: Fuld! | |
| t | 7c1ENc1e91cb809e54-es-libre | libre |
en->es
silver gilt with rubies and diamonds
| Gilt plateado con rubíes y diamantes | |
| t | 7c0EN5317bed3fc85e-da-libre | libre |
en->da
steel; wood, leather, sharkskin grip
| stål; træ, læder, skarphudens greb | |
| t | 7c1ENc1e91cb809e54-da-libre | libre |
en->da
silver gilt with rubies and diamonds
| forgyldt sølv med rubiner og diamanter | |
| t | 7c1ENca90293465837-es-libre | libre |
en->es
Italy or France, 18th century
| Italia o Francia, siglo XVIII | |
| t | db4ENb87db1e500543-es-libre | libre |
en->es
Buttons
| Botones | |
| t | 7c2EN1abe98d2de001-es-libre | libre |
en->es
Sketchbook, The Dells, N° 127, page 089: Bending Figure
| Sketchbook, The Dells, N° 127, página 089: Figura Bending | |
| t | 7c2EN1abe98d2de001-de-libre | libre |
en->de
Sketchbook, The Dells, N° 127, page 089: Bending Figure
| Skizzenbuch, Die Dells, Nr. 127, Seite 089: Biegen Abbildung | |
| t | 7c0EN5fe8c161ba329-da-libre | libre |
en->da
China, Republican period (1912-49)
| Kina, republikansk periode (1912-49) | |
| t | 7bfEN65fa754205a16-es-libre | libre |
en->es
silver inlaid with copper and gold
| incrustado en plata con cobre y oro | |
| t | 7c0EN6c7ad5ba47b95-es-libre | libre |
en->es
Poincarè Medal (obverse)
| Medalla Poincarè (obverso) | |
| t | 7c2EN226e0e273843b-da-libre | libre |
en->da
Torso of Amenpayom
| Amenpayoms torso | |
| t | 7c2EN29c4c14016e67-es-libre | libre |
en->es
Indonesia, Sumba, early 20th century
| Indonesia, Sumba, principios del siglo XX | |
| t | 7c2EN29c4c14016e67-de-libre | libre |
en->de
Indonesia, Sumba, early 20th century
| Indonesien, Sumba, Anfang des 20. Jahrhunderts | |
| t | 7c2EN29c4c14016e67-da-libre | libre |
en->da
Indonesia, Sumba, early 20th century
| Indonesien, Sumba, begyndelsen af det 20. århundrede | |
| t | 7c2EN3d89377600d70-es-libre | libre |
en->es
The Old Elm Tree
| El viejo árbol de Elm | |
| t | 7c2EN3d89377600d70-de-libre | libre |
en->de
The Old Elm Tree
| Der alte Elmbaum | |
| t | 7c0EN7f2721fadc80a-es-libre | libre |
en->es
In the 1630s, the practice of painting with enamel on metal became a means for French miniature painters to achieve a more richly colored, durable product. Previously miniatures were painted with watercolor on vellum, a material made from animal skin. This case would have originally held a watch, but was later transformed into a simple box through the removal of the watch mechanism and ring. This watch case is richly painted inside and out with miniatures modeled after well-known religiously allegorical works.
| En los años 1630, la práctica de la pintura con esmalte en metal se convirtió en un medio para los pintores franceses de miniatura para lograr un producto más rico y duradero. Anteriormente las miniaturas fueron pintadas con acuarela en vellum, un material hecho de piel animal. Este caso habría tenido originalmente un reloj, pero luego se transformó en una caja simple a través de la eliminación del mecanismo de reloj y anillo. Esta caja de reloj está ricamente pintada dentro y fuera con miniatures modeladas después de conocidas obras religiosamente alegoría. | |
| t | 7bfENc39e76bfda119-de-libre | libre |
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The darker ground of unbleached linen allows the meandering pattern completed in the filet/lacis technique using bleached linen to prominently stand out.
| Der dunklere Boden der ungebleichten Leinen ermöglicht das in der Filet/lacis-Technik mit gebleichtem Leinen vollendete Mäandermuster, um prominent herauszuheben. | |
| t | 7cbENf077fcc629c58-da-libre | libre |
en->da
Two Pound Piece: William IV (obverse)
| To pund stykke: William IV (obverse) | |
| t | 7c0EN7f2721fadc80a-da-libre | libre |
en->da
In the 1630s, the practice of painting with enamel on metal became a means for French miniature painters to achieve a more richly colored, durable product. Previously miniatures were painted with watercolor on vellum, a material made from animal skin. This case would have originally held a watch, but was later transformed into a simple box through the removal of the watch mechanism and ring. This watch case is richly painted inside and out with miniatures modeled after well-known religiously allegorical works.
| I 1630 'erne blev maleriet med emalje på metal et middel for franske miniature malere til at opnå et mere rigt farvet, holdbart produkt. Tidligere miniaturer blev malet med vandfarve på vellum, et materiale lavet af dyrehud. Denne sag ville oprindeligt have holdt et ur, men blev senere forvandlet til en simpel kasse gennem fjernelse af uret mekanisme og ring. Denne urkasse er rigt malet inde og ude med miniaturer modelleret efter velkendte religiøst allegoriske værker. | |
| t | 7c2EN4c4cec5330566-es-libre | libre |
en->es
The Midnight Coast
| La Costa Medianoche | |
| t | 7c2EN4c4cec5330566-de-libre | libre |
en->de
The Midnight Coast
| Die Mitternachtsküste | |
| t | 7c2EN4c4cec5330566-da-libre | libre |
en->da
The Midnight Coast
| Midnatskysten | |
| t | 7c2EN6ea8a81456299-es-libre | libre |
en->es
Egypt and Nubia, Volume II: Front Elevation of the Great Temple of Aboo Simbel, Nubia
| Egipto y Nubia, Volumen II: Elevación frontal del Gran Templo de Aboo Simbel, Nubia | |
| t | 7c2EN6ea8a81456299-de-libre | libre |
en->de
Egypt and Nubia, Volume II: Front Elevation of the Great Temple of Aboo Simbel, Nubia
| Ägypten und Nubia, Band II: Fronthöhe des Großen Tempels von Aboo Simbel, Nubia | |
| t | 7c2EN6ea8a81456299-da-libre | libre |
en->da
Egypt and Nubia, Volume II: Front Elevation of the Great Temple of Aboo Simbel, Nubia
| Egypten og Nubia Bind II: Front Elevation of the Great Temple of Aboo Simbel, Nubia | |
| t | 7c2ENd7ad228d4ee32-es-libre | libre |
en->es
Difficult to make it look slim
| Difícil de hacerlo parecer delgado | |
| t | 7c2ENd7ad228d4ee32-de-libre | libre |
en->de
Difficult to make it look slim
| Schwierig, es schlank aussehen zu lassen | |
| t | 7c2ENd7ad228d4ee32-da-libre | libre |
en->da
Difficult to make it look slim
| Svært at få det til at se slankt ud | |
| t | 7c2ENe4138a71e3842-es-libre | libre |
en->es
Lake Erie
| Lake Erie | |
| t | 7c2ENe4138a71e3842-de-libre | libre |
en->de
Lake Erie
| See Erie | |
| t | 7c2ENe4138a71e3842-da-libre | libre |
en->da
Lake Erie
| Eriesøen | |
| t | 7c3EN0a252dd832e77-es-libre | libre |
en->es
Lohan (Arhat) Holding a Peach
| Lohan (Arhat) Holding a Peach | |
| t | 7c3EN0a252dd832e77-de-libre | libre |
en->de
Lohan (Arhat) Holding a Peach
| Lohan (Arhat) hält einen Pfirsich | |
| t | 7bfENdb64e54d7660e-de-libre | libre |
en->de
St. Bartholomews: The Green Churchyard on the Site of the Old South Transept
| St. Bartholomews: Der grüne Kirchhof auf dem Gelände des Alten Südens Transept | |
| t | 7bfEN16b14bf0b0c51-da-libre | libre |
en->da
Round Segmentum from a Tunic
| Runde segmentum fra en tunisk | |
| t | 7c3EN0fbc9a69d3211-de-libre | libre |
en->de
St. Anthony Reading
| St. Anthony Lesung | |
| i | 7c3EN0fbc9a69d3211-da-libre | libre |
en->da
St. Anthony Reading
| St. Anthony Reading | |
| t | 7c3EN2196824565ff1-es-libre | libre |
en->es
red chalk and graphite
| tiza roja y grafito | |
| t | 7c3EN2196824565ff1-de-libre | libre |
en->de
red chalk and graphite
| Rote Kreide und Graphit | |
| t | 7c3EN2196824565ff1-da-libre | libre |
en->da
red chalk and graphite
| Rødt kridt og grafit | |
| t | 7c3EN2d715af09eda7-es-libre | libre |
en->es
Octagonal Water Dropper Decorated with Flower Design
| Octagonal Water Dropper Decorada con Flower Design | |
| t | 7c3EN2d715af09eda7-de-libre | libre |
en->de
Octagonal Water Dropper Decorated with Flower Design
| Oktagonal Wasser-Dropper mit Blumen Design dekoriert | |
| t | 7c3EN2d715af09eda7-da-libre | libre |
en->da
Octagonal Water Dropper Decorated with Flower Design
| Octagonal vanddrypper dekoreret med Flower Design | |
| t | 7c3EN86fceb11de2e5-es-libre | libre |
en->es
The Several Habits of English Women, from the Nobility to the Country Women as they are in these times: The Woman with Flowers
| Los varios hábitos de las mujeres inglesas, desde la nobleza hasta las mujeres del país como en estos tiempos: La Mujer con Flores | |
| t | 7c3EN86fceb11de2e5-de-libre | libre |
en->de
The Several Habits of English Women, from the Nobility to the Country Women as they are in these times: The Woman with Flowers
| Die mehrere Habiten der englischen Frauen, vom Adel zum Land Frauen, wie sie in diesen Zeiten sind: Die Frau mit Blumen | |
| t | 7c3EN86fceb11de2e5-da-libre | libre |
en->da
The Several Habits of English Women, from the Nobility to the Country Women as they are in these times: The Woman with Flowers
| De Flere Vaner af Engelske Kvinder, fra Nobility til Land Kvinder som de er i disse tider: The Woman with Flowers | |
| t | 7c3ENa4e8d85887870-es-libre | libre |
en->es
The kero is a distinctive Tiwanaku vessel form, imitated by the later Inka, who used the cups in political and religious ceremonies. It is assumed that the same was true at Tiwanaku, where impressive stone figures, perhaps rulers, hold keros as though they are emblems of authority. Perhaps, like the Inka, the Tiwanaku used keros to drink chicha, a corn beer shared to cement bonds of mutual obligation among allies.
| El kero es una forma de barco Tiwanaku distintiva, imitada por el Inka posterior, que utilizó las copas en ceremonias políticas y religiosas. Se supone que lo mismo era cierto en Tiwanaku, donde impresionantes figuras de piedra, tal vez gobernantes, sostienen queros como si fueran emblemas de autoridad. Tal vez, como el Inka, el Tiwanaku usó queros para beber chicha, una cerveza de maíz compartida para cementar bonos de obligación mutua entre los aliados. | |
| t | 7c3ENa4e8d85887870-de-libre | libre |
en->de
The kero is a distinctive Tiwanaku vessel form, imitated by the later Inka, who used the cups in political and religious ceremonies. It is assumed that the same was true at Tiwanaku, where impressive stone figures, perhaps rulers, hold keros as though they are emblems of authority. Perhaps, like the Inka, the Tiwanaku used keros to drink chicha, a corn beer shared to cement bonds of mutual obligation among allies.
| Der Kero ist eine markante Tiwanaku-Schiffsform, die von der späteren Inka nachgeahmt wird, die die Becher in politischen und religiösen Zeremonien benutzte. Es wird angenommen, dass das gleiche in Tiwanaku wahr war, wo beeindruckende Steinfiguren, vielleicht Herrscher, Keros halten, als wären sie Embleme der Autorität. Vielleicht, wie die Inka, benutzte der Tiwanaku Keros, um Chicha zu trinken, ein Maisbier, das zu Zementbindungen gegenseitiger Verpflichtung unter Verbündeten geteilt wurde. | |
| t | 7c0ENa64fd10d4c86d-da-libre | libre |
en->da
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 269r, SS. Philip and James
| Hours of Charles the Noble, King of Navarre (1361- 1425): foll. 269r, SS. Philip og James | |
| t | 7c3ENa4e8d85887870-da-libre | libre |
en->da
The kero is a distinctive Tiwanaku vessel form, imitated by the later Inka, who used the cups in political and religious ceremonies. It is assumed that the same was true at Tiwanaku, where impressive stone figures, perhaps rulers, hold keros as though they are emblems of authority. Perhaps, like the Inka, the Tiwanaku used keros to drink chicha, a corn beer shared to cement bonds of mutual obligation among allies.
| Keroen er en karakteristisk Tiwanaku fartøj form, efterlignet af den senere Inka, der brugte kopper i politiske og religiøse ceremonier. Det antages, at det samme var tilfældet i Tiwanaku, hvor imponerende stenfigurer, måske herskere, holder keros, som om de er emblemer af autoritet. Måske brugte Tiwanaku ligesom inkaen keros til at drikke chicha, en majsøl delt med cementobligationer af gensidig forpligtelse blandt allierede. | |
| t | 7c3ENd8cad2edfe0e6-es-libre | libre |
en->es
Text, folio 255 (recto), from a Gospel Book with Commentaries
| Texto, folio 255 (recto), de un libro del Evangelio con comentarios | |
| t | 7c3ENd8cad2edfe0e6-de-libre | libre |
en->de
Text, folio 255 (recto), from a Gospel Book with Commentaries
| Text, folio 255 (Recto), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 7c3ENd8cad2edfe0e6-da-libre | libre |
en->da
Text, folio 255 (recto), from a Gospel Book with Commentaries
| Tekst, folio 255 (recto), fra en evangeliebog med kommentarer | |
| t | 7c3ENdb5cdc21aa3f1-es-libre | libre |
en->es
Peru, Wari style, 6th-10th century
| Perú, estilo Wari, siglo VI-10 | |
| t | 7c3ENdb5cdc21aa3f1-de-libre | libre |
en->de
Peru, Wari style, 6th-10th century
| Peru, Waristil, 6.-10. Jahrhundert | |
| t | 7c3ENdb5cdc21aa3f1-da-libre | libre |
en->da
Peru, Wari style, 6th-10th century
| Peru, Wari stil, 6th-10th århundrede | |
| t | 7c3ENe821ac82e30e6-es-libre | libre |
en->es
Four sheets of annotated pencil drawings that have been stapled shut for "3 money making deals for 3 smart businessmen who want to make a million or so and become somebody's loved one."
| Cuatro hojas de dibujos anotados de lápiz que han sido cerrados por "3 dinero haciendo ofertas para 3 hombres de negocios inteligentes que quieren hacer un millón o así y convertirse en el ser querido de alguien" | |
| t | 7bfENe44f153b8c381-es-libre | libre |
en->es
Long-Necked Flask (Krateriskos)
| Flask de cuello largo (Krateriskos) | |
| t | 7c0ENdbf85fda509d8-de-libre | libre |
en->de
glazed white clay
| Weißer Ton glasiert | |
| t | 7c3ENec0097d32c964-es-libre | libre |
en->es
Camera Work: East and West
| Trabajo de cámara: Este y Oeste | |
| t | 7c3ENec0097d32c964-de-libre | libre |
en->de
Camera Work: East and West
| Kameraarbeit: Ost und West | |
| t | 7c3ENec0097d32c964-da-libre | libre |
en->da
Camera Work: East and West
| Kamera arbejde: øst og vest | |
| t | 7c4EN044081aaba632-es-libre | libre |
en->es
The larger beads have pellets inside, and tinkle when shaken.
| Las cuentas más grandes tienen pellets dentro, y tobillo cuando se sacude. | |
| t | 7c4EN044081aaba632-de-libre | libre |
en->de
The larger beads have pellets inside, and tinkle when shaken.
| Die größeren Perlen haben Pellets innen und zinken beim Schütteln. | |
| t | 7c4EN044081aaba632-da-libre | libre |
en->da
The larger beads have pellets inside, and tinkle when shaken.
| De større perler har pellets indeni, og klør når de rystes. | |
| t | 7c4EN1f98e1cd68691-es-libre | libre |
en->es
Figurative Border
| Frontera figurativa | |
| t | 7c4EN1f98e1cd68691-de-libre | libre |
en->de
Figurative Border
| Figurative Grenze | |
| t | 7c4EN1f98e1cd68691-da-libre | libre |
en->da
Figurative Border
| Figurativ kant | |
| t | 7c4EN24f781a502561-es-libre | libre |
en->es
London Types: Bus Driver
| London Tipos: Bus Driver | |
| t | 7c4EN24f781a502561-de-libre | libre |
en->de
London Types: Bus Driver
| Londoner Typen: Busfahrer | |
| t | 7c4EN24f781a502561-da-libre | libre |
en->da
London Types: Bus Driver
| London Typer: Buschauffør | |
| t | 7c4EN3470d0afe9ab7-es-libre | libre |
en->es
Men perform all the roles in Kabuki, a form of Japanese theater. Some actors specialize in <em>onnagata</em> (女形), or female roles. Segawa Kikunojō III was one of the most famous onnagata actors of his day. Here, he plays a character called Teruha in what was once the center print of a triptych (a composition of three prints). Teruha is officiating a wrestling match that also involves red and white roosters.
| Los hombres desempeñan todos los papeles en Kabuki, una forma de teatro japonés. Algunos actores se especializan en <em>onnagata</em> (Tipo de vista) o roles femeninos. Segawa Kikunojō III fue uno de los actores más famosos de la onnagata de su día. Aquí juega un personaje llamado Teruha en lo que fue una vez la impresión central de un tríptico (una composición de tres impresiones). Teruha está oficiando un partido de lucha que también implica gallos rojos y blancos. | |
| t | 7c4EN3470d0afe9ab7-de-libre | libre |
en->de
Men perform all the roles in Kabuki, a form of Japanese theater. Some actors specialize in <em>onnagata</em> (女形), or female roles. Segawa Kikunojō III was one of the most famous onnagata actors of his day. Here, he plays a character called Teruha in what was once the center print of a triptych (a composition of three prints). Teruha is officiating a wrestling match that also involves red and white roosters.
| Männer spielen alle Rollen in Kabuki, einer Form des japanischen Theaters. Einige Schauspieler sind spezialisiert auf <em>Onnagata</em> == Einzelnachweise == Segawa Kikunojō III war einer der bekanntesten Onnagata Schauspieler seiner Zeit. Hier spielt er eine Figur namens Teruha in dem, was einst das Zentrum eines Triptychons war (eine Komposition von drei Drucken). Teruha beleidigt einen Ringkampf, der auch rote und weiße Hähne beinhaltet. | |
| t | 7c4EN3470d0afe9ab7-da-libre | libre |
en->da
Men perform all the roles in Kabuki, a form of Japanese theater. Some actors specialize in <em>onnagata</em> (女形), or female roles. Segawa Kikunojō III was one of the most famous onnagata actors of his day. Here, he plays a character called Teruha in what was once the center print of a triptych (a composition of three prints). Teruha is officiating a wrestling match that also involves red and white roosters.
| Mænd udfører alle roller i Kabuki, en form for japansk teater. Nogle aktører specialiserer sig i <em>onnagata</em> eller kvindelige roller. Segawa Kikunojzaire2006. kgm III var en af de mest berømte onnagata skuespillere i hans dag. Her spiller han en karakter kaldet Teruha i, hvad der var engang centrum print af en triptych (en sammensætning af tre print). Teruha er i gang med en wrestling kamp, der også involverer røde og hvide haner. | |
| t | 7c4EN4d1e1544ad0db-es-libre | libre |
en->es
Caster
| Caster | |
| i | 7c4EN4d1e1544ad0db-de-libre | libre |
en->de
Caster
| Caster | |
| t | 7c4EN4d1e1544ad0db-da-libre | libre |
en->da
Caster
| Kaster | |
| t | 7c4EN6d955ef054275-es-libre | libre |
en->es
Italy, Venice, 20th entury
| Italia, Venecia, 20a enturgia | |
| t | 7c4EN6d955ef054275-de-libre | libre |
en->de
Italy, Venice, 20th entury
| Italien, Venedig, 20th entury | |
| t | 7c4EN6d955ef054275-da-libre | libre |
en->da
Italy, Venice, 20th entury
| Italien, Venedig, 20. entury | |
| t | 7c4EN98be46782a5db-es-libre | libre |
en->es
St. Aignan, Chartres
| St. Aignan, Chartres | |
| i | 7c4EN98be46782a5db-de-libre | libre |
en->de
St. Aignan, Chartres
| St. Aignan, Chartres | |
| i | 7c4EN98be46782a5db-da-libre | libre |
en->da
St. Aignan, Chartres
| St. Aignan, Chartres | |
| t | 7c4EN9a19346c9ec25-es-libre | libre |
en->es
Solarized silver gelatin print
| Impresión de gelatina de plata solarizada | |
| t | 7c4EN9a19346c9ec25-de-libre | libre |
en->de
Solarized silver gelatin print
| Solarisierter Silbergelatinedruck | |
| t | 7c4EN9a19346c9ec25-da-libre | libre |
en->da
Solarized silver gelatin print
| Solariseret sølv gelatine print | |
| t | 7c4ENa595038450ef6-es-libre | libre |
en->es
Gourd Flask with Floral Scrolls
| Gourd Flask con ranuras florales | |
| t | 7c4ENa595038450ef6-de-libre | libre |
en->de
Gourd Flask with Floral Scrolls
| Gourd Flask mit Blumenrollen | |
| t | 7c4ENa595038450ef6-da-libre | libre |
en->da
Gourd Flask with Floral Scrolls
| Gourd Flask med Floral Scrolls | |
| t | 7c4ENa78378220c31a-es-libre | libre |
en->es
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 247r, Text
| Horas de Carlos Noble, Rey de Navarra (1361-1425): fol. 247r, Texto | |
| t | 7c4ENa78378220c31a-de-libre | libre |
en->de
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 247r, Text
| Stunden Karls des Edlen, König von Navarra (1361-1425): fol. 247r, Text | |
| t | 7c4ENa78378220c31a-da-libre | libre |
en->da
Hours of Charles the Noble, King of Navarre (1361-1425): fol. 247r, Text
| Time of Charles the Noble, King of Navarre (1361- 1425): foll. 247r, Text | |
| t | 7c4ENa86e197720566-es-libre | libre |
en->es
Woman Diver Combing her Hair
| Mujer Diver Combiendo su pelo | |
| t | 7c4ENa86e197720566-de-libre | libre |
en->de
Woman Diver Combing her Hair
| Frau Diver kombinieren ihre Haare | |
| t | 7c4ENa86e197720566-da-libre | libre |
en->da
Woman Diver Combing her Hair
| Kvinde dykker med hår | |
| t | 7c4ENbc68abc49b0c6-es-libre | libre |
en->es
A Scholar's Retreat amid Autumn Trees
| Retrato de un estudiante en medio de árboles de otoño | |
| t | 7c4ENbc68abc49b0c6-de-libre | libre |
en->de
A Scholar's Retreat amid Autumn Trees
| Ein Scholar's Retreat im Herbst Bäume | |
| t | 7c4ENbc68abc49b0c6-da-libre | libre |
en->da
A Scholar's Retreat amid Autumn Trees
| En Scholars Retreat midt efterårstræer | |
| t | 7c4ENf1aea8f2ff6c0-es-libre | libre |
en->es
Back of the Mills
| Atrás de los molinos | |
| t | 7c4ENf1aea8f2ff6c0-de-libre | libre |
en->de
Back of the Mills
| Rückseite der Mühlen | |
| t | 7c4ENf1aea8f2ff6c0-da-libre | libre |
en->da
Back of the Mills
| Bagside af Mills | |
| t | 7c4ENf2b78ab717e33-es-libre | libre |
en->es
blown and manipulated glass
| vidrio soplado y manipulado | |
| t | 7c4ENf2b78ab717e33-de-libre | libre |
en->de
blown and manipulated glass
| Geblasenes und manipuliertes Glas | |
| t | 7c4ENf2b78ab717e33-da-libre | libre |
en->da
blown and manipulated glass
| blæst og manipuleret glas | |
| t | 7c4ENf2ec74558ff80-es-libre | libre |
en->es
Text, folio 329 (verso), from a Gospel Book with Commentaries
| Texto, folio 329 (verso), de un libro del Evangelio con comentarios | |
| t | 7c4ENf2ec74558ff80-de-libre | libre |
en->de
Text, folio 329 (verso), from a Gospel Book with Commentaries
| Text, folio 329 (verso), aus einem Buch des Evangeliums mit Kommentaren | |
| t | 7c4ENf2ec74558ff80-da-libre | libre |
en->da
Text, folio 329 (verso), from a Gospel Book with Commentaries
| Tekst, folio 329 (verso), fra en evangeliebog med kommentarer | |
| t | 7c4ENfe0ae6ff79074-es-libre | libre |
en->es
Frédéric Mistral: Mémoires et Recits by Frédéric Mistral: woman outside with a basket of flowers (insert after p. 192)
| Frédéric Mistral: Mémoires et Recits de Frédéric Mistral: mujer fuera con una canasta de flores (inserto después p. 192) | |
| t | 7c4ENfe0ae6ff79074-de-libre | libre |
en->de
Frédéric Mistral: Mémoires et Recits by Frédéric Mistral: woman outside with a basket of flowers (insert after p. 192)
| Frédéric Mistral: Mémoires et Recits by Frédéric Mistral: Frau draußen mit Blumenkorb (Einfügen nach S. 192) | |
| t | 7c4ENfe0ae6ff79074-da-libre | libre |
en->da
Frédéric Mistral: Mémoires et Recits by Frédéric Mistral: woman outside with a basket of flowers (insert after p. 192)
| Frédéric Mistral: Mémoires et Recits af Frédéric Mistral: kvinde udenfor med en kurv af blomster (indsæt efter p. 192) | |
| t | 7c5EN0fc13ee12a632-es-libre | libre |
en->es
glass with gilt metal mounts
| vidrio con monturas de metal gilt | |
| t | 7c5EN0fc13ee12a632-de-libre | libre |
en->de
glass with gilt metal mounts
| Glas mit vergoldeten Metallhalterungen | |
| t | 7c5EN0fc13ee12a632-da-libre | libre |
en->da
glass with gilt metal mounts
| glas med forgyldt metalbeslag | |
| t | 7c5EN4396b08786e3c-es-libre | libre |
en->es
New ABC Booklet: D
| Nuevo ABC Booklet: D | |
| t | 7c5EN4396b08786e3c-de-libre | libre |
en->de
New ABC Booklet: D
| Neue ABC Bucht: D | |
| t | 7c5EN4396b08786e3c-da-libre | libre |
en->da
New ABC Booklet: D
| Ny ABC Bog: D | |
| t | 7c5EN44830fe2f073a-es-libre | libre |
en->es
Netherlands, 16th - 17th century
| Países Bajos, siglo XVI a siglo XVII | |
| t | 7c5EN44830fe2f073a-de-libre | libre |
en->de
Netherlands, 16th - 17th century
| Niederlande, 16. - 17. Jahrhundert | |
| t | 7c5EN44830fe2f073a-da-libre | libre |
en->da
Netherlands, 16th - 17th century
| Nederlandene, 16. til 17. århundrede | |
| t | 7c5EN587c90eb81dff-es-libre | libre |
en->es
Four Landscapes: The Little Waterfall
| Cuatro Paisajes: La pequeña cascada | |
| t | 7c5EN587c90eb81dff-de-libre | libre |
en->de
Four Landscapes: The Little Waterfall
| Vier Landschaften: Der kleine Wasserfall | |
| t | 7c5EN587c90eb81dff-da-libre | libre |
en->da
Four Landscapes: The Little Waterfall
| Fire landskaber: Det lille vandfald | |
| t | 7c5EN5d01f1be22fac-es-libre | libre |
en->es
South Netherlands, Brabant, late 14th-early 15th century
| South Netherlands, Brabant, late 14th-early 15th century | |
| t | 7c5EN5d01f1be22fac-de-libre | libre |
en->de
South Netherlands, Brabant, late 14th-early 15th century
| Südholland, Brabant, Ende 14. Anfang 15. Jahrhundert | |
| t | 7c5EN5d01f1be22fac-da-libre | libre |
en->da
South Netherlands, Brabant, late 14th-early 15th century
| South Netherlands, Brabant, slutningen af det 14. århundrede | |
| t | 7c1ENc1e91cb809e54-de-libre | libre |
en->de
silver gilt with rubies and diamonds
| Silber vergoldet mit Rubinen und Diamanten | |
| t | 7c5EN691ec413c8c76-de-libre | libre |
en->de
The giving of miniatures had long been a common practice among wealthy and aristocratic families by the time Faberge began combining portraits with his richly decorated frames. The Russian imperial family delighted in having these personal mementos and commissioned many different miniatures to place around their private apartments, providing a warm family atmosphere in an otherwise highly formal existence.
| Das Geben von Miniaturen war lange eine gemeinsame Praxis unter wohlhabenden und aristokratischen Familien, als Faberge begann, Porträts mit seinen reich dekorierten Rahmen zu kombinieren. Die russische kaiserliche Familie freute sich, diese persönlichen Erinnerungen zu haben und beauftragte viele verschiedene Miniaturen, um ihre privaten Wohnungen zu platzieren, was eine warme familiäre Atmosphäre in einer sonst höchst formalen Existenz bietet. | |
| t | 7c5EN691ec413c8c76-da-libre | libre |
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The giving of miniatures had long been a common practice among wealthy and aristocratic families by the time Faberge began combining portraits with his richly decorated frames. The Russian imperial family delighted in having these personal mementos and commissioned many different miniatures to place around their private apartments, providing a warm family atmosphere in an otherwise highly formal existence.
| At give miniaturer havde længe været en almindelig praksis blandt velhavende og aristokratiske familier, da Faberge begyndte at kombinere portrætter med hans rigt dekorerede rammer. Den russiske kejserfamilie glæder sig over at have disse personlige mementos og bestilt mange forskellige miniaturer til at placere omkring deres private lejligheder, hvilket giver en varm familie atmosfære i en ellers meget formel eksistens. | |
| t | 7c5EN6c58b931a7269-es-libre | libre |
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Tempera and graphite
| Tempera y grafito | |
| t | 7c5EN6c58b931a7269-de-libre | libre |
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Tempera and graphite
| Tempera und Graphit | |
| t | 7c5EN6c58b931a7269-da-libre | libre |
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Tempera and graphite
| Tempera og grafit | |
| t | 7c5ENa4afb11653255-es-libre | libre |
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Jar with Chrysanthemum Decoration
| Jarrón con decoración de crisantemo | |
| t | 7c5ENa4afb11653255-de-libre | libre |
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Jar with Chrysanthemum Decoration
| Jar mit Chryshemum Dekoration | |
| t | 7c5ENa4afb11653255-da-libre | libre |
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Jar with Chrysanthemum Decoration
| Jar med Chrysanthemum Dekoration | |
| t | 7c5ENb9d474dd6d4e7-es-libre | libre |
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pen and black ink and pencil and watercolor and collage
| pluma y tinta negra y lápiz y acuarela y collage | |
| t | 7c5ENb9d474dd6d4e7-de-libre | libre |
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pen and black ink and pencil and watercolor and collage
| Stift und schwarze Tinte und Bleistift und Aquarell und Collage | |
| t | 7c5ENb9d474dd6d4e7-da-libre | libre |
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pen and black ink and pencil and watercolor and collage
| pen og sort blæk og blyant og vandfarve og collage | |
| t | 7c2EN1abe98d2de001-da-libre | libre |
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Sketchbook, The Dells, N° 127, page 089: Bending Figure
| Sketchbook, The Dells, N ° 127, side 089: Bendingfigur | |
| t | 7c2EN226e0e273843b-es-libre | libre |
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Torso of Amenpayom
| Torso of Amenpayom | |
| t | 7bfEN9323b5ea9ddba-de-libre | libre |
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red terracotta with yellow and transparent glaze
| rote Terrakotta mit gelber und transparenter Glasur | |
| t | 7c2EN226e0e273843b-de-libre | libre |
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Torso of Amenpayom
| Torso von Amenpayom | |
| t | 7c5ENc4570f6fe72b7-es-libre | libre |
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This painting commemorates the nearly 600-kilometer journey of Mathu Singh on horseback from the tiny principality of Jatoli in eastern Rajasthan to Udaipur, capital of the powerful Mewar Kingdom. The young prince wears a white transparent muslin, and his stallion rears on his hind legs, marking the beginning of the ride. A heedful royal servant gently waves a fly-whisk, which indicates the rider’s royal status.
| Esta pintura conmemora el viaje de casi 600 kilómetros de Mathu Singh a caballo desde el pequeño principado de Jatoli en el este de Rajasthan a Udaipur, capital del poderoso reino de Mewar. El joven príncipe lleva un muslón blanco transparente, y sus traseros de sementales en sus patas traseras traseras, marcando el comienzo del paseo. Un fiel sirviente real ondea suavemente un volante, lo que indica el estado real del jinete. | |
| t | 7c5ENc4570f6fe72b7-de-libre | libre |
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This painting commemorates the nearly 600-kilometer journey of Mathu Singh on horseback from the tiny principality of Jatoli in eastern Rajasthan to Udaipur, capital of the powerful Mewar Kingdom. The young prince wears a white transparent muslin, and his stallion rears on his hind legs, marking the beginning of the ride. A heedful royal servant gently waves a fly-whisk, which indicates the rider’s royal status.
| Dieses Gemälde erinnert an die fast 600 Kilometer lange Reise von Mathu Singh auf Pferderücken vom winzigen Fürstentum Jatoli im östlichen Rajasthan nach Udaipur, Hauptstadt des mächtigen Mewar Königreiches. Der junge Prinz trägt einen weißen transparenten Muslin, und sein Hengst rückt auf seine Hinterbeine und markiert den Anfang der Fahrt. Ein aufmerksamer königlicher Diener weckt sanft einen Fliegenwhisky, der den königlichen Status des Reiters anzeigt. | |
| t | 7c5ENc4570f6fe72b7-da-libre | libre |
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This painting commemorates the nearly 600-kilometer journey of Mathu Singh on horseback from the tiny principality of Jatoli in eastern Rajasthan to Udaipur, capital of the powerful Mewar Kingdom. The young prince wears a white transparent muslin, and his stallion rears on his hind legs, marking the beginning of the ride. A heedful royal servant gently waves a fly-whisk, which indicates the rider’s royal status.
| Dette maleri mindes den næsten 600- kilometer rejse af Mathu Singh på hesteryg fra den lille fyrste Jatoli i østlige Rajasthan til Udaipur, hovedstad i den magtfulde Mewar Kongerige. Den unge prins bærer en hvid gennemsigtig musling, og hans hingst brøler på bagbenene og markerer starten på turen. En heftig royal tjener vinker blidt en fly- whisk, hvilket indikerer rytterens kongelige status. | |
| t | 7c6EN1d33cc9be3fe5-es-libre | libre |
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Spring Landscape
| Paisaje de primavera | |
| t | 7c6EN1d33cc9be3fe5-de-libre | libre |
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Spring Landscape
| Frühlingslandschaft | |
| i | 7c6EN1d33cc9be3fe5-da-libre | libre |
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Spring Landscape
| Spring Landscape | |
| t | 7c8ENb9c29aa1e8fe8-de-libre | libre |
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Camera Work: Janet Burnet
| Kameraarbeit: Janet Burnet | |
| t | 7c6EN22f701a5581e0-es-libre | libre |
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Trial pieces—carved on limestone flakes, or <em>ostraca</em>—and sculptors' models allow us to see how the ancient Egyptian artist approached his work. Showing a wild dog's head on one side and a profile figure on the other, these pieces are masterpieces in their own right, and were probably meant to be copied.
| Piezas de ensayo - talladas en copos de piedra caliza, o <em>ostraca</em>—y los modelos de escultores nos permiten ver cómo el antiguo artista egipcio se acercó a su obra. Mostrando la cabeza de un perro salvaje en un lado y una figura de perfil en el otro, estas piezas son obras maestras en su propio derecho, y probablemente estaban destinadas a ser copiadas. | |
| t | 7c6EN22f701a5581e0-de-libre | libre |
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Trial pieces—carved on limestone flakes, or <em>ostraca</em>—and sculptors' models allow us to see how the ancient Egyptian artist approached his work. Showing a wild dog's head on one side and a profile figure on the other, these pieces are masterpieces in their own right, and were probably meant to be copied.
| Probestücke auf Kalksteinflocken oder <em>Ostraca</em>Modelle der Bildhauer erlauben uns zu sehen, wie der alte ägyptische Künstler sich seiner Arbeit näherte. Zeigt einen wilden Hund Kopf auf der einen Seite und eine Profilfigur auf der anderen, diese Stücke sind Meisterwerke in ihrem eigenen Recht, und sollten wahrscheinlich kopiert werden. | |
| t | 7c6EN22f701a5581e0-da-libre | libre |
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Trial pieces—carved on limestone flakes, or <em>ostraca</em>—and sculptors' models allow us to see how the ancient Egyptian artist approached his work. Showing a wild dog's head on one side and a profile figure on the other, these pieces are masterpieces in their own right, and were probably meant to be copied.
| prøvestykker - udskåret på kalkstensflager <em>ostraca</em>- og skulpturer modeller giver os mulighed for at se, hvordan den gamle egyptiske kunstner nærmede sig sit arbejde. Viser en vildhund hoved på den ene side og en profil figur på den anden, disse stykker er mesterværker i deres egen ret, og var sandsynligvis beregnet til at blive kopieret. | |
| t | 7c6EN23a520517613f-es-libre | libre |
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Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as the trophy that accompanies this lid, with its swags of flowers, neoclassical rosettes, and acanthus spears, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of the trophy cup can be found the arms of Robert Grosvenor (1767–1845), the first Marquess of Westminster, and Lady Eleanor Egerton (1770–1846), whom he married in 1794, a year after the trophy’s completion. The other side depicts preparations for a horserace, the most culturally significant leisure activity enjoyed by aristocratic families in the 1700s. Grosvenor owned a number of famous horses and was likely awarded this trophy following a successful race.
| Silver cumplió un papel prominente en el proyecto de riqueza, estado, poder y ritual en la vida británica durante los años 1600 y 1700. Elaborar formas como el trofeo que acompaña a esta tapa, con sus ramas de flores, rosetas neoclásicas y lanzas acantosas, no sólo representaba la riqueza en su peso plateado sino que también proporcionaba a los propietarios reales y aristocráticos una superficie para mostrar escudos grabados de armas. Grabado en un lado de la copa de trofeo se encuentran los brazos de Robert Grosvenor (1767-1845), la primera Marquesa de Westminster, y Lady Eleanor Egerton (1770-1846), a quien se casó en 1794, un año después de la terminación del trofeo. El otro lado representa los preparativos para una carrera de caballos, la actividad de ocio más culturalmente significativa disfrutada por las familias aristocráticas en el 1700. Grosvenor poseía varios caballos famosos y era probable que le otorgaran este trofeo después de una carrera exitosa. | |
| t | 7c6EN23a520517613f-de-libre | libre |
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Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as the trophy that accompanies this lid, with its swags of flowers, neoclassical rosettes, and acanthus spears, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of the trophy cup can be found the arms of Robert Grosvenor (1767–1845), the first Marquess of Westminster, and Lady Eleanor Egerton (1770–1846), whom he married in 1794, a year after the trophy’s completion. The other side depicts preparations for a horserace, the most culturally significant leisure activity enjoyed by aristocratic families in the 1700s. Grosvenor owned a number of famous horses and was likely awarded this trophy following a successful race.
| Silver erfüllte eine prominente Rolle bei der Projektion von Reichtum, Status, Macht und Ritual im britischen Leben während der 1600er und 1700er Jahre. Ergonomische Formen wie die Trophäe, die diesen Deckel begleitet, mit seinen Blütenschnecken, neoklassischen Rosetten und Acanthus-Spießen, stellten nicht nur Reichtum in ihrem schieren Silbergewicht dar, sondern boten auch königlichen und aristokratischen Besitzern eine Oberfläche für die Darstellung gravierter Wappen. Auf der einen Seite des Trophäenbechers sind die Arme von Robert Grosvenor (1767/1845), der ersten Marquess von Westminster, und Lady Eleanor Egerton (1770/1846) zu finden, die er 1794 heiratete, ein Jahr nach der Fertigstellung der Trophäen. Die andere Seite zeigt die Vorbereitungen für eine Pferderasse, die kulturell bedeutendste Freizeitaktivitäten der aristokratischen Familien in den 1700er Jahren. Grosvenor besaß eine Reihe berühmter Pferde und wurde wahrscheinlich nach einem erfolgreichen Rennen mit dieser Trophäe ausgezeichnet. | |
| t | 7c6EN23a520517613f-da-libre | libre |
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Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as the trophy that accompanies this lid, with its swags of flowers, neoclassical rosettes, and acanthus spears, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of the trophy cup can be found the arms of Robert Grosvenor (1767–1845), the first Marquess of Westminster, and Lady Eleanor Egerton (1770–1846), whom he married in 1794, a year after the trophy’s completion. The other side depicts preparations for a horserace, the most culturally significant leisure activity enjoyed by aristocratic families in the 1700s. Grosvenor owned a number of famous horses and was likely awarded this trophy following a successful race.
| Sølv opfyldt en fremtrædende rolle i projicering rigdom, status, magt, og ritual i britisk liv i løbet af 1600-tallet og 1700-tallet. Økse former som det trofæ, der ledsager dette låg, med sine fluer af blomster, neoklassiske rosetter, og acanthus spyd, ikke kun repræsenteret rigdom i sin rene sølv vægt, men også givet kongelige og aristokratiske ejere en overflade til at vise indgraverede våben. Graveret på den ene side af trofækoppen kan findes armene af Robert Grosvenor (1767- 1845), den første marquess af Westminster, og Lady Eleanor Egerton (1770- 1846), som han giftede sig i 1794, et år efter trofæet er afsluttet. Den anden side skildrer forberedelserne til et hesterace, den mest kulturelt betydningsfulde fritidsaktivitet, som aristokratiske familier i 1700-tallet nød godt af. Grosvenor ejede en række berømte heste og blev sandsynligvis tildelt dette trofæ efter et vellykket løb. | |
| t | 7c6EN39a30aee8ea45-es-libre | libre |
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A complex mythological scene unfolds on the decorative disc of this silver pin. On the top register, two bearded figures carrying palm fronds and a bird extend a frond to a seated lion-headed man. Below, two figures holding fronds approach a man riding a bull. Two animal-headed beings flank the registers and perhaps hold banners in their hands. A pattern of stylized lotus buds and blossoms decorates the disk’s rim. The scene may represent a Mesopotamian or Iranian myth. The pin was made with the repoussé technique by hammering designs into the back.
| Una compleja escena mitológica se desarrolla en el disco decorativo de este pin de plata. En la parte superior del registro, dos figuras barbudas que llevaban frondosas de palma y un pájaro extienden una helada a un hombre con cabeza de león sentado. A continuación, dos figuras que sostienen las ranas se acercan a un hombre montando un toro. Dos seres encabezados por animales flanquean los registros y tal vez tengan banners en sus manos. Un patrón de brotes de loto estilizado y flores decora el borde del disco. La escena puede representar un mito mesopotamiano o iraní. El pin fue hecho con la técnica repoussé martillando diseños en la espalda. | |
| t | 7c2EN3d89377600d70-da-libre | libre |
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The Old Elm Tree
| Det gamle elmetræ | |
| t | 7c2EN491a2a489fd2b-es-libre | libre |
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Hours of Charles the Noble, King of Navarre (1361-1425): fol. 78v, Adoration of the Magi (Sext)
| Horas de Carlos Noble, Rey de Navarra (1361-1425): fol. 78v, Adoración de los Magos (Sext) | |
| t | 7c0EN7f2721fadc80a-de-libre | libre |
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In the 1630s, the practice of painting with enamel on metal became a means for French miniature painters to achieve a more richly colored, durable product. Previously miniatures were painted with watercolor on vellum, a material made from animal skin. This case would have originally held a watch, but was later transformed into a simple box through the removal of the watch mechanism and ring. This watch case is richly painted inside and out with miniatures modeled after well-known religiously allegorical works.
| In den 1630er Jahren wurde die Praxis der Malerei mit Emaille auf Metall zu einem Mittel für französische Miniaturmaler, um ein reich gefärbtes, langlebiges Produkt zu erreichen. Zuvor wurden Miniaturen mit Aquarell auf Vellum gemalt, ein Material aus tierischer Haut. Dieser Fall hätte ursprünglich eine Uhr gehalten, wurde aber später durch die Entfernung des Uhrmechanismus und Rings in eine einfache Box umgewandelt. Dieses Uhrengehäuse ist reich bemalt innen und außen mit Miniaturen modelliert nach bekannten religiösen Allegorischen Werken. | |
| t | 7c2EN491a2a489fd2b-de-libre | libre |
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Hours of Charles the Noble, King of Navarre (1361-1425): fol. 78v, Adoration of the Magi (Sext)
| Stunden Karls des Edlen, König von Navarra (1361-1425): fol. 78v, Anbetung der Magie (Sext) | |
| t | 7cbENf077fcc629c58-de-libre | libre |
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Two Pound Piece: William IV (obverse)
| Zwei Pfund Stück: William IV (obverse) | |
| t | 7c2EN491a2a489fd2b-da-libre | libre |
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Hours of Charles the Noble, King of Navarre (1361-1425): fol. 78v, Adoration of the Magi (Sext)
| Hours of Charles the Noble, King of Navarre (1361- 1425): foll. 78v, Admoration of the Magi (Sext) | |
| t | 7c6EN39a30aee8ea45-de-libre | libre |
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A complex mythological scene unfolds on the decorative disc of this silver pin. On the top register, two bearded figures carrying palm fronds and a bird extend a frond to a seated lion-headed man. Below, two figures holding fronds approach a man riding a bull. Two animal-headed beings flank the registers and perhaps hold banners in their hands. A pattern of stylized lotus buds and blossoms decorates the disk’s rim. The scene may represent a Mesopotamian or Iranian myth. The pin was made with the repoussé technique by hammering designs into the back.
| Eine komplexe mythologische Szene entfaltet sich auf der dekorativen Scheibe dieser Silbernadel. Auf dem obersten Register erstrecken sich zwei bärtige Figuren, die Palmen und einen Vogel tragen, auf einen sitzenden Löwenköpfigen. Im Folgenden nähern sich zwei Figuren, die Fronds halten, einem Mann, der einen Bullen reitet. Zwei tierköpfige Wesen flankieren die Register und halten vielleicht Banner in ihren Händen. Ein Muster von stilisierten Lotusknospen und Blüten schmückt den Laufwerk-Felgen. Die Szene kann einen mespotamischen oder iranischen Mythos darstellen. Der Stift wurde mit der Repoussé-Technik durch Hämmerung von Designs in den Rücken hergestellt. | |
| t | 7c6EN39a30aee8ea45-da-libre | libre |
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A complex mythological scene unfolds on the decorative disc of this silver pin. On the top register, two bearded figures carrying palm fronds and a bird extend a frond to a seated lion-headed man. Below, two figures holding fronds approach a man riding a bull. Two animal-headed beings flank the registers and perhaps hold banners in their hands. A pattern of stylized lotus buds and blossoms decorates the disk’s rim. The scene may represent a Mesopotamian or Iranian myth. The pin was made with the repoussé technique by hammering designs into the back.
| En kompleks mytologisk scene udfolder sig på den dekorative skive af denne sølv pin. På øverste register, to skæggede figurer med palmeblade og en fugl udvide en front til en siddende løvehoved mand. Nedenfor nærmer to figurer sig en mand, der rider på en tyr. To dyr-hovedet væsener flanke registrene og måske holde bannere i deres hænder. Et mønster af stiliseret lotusknopper og blomster dekorerer diskens kant. Scenen kan repræsentere en mesopotamiansk eller iransk myte. pin blev lavet med repoussé teknik ved hamring design i ryggen. | |
| t | 7c6EN3d9ef555e42c5-es-libre | libre |
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Matsumoto Koshiro IV as Gorobei, the Fish Seller from Sanya
| Matsumoto Koshiro IV como Gorobei, el vendedor de pescado de Sanya | |
| t | 7c6EN3d9ef555e42c5-de-libre | libre |
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Matsumoto Koshiro IV as Gorobei, the Fish Seller from Sanya
| Matsumoto Koshiro IV als Gorobei, der Fischhändler aus Sanya | |
| t | 7c6EN3d9ef555e42c5-da-libre | libre |
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Matsumoto Koshiro IV as Gorobei, the Fish Seller from Sanya
| Matsumoto Koshiro IV som Gorobei, fiskesælgeren fra Sanya | |
| t | 7c6EN40785b4ef1d56-es-libre | libre |
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Text, folio 13 (recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier
| Texto, folio 13 (recto), de un espejo de santidad (Mir’at al-quds) del Padre Jerome Xavier | |
| t | 7c6EN40785b4ef1d56-de-libre | libre |
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Text, folio 13 (recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier
| Text, folio 13 (recto), von einem Spiegel der Heiligkeit (Mir-at al-quds) von Pater Jerome Xavier | |
| t | 7c6EN40785b4ef1d56-da-libre | libre |
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Text, folio 13 (recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier
| Tekst, folio 13 (recto), fra et spejl af hellighed (Mir 'at al- quds) af Fader Jerome Xavier | |
| t | 7c8ENb9c29aa1e8fe8-da-libre | libre |
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Camera Work: Janet Burnet
| Kamera arbejde: Janet Burnet | |
| t | 7c8ENcf98bc8820bd3-es-libre | libre |
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The Cart Shed
| The Cart Shed | |
| t | 7c6EN4cf927c3cd06b-es-libre | libre |
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The "flame" pattern was dyed on the vertical warp threads before weaving began by tightly binding them to resist dye penetration, and repeated for each color. The process and fabric are called <em>ikat</em>, a Malaysian word which may have originated in South Arabia. Yemeni ikats with historical Arabic inscriptions from the 10th century are among the oldest known. This text, written in Kufic script with gold leaf outlined in black, is so damaged that it cannot be read.
| El patrón "flame" fue teñido en los hilos verticales de urdimbre antes de tejer comenzó por atarlos firmemente para resistir la penetración del tinte, y repetido para cada color. El proceso y la tela se llaman <em>ikat</em>, una palabra malasia que puede haber originado en Arabia Sur. Los ikats yemeníes con inscripciones históricas árabes del siglo X están entre los más antiguos conocidos. Este texto, escrito en Kufic script con hoja de oro delineada en negro, está tan dañado que no se puede leer. | |
| t | 7c6EN4cf927c3cd06b-de-libre | libre |
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The "flame" pattern was dyed on the vertical warp threads before weaving began by tightly binding them to resist dye penetration, and repeated for each color. The process and fabric are called <em>ikat</em>, a Malaysian word which may have originated in South Arabia. Yemeni ikats with historical Arabic inscriptions from the 10th century are among the oldest known. This text, written in Kufic script with gold leaf outlined in black, is so damaged that it cannot be read.
| Das "flammende" Muster wurde auf den vertikalen Warpfäden gefärbt, bevor das Weben begann, indem es sie fest bindet, um Farbdurchdringung zu widerstehen, und für jede Farbe wiederholt. Der Prozess und Stoff werden genannt <em>Ikat</em>== Weblinks ==== Einzelnachweise == Die jemenitischenikaten mit historischen arabischen Inschriften aus dem 10. Jahrhundert gehören zu den ältesten bekannten. Dieser Text, geschrieben in Kufic Skript mit Blattgold in schwarz, ist so beschädigt, dass er nicht gelesen werden kann. | |
| t | 7c6EN4cf927c3cd06b-da-libre | libre |
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The "flame" pattern was dyed on the vertical warp threads before weaving began by tightly binding them to resist dye penetration, and repeated for each color. The process and fabric are called <em>ikat</em>, a Malaysian word which may have originated in South Arabia. Yemeni ikats with historical Arabic inscriptions from the 10th century are among the oldest known. This text, written in Kufic script with gold leaf outlined in black, is so damaged that it cannot be read.
| Den "flamme" mønster blev farvet på de lodrette warptråde før vævning begyndte ved tæt binder dem til at modstå farveindtrængning, og gentages for hver farve. Processen og stof kaldes <em>ikat</em>, et malaysisk ord, der kan have oprindelse i SydArabien. yemeniikater med historiske arabiske inskriptioner fra det 10. århundrede er blandt de ældste kendte. Denne tekst, skrevet i Kufic script med guld blad skitseret i sort, er så beskadiget, at det ikke kan læses. | |
| t | 7c6EN568028e306e00-es-libre | libre |
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Life of the Virgin: Joachim and the Angel
| Vida de la Virgen: Joachim y el Ángel | |
| t | 7c6EN568028e306e00-de-libre | libre |
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Life of the Virgin: Joachim and the Angel
| Leben der Jungfrau: Joachim und der Engel | |
| t | 7c6EN568028e306e00-da-libre | libre |
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Life of the Virgin: Joachim and the Angel
| Jomfruens liv: Joachim og englen | |
| t | 7c6EN5c34b95e37568-es-libre | libre |
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Celt with Deity
| Celta con Deidad | |
| t | 7c6EN5c34b95e37568-de-libre | libre |
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Celt with Deity
| Kelt mit Gottheit | |
| t | 7c6EN5c34b95e37568-da-libre | libre |
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Celt with Deity
| Celt med guddom | |
| t | 7c6EN607f7485c92e0-es-libre | libre |
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Jar: Proto-Yue ware
| Jar: Proto-Yue ware | |
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Jar: Proto-Yue ware
| Jar: Proto-Yue Ware | |
| t | 7c6EN607f7485c92e0-da-libre | libre |
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Jar: Proto-Yue ware
| Jar: Proto- Yue ware | |
| t | 7c6EN709aad262e172-es-libre | libre |
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Pissarro probably learned the technique of monotype from his friend Edgar Degas. Although it allowed him to work in a spontaneous and expressive way, the medium never played a significant role in his work.
| Pissarro probablemente aprendió la técnica del monotipo de su amigo Edgar Degas. Aunque le permitió trabajar de manera espontánea y expresiva, el medio nunca jugó un papel significativo en su trabajo. | |
| t | 7c6EN709aad262e172-de-libre | libre |
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Pissarro probably learned the technique of monotype from his friend Edgar Degas. Although it allowed him to work in a spontaneous and expressive way, the medium never played a significant role in his work.
| Pissarro lernte wahrscheinlich die Technik des Monotyps von seinem Freund Edgar Degas. Obwohl es ihm erlaubte, spontan und ausdrucksstark zu arbeiten, spielte das Medium nie eine bedeutende Rolle in seiner Arbeit. | |
| t | 7c6EN709aad262e172-da-libre | libre |
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Pissarro probably learned the technique of monotype from his friend Edgar Degas. Although it allowed him to work in a spontaneous and expressive way, the medium never played a significant role in his work.
| Pissarro har sikkert lært monotypeteknikken af sin ven Edgar Degas. Selv om det tillod ham at arbejde på en spontan og udtryksfuld måde, medium aldrig spillet en betydelig rolle i hans arbejde. | |
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Vase with Dragon Handles
| Jarrón con manijas de dragón | |
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Vase with Dragon Handles
| Vase mit Drachengriffen | |
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Vase with Dragon Handles
| Vase med dragehåndtag | |
| t | 7c6ENa9218eb0ceea7-es-libre | libre |
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During his life Henry VII had accumulated enormous wealth, and it took his son, Henry VIII, until 1542 to squander it. Henry knew how the English coinage had been debased in the past and did not see why it should not be debased again, this time for his personal benefit. Regardless of the inevitable financial catastrophe, he grasped at this easy revenue and in his last years not only debased the gold coinage to 20 ct., but the silver also, to one part silver and two parts alloy.
| Durante su vida Enrique VII había acumulado una enorme riqueza, y llevó a su hijo, Enrique VIII, hasta 1542 para despilfarrarla. Henry sabía cómo la moneda inglesa había sido de base en el pasado y no vio por qué no debería ser de base de nuevo, esta vez para su beneficio personal. Independientemente de la inevitable catástrofe financiera, comprendió este fácil ingreso y en sus últimos años no sólo desbasó la moneda de oro a 20 ct., sino también la plata, a una parte plata y dos partes aleación. | |
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Lohan (Arhat) Holding a Peach
| Lohan (Arhat) Holding a Peach | |
| i | 7c1ENdda841b1d61b1-de-libre | libre |
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Chüeh (Ornament)
| Chüeh (Ornament) | |
| t | 7c3EN0fbc9a69d3211-es-libre | libre |
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St. Anthony Reading
| St. Anthony Reading | |
| i | 7c1ENdda841b1d61b1-da-libre | libre |
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Chüeh (Ornament)
| Chüeh (Ornament) | |
| t | 7c6ENa9218eb0ceea7-de-libre | libre |
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During his life Henry VII had accumulated enormous wealth, and it took his son, Henry VIII, until 1542 to squander it. Henry knew how the English coinage had been debased in the past and did not see why it should not be debased again, this time for his personal benefit. Regardless of the inevitable financial catastrophe, he grasped at this easy revenue and in his last years not only debased the gold coinage to 20 ct., but the silver also, to one part silver and two parts alloy.
| Während seines Lebens Heinrich VII hatte enormen Reichtum angesammelt, und es nahm seinen Sohn, Heinrich VIII, bis 1542 zu vergeuden. Henry wusste, wie die englische Münzprägung in der Vergangenheit debasiert war und sah nicht, warum sie nicht wieder debasiert werden sollte, diesmal zu seinem persönlichen Nutzen. Unabhängig von der unvermeidlichen finanziellen Katastrophe hat er diese einfachen Einnahmen erfasst und in seinen letzten Jahren nicht nur die Goldprägung auf 20 kt, sondern auch das Silber auf einen Teil Silber und zwei Teile Legierung debasiert. | |
| t | 7c6ENa9218eb0ceea7-da-libre | libre |
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During his life Henry VII had accumulated enormous wealth, and it took his son, Henry VIII, until 1542 to squander it. Henry knew how the English coinage had been debased in the past and did not see why it should not be debased again, this time for his personal benefit. Regardless of the inevitable financial catastrophe, he grasped at this easy revenue and in his last years not only debased the gold coinage to 20 ct., but the silver also, to one part silver and two parts alloy.
| Under sit liv Henry VII havde akkumuleret enorm rigdom, og det tog hans søn, Henry VIII, indtil 1542 at smide det. Henry vidste, hvordan den engelske mønter havde været debased i fortiden og ikke kunne se, hvorfor det ikke bør debased igen, denne gang for hans personlige fordel. Uanset den uundgåelige finansielle katastrofe, han greb på denne nemme indtægter og i hans sidste år ikke kun debased guld mønter til 20 kt., men sølv også, til en del sølv og to dele legering. | |
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The giving of small precious objects as intimate gifts between family members within the imperial court was spurred by the House of Fabergé's seemingly endless supply of bejeweled utilitarian objects decorated as expensively as possible, such as this little desk compass disguising as a miniature table in the Louis XVI taste of the late 1700s.
| La entrega de pequeños objetos preciosos como regalos íntimos entre miembros de la familia dentro de la corte imperial fue estimulada por el suministro aparentemente interminable de objetos utilitarios bejeados de la Casa de Fabergé decorado lo más caro posible, como esta pequeña brújula de escritorio que disimula como una mesa en miniatura en el sabor de Luis XVI de finales de 1700. | |
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The giving of small precious objects as intimate gifts between family members within the imperial court was spurred by the House of Fabergé's seemingly endless supply of bejeweled utilitarian objects decorated as expensively as possible, such as this little desk compass disguising as a miniature table in the Louis XVI taste of the late 1700s.
| Die Verleihung von kleinen wertvollen Gegenständen als intime Gaben zwischen Familienmitgliedern innerhalb des kaiserlichen Hofes wurde durch das Haus von Fabergés scheinbar endlose Versorgung mit bejeweled utilitaristischen Objekten so teuer wie möglich geschmückt, wie dieser kleine Schreibtischkompass, der als Miniaturtisch im Louis XVI Geschmack der späten 1700er Jahre verkleidet. | |
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The giving of small precious objects as intimate gifts between family members within the imperial court was spurred by the House of Fabergé's seemingly endless supply of bejeweled utilitarian objects decorated as expensively as possible, such as this little desk compass disguising as a miniature table in the Louis XVI taste of the late 1700s.
| Givering af små dyrebare genstande som intime gaver mellem familiemedlemmer i den kejserlige domstol blev ansporet af House of Fabergé 's tilsyneladende endeløse forsyning af bejuveled utilitarian objekter dekoreret så dyrt som muligt, såsom dette lille skrivebord kompas forklædt som et miniature bord i Louis XVI smag af slutningen af 1700-tallet. | |
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Cut from a larger composition, this fragment shows the god Shiva who has come down to earth. He seems alluringly approachable despite his white body, the snake around his neck, his third eye, trident weapon, animal-skin garment, and the crescent moon at his brow. Set off against a flat red background, he stands under two shade trees that make his manifestation on earth believable. One tree is entwined around the other, metaphorically suggesting the physical love Shiva seems to wistfully desire.
| Corte de una composición más grande, este fragmento muestra al dios Shiva que ha bajado a la tierra. A pesar de su cuerpo blanco, parece acertado, la serpiente alrededor de su cuello, su tercer ojo, arma tridente, vestimenta de piel animal, y la luna crescente en su frente. Despejado contra un fondo rojo plano, se encuentra bajo dos árboles de sombra que hacen su manifestación en la tierra creíble. Un árbol está entrelazado alrededor del otro, metafóricamente sugiriendo el amor físico Shiva parece desear miserablemente. | |
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The Cart Shed
| Der Cart Shed | |
| t | 7c7EN395d851af8350-de-libre | libre |
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Cut from a larger composition, this fragment shows the god Shiva who has come down to earth. He seems alluringly approachable despite his white body, the snake around his neck, his third eye, trident weapon, animal-skin garment, and the crescent moon at his brow. Set off against a flat red background, he stands under two shade trees that make his manifestation on earth believable. One tree is entwined around the other, metaphorically suggesting the physical love Shiva seems to wistfully desire.
| Aus einer größeren Komposition herausgeschnitten, zeigt dieses Fragment den Gott Shiva, der auf die Erde herabgekommen ist. Er scheint trotz seines weißen Körpers, der Schlange um seinen Hals, seinem dritten Auge, seiner Dreizackwaffe, dem Tier-Haut-Kleid und dem Halbmond an seiner Stirn verlockend zu sein. Auf einem flachen roten Hintergrund steht er unter zwei Schattenbäumen, die seine Manifestation auf der Erde glaubwürdig machen. Ein Baum ist um den anderen verwoben, metaphorisch suggeriert die physische Liebe Shiva scheint wistly Wunsch. | |
| t | 7c7EN395d851af8350-da-libre | libre |
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Cut from a larger composition, this fragment shows the god Shiva who has come down to earth. He seems alluringly approachable despite his white body, the snake around his neck, his third eye, trident weapon, animal-skin garment, and the crescent moon at his brow. Set off against a flat red background, he stands under two shade trees that make his manifestation on earth believable. One tree is entwined around the other, metaphorically suggesting the physical love Shiva seems to wistfully desire.
| Skåret fra en større komposition viser dette fragment guden Shiva, der er kommet ned på jorden. På trods af hans hvide krop, slangen om halsen, hans tredje øje, trefork våben, animal-hud tøj, og halvmåne månen ved hans pande. Mod en flad rød baggrund, står han under to skygge træer, der gør hans manifestation på jorden troværdig. Det ene træ er sammenflettet omkring det andet, metaforisk antyder den fysiske kærlighed Shiva synes at ønske. | |
| t | 7c7EN51ad13fed3ae7-es-libre | libre |
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Responding to the desires of the middle class (<em>chonin</em>), some late Edo period Japanese painters moved away from the seriousness associated with the Chinese theme of reclusion, focusing instead on the motif’s humorous aspects. The theme Eight Immortals of the Wine Cup is based on a poem by the renowned 8th-century Chinese poet Du Fu about his eight colleagues. These scholars eagerly sought release from their official governmental duties and then supposedly fled the capital for the countryside. There, they engaged in wildly eccentric behavior and adventurous creative work, all fueled by copious amounts of wine. Shohaku’s version of events exaggerates the scholars’ pleasure, as seen in their comical facial expressions.
| Respondiendo a los deseos de la clase media (<em>chonin</em>), algunos pintores japoneses de época tardía Edo se alejaron de la seriedad asociada con el tema chino de la reclusión, centrándose en los aspectos humorísticos del motivo. El tema Ocho Inmortales de la Copa del Vino se basa en un poema del renombrado poeta chino del siglo VIII Du Fu sobre sus ocho colegas. Estos eruditos ansiosamente buscaban liberarse de sus deberes oficiales gubernamentales y luego supuestamente huyeron de la capital para el campo. Allí, se dedicaron a comportamientos salvajemente excéntricos y a trabajos creativos aventureros, alimentados por abundantes cantidades de vino. La versión de los eventos de Shohaku exagera el placer de los eruditos, como se ve en sus expresiones faciales cómicas. | |
| t | 7c7EN51ad13fed3ae7-de-libre | libre |
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Responding to the desires of the middle class (<em>chonin</em>), some late Edo period Japanese painters moved away from the seriousness associated with the Chinese theme of reclusion, focusing instead on the motif’s humorous aspects. The theme Eight Immortals of the Wine Cup is based on a poem by the renowned 8th-century Chinese poet Du Fu about his eight colleagues. These scholars eagerly sought release from their official governmental duties and then supposedly fled the capital for the countryside. There, they engaged in wildly eccentric behavior and adventurous creative work, all fueled by copious amounts of wine. Shohaku’s version of events exaggerates the scholars’ pleasure, as seen in their comical facial expressions.
| Reaktion auf die Wünsche der Mittelschicht (<em>Chonin</em>), einige späte Edo-Zeit japanische Maler bewegten sich weg von der Ernsthaftigkeit mit dem chinesischen Thema der Reclusion verbunden, statt auf das Motiv humorvolle Aspekte. Das Thema Acht Unsterbliche des Wine Cup basiert auf einem Gedicht des berühmten chinesischen Dichters Du Fu aus dem 8. Jahrhundert über seine acht Kollegen. Diese Gelehrten suchten eifrig Befreiung von ihren offiziellen Regierungsaufgaben und dann angeblich flohen die Hauptstadt für die Landschaft. Dort engagierten sie sich in wild exzentrischem Verhalten und abenteuerlicher kreativer Arbeit, die alle von üppigen Mengen Wein befeuert wurden. Shohaku-Version von Ereignissen übertreibt die Gelehrten das Vergnügen, wie in ihren komischen Gesichtsausdrücken gesehen. | |
| t | 7c7EN51ad13fed3ae7-da-libre | libre |
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Responding to the desires of the middle class (<em>chonin</em>), some late Edo period Japanese painters moved away from the seriousness associated with the Chinese theme of reclusion, focusing instead on the motif’s humorous aspects. The theme Eight Immortals of the Wine Cup is based on a poem by the renowned 8th-century Chinese poet Du Fu about his eight colleagues. These scholars eagerly sought release from their official governmental duties and then supposedly fled the capital for the countryside. There, they engaged in wildly eccentric behavior and adventurous creative work, all fueled by copious amounts of wine. Shohaku’s version of events exaggerates the scholars’ pleasure, as seen in their comical facial expressions.
| Svar på middelklassens ønsker (<em>chonin</em>), nogle sent Edo periode japanske malere flyttet væk fra den alvor, der er forbundet med det kinesiske tema for reflusion, i stedet fokuserer på motivet humoristiske aspekter. Temaet otte udødelige af vin Cup er baseret på et digt af den berømte 8th-århundrede kinesiske digter Du Fu om hans otte kolleger. Disse lærde ivrigt søgt fritagelse fra deres officielle statslige opgaver og derefter angiveligt flygtede hovedstaden for landet. Der, de engageret i vildt excentrisk adfærd og eventyrligt kreativt arbejde, alle drevet af rigelige mængder vin. Shohaku 's version af begivenheder overdriver de lærde glæde, som ses i deres komiske ansigtsudtryk. | |
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lithograph with hand coloring
| litografía con coloración a mano | |
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lithograph with hand coloring
| Lithographie mit Hand Färbung | |
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lithograph with hand coloring
| litografi med hånd farve | |
| t | 7c7EN708461523af3b-es-libre | libre |
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European House, Allahabad
| European House, Allahabad | |
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European House, Allahabad
| Europäisches Haus, Allahabad | |
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European House, Allahabad
| Det Europæiske Hus, Allahabad | |
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Architectural Remains and Fragments: Rouen - Fontaine de la Crosse
| Restos arquitectónicos y fragmentos: Rouen - Fontaine de la Crosse | |
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Architectural Remains and Fragments: Rouen - Fontaine de la Crosse
| Architekturreste und Fragmente: Rouen - Fontaine de la Crosse | |
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Architectural Remains and Fragments: Rouen - Fontaine de la Crosse
| Arkitektoniske rester og fragmenter: Rouen - Fontaine de la Crosse | |
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Portfolio XVI, Plate 569: At the Gateway - Acoma
| Cartera XVI, Placa 569: En la Puerta - Acoma | |
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Portfolio XVI, Plate 569: At the Gateway - Acoma
| Portfolio XVI, Plate 569: Am Gateway - Acoma | |
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Portfolio XVI, Plate 569: At the Gateway - Acoma
| Portfolio XVI, plade 569: På Gateway - Aca | |
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This print was published as plate 18 from <em>The Monthly Association</em> (<em>l’Association Mensuelle pour la Liberté de la Presse</em>), a special edition of <em>La Caricature.</em>
| Esta impresión fue publicada como la placa 18 de <em>The Monthly Association</em> ()<em>l’Asociation Mensuelle pour la Liberté de la Presse</em>), una edición especial de <em>La Caricatura.</em> | |
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This print was published as plate 18 from <em>The Monthly Association</em> (<em>l’Association Mensuelle pour la Liberté de la Presse</em>), a special edition of <em>La Caricature.</em>
| Dieser Druck wurde als Teller 18 von <em>Monatliche Vereinigung</em> (<em>I. Vereinigung Mensuelle pour la Liberté de la Presse</em>), eine Sonderausgabe von <em>La Caricature.</em> | |
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This print was published as plate 18 from <em>The Monthly Association</em> (<em>l’Association Mensuelle pour la Liberté de la Presse</em>), a special edition of <em>La Caricature.</em>
| Dette tryk blev udgivet som plade 18 fra <em>The Monthly Association</em> (<em>l 'Association Mensuelle pour la Liberté de la Presse</em>), en særudgave af <em>La Caricature.</em> | |
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Roaring lions such as this have been found on the throne of Kushan kings. Early sculptures of the Buddha also show him seated on a lion throne, and the roar of his teachings (dharma) extends throughout the world.
| Leones rugientes como este han sido encontrados en el trono de los reyes de Kushan. Las primeras esculturas del Buda también le muestran sentado en un trono de león, y el rugido de sus enseñanzas (dharma) se extiende por todo el mundo. | |
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Roaring lions such as this have been found on the throne of Kushan kings. Early sculptures of the Buddha also show him seated on a lion throne, and the roar of his teachings (dharma) extends throughout the world.
| Auf dem Thron der Kushan-Könige wurden solche Löwen brüllt. Frühe Skulpturen des Buddha zeigen ihm auch Sitzen auf einem Löwenthron, und das Brüllen seiner Lehren (Dharma) erstreckt sich auf der ganzen Welt. | |
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Roaring lions such as this have been found on the throne of Kushan kings. Early sculptures of the Buddha also show him seated on a lion throne, and the roar of his teachings (dharma) extends throughout the world.
| Sådanne løver er fundet på Kushan-kongernes trone. Tidlige skulpturer af Buddha viser ham også siddende på en løvetrone, og brølen af hans lære (dharma) strækker sig over hele verden. | |
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The Cart Shed
| The Cart Shed | |
| t | 7c8ENe1c8cdd1a4f61-es-libre | libre |
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oil and wax on canvas
| aceite y cera sobre lienzo | |
| t | 7c8ENe1c8cdd1a4f61-de-libre | libre |
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oil and wax on canvas
| Öl und Wachs auf Leinwand | |
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oil and wax on canvas
| olie og voks på lærred | |
| t | 7c8ENe2ec2c104b439-es-libre | libre |
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King Siddhartha and Queen Trishala Sit Alone to Discuss Her Dreams, Folio 24 (recto), from a Kalpa-sutra
| El rey Siddhartha y la reina Trishala se sientan solos para discutir sus sueños, Folio 24 (recto), de un Kalpa-sutra | |
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King Siddhartha and Queen Trishala Sit Alone to Discuss Her Dreams, Folio 24 (recto), from a Kalpa-sutra
| König Siddhartha und Königin Trishala Sit Alone, um ihre Träume, Folio 24 (recto), von einem Kalpa-sutra | |
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In China, access to political power was granted to those who passed the civil service examinations, a system that offered official service only at a high level of education. Chinese literati-officials, whose daily routine involved administrative work in an office, enjoyed precious objects on their writing desks that offered distraction and demonstrated good taste. By the Ming (1368–1644) and Qing (1644–1911) dynasties, these utensils of the literati studio became also collectibles and were treasured as artworks.<br><br>Desk objects included paper weights, seals and seal paste boxes, brush rests like this porcelain one, wrist rests, brush holders, water droppers, ink cakes, miniature mountains, and albums, all ranging in material from jade, gilt bronze, lacquer, and wood to porcelain.
| En China, se concedió acceso al poder político a quienes aprobaron los exámenes de la administración pública, un sistema que ofrecía el servicio oficial sólo a un nivel elevado de educación. Literati-oficiales chinos, cuya rutina diaria implicaba el trabajo administrativo en una oficina, disfrutaban de objetos preciosos en sus escritorios que ofrecían distracción y demostraban buen gusto. Por las dinastías Ming (1368-1644) y Qing (1644–1911), estos utensilios del estudio literati se convirtieron también en coleccionables y fueron atestados como obras de arte.<br/><br/>Los objetos de escritorio incluyeron pesas de papel, sellos y cajas de pasta de sello, reposabrazos de pincel como este porcelana, descansos de muñecas, pinceles, gotas de agua, tortas de tinta, montañas miniatura y discos, todos que van en material de jade, bronce gilt, laca y madera a porcelana. | |
| t | 7c7ENaa84294b03044-de-libre | libre |
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In China, access to political power was granted to those who passed the civil service examinations, a system that offered official service only at a high level of education. Chinese literati-officials, whose daily routine involved administrative work in an office, enjoyed precious objects on their writing desks that offered distraction and demonstrated good taste. By the Ming (1368–1644) and Qing (1644–1911) dynasties, these utensils of the literati studio became also collectibles and were treasured as artworks.<br><br>Desk objects included paper weights, seals and seal paste boxes, brush rests like this porcelain one, wrist rests, brush holders, water droppers, ink cakes, miniature mountains, and albums, all ranging in material from jade, gilt bronze, lacquer, and wood to porcelain.
| In China wurde jenen, die die Prüfungen des öffentlichen Dienstes bestanden haben, der Zugang zu politischer Macht gewährt, ein System, das nur auf hohem Bildungsniveau einen offiziellen Dienst bot. Chinesische Literaten, deren tägliche Routine administrative Arbeit in einem Büro, genossen wertvolle Gegenstände auf ihren Schreibtischen, die Ablenkung bot und zeigte guten Geschmack. Durch die Ming (1368/141644) und Qing (1644/1911) Dynastien, wurden diese Utensilien des literati Studios auch Sammlerstücke und wurden als Kunstwerke geschätzt.<br/><br/>Schreibtischobjekte beinhalteten Papiergewichte, Dichtungen und Dichtung Paste Boxen, Pinsel ruht wie dieses Porzellan ein, Handgelenk ruht, Pinselhalter, Wassertropfen, Tintenkuchen, Miniatur Berge, und Alben, alle reichen in Material von Jade, vergoldet Bronze, Lack und Holz bis hin zu Porzellan. | |
| t | 7c7ENaa84294b03044-da-libre | libre |
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In China, access to political power was granted to those who passed the civil service examinations, a system that offered official service only at a high level of education. Chinese literati-officials, whose daily routine involved administrative work in an office, enjoyed precious objects on their writing desks that offered distraction and demonstrated good taste. By the Ming (1368–1644) and Qing (1644–1911) dynasties, these utensils of the literati studio became also collectibles and were treasured as artworks.<br><br>Desk objects included paper weights, seals and seal paste boxes, brush rests like this porcelain one, wrist rests, brush holders, water droppers, ink cakes, miniature mountains, and albums, all ranging in material from jade, gilt bronze, lacquer, and wood to porcelain.
| I Kina blev der givet adgang til politisk magt til dem, der bestod embedseksamen, et system, der kun tilbød officiel tjeneste på et højt uddannelsesniveau. Kinesiske litterater-embedsmænd, hvis daglige rutine involveret administrative arbejde på et kontor, nød dyrebare genstande på deres skriveborde, der tilbød distraktion og viste god smag. Ved Ming (1368- 1644) og Qing (1644- 1911) dynastier, disse redskaber i litteraturstudiet blev også samleobjekter og blev skattet som kunstværker.<br/><br/>Desk objekter omfattede papir vægte, sæler og sæl pastaer, børste hvile som denne porcelæn en, håndled hvile, børste holdere, vanddråber, blæk kager, miniature bjerge, og albums, alle spænder i materiale fra jade, forgyldt bronze, lak, og træ til porcelæn. | |
| t | 7c7ENeb8e65314701d-es-libre | libre |
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Book of Hours (Use of Rouen): fol. 98r
| Libro de Horas (Uso de Rouen): fol. 98r | |
| t | 7c7ENeb8e65314701d-de-libre | libre |
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Book of Hours (Use of Rouen): fol. 98r
| Stundenbuch (Nutzung von Rouen): fol. 98r | |
| t | 7c7ENeb8e65314701d-da-libre | libre |
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Book of Hours (Use of Rouen): fol. 98r
| Timebog (brug af Rouen): føl. 98r | |
| t | 7c7ENfc17da7957ac0-es-libre | libre |
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The Chinese style of decoration identifies this bowl as a product made for the markets in England, Holland, France, and Germany. Here, kakiemon potters rearranged the Chinese literati motifs of the plum, pine, and bamboo. Such kakiemon ware inspired domestic porcelain production in Europe in the 18th and 19th centuries.
| El estilo chino de decoración identifica este tazón como un producto hecho para los mercados de Inglaterra, Holanda, Francia y Alemania. Aquí, los alfareros kakiemon reorganizaron los motivos literati chinos de la ciruela, el pino y el bambú. Tal kakiemon ware inspiró la producción nacional de porcelana en Europa en los siglos XVIII y XIX. | |
| t | 7c7ENfc17da7957ac0-de-libre | libre |
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The Chinese style of decoration identifies this bowl as a product made for the markets in England, Holland, France, and Germany. Here, kakiemon potters rearranged the Chinese literati motifs of the plum, pine, and bamboo. Such kakiemon ware inspired domestic porcelain production in Europe in the 18th and 19th centuries.
| Der chinesische Dekorationsstil identifiziert diese Schale als ein Produkt für die Märkte in England, Holland, Frankreich und Deutschland. Hier haben die Kakiemon Töpfer die chinesischen literati Motive der Pflaume, Kiefer und Bambus neu geordnet. Solche Kakiemonware inspirierte die heimische Porzellanproduktion in Europa im 18. und 19. Jahrhundert. | |
| t | 7c3ENe821ac82e30e6-de-libre | libre |
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Four sheets of annotated pencil drawings that have been stapled shut for "3 money making deals for 3 smart businessmen who want to make a million or so and become somebody's loved one."
| Vier Blätter mit annotierten Bleistiftzeichnungen, die für "3 Geld machen Deals für 3 intelligente Geschäftsleute, die eine Million oder so machen wollen und werden jemand geliebt." | |
| t | 7c0ENdbf85fda509d8-es-libre | libre |
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glazed white clay
| arcilla blanca acristalada | |
| t | 7c3ENe821ac82e30e6-da-libre | libre |
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Four sheets of annotated pencil drawings that have been stapled shut for "3 money making deals for 3 smart businessmen who want to make a million or so and become somebody's loved one."
| Fire ark med annoterede blyanttegninger, der er blevet hæftet lukket for "3 penge gør tilbud for 3 smarte forretningsmænd, der ønsker at gøre en million eller deromkring og blive nogens elskede" | |
| t | 7c7ENfc17da7957ac0-da-libre | libre |
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The Chinese style of decoration identifies this bowl as a product made for the markets in England, Holland, France, and Germany. Here, kakiemon potters rearranged the Chinese literati motifs of the plum, pine, and bamboo. Such kakiemon ware inspired domestic porcelain production in Europe in the 18th and 19th centuries.
| Den kinesiske stil dekoration identificerer denne skål som et produkt lavet til markederne i England, Holland, Frankrig og Tyskland. Her omarrangerede kakiemon pottere de kinesiske litteraturmotiver af blommen, fyrretræ og bambus. Et sådant kakiemon-udstyr inspirerede den hjemlige porcelænsproduktion i Europa i det 18. og 19. århundrede. | |
| t | 7c8EN1194e17146e52-es-libre | libre |
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England, Worcester, early 19th Century
| Inglaterra, Worcester, principios del 19 siglo | |
| t | 7c8EN1194e17146e52-de-libre | libre |
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England, Worcester, early 19th Century
| England, Worcester, Anfang 19. Jahrhundert | |
| t | 7c8EN1194e17146e52-da-libre | libre |
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England, Worcester, early 19th Century
| England, Worcester, begyndelsen af 19. Århundrede | |
| t | 7c8EN1cbe06a13cf28-es-libre | libre |
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The Genius of the Sculptor
| El Genio del Escultor | |
| t | 7c8EN1cbe06a13cf28-de-libre | libre |
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The Genius of the Sculptor
| Das Genie des Bildhauers | |
| t | 7c8EN1cbe06a13cf28-da-libre | libre |
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The Genius of the Sculptor
| The Genius of the sculptor | |
| t | 7c8EN253596f1a4e33-es-libre | libre |
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Architecture Pittoresque ou Monuments des XVeme. Et XVIeme. Siecles: Chateaux de France des XV et XVI Siecles: Pl. 84, Petit Château d'Exideuil (Dordogne)
| Arquitectura Pittoresque ou Monumentos des XVeme. Et XVIeme. Siecles: Chateaux de France des XV et XVI Siecles: Pl. 84, Petit Château d'Exideuil (Dordogne) | |
| t | 7c8EN253596f1a4e33-de-libre | libre |
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Architecture Pittoresque ou Monuments des XVeme. Et XVIeme. Siecles: Chateaux de France des XV et XVI Siecles: Pl. 84, Petit Château d'Exideuil (Dordogne)
| Architektur Pittoresque ou Denkmäler des XVeme. Et XVIeme. Siecles: Chateaux de France des XV et XVI Siecles: Pl. 84, Petit Château d'Exideuil (Dordogne) | |
| t | 7c8EN253596f1a4e33-da-libre | libre |
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Architecture Pittoresque ou Monuments des XVeme. Et XVIeme. Siecles: Chateaux de France des XV et XVI Siecles: Pl. 84, Petit Château d'Exideuil (Dordogne)
| Arkitektur Pittoresque ou Monuments des XVeme. Et XVIeme. Siecles: Chateaux de France des XV et XVI Siecles: Pl. 84, Petit Château d 'Exiduil (Dordogne) | |
| t | 7c8EN340ef24765f96-es-libre | libre |
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This bronze banqueter figurine was one of six once adorning the rim of a large basin, now lost. Cast in molds with individualized details, most have grooves on their underside to attach to the basin. Minute traces of gilding remain on areas of clothing and skin (mostly visible only under magnification), suggesting that they may have been completely gilded. Two handles in the form of hippocampi, horses with serpentine tails, also belonged to the basin and are now <a href="https://collections.carlos.emory.edu/objects/18237/handle-from-a-foot-basin-in-the-form-of-hippocamps">displayed</a> at the Michael C. Carlos Museum at Emory University. The basin may have been used to hold liquid for a banquet, or was perhaps funerary. <br><br>This banqueter tilts his head toward his left hand, which may have once held an object, now lost. His right arm rests on his hip. Unlike the other banqueters, this figurine does not have exposed feet and his body curves slightly when viewed from above. This suggests that this figurine may have been made for a different initial use before being added to this set.
| Esta figura del banqueter de bronce fue una de las seis una vez adornando el borde de una gran cuenca, ahora perdida. Repartido en moldes con detalles individualizados, la mayoría tienen ranuras en su parte inferior para fijar a la cuenca. Los rastros minúsculos de gilización permanecen en áreas de ropa y piel (sobre todo visibles sólo bajo magnificación), sugiriendo que pueden haber sido completamente dorados. Dos asas en forma de hipocampi, caballos con colas serpentinas, también pertenecieron a la cuenca y ahora <a href="https://collections.carlos.emory.edu/objects/18237/handle-from-a-foot-basin-in-the-form-of-hippocamps">mostrado</a> en el Museo Michael C. Carlos de la Universidad Emory. La cuenca puede haber sido utilizada para mantener líquido para un banquete, o tal vez fue funerario. <br/><br/>Este banqueter inclina su cabeza hacia su mano izquierda, que puede haber tenido una vez un objeto, ahora perdido. Su brazo derecho descansa en su cadera. A diferencia de los otros banquetes, esta figura no tiene pies expuestos y su cuerpo curva ligeramente cuando se ve desde arriba. Esto sugiere que esta figura puede haber sido hecha para un uso inicial diferente antes de ser agregada a este conjunto. | |
| t | 7c8ENe2ec2c104b439-da-libre | libre |
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King Siddhartha and Queen Trishala Sit Alone to Discuss Her Dreams, Folio 24 (recto), from a Kalpa-sutra
| Kong Siddhartha og dronning Trishala sidder alene for at diskutere hendes drømme, Folio 24 (reco), fra en Kalpa- sutra | |
| t | 7c8ENe85f85b6ba0a0-es-libre | libre |
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Lacquered wood with sprinkled gold (maki-e)
| Madera lacada con oro rociado (maki-e) | |
| t | 7c8ENe85f85b6ba0a0-de-libre | libre |
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Lacquered wood with sprinkled gold (maki-e)
| Lackiertes Holz mit gestreutem Gold (maki-e) | |
| t | 7c8ENe85f85b6ba0a0-da-libre | libre |
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Lacquered wood with sprinkled gold (maki-e)
| Lakeret træ med afdryppet guld (maki- e) | |
| t | 7c8ENedc5ea67f8c24-es-libre | libre |
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watercolor on ivory set in brooch
| acuarela sobre marfil en broche | |
| t | 7c8EN340ef24765f96-de-libre | libre |
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This bronze banqueter figurine was one of six once adorning the rim of a large basin, now lost. Cast in molds with individualized details, most have grooves on their underside to attach to the basin. Minute traces of gilding remain on areas of clothing and skin (mostly visible only under magnification), suggesting that they may have been completely gilded. Two handles in the form of hippocampi, horses with serpentine tails, also belonged to the basin and are now <a href="https://collections.carlos.emory.edu/objects/18237/handle-from-a-foot-basin-in-the-form-of-hippocamps">displayed</a> at the Michael C. Carlos Museum at Emory University. The basin may have been used to hold liquid for a banquet, or was perhaps funerary. <br><br>This banqueter tilts his head toward his left hand, which may have once held an object, now lost. His right arm rests on his hip. Unlike the other banqueters, this figurine does not have exposed feet and his body curves slightly when viewed from above. This suggests that this figurine may have been made for a different initial use before being added to this set.
| Diese Bronze Bankettfigur war eine von sechs einmal schmücken den Rand eines großen Beckens, jetzt verloren. In Formen mit individualisierten Details gegossen, haben die meisten Rillen auf ihrer Unterseite, um an das Becken zu befestigen. Minute Spuren der Vergoldung bleiben auf Bereichen der Kleidung und der Haut (meist sichtbar nur unter Vergrößerung), was darauf hindeutet, dass sie vollständig vergoldet wurden. Zwei Griffe in Form von Hippocampi, Pferde mit Schlangenschwanz, gehörten auch zum Becken und sind jetzt <a href="https://collections.carlos.emory.edu/objects/18237/handle-from-a-foot-basin-in-the-form-of-hippocamps">angezeigt</a> am Michael C. Carlos Museum an der Emory University. Das Becken kann verwendet worden sein, um Flüssigkeit für ein Bankett zu halten, oder war vielleicht lustig. <br/><br/>Dieser Banketter neigt seinen Kopf zu seiner linken Hand, die einst ein Objekt gehalten haben könnte, jetzt verloren. Sein rechter Arm ruht auf seiner Hüfte. Anders als die anderen Bankette, hat diese Figur keine exponierten Füße und seinen Körper Kurven leicht, wenn von oben betrachtet. Dies deutet darauf hin, dass diese Figur möglicherweise für eine andere erste Verwendung gemacht wurde, bevor sie zu diesem Satz hinzugefügt wurde. | |
| t | 7c8EN340ef24765f96-da-libre | libre |
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This bronze banqueter figurine was one of six once adorning the rim of a large basin, now lost. Cast in molds with individualized details, most have grooves on their underside to attach to the basin. Minute traces of gilding remain on areas of clothing and skin (mostly visible only under magnification), suggesting that they may have been completely gilded. Two handles in the form of hippocampi, horses with serpentine tails, also belonged to the basin and are now <a href="https://collections.carlos.emory.edu/objects/18237/handle-from-a-foot-basin-in-the-form-of-hippocamps">displayed</a> at the Michael C. Carlos Museum at Emory University. The basin may have been used to hold liquid for a banquet, or was perhaps funerary. <br><br>This banqueter tilts his head toward his left hand, which may have once held an object, now lost. His right arm rests on his hip. Unlike the other banqueters, this figurine does not have exposed feet and his body curves slightly when viewed from above. This suggests that this figurine may have been made for a different initial use before being added to this set.
| Denne bronze banqueter figur var en af seks engang pryde kanten af en stor bassin, nu tabt. Støbt i forme med individualiserede detaljer, de fleste har riller på undersiden til at fastgøre til bassinet. Minute spor af forgyldning forbliver på områder af tøj og hud (for det meste synlige kun under forstørrelse), hvilket tyder på, at de kan have været helt forgyldt. To håndtag i form af hippocampi, heste med serpentinhaler, også tilhørte bassinet og er nu <a href="https://collections.carlos.emory.edu/objects/18237/handle-from-a-foot-basin-in-the-form-of-hippocamps">vises</a> på Michael C. Carlos Museum på Emory University. Bækkenet kan have været brugt til at holde væske til en banket, eller var måske funerary. <br/><br/>Denne bankmand vipper hovedet mod venstre hånd, som måske engang havde et objekt, nu tabt. Hans højre arm hviler på hans hofte. I modsætning til de andre bankqueter, denne figur ikke har eksponeret fødder og hans krop kurver lidt, når ses fra oven. Dette tyder på, at denne figur kan være lavet til en anden indledende brug, før de tilføjes til dette sæt. | |
| t | 7c8EN6fc4472f901f2-es-libre | libre |
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Uzbekistan, Bukhara or Shahr-i Sabz, 19th century
| Uzbekistán, Bukhara o Shahr-i Sabz, siglo XIX | |
| t | 7c8EN6fc4472f901f2-de-libre | libre |
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Uzbekistan, Bukhara or Shahr-i Sabz, 19th century
| Usbekistan, Buchara oder Shahr-i Sabz, 19. Jahrhundert | |
| t | 7c8EN6fc4472f901f2-da-libre | libre |
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Uzbekistan, Bukhara or Shahr-i Sabz, 19th century
| Usbekistan, Bukhara eller Shahr- i Sabz, 19. århundrede | |
| t | 7c8EN7a8acb082df83-es-libre | libre |
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galvanized steel, cement, powder-coated paint, glass, cotton, and automotive paint
| acero galvanizado, cemento, pintura en polvo, vidrio, algodón y pintura automotriz | |
| t | 7c8EN7a8acb082df83-de-libre | libre |
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galvanized steel, cement, powder-coated paint, glass, cotton, and automotive paint
| verzinkter Stahl, Zement, pulverbeschichtete Farbe, Glas, Baumwolle und Automobilfarbe | |
| t | 7c8EN7a8acb082df83-da-libre | libre |
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galvanized steel, cement, powder-coated paint, glass, cotton, and automotive paint
| galvaniseret stål, cement, pulverlakeret maling, glas, bomuld og bilmaling | |
| t | 7c8EN7c5052b4c2baa-es-libre | libre |
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acrylic sheets, electric bulbs, wood
| sábanas acrílicas, bombillas eléctricas, madera | |
| t | 7c8EN7c5052b4c2baa-de-libre | libre |
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acrylic sheets, electric bulbs, wood
| Acrylplatten, elektrische Lampen, Holz | |
| t | 7c8EN7c5052b4c2baa-da-libre | libre |
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acrylic sheets, electric bulbs, wood
| acrylplader, elektriske pærer, træ | |
| t | 7c8EN91371b25788b4-es-libre | libre |
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Eagle with Chamois
| Águila con Chamois | |
| t | 7c8EN91371b25788b4-de-libre | libre |
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Eagle with Chamois
| Adler mit Chamois | |
| t | 7c8EN91371b25788b4-da-libre | libre |
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Eagle with Chamois
| Ørn med Chamois | |
| t | 7c8ENa269318a062aa-es-libre | libre |
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Wood, metal, and plant fiber
| Madera, metal y fibra de planta | |
| t | 7c8ENa269318a062aa-de-libre | libre |
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Wood, metal, and plant fiber
| Holz, Metall und Pflanzenfaser | |
| t | 7c8ENa269318a062aa-da-libre | libre |
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Wood, metal, and plant fiber
| Træ, metal og plantefibre | |
| t | 7c8ENb38460bc9ad26-es-libre | libre |
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The monumental <em>Pianta Grande di Roma, </em>or Large Plan of Rome, which measures about 5 x 7 feet when its twelve plates are assembled, is a landmark in both cartography and printmaking. The map is considered the first scientific rendering of Rome, establishing new standards of accuracy and thoroughness when it was published in 1748. Devised by the Lombard architect and surveyor Giovanni Battista Nolli (Italian, 1701-56), the creation of the map required over ten years of surveying the city carried out by Nolli and a team of assistants with the help of new measuring devices. In Nolli’s “ichnographic” (also called “ground”) plan, architectural features and the urban infrastructure are reduced to a single horizontal slice, a minutely detailed footprint that conveys dimensions, proportions, and orientations to scale with the utmost clarity.
| El monumental <em>Pianta Grande di Roma, </em>o Plan Grande de Roma, que mide alrededor de 5 x 7 pies cuando sus doce placas se montan, es un hito en la cartografía y la impresión. El mapa se considera la primera representación científica de Roma, estableciendo nuevos estándares de precisión y minuciosidad cuando fue publicado en 1748. Creado por el arquitecto y el agrimensor Lombard Giovanni Battista Nolli (Italiano, 1701-56), la creación del mapa requerido durante diez años de reconocimiento de la ciudad realizada por Nolli y un equipo de asistentes con la ayuda de nuevos dispositivos de medición. En el plan “ichnographic” de Nolli (también llamado “ground”), las características arquitectónicas y la infraestructura urbana se reducen a una sola rodaja horizontal, una huella minuciosamente detallada que transmite dimensiones, proporciones y orientaciones a escala con la mayor claridad. | |
| t | 7c8ENb38460bc9ad26-de-libre | libre |
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The monumental <em>Pianta Grande di Roma, </em>or Large Plan of Rome, which measures about 5 x 7 feet when its twelve plates are assembled, is a landmark in both cartography and printmaking. The map is considered the first scientific rendering of Rome, establishing new standards of accuracy and thoroughness when it was published in 1748. Devised by the Lombard architect and surveyor Giovanni Battista Nolli (Italian, 1701-56), the creation of the map required over ten years of surveying the city carried out by Nolli and a team of assistants with the help of new measuring devices. In Nolli’s “ichnographic” (also called “ground”) plan, architectural features and the urban infrastructure are reduced to a single horizontal slice, a minutely detailed footprint that conveys dimensions, proportions, and orientations to scale with the utmost clarity.
| Das Monument <em>Pianta Grande di Roma, </em>oder Großer Plan von Rom, der etwa 5 x 7 Fuß misst, wenn seine zwölf Platten montiert sind, ist ein Wahrzeichen in Kartographie und Drucken. Die Karte gilt als die erste wissenschaftliche Rendering von Rom, die neue Standards der Genauigkeit und Gründlichkeit, als es im Jahre 1748 veröffentlicht wurde. Besichtigt von dem Lombard Architekten und Vermesser Giovanni Battista Nolli (Italienisch, 1701-56), die Erstellung der Karte erforderlich über zehn Jahre der Vermessung der Stadt durch Nolli und ein Team von Assistenten mit Hilfe neuer Messgeräte. In Nollís werden die architektonischen Merkmale und die urbane Infrastruktur auf eine einzelne horizontale Scheibe reduziert, eine minutiöse Detailfläche, die Dimensionen, Proportionen und Ausrichtungen mit größter Klarheit vermittelt. | |
| t | 7c8ENb38460bc9ad26-da-libre | libre |
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The monumental <em>Pianta Grande di Roma, </em>or Large Plan of Rome, which measures about 5 x 7 feet when its twelve plates are assembled, is a landmark in both cartography and printmaking. The map is considered the first scientific rendering of Rome, establishing new standards of accuracy and thoroughness when it was published in 1748. Devised by the Lombard architect and surveyor Giovanni Battista Nolli (Italian, 1701-56), the creation of the map required over ten years of surveying the city carried out by Nolli and a team of assistants with the help of new measuring devices. In Nolli’s “ichnographic” (also called “ground”) plan, architectural features and the urban infrastructure are reduced to a single horizontal slice, a minutely detailed footprint that conveys dimensions, proportions, and orientations to scale with the utmost clarity.
| Den monumentale <em>Pianta Grande di Roma </em>eller Stor plan af Rom, som måler omkring 5 x 7 fod, når dens tolv plader er samlet, er en milepæl i både kartografi og printfremstilling. Kortet betragtes som den første videnskabelige gengivelse af Rom, der fastsætter nye standarder for nøjagtighed og grundighed, da det blev offentliggjort i 1748. Udstyret af Lombard arkitekt og landmåler Giovanni Battista Nolli (italiensk, 1701-56), oprettelsen af kortet krævede over ti års overvågning af byen udført af Nolli og et team af assistenter med hjælp af nye måleanordninger. I Nollis "ichnographic" (også kaldet "ground") plan, er arkitektoniske funktioner og byinfrastrukturen reduceret til en enkelt vandret skive, et minimalt detaljeret fodaftryk, der formidler dimensioner, proportioner og orienteringer til skalering med den yderste klarhed. | |
| t | 7c8ENb58e52a094712-es-libre | libre |
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Indonesia, Java, North Coast, 19th - early 20th century
| Indonesia, Java, North Coast, 19th - principios del siglo XX | |
| t | 7c8ENb58e52a094712-de-libre | libre |
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Indonesia, Java, North Coast, 19th - early 20th century
| Indonesien, Java, Nordküste, 19. - Anfang 20. Jahrhundert | |
| t | 7c8ENb58e52a094712-da-libre | libre |
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Indonesia, Java, North Coast, 19th - early 20th century
| Indonesien, Java, Nordkysten, 19. - begyndelsen af det 20. århundrede | |
| t | 7c8ENb9c29aa1e8fe8-es-libre | libre |
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Camera Work: Janet Burnet
| Trabajo de cámara: Janet Burnet | |
| t | db4ENb87db1e500543-de-libre | libre |
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Buttons
| Knopf | |
| t | 7c8ENedc5ea67f8c24-de-libre | libre |
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watercolor on ivory set in brooch
| Aquarell auf Elfenbein gesetzt in Brosche | |
| t | 7c8ENedc5ea67f8c24-da-libre | libre |
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watercolor on ivory set in brooch
| vandfarve på elfenben sæt i broche | |
| t | 7c8ENf5e0105c7dfd7-es-libre | libre |
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Fragment of Decorative Band
| Fragmento de Banda Decorativa | |
| t | 7c8ENf5e0105c7dfd7-de-libre | libre |
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Fragment of Decorative Band
| Fragment der Dekorative Band | |
| t | 7c8ENf5e0105c7dfd7-da-libre | libre |
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Fragment of Decorative Band
| Fragment af dekorative bånd | |
| t | 7c9EN3b1118ccf2ffa-es-libre | libre |
en->es
Reverberations of Taiga (Volume 1)
| Reverberaciones de Taiga (Volumen 1) | |
| t | 7c9EN3b1118ccf2ffa-de-libre | libre |
en->de
Reverberations of Taiga (Volume 1)
| Reverberationen von Taiga (Volume 1) | |
| t | 7c9EN3b1118ccf2ffa-da-libre | libre |
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Reverberations of Taiga (Volume 1)
| Reverberations of Taiga (bind 1) | |
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Coronation of the Virgin
| Coronación de la Virgen | |
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Coronation of the Virgin
| Krönung der Jungfrau | |
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Coronation of the Virgin
| Koronering af Jomfruen | |
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Copperplate Printed Cotton
| Cobreplato impreso | |
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Copperplate Printed Cotton
| Kupferplatte bedruckt Baumwolle | |
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Copperplate Printed Cotton
| Copperplate Trykt bomuld | |
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Africa, Southern Africa, South Africa, Zulu-style carver
| África, África meridional, Sudáfrica, carburante de estilo Zulu | |
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Africa, Southern Africa, South Africa, Zulu-style carver
| Afrika, Südliches Afrika, Südafrika, Zulu-Schnitzer | |
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Africa, Southern Africa, South Africa, Zulu-style carver
| Afrika, Sydafrika, Zulu- stil carver | |
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black crayon with watercolor, gouache and graphite
| crayón negro con acuarela, gouache y grafito | |
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black crayon with watercolor, gouache and graphite
| Schwarze Kreide mit Aquarell, Gouache und Graphit | |
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black crayon with watercolor, gouache and graphite
| sort farvestof med vandfarve, gouache og grafit | |
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Harolde dans les Montagnes
| Harolde dans les Montagnes | |
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Harolde dans les Montagnes
| Harolde dans les Montagnes | |
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Harolde dans les Montagnes
| Harolde dans les Montagnes | |
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Germany(?), last half 19th century
| Alemania(?), último medio siglo XIX | |
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Germany(?), last half 19th century
| Deutschland(?), letzte Hälfte des 19. Jahrhunderts | |
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Germany(?), last half 19th century
| Tyskland (?), sidste halve 19. århundrede | |
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brass, mahogany
| bronce, caoba | |
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brass, mahogany
| Messing, Mahagoni | |
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brass, mahogany
| messing, mahogni | |
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The Beggars: Beggar Woman on Crutches
| Los mendigos: Mujer de mendigo en muletas | |
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The Beggars: Beggar Woman on Crutches
| Die Beggars: Beggar Frau auf Krücken | |
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The Beggars: Beggar Woman on Crutches
| The Beggars: Beggar Woman on Cruches | |
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Missale: Fol. 192v: Resurrection of Christ
| Missale: Fol. 192v: Resurrección de Cristo | |
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Missale: Fol. 192v: Resurrection of Christ
| Missale: Fol. 192v: Auferstehung Christi | |
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Missale: Fol. 192v: Resurrection of Christ
| Missalg: Fol. 192v: Kristi genopstandelse | |
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Study for "The Reception of the Siamese Ambassadors at Fontainebleau"
| Estudio para "La Recepción de los Embajadores Siameses en Fontainebleau" | |
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Study for "The Reception of the Siamese Ambassadors at Fontainebleau"
| Studie zum Thema "Der Empfang der siamesischen Botschafter in Fontainebleau" | |
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Study for "The Reception of the Siamese Ambassadors at Fontainebleau"
| Undersøgelse af "Modtagelsen af de siamesiske ambassadører i Fontainebleau" | |
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oak, tulipwood marquetry, gilt metal mounts, marble
| roble, marquetería tulipwood, monturas de metal gilt, mármol | |
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oak, tulipwood marquetry, gilt metal mounts, marble
| Eiche, Tulpenholz, vergoldete Metallmontage, Marmor | |
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oak, tulipwood marquetry, gilt metal mounts, marble
| eg, tulipwood marquetry, forgyldt metalophæng, marmor | |
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Landscape with Man Fishing, Conway, New Hampshire
| Paisaje con Pesca Man, Conway, New Hampshire | |
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Landscape with Man Fishing, Conway, New Hampshire
| Landschaft mit Man Fishing, Conway, New Hampshire | |
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Landscape with Man Fishing, Conway, New Hampshire
| Landskab med mandefiskeri, Conway, New Hampshire | |
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bobbin lace, embroidery
| encaje, bordado | |
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bobbin lace, embroidery
| Bobbin Spitze, Stickerei | |
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bobbin lace, embroidery
| bobbinblonder og kniplinger, broderier | |
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The Fall of Phaeton
| La caída de Phaeton | |
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The Fall of Phaeton
| Der Fall von Phaeton | |
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The Fall of Phaeton
| Phaetons fald | |
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Belgium, Brabant ?, mid-18th century
| Bélgica, Brabant ?, mediados del siglo XVIII | |
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Belgium, Brabant ?, mid-18th century
| Belgien, Brabant ?, Mitte des 18. Jahrhunderts | |
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Belgium, Brabant ?, mid-18th century
| Belgien, Brabant?, midten af det 18. århundrede | |
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Liber Studiorum: Plate 47, A Study
| Liber Studiorum: Placa 47, Un estudio | |
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Liber Studiorum: Plate 47, A Study
| Liber Studorum: Plate 47, A Study | |
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Liber Studiorum: Plate 47, A Study
| Liber Studiorum: Plade 47, A Study | |
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Missale: Fol. 179: Music for various ordinary prayers
| Missale: Fol. 179: Música para diversas oraciones ordinarias | |
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Missale: Fol. 179: Music for various ordinary prayers
| Missale: Fol. 179: Musik für verschiedene gewöhnliche Gebete | |
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Missale: Fol. 179: Music for various ordinary prayers
| Missalg: Fol. 179: Musik for forskellige almindelige bønner | |
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nephrite (greenstone)
| nephrite (greenstone) | |
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nephrite (greenstone)
| Nephrit (Greenstone) | |
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nephrite (greenstone)
| nephrit (greenstone) | |
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Calcutta. The Custom House Landing Place. Shipping in the River Hoogly
| Calcuta. The Custom House Landing Place. Envíos en el río Hoogly | |
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Calcutta. The Custom House Landing Place. Shipping in the River Hoogly
| Kalkutta. Das Custom House Landing Place. Schifffahrt im Fluss Hoogly | |
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Calcutta. The Custom House Landing Place. Shipping in the River Hoogly
| Calcutta. The Custom House Landing Place. Forsendelse i floden Hoogly | |
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Adolphe Appian was renowned during the 19th century for his mastery of charcoal drawing. He specialized in large-scale landscapes depicting Lyon, his native region in southeastern France, and focused on what he termed “private little corners” rather than grandiose views. This drawing is one of several in which Appian depicted the winding Rhône River and the dense trees and large boulders that surrounded it. Two small fishermen give a sense of scale and draw the viewer into the scene. Appian worked with charcoal sticks and powder, wiping the material with cloth, paper, and even breadcrumbs before scratching into the paper’s surface to create an unprecedented tonal range.
| Adolphe Appian fue reconocido durante el siglo XIX por su dominio del dibujo de carbón. Se especializó en paisajes de gran escala que representan a Lyon, su región natal en el sudeste de Francia, y se centró en lo que él denominaba “niveles privados” en lugar de vistas de grandiosidad. Este dibujo es uno de varios en los que Appian representaba el río Ródano y los árboles densos y grandes rocas que lo rodeaban. Dos pequeños pescadores dan una sensación de escala y dibujan al espectador en la escena. Appian trabajó con palos de carbón y polvo, doblando el material con tela, papel, e incluso cubos de pan antes de rascarse en la superficie del papel para crear un rango tonal sin precedentes. | |
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Adolphe Appian was renowned during the 19th century for his mastery of charcoal drawing. He specialized in large-scale landscapes depicting Lyon, his native region in southeastern France, and focused on what he termed “private little corners” rather than grandiose views. This drawing is one of several in which Appian depicted the winding Rhône River and the dense trees and large boulders that surrounded it. Two small fishermen give a sense of scale and draw the viewer into the scene. Appian worked with charcoal sticks and powder, wiping the material with cloth, paper, and even breadcrumbs before scratching into the paper’s surface to create an unprecedented tonal range.
| Adolphe Appian war im 19. Jahrhundert für seine Beherrschung der Holzkohlezeichnung bekannt. Er spezialisierte sich auf großformatige Landschaften, die Lyon, seine Heimatregion im Südosten Frankreichs darstellen, und konzentrierte sich auf das, was er als private kleine Ecken bezeichnet, anstatt grandiose Ansichten. Diese Zeichnung ist eine von mehreren, in denen Appian den kurvenreichen Rhône River und die dichten Bäume und großen Felsbrocken, die es umgeben dargestellt. Zwei kleine Fischer geben ein gewisses Maß und ziehen den Betrachter in die Szene. Appian arbeitete mit Holzkohlestäbchen und Pulver, wischte das Material mit Tuch, Papier und sogar Brotkrumen vor dem Kratzen in die Oberfläche von Papierrüben, um einen beispiellosen Tonbereich zu schaffen. | |
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Adolphe Appian was renowned during the 19th century for his mastery of charcoal drawing. He specialized in large-scale landscapes depicting Lyon, his native region in southeastern France, and focused on what he termed “private little corners” rather than grandiose views. This drawing is one of several in which Appian depicted the winding Rhône River and the dense trees and large boulders that surrounded it. Two small fishermen give a sense of scale and draw the viewer into the scene. Appian worked with charcoal sticks and powder, wiping the material with cloth, paper, and even breadcrumbs before scratching into the paper’s surface to create an unprecedented tonal range.
| Adolphe Appian blev kendt i løbet af det 19. århundrede for hans beherskelse af kul tegning. Han specialiserede sig i store landskaber, der skildrer Lyon, hans hjemlige region i det sydøstlige Frankrig, og fokuserede på, hvad han kaldte "private små hjørner" snarere end storslåede visninger. Denne tegning er en af flere, hvor Appian skildret den snoede Rhône floden og de tætte træer og store kampesten, der omgav den. To små fiskere giver en fornemmelse af skala og trækker seeren ind i scenen. Appian arbejdede med trækul pinde og pulver, tørre materialet med klud, papir, og endda brødkrummer før ridser ind i papirets overflade for at skabe en hidtil uset tonal rækkevidde. | |
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The Life of the Virgin: The Marriage of the Virgin
| La vida de la Virgen: el matrimonio de la Virgen | |
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The Life of the Virgin: The Marriage of the Virgin
| Das Leben der Jungfrau: Die Ehe der Jungfrau | |
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The Life of the Virgin: The Marriage of the Virgin
| Jomfruens liv: Jomfruens ægteskab | |
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Also known as the "Poor Men's Bible," the <em>Biblia Pauperum</em> was a simple picture book used to explain biblical prophecies and symbolism. These volumes served as an aid for preachers to demonstrate the unity of the Bible. The iconography of these popular books juxtaposed two Old Testament scenes with one from the life of Christ. In this example, the image of Christ crowned with thorns on one side and Christ carrying the cross between Abraham and Isaac on the way to sacrifice (on the left) and Elijah with the widow of Zarephath (right), on the other side. The <em>Biblia Pauperum</em> appeared first in manuscript form in the 1200s, became a popular picture book with miniatures in the 1300s, and after 1450 it emerged as a print book with woodcuts.
| También conocido como "La Biblia de los hombres pobres", la <em>Biblia Pauperum</em> era un simple libro de imágenes usado para explicar las profecías bíblicas y el simbolismo. Estos volúmenes sirvieron como ayuda para que los predicadores demostraran la unidad de la Biblia. La iconografía de estos libros populares yuxtapone dos escenas del Antiguo Testamento con una de la vida de Cristo. En este ejemplo, la imagen de Cristo coronada con espinas de un lado y Cristo llevando la cruz entre Abraham e Isaac en el camino para sacrificar (a la izquierda) y Elías con la viuda de Sarepta (derecha), del otro lado. El <em>Biblia Pauperum</em> apareció primero en forma de manuscrito en el 1200, se convirtió en un popular libro de imágenes con miniaturas en el 1300, y después de 1450 surgió como un libro de impresión con cortes de madera. | |
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Also known as the "Poor Men's Bible," the <em>Biblia Pauperum</em> was a simple picture book used to explain biblical prophecies and symbolism. These volumes served as an aid for preachers to demonstrate the unity of the Bible. The iconography of these popular books juxtaposed two Old Testament scenes with one from the life of Christ. In this example, the image of Christ crowned with thorns on one side and Christ carrying the cross between Abraham and Isaac on the way to sacrifice (on the left) and Elijah with the widow of Zarephath (right), on the other side. The <em>Biblia Pauperum</em> appeared first in manuscript form in the 1200s, became a popular picture book with miniatures in the 1300s, and after 1450 it emerged as a print book with woodcuts.
| Auch bekannt als die "Armee Männer Bibel," die <em>Biblia Pauperum</em> war ein einfaches Bildbuch verwendet, um biblische Prophezeiungen und Symbolismus zu erklären. Diese Bände dienten als Hilfe für Prediger, um die Einheit der Bibel zu demonstrieren. Die Ikonographie dieser populären Bücher stellte zwei Alttestamentliche Szenen mit einer aus dem Leben Christi. In diesem Beispiel, das Bild Christi gekrönt mit Dornen auf der einen Seite und Christus tragen das Kreuz zwischen Abraham und Isaak auf dem Weg zum Opfer (links) und Elia mit der Witwe von Zarephat (rechts), auf der anderen Seite. Das <em>Biblia Pauperum</em> erschien zuerst in Handschriftenform in den 1200er Jahren, wurde ein beliebtes Bildbuch mit Miniaturen in den 1300er Jahren, und nach 1450 entstand es als Druckbuch mit Holzschnitten. | |
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Also known as the "Poor Men's Bible," the <em>Biblia Pauperum</em> was a simple picture book used to explain biblical prophecies and symbolism. These volumes served as an aid for preachers to demonstrate the unity of the Bible. The iconography of these popular books juxtaposed two Old Testament scenes with one from the life of Christ. In this example, the image of Christ crowned with thorns on one side and Christ carrying the cross between Abraham and Isaac on the way to sacrifice (on the left) and Elijah with the widow of Zarephath (right), on the other side. The <em>Biblia Pauperum</em> appeared first in manuscript form in the 1200s, became a popular picture book with miniatures in the 1300s, and after 1450 it emerged as a print book with woodcuts.
| Også kendt som "stakkels mænds bibel", <em>Biblia Pauperum</em> var en simpel billedbog brugt til at forklare bibelske profetier og symbolik. Disse bind tjente som hjælp for præster til at demonstrere bibelens enhed. Ikonografien af disse populære bøger juxtaposed to Gamle Testamente scener med en fra livet af Kristus. I dette eksempel kronede Kristi billede med torne på den ene side og Kristus med korset mellem Abraham og Isak på vej til at ofre (til venstre) og Elijah med Zarefats enke (til højre) på den anden side. EU <em>Biblia Pauperum</em> optrådte første gang i manuskript form i 1200-tallet, blev en populær billedbog med miniaturer i 1300erne, og efter 1450 opstod den som en trykbog med træsnit. | |
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Egypt, Antinoë, Byzantine period, late 6th century
| Egipto, Antinoë, período bizantino, finales del siglo VI | |
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Egypt, Antinoë, Byzantine period, late 6th century
| Ägypten, Antinoë, Byzantinische Periode, Ende des 6. Jahrhunderts | |
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Egypt, Antinoë, Byzantine period, late 6th century
| Egypten, Antinoë, Byzantinsk periode, slutningen af 6. århundrede | |
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Courtesan and Sleeping Attendant
| Courtesan and Sleeping Attendant | |
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Courtesan and Sleeping Attendant
| Courtesan und Schlafbegleiter | |
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Courtesan and Sleeping Attendant
| Courtesan and Sleeping Attenant | |
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red chalk; red and black chalk (upper left figure)
| tiza roja; tiza roja y negra (figura superior izquierda) | |
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red chalk; red and black chalk (upper left figure)
| rote Kreide; rote und schwarze Kreide (obere linke Figur) | |
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red chalk; red and black chalk (upper left figure)
| rødt kridt; rødt og sort kridt (øverste venstre figur) | |
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Flower designs for plates and borders (no. 14)
| Diseños de flores para placas y fronteras (no 14) | |
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Flower designs for plates and borders (no. 14)
| Blumenmuster für Teller und Bordüren (Nr. 14) | |
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Flower designs for plates and borders (no. 14)
| Blomsterdesign til plader og kanter (nr. 14) | |
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ink and gouache on paper
| Tinte und Gouache auf Papier | |
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ink and gouache on paper
| blæk og gouache på papir | |
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Buttons
| Knapper | |
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Dürer’s woodcut of Mary Magdalene represents a popular subject in German art and is considered a schlechtes Holzwerk, a simple woodcut intended for a general audience. According to a medieval book of saints’ lives known as the Golden Legend, Mary Magdalene spent the last 30 years of her life as a hermit outside of Marseilles, France, where she was miraculously borne aloft to heaven seven times a day to hear the choir of angels. Considered a fallen woman in her early life, Mary earned redemption through her complete devotion to Christ. During this period, Dürer was preoccupied with the laws of human proportion and the female figure. Mary Magdalene’s powerful legs and widened hips are comparable to the female nudes in Dürer’s The Dream of the Doctor and Adam and Eve.
| El corte de madera de Dürer de Mary Magdalene representa un tema popular en el arte alemán y se considera un schlechtes Holzwerk, un simple corte de madera destinado a un público general. Según un libro medieval de la vida de los santos conocido como la leyenda de oro, María Magdalena pasó los últimos 30 años de su vida como ermita fuera de Marsella, Francia, donde fue llevada milagrosamente al cielo siete veces al día para escuchar el coro de los ángeles. Considerada una mujer caída en su vida temprana, María ganó la redención por su completa devoción a Cristo. Durante este período, Dürer estuvo preocupado por las leyes de la proporción humana y la figura femenina. Las poderosas piernas de María Magdalena y las caderas ensanchadas son comparables a las nudas femeninas del sueño del doctor y Adán y Eva de Durero. | |
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Dürer’s woodcut of Mary Magdalene represents a popular subject in German art and is considered a schlechtes Holzwerk, a simple woodcut intended for a general audience. According to a medieval book of saints’ lives known as the Golden Legend, Mary Magdalene spent the last 30 years of her life as a hermit outside of Marseilles, France, where she was miraculously borne aloft to heaven seven times a day to hear the choir of angels. Considered a fallen woman in her early life, Mary earned redemption through her complete devotion to Christ. During this period, Dürer was preoccupied with the laws of human proportion and the female figure. Mary Magdalene’s powerful legs and widened hips are comparable to the female nudes in Dürer’s The Dream of the Doctor and Adam and Eve.
| Der Holzschnitt von Mary Magdalene stellt ein populäres Thema in deutscher Kunst dar und gilt als ein einfaches Holzschnitt für ein Publikum. Nach einem mittelalterlichen Buch der Heiligen, das als die Goldene Legende bekannt ist, verbrachte Maria Magdalena die letzten 30 Jahre ihres Lebens als Einsiedler außerhalb von Marseille, Frankreich, wo sie siebenmal am Tag wunderbar zum Himmel getragen wurde, um den Chor der Engel zu hören. Als gefallene Frau in ihrem frühen Leben verdiente Maria die Erlösung durch ihre volle Hingabe an Christus. In dieser Zeit war Dürer mit den Gesetzen des menschlichen Anteils und der weiblichen Figur beschäftigt. Die mächtigen Beine und die ausgedehnten Hüften von Mary Magdalene sind vergleichbar mit den weiblichen Akten in Dürer. | |
| t | 7cbENca3daab5baefa-da-libre | libre |
en->da
Dürer’s woodcut of Mary Magdalene represents a popular subject in German art and is considered a schlechtes Holzwerk, a simple woodcut intended for a general audience. According to a medieval book of saints’ lives known as the Golden Legend, Mary Magdalene spent the last 30 years of her life as a hermit outside of Marseilles, France, where she was miraculously borne aloft to heaven seven times a day to hear the choir of angels. Considered a fallen woman in her early life, Mary earned redemption through her complete devotion to Christ. During this period, Dürer was preoccupied with the laws of human proportion and the female figure. Mary Magdalene’s powerful legs and widened hips are comparable to the female nudes in Dürer’s The Dream of the Doctor and Adam and Eve.
| Dürer 's træsnit af Mary Magdalene repræsenterer et populært emne i tysk kunst og betragtes som en schlechtes Holzwerk, et simpelt træsnit beregnet til et generelt publikum. Ifølge en middelalderbog om helgenernes liv, kendt som Den Gyldne Legend, tilbragte Mary Magdalene de sidste 30 år af sit liv som eneboer uden for Marseille, Frankrig, hvor hun mirakuløst blev båret op til himlen syv gange om dagen for at høre englenes kor. Betragtet som en falden kvinde i hendes tidlige liv, Mary tjent frelse gennem hendes fuldstændige hengivenhed til Kristus. I denne periode, Dürer var optaget af lovene i menneskelige forhold og den kvindelige tal. Mary Magdalene' s kraftfulde ben og udvidede hofter er sammenlignelige med de kvindelige nudes i Dürer 's Drøm om Doktoren og Adam og Eva. | |
| t | 7cbENe6fea88fe082b-es-libre | libre |
en->es
California, Mono, LAke Paiute, late 19th- early 20th century
| California, Mono, LAke Paiute, finales del siglo XIX a principios del siglo XX | |
| t | 7c5EN691ec413c8c76-es-libre | libre |
en->es
The giving of miniatures had long been a common practice among wealthy and aristocratic families by the time Faberge began combining portraits with his richly decorated frames. The Russian imperial family delighted in having these personal mementos and commissioned many different miniatures to place around their private apartments, providing a warm family atmosphere in an otherwise highly formal existence.
| La entrega de miniaturas había sido durante mucho tiempo una práctica común entre las familias ricas y aristocráticas cuando Faberge comenzó a combinar retratos con sus marcos ricamente decorados. La familia imperial rusa se complace en tener estos recuerdos personales y encomendó muchas miniaturas diferentes a colocar alrededor de sus apartamentos privados, proporcionando un ambiente familiar cálido en una existencia de otra manera muy formal. | |
| t | 7cbENe6fea88fe082b-de-libre | libre |
en->de
California, Mono, LAke Paiute, late 19th- early 20th century
| Kalifornien, Mono, Lake Paiute, Ende des 19. - Anfang des 20. Jahrhunderts | |
| t | 7ccEN6d2e60e2320fa-da-libre | libre |
en->da
Figures in a variety of dress including military and ceremonial garb start to appear on Japanese earthen mounded tombs called old mounds (<em>kofun</em>) from the AD 400s to 500s. This fragment depicts a woman with red triangles on her face and wearing jewelry. Archaeologists speculate that the facial markings had a ritual or symbolic function, perhaps indicating she is a female shaman. Many figures of this kind have been found in digs in the Kanto region of eastern Japan. We can only guess at the meaning of the clay cylinders called <em>haniwa</em>.
| Tal i en række kjole, herunder militær og ceremoniel garb begynder at dukke op på japanske jordmonterede grave kaldet gamle høje (<em>kofun</em>) fra AD 400s til 500s. Dette fragment viser en kvinde med røde trekanter i ansigtet og med smykker. Arkæologer spekulere på, at ansigtsmarkeringerne havde en ritual eller symbolsk funktion, måske indikerer hun er en kvindelig shaman. Mange tal af denne art er fundet i grave i Kanto-regionen i det østlige Japan. Vi kan kun gætte på betydningen af lercylinderne kaldet <em>haniwa</em>. |