All unknow artist 's Paintings
The Painting Names Are Sorted From A to Z

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Choice	ID	Image	Paintings (From A to Z)	Details
	27526		The madonna and child	mk56 oil on canvas Followers of Pierre Mignard
	27529		The madonna and child	mk56 oil on canvas Follower of Luca Cambiaso
	66883		The Madonna and Child	Early 14th century painting on gold ground panel 47.3 x 34 cm.
	27448		The madonna and child enthroned,attended by angels playing musical instruments	mk56 oil on panel Manner of Hans Memling
	27572		The Madonna and child with saint dominic	mk56 oil on canvas Venice 1708/9-1787
	27510		The madonna and child with saint lucy	mk56 oil on panel
	27361		The Madonna and child with the infant saint john the baptist	mk56 oil on panel,unframed Workshop of Michele Tosini, called Michele di Ridolfo del Ghirlandaio Florence 1503-1577
	27362		The Madonna and child with the infant saint john the baptist	mk56 oil on panel Attributed to Bartolomeo Ramenghi,called Bagnacavallo
	41976		The Madonna and the Nino enthroned, with the holy Catalina and Barbara	mk166 1520 I Wave on board of wood 87x73cm Uffizi, Florence
	44431		The Madonna as Advocate	Tempera on panel covered with canvas, 107 x 57.5 cm
	41984		The Madonna enthroned, with ten holy	mk166 1522 I Wave on anel of mdera 350x259cm Galeria Palace Pitti Florence
	64728		The Madonna of St Vitus Cathedral in Prague	1420 Tempera on wood, 89 x 77 cm National Gallery, Prague The half length figure of the Virgin holding her Child in front of her on her right side appears in an ornate, three-dimensional frame - though we are not sure whether the frame originally belonged to the picture. Although the whole composition and the manner in which Mary is showing her Child to the congregation of the faithful has preserved the formal solemnity of devotional pictures, the almost coquettish posture of her head and the animation of the Child radiate a natural atmosphere. The striking three-dimensional qualities of the painting point to the influence of the sculptures of "Beautiful Madonnas" of the period, indeed, some scholars believe that the painter is identical with the master of the Beautiful Madonna of Krumlov. Precise and subtle modelling conveys the full forms of the figures, as do the deep, falling folds of the Virgin's mantle, which is made of some heavy fabric; the Child's body and hands are represented organically, and the two figures constitute a group imagined in spatial terms. The Virgin is depicted in a complicate counterpoise: her body is not only bent sidewise, but is also drawn backwards, whereas the whole torso of Jesus faces the spectator. The movements of the two figures in opposite directions stress that the construction of the composition is determined by the two diagonals of the oblong standing frame. The torso of the Virgin is bent into the direction of the diagonal line directed towards the upper right corner, while her head and the Child's body parallel with it point to the opposite direction. The two flesh-coloured areas, the face and the body, are placed in the middle of that diagonal line. The harmonious overall effect of the well-poised composition is intensified by the fact that the Infant's right shoulder is merged with that of His mother and by this means a single, undisturbed outline encloses the two figures. Artist:UNKNOWN MASTER, Bohemian Title: The Madonna of St Vitus Cathedral in Prague, 1401-1450, Bohemian , painting , religious
	41997		The Madonna of the cloak of proteccion	mk166 Around the anus 1480 Wood polychrome State Museum Berlin
	27527		The madonna of the rose	mk56 oil on canvas Follower of Simon Vouet
	41998		The Madonna Platytera	mk166 Final of the fifteenth century Sculpture in altorrelieve Museum Victory and Alberto. London
	42000		The Madonna with a dress detrigo	mk166 Toward 1450 Sterzing North of Italy
	41913		The maestro,los pupilos,the godly and the mino	mk166 Painting At wall of one lunette
	73184		The Magic Lantern	Oil painting reproduction of Ferdinand du Puigaudeau. cjr
	72656		The Making of Ammunition	"The Making of Ammunition," oil on canvas, by the American artist Tompkins Harrison Matteson. 36 in. x 48.5 in. Courtesy of the Chrysler Museum of Art. Image courtesy of The Athenaeum. cjr
	50634		The man lean on the barrier	mk213 Oil on canvas
	56795		The man was wearing a Red Hat	mk250 Year in 1433. Canvas board, about 26 x 17 cm. London National Gallery.
	76720		The Marlborough family	1690s cjr
	43465		The Marrian Devotion	mk172 of the Virgin of Loreto was promoted in New Spain by the Company of Jesus
	41908		The Martyr of Saint George	mk165
	64201		The Martyrdom of St	11,000 Virgins 1492-1496 Oil on panel Victoria and Albert Museum, London In 1903, the famous art historian J.M. Friedlender attributed the Scenes from the Life of St Ursula, today in the Groeninge Museum, Bruges, to a painter he called the Master of the Legend of St Ursula. He saw this artist as a particularly talented disciple of Hans Memling and Rogier van der Weyden. In 1921 it was proposed that this anonymous artist was one Pieter Casembroot, a painter from Bruges who had apprenticed to Arnout de Mol, before becoming a master himself in 1459, none of whose works had hitherto been identified. Today, this hypothesis is widely accepted. Casembroot's most productive years were those between 1480 and 1500. We also know that, in around 1480, he began to receive so many commissions that he had to follow the example of his more illustrious colleagues and set up a studio in his own name. , Artist: MASTER of the Legend of St. Ursula , The Martyrdom of St. Ursula and the 11,000 Virgins , 1451-1500 , Flemish , painting , religious
	52620		The Martyrdom of St Catherine of Alexandria	c. 1617 Oil on canvas, 157 x 207,5 cm
	52625		The Martyrdom of St Maurice	1583 Oil on canvas, 540 x 288 cm
	41416		The Mary Rose	mk160 Sister ship to Henry VIII-sflagship
	31920		THe Mason Children:David,Joanna,and Abigail	mk77 1670 Oil on canvas 39x42 1/2in
	27524		The massacre of the innocents	mk56 oil on canvas Attributed to Giovanni Battista Merano
	34162		The Master of the garden espies the maidens bathing in his pool	mk90 Illustration to Nizami\'s Tale of the Princess of the White Pavilion in the seven lcons
	45418		the meal in the house of the Pharisaers Simon 15 Jh	mk186 Nurnberg, Germanic national museum
	50894		The Medieval retable	mk216 In St Luke-s Chapel was given to the cathedral
	72596		The Mill	Oil painting reproduction of Ferdinand du Puigaudeau. cjr
	41860		The Miracle of Saint George Sltying the Dragon	mk165 89x67cm From the village of Chenkoursk Vologda Region
	41833		THe Miracle of Saints Florus and Laurus	mk165 Egg tempera on lime tree panel 47x37cm
	52611		The Miracle of The Fervent	Oil on canvas, 665 x 450 cm
	52748		The Miraculous Draught of fishes	mk223 oil on canvas
	53451		The Mirror of Venues	mk231 1877 Oil on ca nvas
	77589		The Misses Plowden	1819(1819) Oil on canvas 127 ?? 103 cm (50 ?? 40.6 in) cjr
	43498		The Miter and the keys	mk172 symbols of the church founded by Christ
	27376		The mocking of christ	mk56 oil on canvas
	68476		The model rest	1882(1882) Oil on canvas 98 ?? 131 cm (38.58 ?? 51.57 in)
	27396		The Modonna adoring the sleeping child	mk56 oil on canvas Giovanni Battista Salvi,called il Sassoferrato
	45838		The Mongolen Sturmen and conquer Baghdad in 1258	mk178 manuscripts Paris
	45918		The month of August out of the hours book of the duke of Berry	mk178 around 1415 parchments 22.5x13.6cm
	41406		The Month of September	mk160 one of a series of Flemish illuminated manuscripts know as The Golf Book
	43401		The Monument to the independence to middle to build and the independence	mk171 from Palace, Compromised for the future
	43448		The Mosaic technique of plumes	mk172 know as featherwork of plumary art.
	42579		The Mother Gods	MK169 867 Detail of the apsismozaiek Aya Sophia Istanbul
	52616		The Mother of God Hodigitria	1502-03 Egg tempera on panel Russian Museum
	27365		The Mystic marriage of saint catherine	mk56 oil on canvas,in a carved and gilt wood frame Follower of Paolo Caliari,called il Veronese
	43497		The Mystical Lamb	mk172 resting on the Book of the Seven Seals is a vistion described in St.John-s Apocalypse
	43473		The naive Plastework	mk172 design created by indian artist features a playful angel placed on one of the volutes while virtually embracing an adjacent trellis
	57001		The naked down the stairs, No. 2	mk250 Year in 1912. Oil on canvas, about 147.3 x 88.9 cm. Philadelphia Museum of Art.
	33041		The Nation Makers	nn08 june 2 1906
	43393		The nations barbaras in imperial audience	mk171 the portrait of carlos v in the wall, like the witness of honor
	65253		The Nativity	1400 Tempera on walnut, 41 x 29,5 cm Galerie mittelalterlicher ?sterreichischer Kunst, Vienna The artist of this painting is referred to as Master of Salzburg. In this picture the scene of the Nativity is represented according to an apocryphal story of the Gospel: the Virgin is reclining on her bed while two midwives are on the point of giving a bath to the Infant. The woman in green is taking the Child from His mother, while the other is taking care that the bathwater is at right temperature. The bath puts an emphasis on the human aspect of the divine Child and is a hint to baptism. Joseph is seated on the right-hand side deep in thought. He holds his staff with his left hand, and is supporting his head with his right hand. The ox and the ass at the manger in the back seem to warm the straw and the small cambric kerchief with their breath. In addition to some stylistic resemblances the painting is reminiscent in other respects too of the Trebon Master's picture of the same scene. In both pictures the composition is divided by the building of the stable, with the difference that here the supports of the stable look like the frame of the scene represented, and divide the surface into two parts and not into three. In both pictures the supporting pole, emphatically placed in the foreground, separates Joseph, who views the events from the back and plays a role similar to the spectator's. In this picture too we can see birds on the roof of the stable, but they are shaped more firmly and realistically (as are the figures) than in the work of the Master of Trebon. In spite of the simplicity of the presentation and the somewhat rugged shaping of the figures with their rather large heads the susceptibility of the International Gothic style to elegance and decorative patterns evinces itself in this painting too. The elegance can be seen in the buoyant lines of the draperies, and in the Virgin's mantle, which clings to her body as if it were wet; the decorativeness in the way in which the painter has used the opportunities inherent in the rustic surroundings, and brought into harmony the pattern of the thatched roof, the mat and the fence, which are made of similar materials, and there is an additional harmonious touch in the plaited hair of one of the midwives. As in a great many other pictures of the period the ground is exceedingly steep here; compared to the figures in the foreground the stable seems to be high, on the other hand the beam underneath the roof touches the animals' heads. Although the white piece of cloth between the two midwives-in all probability a napkin, another symbol of the human nature of Jesus-looks as though it were hovering, in fact it lies on the ground. All this is not surprising, since these forms do not convey space, they are meant, first and foremost, to fill up the surface of the picture. Artist: UNKNOWN MASTER, Austrian , The Nativity , 1351-1400 , Austrian , painting , religious
	27450		The nativity encircled by a garland of flowers	mk56 oil on copper,the reverse of the panel marked with the stamp of a panelmaker Follower of jan Brueghel the Younger and Hendrick van Balen
	41870		The Nativity fo Christ	mk165 National Art Museum of Ukraine Kiev
	41871		The Nativity of Christ	mk165 The State Tretyakov Gallery,Moscow
	41882		The Nativity of Christ	mk165 Russian 131x83cm
	41902		The Nativity of Christ	mk165 55x43.5cm Village of Spirovo St.Petersburg region
39478		The Neva Embankment Near The Academy of Arts	mk149 1835
43403		The New Espana personified before the imperial majesty of Carlos V the isabel of Portugal	mk171 Donates Carmen and Donates Navy, of the same lineage
43404		The New Espana personified before the imperial majesty of Carlos V the isabel of Portugal	mk171 Donates Carmen and Donates Navy, of the same lineage
57190		The new Moscow	mk253 canvas 140 x 170 cm Moscow in 1937, the State Tretyakov Gallery collection
50569		The Nocturne under the black and gold	mk212 1875 60.3x46.7cm
42581		The Notification	MK169 432-40 n. Chr. MK169 Detail of the Mozaiek on the triumph arc above the high altar, S. Maria Maggiore, Rome
35078		The Novodevichy Monastery	mk100 an architectural ensemble of the 16th-18th centuries
64264		the nurse	late sixteenth century paris, muse'e des arts de'coratifts
51073		The Offering of the Heart	c. 1410
35083		The Old Moscow a street in Kitai-Gorod in the 17th century	mk100 1900 Oil on canvas 125x178cm
49278		The Old Westover Mansion	mk195 1869 Oil on panel 11x14
41845		The Only-Begotten Son	mk165 1553-1554 From one of the icons of four panels Cathedral of the Annuciation Moscow
71357		The Open Book	ca. 1861(1861) Oil on panel 23.3 x 30.7 cm (9.17 x 12.09 in)
49774		The oppna terrangen am failing giraffe favoritmiljo	mk204
64358		the orangery, parma, c	1850 parma, museum
44570		The Orators Journey	mk173 1785 Engraving 27x36.5cm
57430		the origings of western music	mk257 veronese s marriage at cana, portrayed as a royal banquet in the second half of the sixteenth centuy,shows the importance of music at such an event. the instrumentalist in white could be a self-portrait of the artist, and the man in red playing the bass may be titian
57429		the origins of western music	mk257 angels with musical instruments, detail of a painting by gaudenzio ferari, 1535-1536
43419		The other I of the king or the different faces of the distant king	mk171
58025		the otjimbengue british volunteer artillery	mk260 the otjimbengue british volunteer artillery,en malning av baimes 1865 . mannen i forgrunden med pistolen kan vara andersson. i bakgrunden ses fruarna andersson och hahn i krinoliner.pa tavlan har konstnaren skriuit
79409		The palace of Casimir, King of Poland	The palace of Casimir, King of Poland cjr
44847		The Pantheon	mk176 118-125 marble
79405		The Park, painting,	The Park, painting, oil on canvas, 64.7 x 81.2 cm, by Peter Purves Smith Date 1938(1938) cjr
35372		The Pass of Sicri Gully from Bengal entering into the Province of Bahar	mk102 National Maritime Museum London
33043		The Passing of the Farm	nn08 1901
65098		The Passion of Christ	1420-30 Tempera on oak, 131 x 180 cm Wallraf-Richartz Museum, Cologne The suffering of Christ is portrayed in simultaneous scenes. The artist was obviously concerned to emphasize spatial qualities in the painting. The panel was donated by the wealthy patrician von dem Wasservass family to the Cologne parish church of St Columba, and the artist of the panel is referred to as the Master of the Wasservass Calvary. , UNKNOWN MASTER, German , The Passion of Christ , 1401-1450 , German , painting , religious
70907		The Patrician	ca. 1878(1878) Oil on canvas 55.8 x 45.5 cm (21.97 x 17.91 in)
27377		The penitent magdalene	mk56 oil on canvas Alessandro Varotari,called il padovanino
27575		The penitent magdalene	mk56 oil on canvas Follower of Guido Reni
78834		The Penitent St Jerome in a landscape	between 1525(1525) and 1530(1530) Oil on panel 106 x 80 cm (41.7 x 31.5 in) cjr
49575		The Peter erovrade they Swede ostersjo provinserna and created one Russian ostersjovalde	mk201 He motor van a vigorous and viljestark harskare but at the same time cruel and hansynslos and very interested ago female and stout drinks
27576		The pieta	mk56 oil on copper After Annibale Carracci
44565		The Pit Door	mk173 1784 Mezzotint 32x24.9cm
51753		The Plague of Locusts	nn09 From Beatus de Liebana
77838		The Playground	1st half of 19th century Oil on canvas 45 cm (17.7 in). Height: 54 cm (21.3 in). cjr
34187		The Poet Nizami sits in the highest rank among the great Persian poets of the past	mk90 1486
34238		The poet Sa di questions a young scholar before the mosque of Kashghar	mk90 The interior of the mosque,through dual illustration, However represents Majnun writing verses in Praise of Layli framed within her prayer niche.