All unknow artist 's Paintings
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Choice	ID	Image	Paintings (From A to Z)	Details
	49704		They most konstnarerna wonder that term had telephone if alike nagon insight in navy thing ocb had darfor svarigheter that picture one vessel accurate	mk203 nagot as underline of that picture
	49637		They Spanish conquistadorena each they flush as cranberry through they tropical regnskogarna in Sydamerika wide 1500- digits midst.	mk199 They sokte behind guld,kryddor and nya omraden that settlement.
	49557		They three appear men	mk201 A malning of Benozzo Gozzoli in Palace Medicine in Florence
	73729		Third Eye by Irina Belova	oil on canvas, 70x50cm cyf
	40162		Third Quarter of the 14 th c	mk156 Manuscript illumination Stolen from the Library St.Petersburg
	56945		Third-class compartment	mk250 Year in 1862. Oil on canvas, 65.4 x 90.2 cm around. New York Metropolitan Museum of Art
	49734		This anslaende portrait of captain James Cook,en of 1700- digits djarvaste sjofarare,ar millings of N.Dance	mk203 Ansiktsuttrycket am failing bestamt,men also sensible and thoughtful avenue if the expressive a certain countless and accustom pa that konstnaren bark become fardig
	56782		This conception	mk250 Year in 1333. Wood and gold leaf color Eggs, about 307.3 x 266 cm. Uffizi in Florence.
	56809		This conception	mk250 Florence, Italy, San Marco Church, about the year in 1400-1445. Frescoes, 215.9 x 320 cm.
	43466		THis Detail illustrates	mk172 the characteristic plastework covering the walls and vault of the Chamber of the Virgin of Loreto
	43493		This painting Allows us to picture the interior of a church in new spain	mk172 The altarpiece is in the background
	43474		This painting signed	mk172 by Jose de Ibarra exemplifies one of the Baroque-s most outstanding characteristics
	49643		This Portrait of Mackenzie with a am matching in hand emphasize his importance as kartlaggare and upptackare	mk199
	49699		This portrait of Vasco da Gama to clerical error Gregorio Lopez.	mk203 Map am arriving stamp a am handwriting in savages a of Magellans besattningsman
	52731		This tapestry is one of a set of four depicting	mk223 Oil on canvas
	77716		Thom Thomson, Le Pin, 1916-1917.	Thom Thomson, Le Pin, 1916-1917. cjr
	41375		Thomas Cranmer,Archbishop of Canterbury	mk160
	41388		Thomas Cromwell,1 st Earl of Essex	mk160 Secretary of State to Henry VIII and Lord Privy Seal
	50936		Thomas Fitztrick	mk217
	71069		Thomas Middleton of Crowfield and His Daughter Mary	Thomas Middleton of Crowfield and His Daughter Mary" 1776 Medium Oil on canvas
	72224		Thomas Middleton of Crowfield and His Daughter Mary	Date circa 1776 Medium Oil on canvas cyf
	76132		Thorvaldsen	Oil on canvas, 32.5 x 23.5 cm cyf
	38356		Three Boys in Zouave Costume	mk136 Oil on canvas about 1863
	73182		Three Breton Girls Lighting their Candles before the Process	Oil painting reproduction of Ferdinand du Puigaudeau.
	30353		Three Graces,from Pompeii	mk68 Naples, National Archaeological Museum
	57118		Three icon	mk253 plank in Moscow 1422-1427, the State Tretyakov Gallery collection.
	56995		Three musicians	mk250 Year in 1921. Oil on canvas, 200.7 x 221 cm. New York Museum of Modern Art.
	56779		Throne of the Virgin and Child with Saints	mk250 Lee Italy Siena Cathedral. In the year 1308-1311. Mussel board. 213 x 396.2 cm. Siena Cathedral Museum.
	42577		Throning Virgin with Child Between St. Theodorus and St. Joris	MK169 6e century n. Chr. Painting on panel 68.6x47.9cm
	76166		Through Wind and Rain	1875. Oil on canvas, by William McTaggart. In the public domain. Source [1] cyf
	43486		Throughout three centuries	mk172 we come upon the same typologies of portraiture,with rare excenptions
	48902		Thursday battle with jattarna	mk187 1872 Oil slick pa screen 487x336cm
	61313		tidstypiksk inredning i det ovre borgerskapet en sa kallad makartsa long	mk274 tidstypiksk inredning i det ovre borgerskapet en sa kallad makartsa long
	49707		Tiger	mk203 harness prompt and accumulator devoid hind leg
	30357		Tiger Attacking a Bull	mk68 Inlaid marble Rome Capitoline Museums c.300-400
	46305		Tigers 022	This is oil painting of Tigers on canvas.
	46309		Tigers 026	This is oil painting of Tigers on canvas.
	56896		Tingzhong of Krishna and Lade Ha	mk250 India's Punjab province, the year 1760. Matt watercolor on paper. 28.3 x 19.7 cm. In a new National Museum.
	37389		Tinkle a Cat	mk125
	48897		Tiondemotet in Scandal	mk187 1865 Oil slick pa screen 91x123cm
	57787		titelsidan	mk260 titelsidan av carsten niebuhrs reise beschreibung medett portratt av niebuhr i sitt 76:e levnadsar
	30199		To England with weapons and Wine	nn05
	58168		To expose the truth to deceive	mk261 canvas painting, Florence, hunting and the boundaries of the Museum of History
	49775		To grand hojder an giraffe nar no other landvarelse wonder utovande of slaktbestyren	mk204
	79120		To sigojnerkvinder uden for deres bolig.	To sigojnerkvinder uden for deres bolig. 1878 Two gypsy women outside their home, 1878 painting by P. S. Krøyer. Oil on canvas cjr
	49752		To sjoss each fire and ice varre enemies an nagonsin stormar,vilket Urville smartsamt was getting go through the 9 Feb. 1838	mk203 His infrusna Astrologer millings of konstnaren,forfattaren,sjomannen and intersects Ambroise Louis Garneray
	57201		To the Red Army	mk253 canvas 200 x 360 cm in 1961 in St. Petersburg, Russia museum
	45535		Tobias and the angel	mk186 around 1465 Turin, Galleria Sabauda
	69242		tobias som laker sin blinda faders ogon	olja på duk 70x90cm se
	35424		Tomb and distant View of the Rajmahal Hills	mk101 Probably 1781 Oil on canvas 66.2x72.4cm
	64999		Tomb of Don Sancho Saiz de Carillo	1300 Tempera on wood Museu Nacional d'Art de Catalunya, Barcelona In the mid 13th century a new type of funeral monument appeared in France: a marble or stone tomb on which the figure of the deceased is lying and its sides representing the participants of the funeral procession in reliefs. This type also appeared in Spain, however, corresponding to the local traditions, it was realized from wood with side panels covered by paintings instead of sculptures. The panels shown come from the tomb of Sancho Saiz de Carillo in Burgos. The arrangement of the figures follows the frieze-type. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1251-1300 , Spanish , painting , religious
	65008		Tomb of Don Sancho Saiz de Carillo	1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The linear style is remarkable for its subtlety. It is characterized, particularly in northern Spain, by undulating rhythms and a refined color scale. The backgrounds, in which architecture, furniture, and occasionally utensils are schematically represented, are in monochrome, but the figures that occupy the foreground have an expressive humanity, very different from the hieratic formalism of the past. A typical and very ancient example of the calligraphic style is the decoration of the tomb of Don Sancho Saiz de Carrillo (Barcelona Museum). This comes from Mahamud (Burgos) and marks the beginning of the Gothic style in Castile. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious
	65009		Tomb of Don Sancho Saiz de Carillo	1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The so-called Linear Style of the Gothic painting developed principally in the north of Spain, its straight lines and rigid figurative scheme recalling contemporary Romanesque Apocalypse manuscripts. The row of lamenting women on the ceiling of the tomb, now in Barcelona, of Sancho Saiz Carillo, a nobleman from Burgos, is Gothic only in that the figures are positioned in rows and overlap. The posture and gestures, even the physiognomies, are borrowed from a largely traditional style that still clearly bears signs of the Romanesque. The work's firm lines make it a particularly bold exmple of the Linear Style, which dominated Spanish painting in the years between 1290 and 1350. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious
	62414		Tomb of Empress	1825 Marble Church, Rueil-Malmaison When Jos?phine de Beauharnais ((Marie Jos?phe Rose, Tascher de la Pagerie) died on May 29th 1814, her children decided to pay her a tribute by building a tomb deserving her and her legendary generosity. After eleven years of delay - explained by political background, opposition of State officials and hesitations from the commissioners - on September 28th 1825, however, the mortal remains of the Empress were put down in a white-marble tomb due to Louis Berthault, architect, and Pierre Cartellier, sculptor. The kneeling figure of the praying Empress surmounts her tomb
	63038		Tomb of Gregory XIII	1719-25 Marble Basilica di San Pietro, Vatican The process of populating the churches of Rome with statues and carved tombs continued at the beginning of the eighteenth century, and the sculptors' workshops were extremely active. (They even produced for export, e.g. statues were ordered from Rome for the Palace-Monastery of Mafra near Lisbon.) Sculpture was now firmly fixed in the style of Bernini. Camillo Rusconi, the Frenchman Pierre Legros (1666-1719) and Ren?Michel (called Michel-Ange) Slodtz are among the sculptors most typical of this continuation of the Baroque. The tomb of Pope Gregory XIII in St Peter's is one of Rusconi's masterpieces. Like most such memorials in the early eighteenth century, it is subscribed to the basic formula of Algardi's tomb of Leo XI, albeit with Berninesque touches. Religion looks up to the figure of the Pope giving benediction as Fortitude lifts the massive drapery to reveal a sarcophagus with a relief commemorating the Gregorian emendation of the calendar. Despite the ostensible religious context of the monument, its focal point remained the Pope as enlightened reformer rather than spiritual leader. Artist: RUSCONI, Camillo Painting Title: Tomb of Gregory XIII , 1701-1750 Painting Style: Italian , sculpture Type: religious
	62393		Tomb of Juan de Padilla	1489-93 Alabaster Museo Provincial, Burgos The kneeling figure is a detail from the Tomb of Juan de Padilla, carved in the same period than the Tomb of Infante Alfonso in the Monastery of Miraflores, Burgos. Original location of the tomb was the Monastery of Fresdelval
	63095		Tomb of Pope Benedict XIII	1734 Marble Santa Maria sopra Minerva, Rome Pietro Braci was - together with Filippo della Valle - the pupil of Camillo Rusconi. He applied more painterly effects than his master and the other pupils by using multi-coloured marble. The tomb of Pope Benedict XIII was designed by Carlo Marchionni and carried out in collaboration with Bartolomeo Pincelotti (died in 1740), who was responsible for the figure of Humility. The tomb takes after the by now established Algardian model due to the ways Rusconi worked. Bracci sculpted the statue of Purity and, above all, the statue of the pope, clearly configured as an eighteenth-century reinterpretation of Bernini's figure of Alexander VII at prayer, realized for the funerary monument of the pontiff. Bracci's choice is, however, much more theatrical: Benedict XIII, seated on a throne, holds his hand to his breast in a gesture partly of Christian submission, and partly as an eternal promise of faith. Artist: BRACCI, Pietro Painting Title: Tomb of Pope Benedict XIII , 1701-1750 Painting Style: Italian , sculpture Type: religious
	49787		Topiantilopen bags yarn pa brood varifran the able general view country	mk204
	48544		Topographical View of Wilton	mk190 c.1700
	75793		Torre del Greco near Pompeii and Naples	1846 Oil on canvas 22,5 ?? 60,4 cm cjr
	75956		Toulouse Street, French Quarter	"Toulouse Street, French Quarter". Painting of street in the Freench Quarter of New Orleans, by Harry A. Nolan. cjr
	48538		Town Garden in Dogpole,Shrewsbury	mk190 c.1710
	73541		Townsfolk shopping along the Oudegracht	Date 1883 cyf
72041		Townsfolk shopping along the Oudegracht, Utrecht, The Netherlands	Townsfolk shopping along the Oudegracht, Utrecht, The Netherlands 1883(1883) cjr
34093		Trajjan-s Grand Plan for the Heart of rome The libraries of Trajan-s Forum	mk88
34202		Transfiguration of Christ	mk90 The theophany Twelfth-century Byzantine Mosaic in the monastic church at Daphni
71963		Transport der Freudenmadchen zur Polizeiwache	1745(1745) Oil on canvas 65 X 82 cm (25.59 X 32.28 in)
73383		Transport der Freudenmadchen zur Polizeiwache	Date 1745(1745) Medium Oil on canvas Dimensions 65 X 82 cm (25.59 X 32.28 in) cyf
42524		Trapvormige pyramid and palace of king Zoser Sakkara	mk169 Egypt ca.2770v.Chr
65101		Traveller's Missal	1360-64 Illumination on parchment Knihovna N?rodniho Muzea, Prague The manuscript served as a Missal for masses during traveling. The name of the owner (Johann von Neumarkt) can be read in Latin below the frame at the bottom. The initial G represents the scene of Annunciation. At the upper right corner of the initial Prophet Isaias, at the upper left corner King David and a bird can be seen. , MINIATURIST, Bohemian , Traveller's Missal , 1351-1400 , Bohemian , illumination , religious
41256		Trees and Flowers by a Stream	mk161
73865		Trees and Pool	Date between 1840(1840) and 1850(1850) Medium Oil on panel Dimensions 21.1 X 31 cm (8.31 X 12.2 in) cyf
41254		Tribute Horse	mk161
42537		Tribuut Bringing subjects, relief at the stair to the audientie-hall Persepolis, iran	MK169 ca. 500 v. Chr.
52781		Trim Castle	mk223 Oil on canvas
64135		Trinity Piet	1415-30 Oil on oak panel, 23,2 x 15,9 cm Wallraf-Richartz Museum, Cologne The Man of Sorrows in the arms of God the Father with the Holy Ghost between them both is a kind of Seat of Mercy or more exactly a Trinity Piet? The type is met with frequently in French and Burgundian court painting from the end of the fourteenth century onwards. One of the best known and earliest preserved examples is the tondo by Jean Malouel in the Louvre. Both in the common Man of Sorrows type and in the Trinity Piet? angels are often supporting Christ's body on both sides or carrying instruments of the Passion. The small Cologne work is part of this tradition. The Man of Sorrows is flanked by four angels, with two of them holding the Flagellation column, the scourge, the stick with the sponge and the lance. This type clearly forms the basis of the Man of Sorrows borne by an angel by Master Francke which in turn led to the Virgin showing Man of Sorrows by Memling (Melbourne). The reverse features a Holy Face of Christ. The panel is attributed to the Master of Sankt Laurenz (St Lawrence), the pupil of the Cologne Master of St Veronica. It is also assumed that this small panel was the left wing of a diptych having, on the right, a Mater Dolorosa. , Artist: UNKNOWN MASTER, German , Trinity Piet? , 1401-1450 , German , painting , religious
32200		Triptych	Panel Museo Cerralbo, Madrid
64922		Triptych	45 x 56 cm Gallerie dell'Accademia, Venice Much more of an innovator than either Catarino or Lorenzo Veneziano was Jacobello Alberegno, who in the Triptych with Crucifixion and Saints, his only signed work, reveals himself to be an artist of penetrating refinement. If it is true that the two lateral saints, St Gregory and St Jerome, are examples of stylized Gothic figures, the images of the small central panel display a naturalness worthy of one of the best of Giotto's disciples. An extraordinary human dimension seems to govern the expression of sentiments in the picture: a grief-stricken St John the Evangelist clutches his cloak to his breast while the Virgin extends imploring arms and stares transfixed with anguish at her crucified son. , ALBEREGNO, Jacobello , Triptych , 1351-1400 , Italian , painting , religious
65033		Triptych	85,3 x 95 cm (central panel), 86,3 x 41 (wings) Wallraf-Richartz Museum, Cologne The painter of this altarpiece, the central panel of which depicting the extended Holy Family ('Holy Kinship') is referred to as The Elder Master of the Holy Kinship. , UNKNOWN MASTER, German , Triptych , 1401-1450 , German , painting , religious
51075		Triptych The Adoration of the Magi	1475-1500 Oil on wood, 29 x 39 cm
51068		Triptych with Scenes from the Life of Christ	Oil on panel, 83,7 x 68,8 cm
64131		Triptych with Scenes from the Life of Christ	1500-05 Oil on panel, 58 x 46 cm (centre), 57,5 x 16,5 cm (each wing) Private collection, Milan This remarkable work which came to light recently seems to be by the same Memling follower who painted the Santa Barbara Lamentation (Museum of Art). In the larger Lamentation, however, the painter is more precise in the details than in the miniature scenes, which seem to be painted with an unruly brush. Typologically, however, everything corresponds: the rather stiff figures with wooden gestures and attitudes, the hard folds, the trees with thick burly foliage, the plump clouds with heavy lighted edges. Remarkable about this triptych is the fact that many of the little scenes have been taken from well-known Memling compositions: it is largely conceived as a pastiche of Memling fragments. From left to right and from top to bottom, the triptych contains the following scenes: Left wing 1. Annunciation 2. Visitation 3. Nativity 4. Jesus among the Pharisees Central panel 5. Presentation in the Temple 6. Flight into Egypt 7. Mourning Mary and Joseph 8. Flagellation 9. Carrying of the Cross 10. Crucifixion 11. Lamentation 12. Entombment 13. Circumcision 14. Mount of Olives 15. Christ at the column 16. Christ released from the Flagellation column by Mary and John 17. Crowning with Thorns 18. Mocking of Christ 19. Christ nailed to the Cross 20. Crucifixion Right panel 21. Resurrection 22. Ascension 23. Descent of the Holy Ghost 24. Death of the Virgin. The work is popular in conception and there is hardly any logic in the arrangement of the scenes. Following the example of contemporaneous miniature painting (Simon Bening) they are enclosed in a painted window in early Renaissance style. Only the wings are arranged in chronological order with scenes from the Childhood and scenes after the Christ's death. In the central panel, which is mainly devoted to the Passion, everything is mixed up. Spatially the artist has shown a degree of circumspection, for the scenes at the top have a very low horizon, while the lower scenes exhibit the usual foreshortening in successive plans. The conscious reference to various works by Memling (with some scenes possibly deriving from lost compositions) clearly points to a painter who had access to these works while they were still in the workshop or to whom working drawings were available. It is also remarkable that the borrowings come from late works. It can be assumed therefore that we are here dealing with a student or assistant of Memling. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ , 1501-1550 , Flemish , painting , religious
64132		Triptych with Scenes from the Life of Christ	1500-05 Oil on panel Private collection, Milan The picture represents scene 2 of the left wing, the Visitation. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious
64133		Triptych with Scenes from the Life of Christ	1500-05 Oil on panel Private collection, Milan The picture represents scene 9 of the central panel, the Carrying of the Cross. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious
64134		Triptych with Scenes from the Life of Christ	1500-05 Oil on panel Private collection, Milan The picture represents scene 21 of the right wing, the Resurrection. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious
64040		Triptych with the Family of St Anne	1490s Oil on panel, 87,4 x 92,5 cm (centre), 87,3 x 37,1 cm (left), 87,4 x 39,2 cm (right) Museum voor Schone Kunsten, Ghent An impression of Ghent panel painting in the shadow of the leading masters is provided by a number of works from religious institutions in the city that have been attributed to local workshops on stylistic grounds. There is , for instance, the Triptych with the Family of St Anne. This work prompted the coinage of the name 'The Master of the Family of St Anne', an anonymous artist to whom several other panels in Ghent have been attributed. The most clearly discernible influence in his work is that of Van der Goes' realism. , Artist: UNKNOWN MASTER, Flemish , Triptych with the Family of St Anne , 1451-1500 , Flemish , painting , religious
73355		Tristan and Isolde	Tristan and Isolde cjr
30417		Triumph of Death	mk68 Fresco Palermo Regional Gallery of Sicily 1449 ltaly
63079		Triumph of Death	1350 (?) Fresco Campo Santo, Pisa The celebrated frescoes, the Triumph of Death, with accompanying scenes of the Last Judgment, Hell, and Legends of the Hermits were attributed for long time to Francesco Traini. These, among the outstanding Italian paintings of the 14th century, were badly damaged by bombs in the Second World War, but this brought to light, by way of partial compensation, the beautiful 'sinopie, which are now shown in the Museo delle Sinopie. The frescoes include many telling details of death's victims and are usually seen as a reflection of the horrors of the Black Death of 1348, but some authorities consider them earlier and attribute them to the mysterious Buffalmacco. Artist: BUFFALMACCO, Bounamico Painting Title: Triumph of Death (detail) , 1301-1350 Painting Style: Italian , , mythological
76740		Triumph of Flora	Date ca. 1627-1629(1627-1629) Medium Oil on canvas Dimensions 165 ?? 241 cm (65 ?? 94.9 in) cyf
77687		Triumphzug des Bacchus	ca. 1536-1537 oak panel 56.3 ?? 106.5 cm (22.2 ?? 41.9 in) cjr
74474		Trompe-l ail mit Atelierwand und Vanitasstillleben	1665 Oil on canvas cjr
49296		Troops at Pittsburg Landsing April,1862	mk195 Pencil New York Public
72294		Trouville	Trouville," oil on panel, by the French artist Eugene Louis Boudin. Yale University Art Gallery, gift of Mrs. Joseph M. Flint. Courtesy of Yale University, New Haven, Conn. cjr
49703		Truly Catarina lavatory Monte Sinai	mk203 one Portuguese orlogsfartyg,var bribe with more an kanoner,aven if absence each latta pjaser.
49120		Tsar Ivan the Terrible	mk193 1897 Oil on canvas 247x132cm
74386		Tsar Ivan the Terrible and the priest Sylvester	English: Tsar Ivan the Terrible and the priest Sylvester, 24 June, 1547 (oil painting, 1856). Date 1856 cyf
61455		tsar nikolaus i	mk275 dostojevskij deltog i en sammansvarjning mot honom och domdes till doden men benadades i sista stund
56965		Tub	mk250 Year in 1886. Pastel painting, 29.2 x 82.2 cm. Baliaosai Museum.
48413		Tudor Court Scene in a Walled enclosure probably a garden	mk190 1500 Poems of Charles d-Orleans