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Aktuális sajtó tartalmak és illusztrációs fotók

iconographic portrait képek

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Saint James the Greater by Master F. P., n.d., depicting the apostle in flowing robes holding a tall standard, set against plain background with classical simplicity-stock-foto
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St. Bartholomew by Jan Wierix after Albrecht Dürer, n.d., depicting the apostle holding a book and curved blade, standing before a gnarled tree-stock-foto
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St. Anthony by Martin Schongauer, a bearded saint in long robes holding a tau cross staff with bell, accompanied by a pig at his feet-stock-foto
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Christ (as Salvator Mundi), from Christ, the Apostles and St Paul with the Creed by Hendrick Goltzius, 1589, depicting Christ with long curled hair, radiating halo, and orb of salvation, in three-quarter profile-stock-foto
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René de Laudonnière by Crispijn van de Passe I, 1598, a portrait engraving of the French colonial explorer and military leader who founded Fort Caroline in Florida-stock-foto
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St. John the Evangelist by Bartholomaeus Spranger, c. 1590, depicting the saint in contemplative pose with an eagle, his traditional iconographic attribute, in an interior setting-stock-foto
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Saint Adalbert of Egmond by Cornelis Visscher, 1650, depicting a robed saint with halo holding a sword and falcon, symbols of spiritual authority and nobility-stock-foto
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Saint Wulfram by Cornelis Visscher, 1650, a bearded saint in ornate vestments with halo, holding a scroll, standing before a stone altar in contemplative pose-stock-foto
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Saint Cunera by Cornelis Visscher, 1650, depicting a robed female saint with radiating halo, standing in contemplative pose with draped garments-stock-foto
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Alexander the Great by Nicolaes de Bruyn, 1594, one of nine historical and legendary worthies; bearded military leader in ornate helmet with raised hand gesture, surrounded by elaborate decorative border with classical motifs-stock-foto
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The tomb of Patriarch Joseph II of Constantinople, decorated with a semi-Byzantine iconographic portrait of the Patriarch, in episcopal vestments, holding a Holy Gospel book, accompanied by two Angels - Basilica of Santa Maria Novella - Florence, Italy-stock-foto
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The tomb of Patriarch Joseph II of Constantinople, decorated with a semi-Byzantine iconographic portrait of the Patriarch, in episcopal vestments, holding a Holy Gospel book, accompanied by two Angels - Basilica of Santa Maria Novella - Florence, Italy-stock-foto
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Buenos Aires, Argentina. 05th Feb, 2026. Portrait painting of General San Martin seen at the National Historical Museum. The curved saber of José de San Martín is the weapon used in combat by the Liberator of America, and as such, it possesses great iconographic value. This saber accompanied San Martín in the battles for South American independence. Credit: SOPA Images Limited/Alamy Live News-stock-foto
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Portrait of Lucius Verus From the antiquary market - Ancient head of microcrystalline marble, Renaissance bust of grey-veined white marble This portrait follows the main iconographic typology (Haupttypus) of the emperor Lucius Verus. The original dates to 160 AD, while there are many copies, from all over the Roman Empire, that may be dated to the period when Lucius Verus reigned with Marcus Aurelius (161-169 AD). The highly-refined Renaissance bust may be compared with some Florentine works "all'antica" (after ancient models) of the end of the 16th century. The grotesque mask in the form of a-stock-foto
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Juno Ludovisi - Medium-grained marble - This head, known in the past as Hera or Juno, was once part of a colossal statue, three times normal size. Most critical studies have identified this head as the young and idealised portrait of Antonia Minor, the emperor Claudius's mother, deified after her death in 37 AD. The most relevant iconographic comparison is the portrayal of Antonia on the Ara Pacis. Other theorists identify the sculpture as Livia, wife of the emperor Augustus - Palazzo Altemps, Museo Nazionale Romano - Rome, Italy-stock-foto
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Portrait bust of the Emperor Gallienus (218 AD– 268 AD) Roman emperor with his father Valerian from 253 AD to 260 AD and alone from 260 AD to 268 AD - Medium-grained marble with gold patina The sculpture can be dated to the period of the Emperor Gallienus, from the style of the portrait and the peculiar style of the beard on the neck. The statue can be compared with images of the Emperor Gallienus (258-268 AD) on Roman coins, which became iconographic models for private portraits in that period- Palazzo Altemps, Museo Nazionale Romano - Rome, Italy-stock-foto
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Juno Ludovisi head sculpture in the room of Ludovisi throne - Medium-grained marble - This head, known in the past as Hera or Juno, was once part of a colossal statue, three times normal size. Most critical studies have identified this head as the young and idealised portrait of Antonia Minor, the emperor Claudius's mother, deified after her death in 37 AD. The most relevant iconographic comparison is the portrayal of Antonia on the Ara Pacis. Other theorists identify the sculpture as Livia, wife of the emperor Augustus - Palazzo Altemps, Museo Nazionale Romano - Rome, Italy-stock-foto
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Two compositions side by side: Virgin Mary and Child and Immaculata; Mary (mother of Jesus Christ); Turkiewicz, Roman (fl. 1935); devotional articles; Virgin Mary and Child (iconographic); anchors; Immaculata (iconographic); winged putti (iconographic); Mary (mother of Jesus Christ) – monograms; after 1800; graphic; graphic matrix; graphic plate; height 10.8 cm; width 12.5 cm, A rectangular copper plate with a brown and reddish-brown patina fills the image, showing two rectangular engraved panels aligned vertically, each containing an oval portrait scene with fine linework. The upper oval-stock-foto
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Gdańsk trojak, Sigismund I the Old (King of Poland; 1506–1548). Polish coin (1536). Obverse: Crowned male bust in profile turned right, inscription around the rim: .SIGIS.I.REX.POLO.DO.TO.PRVSSI. Reverse: Inscription in five lines around the rim, date separated by a shield with the coat of arms of Gdańsk: .III./.GROS:AR./TRIP:CIVI:/DANNCZK/.15 - 36. Iconography: male busts, royal bust (iconographic), city coat of arms; dynasty: Jagiellonians. Gdańsk (Pomeranian Voivodeship), Poland., A round metallic coin with a raised portrait of a person in profile wearing a crown and a cloak, shown against-stock-foto
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denarius, Julia Domna (ca. 160–217; Roman empress 193–211), Roman Empire, Julia Domna (Roman empress; 193–217) — iconography, Hilaritas (personification), Hilaritas standing (iconographic), Hilaritas standing with a palm and a cornucopia (iconographic). Obv.: IVLIA AVGVSTA Bust of Julia right, pearl border. Rev.: HILARITAS Hilaritas stands straight ahead, head turned left, right hand holds a palm leaf resting on the ground, left hand holds a cornucopia; on either side are small naked figures stretching out their hands to her, pearl rim. 198–209, Roman Empire (27 BC–476), Rome. Coin; diameter-stock-foto
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drachma, Bahram IV (ruler of Persia; 389–399), busts, altars, crowns, Iran, korymbos, Persia, fire altar (iconographic), Sassanid art, Sassanid Kingdom. Obv.: Bust of Bahram IV facing right; on his head a crown with wings and a korymbos. Pahlavi inscription. Rev.: Fire altar; below the altar the king and the priest facing each other, both holding barsoms; above the altar on the right side a vertical inscription; pearl rim. Pahlavi inscription. 389–399. Persia. Coin: dia. 23.5 × 24.5 mm, weight 4.20 g., A circular metallic object with a raised central portrait in profile, showing a head facing-stock-foto
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Frederick II (Duke of Brzeg-Legnica; 1480–1547); Jadwiga of Silesia (Saint; 1174–1243); Silesian eagle (iconographic); models of churches; Av. Silesian Eagle; rim between pearl borders with inscription '+ ICVS:D:G:DVX:SLESI'; Rv. half-figure of Saint Jadwiga holding image of a church; rim between pearl borders with inscription 'ONETA:DVCIS:LEGNI'; dated 1505–1547; Silesia, Duchy of Brzeg-Legnica-Wołów, Legnica; coin; diameter 25.0 mm (other measurement 24.4 mm); weight 2.06 g; axis 320°., A worn round metallic object with a textured surface showing a raised central portrait of a person wearing-stock-foto
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grosz, Frederick II (Duke of Brzeg-Legnica; 1480–1547), Jadwiga of Silesia (Saint; 1174–1243), eagles, Silesian eagle (iconographic), models of churches; Obverse: half-figure of Frederick II; in the rim between the pearl borders the inscription '+FRIDERICVS:D:G:DVX:SLESIE'. Reverse: half-figure of Saint Jadwiga holding an image of a church; in the rim between the pearl borders the inscription 'MONETA:DVCIS:LEGNICENSI'. 1505–1547; Silesia, Duchy of Brzeg-Legnica-Wołów, Legnica; coin; diameter 24.8 mm; weight 2.07 g; axis 110°., A worn circular metallic object with a dull silver-gray color,-stock-foto
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grosz; Frederick II (Duke of Brzeg‑Legnica; 1480–1547); Saint Jadwiga of Silesia (1174–1243); eagles, Silesian eagle (iconographic); church model; obverse: Silesian eagle, in the rim between the pearl borders the inscription +FRIDERICVS:D:G:DVX:SLESIE; reverse: half‑figure of Saint Jadwiga holding an image of a church, in the rim between the pearl borders the inscription +MONETA:DVCIS:LEGNICZENS; date range 1505–1547; Silesia, Duchy of Brzeg‑Legnica‑Wołów, Legnica; coin; diameter 24.7 mm; weight 1.73 g; axis 320°., A round, worn metallic coin with a mostly silver-gray surface showing darker-stock-foto
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Frederick II (Duke of Brzeg-Legnica; 1480–1547); Jadwiga of Silesia (Saint; 1174–1243); eagles, Silesian eagle (iconographic); church model; message. Coin, diameter 24.8 mm, weight 1.94 g, axis 315°. Obverse: Silesian eagle; in rim between pearl borders the inscription +FRIDERICVS:D:G:DVX:SLESIE. Reverse: Half-figure of Saint Jadwiga holding a model of a church; in rim between pearl borders the inscription +MONETA:DVCIS:LEGNICENSIS. Date range c.1505–1547; Silesia, Duchy of Brzeg-Legnica-Wołów, Legnica., A worn circular metal coin with a predominantly silver-gray surface, darker gray areas in-stock-foto
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Denarius, Salus standing in front of an altar feeding a snake (iconographic). Obv.: IMP CAES ANTONINUS AVG — Bust of Elagabalus in a laurel wreath and drapery facing right; pearl rim. Rev.: SALVS ANTONINI AVG — Salus standing straight with her head turned left, holding a snake in her right hand which she feeds with a cake held in her left; pearl rim. 219, Roman Empire (27 BC–476), Rome. Coin: diameter 18.0 mm, weight 2.80 g., A round metallic coin with a worn surface showing a profile of a person facing right wearing a laurel or leaf-like headpiece and draped clothing; the coin's edge is-stock-foto
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Semis, publisher; ship's prow (iconographic); head of Saturn (iconographic); Saturn (mythological); ships. Obv.: Head of Saturn in laurel wreath at right; behind it value mark S. Rev.: Ship's prow at right; above value mark S; below inscription ROMA. After 211 BC. Roman Republic (505–27 BC). Rome. Coin. Diameter 29.0 mm; weight 19.52 g; axis 180°., A round dark gray coin with a raised profile of a bearded head facing right, surrounded by a dotted circular border; the coin surface shows textured wear and small patches of greenish discoloration, with darker gray relief on the portrait and rim.-stock-foto
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A mural on the facade of the University of Naples on Via Mezzocannone depicting a portrait of Fidel Castro.-stock-foto
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BERNINI, Gian Lorenzo (b. 1598, Napoli, d. 1680, Roma) David with the Head of Goliath 1625 Oil on canvas, 75 x 65,5 cm Galleria Nazionale d'Arte Antica, Rome The painting has been identified as a youthful self-portrait of Bernini, dating to 1625 and connected to the painted self portrait now in the Borghese Gallery. The iconographic choice of self-portrayal in the guise of David is interesting: self-identification with the biblical hero is both a recurring motif in Bernini's art and a theme in the poetry and image-making of his great patron, Pope Urban VIII. The painting technique is dashing-stock-foto
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BERNINI, Gian Lorenzo (b. 1598, Napoli, d. 1680, Roma) David with the Head of Goliath 1625 Oil on canvas, 75 x 65,5 cm Galleria Nazionale d'Arte Antica, Rome The painting has been identified as a youthful self-portrait of Bernini, dating to 1625 and connected to the painted self portrait now in the Borghese Gallery. The iconographic choice of self-portrayal in the guise of David is interesting: self-identification with the biblical hero is both a recurring motif in Bernini's art and a theme in the poetry and image-making of his great patron, Pope Urban VIII. The painting technique is dashing-stock-foto
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Papal conclave following the death of Pope Alessandro VII, with an iconographic map of Vatican City and scenes of the funeral, procession, and election of the new pope-stock-foto
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Altarpiece of St. John the Evangelist by Berto di Giovanni, c. 1500, tempera on panel, displayed in the National Gallery of Umbria, Perugia, Italy-stock-foto
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The Altarpiece of Santa Maria dei Fossi by Pinturicchio, 1496, tempera on panel, displayed in the National Gallery of Umbria, Perugia, Italy-stock-foto
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Tarsila do Amaral exhibition, Trabalhadores, Luxembourg Museum, Senat, Paris, France, Europe-stock-foto
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Tarsila do Amaral exhibition, Auto-retrato, Luxembourg Museum, Senat, Paris, France, Europe-stock-foto
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Annunciation scene depicting the Virgin Mary, Upper Rhine region, circa 1440-1460. The work features medieval religious iconography in vibrant color and detailed craftsmanship.-stock-foto
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The 'Deichsler Altar' features a depiction of Madonna and Child, painted between 1415 and 1420. This religious artwork is part of the Gemäldegalerie collection, showcasing early 15th-century German art.-stock-foto
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Attributed to Juan Rexach (1411–), this painting from around 1450 depicts the Holy Face, a powerful image of Christ's visage, central to Christian devotion and iconography.-stock-foto
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*The Flagellation of Christ* (1455-1460) by Jaume Huguet includes the four evangelists' symbols, a religious reredos painting showing Christ’s suffering.-stock-foto
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Dimitar Zograf (Dimitar Hristov) (1796-1860). Bulgarian painter, the founder of the Samokov iconographic school. Portrait by Stanislav Dospevski (1823-1878), ca. 1856. Oil on canvas. National Gallery. Sofia, Bulgaria.-stock-foto
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