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3rd December, Stadio Nicola Pietrangeli, Foro Italico, Rome, Italy; Commemorations for Nicola Pietrangeli;  Michelangelo Sulfaro-stock-foto
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3rd December, Stadio Nicola Pietrangeli, Foro Italico, Rome, Italy; Commemorations for Nicola Pietrangeli;  Michelangelo Sulfaro-stock-foto
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3rd December, Stadio Nicola Pietrangeli, Foro Italico, Rome, Italy; Commemorations for Nicola Pietrangeli;  Michelangelo Sulfaro-stock-foto
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Roma, Italy. 03rd Dec, 2025. Roma, Roma, Italy, December 03, 2025, Michelangelo Sulfaro at the commemoration in honor of Nicola Pietrangeli at the Foro Italico at the Foro Italico Stadium on Dec 3, 2025 in Rome, Italy. during Nicola Pietrangeli's funeral - News Credit: Live Media Publishing Group/Alamy Live News-stock-foto
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Roma, Italy. 03rd Dec, 2025. Roma, Roma, Italy, December 03, 2025, Michelangelo Sulfaro at the commemoration in honor of Nicola Pietrangeli at the Foro Italico at the Foro Italico Stadium on Dec 3, 2025 in Rome, Italy. during Nicola Pietrangeli's funeral - News Credit: Live Media Publishing Group/Alamy Live News-stock-foto
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Roma, Italy. 03rd Dec, 2025. Roma, Roma, Italy, December 03, 2025, Michelangelo Sulfaro at the commemoration in honor of Nicola Pietrangeli at the Foro Italico at the Foro Italico Stadium on Dec 3, 2025 in Rome, Italy. during Nicola Pietrangeli's funeral - News Credit: Live Media Publishing Group/Alamy Live News-stock-foto
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Rome, Italy. 02nd Dec, 2025. **NO WEB AND NEWSPAPERS ONLY FOR ITALY** Event at the SANTA CECILIA Conservatory of Music In the photo: Michelangelo Galeati with Gigi Marzullo Credit: Independent Photo Agency/Alamy Live News-stock-foto
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Rome, Italy. 02nd Dec, 2025. **NO WEB AND NEWSPAPERS ONLY FOR ITALY** Event at the SANTA CECILIA Conservatory of Music In the photo: Michelangelo Galeati with Gigi Marzullo Credit: Independent Photo Agency/Alamy Live News-stock-foto
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Rome, Italy. 02nd Dec, 2025. **NO WEB AND NEWSPAPERS ONLY FOR ITALY** Event at the SANTA CECILIA Conservatory of Music In the photo: Michelangelo Galeati with Simona Agnes Credit: Independent Photo Agency/Alamy Live News-stock-foto
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Rome, Italy. 02nd Dec, 2025. **NO WEB AND NEWSPAPERS ONLY FOR ITALY** Event at the SANTA CECILIA Conservatory of Music In the photo: Michelangelo Galeati Credit: Independent Photo Agency/Alamy Live News-stock-foto
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Attributed to Sebastiano del Piombo - portrait of michelangelo-stock-foto
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Jacopo del Conte - Portrait of Michelangelo --stock-foto
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London, UK.  25 November 2025. A staff member with 'The Essential Face Palette (Deep No. 3)', 2025, by Sylvie Fleury reflected in 'Cordoni’, 2014, by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'The Essential Face Palette (Deep No. 3)', 2025, by Sylvie Fleury reflected in 'Cordoni’, 2014, by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'The Essential Face Palette (Deep No. 3)', 2025, by Sylvie Fleury reflected in 'Cordoni’, 2014, by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'The Essential Face Palette (Deep No. 3)', 2025, by Sylvie Fleury reflected in 'Cordoni’, 2014, by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'The Essential Face Palette (Deep No. 3)', 2025, by Sylvie Fleury reflected in 'Cordoni’, 2014, by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'The Essential Face Palette (Deep No. 3)', 2025, by Sylvie Fleury reflected in 'Cordoni’, 2014, by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'Ice Cream Sundae on Tray', 1962, by Claes Oldenburg by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'The Essential Face Palette (Deep No. 3)', 2025, by Sylvie Fleury reflected in 'Cordoni’, 2014, by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'Ice Cream Sundae on Tray', 1962, by Claes Oldenburg by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'Ice Cream Sundae on Tray', 1962, by Claes Oldenburg by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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London, UK.  25 November 2025. A staff member with 'The Essential Face Palette (Deep No. 3)', 2025, by Sylvie Fleury reflected in 'Cordoni’, 2014, by Michelangelo Pistoletto at a preview of ‘Monument to the Unimportant’, a group exhibition at Pace Gallery in Hanover Square of sculptures, paintings, works on paper where everyday objects are seen in a new way.  Works by some of the biggest artists of the 20th and 21st centuries are on show 26 November 2025 to 14 February 2026.  Credit: Stephen Chung / Alamy Live News-stock-foto
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JORDAENS, Jacob (b. 1593, Antwerpen, d. 1678, Antwerpen)  Prometheus Bound c. 1640 Oil on canvas, 245 x 178 cm Wallraf-Richartz Museum, Cologne  Jordaens's painting is a variation on a theme that Rubens attempted early in his career and which derived formally from studies by Michelangelo.       --- Keywords: --------------  Author: JORDAENS, Jacob Title: Prometheus Bound Time-line: 1651-1700 School: Flemish Form: painting Type: mythological-stock-foto
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HEEMSKERCK, Maerten van (b. 1498, Heemskerck, d. 1574, Haarlem)  St Luke Painting the Virgin 1550-53 Oil on canvas, 206 x 144 cm Mus?e des Beaux-Arts, Rennes  Due to the fame of Rogier van der Weyden's St Luke Painting the Virgin dozens of artists painted this subject over the next century, especially in the Low Countries and Germany. The composition and its content evolved over time as attitudes about art changed. Van Heemskerk created his version possibly as an altarpiece for Delft's St Luke's guild. The apparent influence of Michelangelo and the inclusion of antique sculptures indicates the-stock-foto
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HEMESSEN, Jan Sanders van (b. ca. 1500, Hemishem, d. 1556, Haarlem)  Isaac Blessing Jacob - Oil on wood, 119 x 163 cm Sz?pm?v?szeti M?zeum, Budapest  The heroic figure of the old Isaac shows the influence of Michelangelo, while in the details the realism of the Netherlandish painting can be observed.  There is another example of this painting in the Alte Pinakothek, Munich.        --- Keywords: --------------  Author: HEMESSEN, Jan Sanders van Title: Isaac Blessing Jacob Time-line: 1501-1550 School: Flemish Form: painting Type: religious-stock-foto
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The Ordering of Purgatory from Dante's Divine Comedy, illustrated map by Michelangelo Caetani, 1855-stock-foto
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Overview of the Divine Comedy by Dante Alighieri, vintage map by Michelangelo Caetani, 1872-stock-foto
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Cross Section of Hell showing the Circles of Hell from Divine Comedy by Dante Alighieri, vintage map illustration by Michelangelo Caetani, 1872-stock-foto
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The Ordering of Paradise a vintage map from the Divine Comedy by Dante Alighieri, illustrated by Michelangelo Caetani, 1872-stock-foto
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Plan of Hell and Dante's Journey through the Circles of Hell from the Divine Comedy, vintage map illustration by Michelangelo Caetani, 1872-stock-foto
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The Ordering of Hell (Organization of the moral content of Hell related to the form of the poem), chart by Michelangelo Caetani, 1872-stock-foto
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GRECO, El (b. 1541, Candia, d. 1614, Toledo)  Mary Magdalen in Penitence 1576-78 Oil on canvas, 157 x 121 cm Sz?pm?v?szeti M?zeum, Budapest  After a short period of study in Greece, El Greco, one of the most renowned figure in Spanish art, went to Venice in the middle of the sixteenth century, where he worked in Titian's workshop, and where he became familiar with the art of Paolo Veronese, Jacopo Bassano and Tintoretto, as well as works by representatives of the North Italian Mannerist school. Later, in Rome, he was strongly influenced by the work of Michelangelo. By the time he had settled i-stock-foto
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GRECO, El (b. 1541, Candia, d. 1614, Toledo)  The Purification of the Temple 1571-76 Oil on canvas, 117 x 150 cm Institute of Arts, Minneapolis  El Greco first painted the subject in Venice, some years earlier, in the small signed panel in Washington, and he was to take it up again, much later, in Spain, and adhere closely to his original design. As with the Christ Healing the Blind, inspiration for the composition as a whole is from Tintoretto. The main central group, however, is very close to a Michelangelo design, known in drawings, and also in Venusti's painting after Michelangelo's design-stock-foto
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The V&A cast of Michelangelo's sculpture of David, London.-stock-foto
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FRANCO, Battista (b. ca. 1510, Venezia, d. 1561, Venezia)  The Battle of Montemurlo and the Rape of Ganymede 1537-41 Oil on wood, 137 x 173 cm Galleria Palatina (Palazzo Pitti), Florence  Jupiter, as an eagle, carries off the beautiful boy Ganymede, while a battle rages below. Cosimo de' Medici's guests would have identified the pair as the young duke Cosimo and the emperor Charles V, whose aid led to the victory at Montemurlo that confirmed Cosimo's power. A drawing by Michelangelo influenced Franco, among other artists.       --- Keywords: --------------  Author: FRANCO, Battista Title: The-stock-foto
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FRANCO, Battista (b. ca. 1510, Venezia, d. 1561, Venezia)  The Battle of Montemurlo and the Rape of Ganymede 1537-41 Oil on wood, 137 x 173 cm Galleria Palatina (Palazzo Pitti), Florence  Jupiter, as an eagle, carries off the beautiful boy Ganymede, while a battle rages below. Cosimo de' Medici's guests would have identified the pair as the young duke Cosimo and the emperor Charles V, whose aid led to the victory at Montemurlo that confirmed Cosimo's power. A drawing by Michelangelo influenced Franco, among other artists.       --- Keywords: --------------  Author: FRANCO, Battista Title: The-stock-foto
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FLORIS, Frans (b. ca. 1516, Antwerpen, d. 1570, Antwerpen)  The Fall of the Rebellious Angels (detail) 1554 Oil on panel Koninklijk Museum voor Schone Kunsten, Antwerp  Frans Floris is characterised to a large extent by the six years he spent in Rome and by his admiration for Michelangelo. He was the leading representative of Italianism in mid-16th century Antwerp. His famous Fall of the Rebel Angels is a crowded, animated composition, with a flamboyant and imaginative glorification of the human body.       --- Keywords: --------------  Author: FLORIS, Frans Title: The Fall of the Rebellious A-stock-foto
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Interior of St. Peter's Basilica in Vatican City, sunlight rays shining through the dome and illuminating the ornate architecture of the church interi-stock-foto
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Interior of St. Peter's Basilica in Vatican City, sunlight rays shining through the dome and illuminating the ornate architecture of the church interi-stock-foto
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Interior of St. Peter's Basilica in Vatican City, sunlight rays shining through the dome and illuminating the ornate architecture of the church interi-stock-foto
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Interior of St. Peter's Basilica in Vatican City, sunlight rays shining through the dome and illuminating the ornate architecture of the church interi-stock-foto
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Interior of St. Peter's Basilica in Vatican City, sunlight rays shining through the dome and illuminating the ornate architecture of the church interi-stock-foto
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Interior of St. Peter's Basilica in Vatican City, sunlight rays shining through the dome and illuminating the ornate architecture of the church interi-stock-foto
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Interior of St. Peter's Basilica in Vatican City, sunlight rays shining through the dome and illuminating the ornate architecture of the church interi-stock-foto
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Interior of St. Peter's Basilica in Vatican City, sunlight rays shining through the dome and illuminating the ornate architecture of the church interi-stock-foto
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The illuminated Old Palace Palazzo Vecchio in the bustling Piazza della Signoria square at twilight, Florence, Tuscany, Italy-stock-foto
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Coachmen wait for passengers in Piazza della Signoria square in front of the Old Palace Palazzo Vecchio in Florence in the evening sun, Tuscany, Italy-stock-foto
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A group of kindergarten children marches in a row in front of the marble statue of David in front of the Palazzo Vecchio, Florence, Tuscany, Italy-stock-foto
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A group of kindergarten children marches in a row in front of the marble statue of David in front of the Palazzo Vecchio, Florence, Tuscany, Italy-stock-foto
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The illuminated Old Palace Palazzo Vecchio in Piazza della Signoria square in Florence at blue hour at dawn, Florence, Tuscany, Italy-stock-foto
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The illuminated Old Palace Palazzo Vecchio in Piazza della Signoria square in Florence at blue hour at dawn, Florence, Tuscany, Italy-stock-foto
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The illuminated Old Palace Palazzo Vecchio in Piazza della Signoria square in Florence at blue hour at dawn, Florence, Tuscany, Italy-stock-foto
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The illuminated Old Palace Palazzo Vecchio in the bustling Piazza della Signoria square at twilight, Florence, Tuscany, Italy-stock-foto
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The illuminated Old Palace Palazzo Vecchio in the bustling Piazza della Signoria square at twilight, Florence, Tuscany, Italy-stock-foto
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The illuminated Old Palace Palazzo Vecchio in the bustling Piazza della Signoria square at twilight, Florence, Tuscany, Italy-stock-foto
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View of the upper floors and tower of the Palazzo Vecchio in Piazza della Signoria in Florence in the sunlight, Tuscany, Italy-stock-foto
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View of the upper floors and tower of the Palazzo Vecchio in Piazza della Signoria in Florence in the sunlight, Tuscany, Italy-stock-foto
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View of the upper floors and tower of the Palazzo Vecchio in Piazza della Signoria in Florence in the sunlight, Tuscany, Italy-stock-foto
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Coachmen wait for passengers in Piazza della Signoria square in front of the Old Palace Palazzo Vecchio in Florence in the evening sun, Tuscany, Italy-stock-foto
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The replica of Michelangelo's marble statue of David in front of the Palazzo Vecchio in Florence glows vividly in the low sun, Tuscany, Italy-stock-foto
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The replica of Michelangelo's marble statue of David in front of the Palazzo Vecchio in Florence glows vividly in the low sun, Tuscany, Italy-stock-foto
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DELACROIX, Eug?ne (b. 1798, Charenton-Saint-Maurice, d. 1863, Paris)  The Barque of Dante 1822 Oil on canvas, 189 x 246 cm Mus?e du Louvre, Paris  The first of Delacroix's paintings to achieve true notoriety, Dante and Virgil in Hell or The Barque of Dante, exemplifies a duality that pervaded his entire career. The shared influence of Michelangelo and Rubens is manifest here, but there is also a savour of the revolution so thunderously proclaimed by his friend and elder, Theodore G?ricault, in his immortal painting, The Raft of the Medusa (1819).  The Barque of Dante was submitted to the Salon-stock-foto
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DELACROIX, Eug?ne (b. 1798, Charenton-Saint-Maurice, d. 1863, Paris)  Greece on the Ruins of Missolonghi 1826 Oil on canvas, 209 x 147 cm Mus?e des Beaux-Arts, Bordeaux  After The Massacre at Chios, Greece made a second appearance in Delacroix's work in 1827. Its symbol was a young woman in national costume standing on a block of stone from which there emerges the hand of a dead insurgent. Greece on the Ruins of Missolonghi elicited an immediate response from Baudelaire: 'The audacity of Michelangelo and the fecundity of Rubens.' Others disagreed; they would have preferred Delacroix to be less-stock-foto
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DELACROIX, Eug?ne (b. 1798, Charenton-Saint-Maurice, d. 1863, Paris)  Michelangelo in his Studio 1849-50 Oil on canvas, 40 x 32 cm Mus?e Fabre, Montpellier  Delacroix seems here to identify with Michelangelo, whom he greatly admired, finding in him a symbol of his own predicament as a misunderstood artist. Michelangelo is seen wearing a red scarf, an accoutrement for which Delacroix was famous.       --- Keywords: --------------  Author: DELACROIX, Eug?ne Title: Michelangelo in his Studio Form: painting Time-line: 1801-1850 School: French Type: other-stock-foto
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Coachmen wait for passengers in Piazza della Signoria square in front of the Old Palace Palazzo Vecchio in Florence in the evening sun, Tuscany, Italy-stock-foto
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Sistine Chapel, fresco Michelangelo, Data 1509  - forbidden fruit Adam and Eve-stock-foto
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Sistine Chapel, fresco Michelangelo - First Day of Creation fresco-stock-foto
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Sistine Chapel, fresco Michelangelo - First Day of Creation fresco-stock-foto
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Sistine Chapel, fresco Michelangelo, Date 1509  Forbidden fruit Adam and Eve-stock-foto
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Sistine Chapel, painting in the triangular spandrel in the fourth bay over the Ezekiel (Hezekiah)-Manasseh-Amon lunette, and between the Cumaean Sibyl and Isaiah, part of the Ancestors of Christ series Michelangelo Buonarroti-stock-foto
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Sistine Chapel, fresco Michelangelo, one of Ancestors of Christ series  - Ezechias prophet detail - Hezekiah-stock-foto
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MICHELANGELO Buonarroti (b. 1475, Caprese, d. 1564, Roma)  The Erythraean Sibyl 1509 Fresco, 360 x 380 cm Cappella Sistina, Vatican  The Erythraea (Erithraea in Michelangelo's spelling), is richly dressed and pensively turns the pages of a book, while one of her genii lights a votive lamp. The other echoes her state of trance. It is as though she were under som? deep compulsion to rouse herself. The strange headdress threaded with her abundant tresses lends the head with its heavy-lidded eyes a dream-like quality. There is no indication of the Judgement she foresaw. Perhaps its only signs are-stock-foto
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Dividing Light from Darkness - Fresco sistine chapel michelangelo-stock-foto
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The Deluge (detail) 1508-09 Fresco Cappella Sistina, Vatican sistine chapel  MICHELANGELO Buonarroti (b. 1475, Caprese, d. 1564, Roma)-stock-foto
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MICHELANGELO Buonarroti (b. 1475, Caprese, d. 1564, Roma)  The Delphic Sibyl 1509 Fresco, 350 x 380 cm Cappella Sistina, Vatican  Unwinding a scroll with her left hand, the Delphic Sibyl seems to be turning toward the viewer. The effect of movement is accentuated by the swirls of the light blue mantle lined with yellow fabric with red shadows and the pattern of the folds of the light green tunic. The very refined colours are characterized by delicate tonal passages and enamel-like surfaces.  The unique female figures and representations of the eternal mother are overwhelming. Of course, the Si-stock-foto
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ROSSO FIORENTINO (b. 1494, Firenze, d. 1540, Paris)  Assumption of the Virgin 1517 Fresco, 385 x 395 cm SS. Annunziata, Florence  Rosso's Assumption of the Virgin is found, along with works by Baldovinetti, Andrea del Sarto and Pontormo in the atrium of Santissima Annunziata.  Given the notoriety of the works of Michelangelo and Raphael recently completed in Rome, it is Rosso Fiorentino's credit that he was an artist of extreme individuality and independence. The works of these artists, along with those of Leonardo, must have appeared so perfect on their own terms that it was imperative to eit-stock-foto
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ANDREA DEL SARTO (b. 1486, Firenze, d. 1530, Firenze)  Birth of the Virgin 1514 Fresco, 413 x 345 cm SS. Annunziata, Florence  The interior is vast and elaborate, dominated by the huge canopy of the bed of the woman in labour, and defined in all its vastness by elegant architectural features and furnishings. In this grandiose framework, which presupposes Andrea's clear knowledge of what Raphael and Michelangelo had been working in Rome, the women are moving slowly attending with serene solicitude to the tasks as laid down by the account  in the apocryphal Gospels, leading the scene an absolute-stock-foto
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The Sacrifice of Isaac is an oil on canvas painting by Caravaggio (Michelangelo Merisi, 1571–1610), created around 1598–1603. The work depicts the biblical moment in which Abraham is stopped by an angel from sacrificing his son Isaac. Caravaggio emphasizes dramatic tension and emotional intensity through strong chiaroscuro, naturalistic figures, and a focused composition that draws attention to the pivotal moment of divine intervention. This painting exemplifies his mastery of light, shadow, and human emotion.-stock-foto
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The Sacrifice of Isaac is an oil on canvas painting by Caravaggio (Michelangelo Merisi, 1571–1610), created around 1598–1603. The work depicts the biblical moment in which Abraham is stopped by an angel from sacrificing his son Isaac. Caravaggio emphasizes dramatic tension and emotional intensity through strong chiaroscuro, naturalistic figures, and a focused composition that draws attention to the pivotal moment of divine intervention. This painting exemplifies his mastery of light, shadow, and human emotion.-stock-foto
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The Inspiration of Saint Matthew is an oil on canvas painting by Caravaggio (Michelangelo Merisi, 1571–1610), created around 1602. The work depicts Saint Matthew writing the Gospel under the guidance of a divine angel. Caravaggio’s dramatic use of chiaroscuro, naturalistic figures, and dynamic composition emphasizes the moment of spiritual inspiration. The painting exemplifies his mature Baroque style, combining intense realism with psychological depth and divine presence. monochrome black and white It is part of the Contarelli Chapel in San Luigi dei Francesi, Rome.-stock-foto
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Portrait of Maffeo Barberini is an oil on canvas painting by Caravaggio (Michelangelo Merisi, 1571–1610), depicting the future Pope Urban VIII as a young man. The portrait captures Barberini with striking naturalism, showing subtle expression and individuality through Caravaggio’s characteristic use of chiaroscuro. The work exemplifies the artist’s mastery in conveying psychological presence and lifelike detail, reflecting the early Baroque focus on realism and human character. This painting is housed in the Galleria Nazionale d’Arte Antica, Rome.-stock-foto
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John the Baptist is an oil on canvas painting by Caravaggio (Michelangelo Merisi, 1571–1610), housed in the Nelson-Atkins Museum of Art, Kansas City. The work depicts the youthful Baptist in a moment of contemplative solitude, often shown holding a reed cross or pointing toward his prophetic mission. Caravaggio’s characteristic chiaroscuro and naturalistic detail heighten the psychological intensity, blending spiritual significance with striking realism, typical of his mature Baroque style.-stock-foto
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The Tooth-Drawer is an oil on canvas painting by Caravaggio (Michelangelo Merisi, 1571–1610), created around 1608–1610. The work depicts a rustic scene of a man extracting a tooth from a patient, capturing the moment with unflinching realism and psychological immediacy. Caravaggio’s dramatic use of chiaroscuro emphasizes the tension and physicality of the act. This painting exemplifies his interest in everyday subjects rendered with the same intensity and naturalism as sacred themes, bridging genre painting with Baroque drama.-stock-foto
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Work and tranport in the Carrara marble quarries, Apuan Alps, Italy, Southern Europe-stock-foto
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Photograph of Michelangelo’s marble statue David, displayed under the dome of the Galleria dell’Accademia in Florence, Italy. A Renaissance masterpiec-stock-foto
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Photograph of Michelangelo’s marble statue David, displayed under the dome of the Galleria dell’Accademia in Florence, Italy. A Renaissance masterpiec-stock-foto
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CONTE, Jacopino del (b. ca. 1515, Firenze, d. 1598, Roma)  Portrait of Michelangelo c. 1540 Oil on panel, 88 x 64 cm Metropolitan Museum of Art, New York       --- Keywords: --------------  Author: CONTE, Jacopino del Title: Portrait of Michelangelo Time-line: 1551-1600 School: Italian Form: painting Type: portrait-stock-foto
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CATI DA IESI, Pasquale (1550-1620)  The Council of Trent 1588 Fresco Santa Maria in Trastevere, Rome  This fresco was painted by Pasquale Cati da Iesi, a pupil of Michelangelo. The represented Council is sometimes called the Tridentine Council, after the Latin name for the city, Tridentum. The coat of arms on the left wall behind the cardinals in red is that of Pius IV, the pope at the time of the closing of the Council.  Long after the closing of the Council of Trent its importance was underscored in a didactic and journalistic fresco painted as part of an otherwise elegant and classicising d-stock-foto
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CERQUOZZI, Michelangelo (b. 1602, Roma, d. 1660, Roma)  Figures in a Tree-lined Avenue 1640s Oil on canvas, 130 x 97 cm Galleria Nazionale d'Arte Antica, Rome  A 1692 Chigi inventory lists two paintings, the Rural Scene (see at Angeluccio) and the Figures in a Tree-lined Avenue and indicates that they are the product of a collaboration between Angeluccio, who painted the landscape, and Michelangelo Cerquozzi, who painted the figures.  Though Miel and van Bloemen also painted figures for Angeluccio's landscapes, the majority of his collaborations were with Michelangelo Cerquozzi. Angeluccio see-stock-foto
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CERQUOZZI, Michelangelo (b. 1602, Roma, d. 1660, Roma)  Soldiers Playing Dice 1630s Oil on canvas, 51 x 41 cm Private collection       --- Keywords: --------------  Author: CERQUOZZI, Michelangelo Title: Soldiers Playing Dice Time-line: 1601-1650 School: Italian Form: painting Type: genre-stock-foto
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CERQUOZZI, Michelangelo (b. 1602, Roma, d. 1660, Roma)  Street Scene in Rome - Oil on canvas, 58 x 69 cm Private collection       --- Keywords: --------------  Author: CERQUOZZI, Michelangelo Title: Street Scene in Rome Time-line: 1601-1650 School: Italian Form: painting Type: genre-stock-foto
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MICHELANGELO Buonarroti (b. 1475, Caprese, d. 1564, Roma)  Study for Porta Pia c. 1560 Black pencil, pen and brown watercolour on brown paper, 470 x 280 mm Casa Buonarroti, Florence  This is one of the drawings preserved in Casa Buonarroti and related to the project for the renovation of the gates in the Roman walls.       --- Keywords: --------------  Author: MICHELANGELO Buonarroti Title: Study for Porta Pia Time-line: 1501-1550 School: Italian Form: graphics Type: study-stock-foto
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MICHELANGELO Buonarroti (b. 1475, Caprese, d. 1564, Roma)  Study for Haman 1511 Red chalk, 25,3 x 119,9 cm Teylers Museum, Haarlem  Michelangelo made this study for the figure of Haman in the Punishment of Haman in one of the pendentives on the Sistine Chapel ceiling.       --- Keywords: --------------  Author: MICHELANGELO Buonarroti Title: Study for Haman Time-line: 1501-1550 School: Italian Form: graphics Type: study-stock-foto
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MICHELANGELO Buonarroti (b. 1475, Caprese, d. 1564, Roma)  Satyr's Head - Brown ink, 28 x 21 cm Mus?e du Louvre, Paris       --- Keywords: --------------  Author: MICHELANGELO Buonarroti Title: Satyr's Head Time-line: 1501-1550 School: Italian Form: graphics Type: study-stock-foto
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Ignudo is one of the nude male figures painted by Michelangelo Buonarroti (1475–1564) on the ceiling of the Sistine Chapel, Vatican City, completed between 1508 and 1512. These figures are positioned around the central panels, demonstrating Michelangelo’s mastery of human anatomy and dynamic movement. The Ignudi combine idealized musculature with expressive poses, serving both decorative and symbolic purposes, reflecting the artist’s study of classical sculpture and the Renaissance fascination with the human form.-stock-foto
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MICHELANGELO Buonarroti (b. 1475, Caprese, d. 1564, Roma)  The Damned Soul c. 1525 Black ink, 35,7 x 25,1 cm Galleria degli Uffizi, Florence       --- Keywords: --------------  Author: MICHELANGELO Buonarroti Title: The Damned Soul Time-line: 1501-1550 School: Italian Form: graphics Type: study-stock-foto
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SIGNORELLI, Luca (b. ca. 1450, Cortona, d. 1523, Cortona)  Sermon and Deeds of the Antichrist 1499-1502 Fresco Chapel of San Brizio, Duomo, Orvieto  It is quite likely that the Deeds of the Antichrist is intended as a reference to Savonarola, the Dominican friar hanged and burnt at the stake in Florence on 23 May 1498. In a 'Papist' city like Urbino, and in the case of an artist like Signorelli who had been a Medici prot?g? and who thought of himself basically as a victim of persecution from the Florentine democratic government (a fact we learn from Michelangelo), this identification of Savona-stock-foto
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CLOVIO, Giulio (b. 1498, Grizane, d. 1578, Roma)  Piet? 1550s Tempera over metal point on parchment on wood, 368  x 257 mm Galleria degli Uffizi, Florence  Giulio Clovio was the last of the great miniaturists, bringing the fulsome forms of the Late renaissance into manuscript illustration - a medium rendered rarefied by the currency of printed books. Clovio, a daring colourist, was a friend of Michelangelo and the teacher of El Greco. These various currents are visible in this virtuoso example of sixteenth-century expressionism.       --- Keywords: --------------  Author: CLOVIO, Giulio Title:-stock-foto
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Florence in night with Duomo an Uffizi tower-stock-foto