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pious subject képek

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Matthew by Heinrich Aldegrever, 1539, one of the Four Evangelists depicted in heavenly glory with attending angels and divine radiance-stock-foto
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Mary Black from Hackensack, 1896. Additional, A pious girl named Mary Black, who used to live in Hackensack. First line of chorus she'd never been out of town., 1896., New York. Publisher, Spaulding & Gray. Subject matter includes songs related to travel, Hackensack (N.J.), Bowery (New York, N.Y.), young women, and women's clothing & dress from 1890-1899., 1 score (6 pages); 35 cm-stock-foto
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This drawing by Gebhard Flatz reproduces Fra Angelico's Madonna with the Child, capturing the religious subject of the Virgin Mary and infant Jesus, in a 19th-century academic style.-stock-foto
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This painting from 1888-1889 by Henri Théophile Hildibrand and Victor Casimir Zier depicts Saint Genowef. The artwork illustrates religious portraiture and 19th-century interpretation of saints.-stock-foto
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Deposition. Valentine Green (England, 1739-1813)Lodovico Carracci (Italy, Bologna, 1555-1619). England, 1775. Prints; mezzotints. Mezzotint-stock-foto
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Painting of Petrus Donders, 'Apostle of the Lepers', by Albin Windhausen, published in the 1935 issue of Het Petrus Donders Tijdschrift.-stock-foto
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Medal of Bishopric of Hildesheim.   Subject: Charlemagne, Holy Roman Emperor, 748–814  Subject: Louis the Pious (Louis I), French, 778–840 Artist: Friedrich Wendel, German, 1690–1726-stock-foto
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Medal of Louis I Roi.   Subject: Louis the Pious (Louis I), French, 778–840Engraver: Armand Auguste Caqué, French, 1793–1881-stock-foto
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This 17th-century portrait, attributed to a follower of Jean Nocret, depicts a woman in bust-length, likely Madame de Maintenon, in attire that underscores her piety. The oil on canvas piece is reminiscent of Pierre Mignard's famous painting of the same subject.-stock-foto
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'San Jerónimo leyendo' by Bartolomé Esteban Murillo, painted circa 1650-1652, depicts Saint Jerome in a grotto, absorbed in prayer and penitence while holding a crucifix. The oil on canvas reflects Murillo's religious devotion and Baroque style.-stock-foto
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. Portrait of the preacher Bernard de Moor.-stock-foto
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Holy Bavo of Ghent as a hermit; Male hermits and renewal; Sylvae Sacrae Monumenta. Saint Bavo of Ghent, an early Christian hermit, has been kneeling to pray for a crucifix. A wooded landscape behind him.-stock-foto
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Portrait of Johannes Leonius. The spiritual Johannes Leonius prays at a table with a crucifix and a few books. Under his name is displayed and a three-legged caption over the portrayed.-stock-foto
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H. Hieronymus as a penalty in the desert. The Holy Hieronymus kneels for a crucifix in the wilderness. In his hand he holds a stone. Behind him the lion. At the top right of the air the last judgment. In the context in the margin a two-person caption in Latin.-stock-foto
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Maria to the painful mater. .-stock-foto
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Virgin Mary. Virgin Mary, her hands crossed for her breast. In the margin a caption in Latin.-stock-foto
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Pietas as the personification of piety; Pietas; Main activities of a prince; Schedule, SEU Speculum Principum. Vroomness Personification. He's kneeling to pray the rosary and carries a pilgrimage. On the left the worship of the grave of a bishop. On the right the worship of an altar. In the background on the left a hospital, right a funeral procession. The print has a Latin caption with an explanation of the importance of a vroom belief for a frost. The fifth print of a five-part series with the subject of the most important activities of a prince.-stock-foto
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Hieronymus in prayer: plate with bent upper edge.-stock-foto
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Pelagia Margareta van Antioch; Pelagia Margarita Antiechena; Female hermits; Solitvdo Sive Vitae Foeminarvm Anachoritarvm. On the olive mountain, Pelagia Margareta van Antioch is already kneeling for a crucifix. She is wearing men's clothing. In the foreground, passers-by find her body after her death. They causes her chest and discover that she is a woman. In the background the death process of Pelagia Margareta. The print has a Latin caption and is part of a series of twenty-four prints with the subject of female hermits.-stock-foto
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Statue of buddha, founder of buddhism-stock-foto
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Statue of buddha, founder of buddhism-stock-foto
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Statue of buddha, founder of buddhism-stock-foto
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Roman catholic church in ireland-stock-foto
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Statue of buddha, founder of buddhism-stock-foto
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Rakher upobosh a holy ritual where thousands of devotees gather for lokhnath bhrammachari Hindu decon. Rakher upobosh are placed in narayangang.-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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the roman catholic church in ireland, building, architecture and symbols-stock-foto
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a statue of buddha, founder of the religion of buddhism-stock-foto
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a statue of buddha, founder of the religion of buddhism-stock-foto
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The Temptation of St. Anthony, 19th century. Julien Léopold Boilly (French, 1796-1874). Black chalk with white, pink, orange, ochre, and brown chalks on blue paper; sheet: 28.6 x 32.7 cm (11 1/4 x 12 7/8 in.).  Boilly’s scene represents the Temptations of Saint Anthony, a biblical subject. While embarking on his desert pilgrimage through Egypt, Anthony experienced a series of supernatural trials. Here, Boilly illustrated a nude nymph attempting to seduce him. Anthony’s horrified reaction to the woman’s embrace and the prominent crucifix on the right create a humorous juxtaposition between piet-stock-foto