Pesquisando por: "Salvator Mundi" - Fotoarena - Agência de fotojornalismo

1035_06_710390 Salvator Mundi, Bartolommeo, Fra

971_07_FR246104A Statue of Jesus-Christ Salvator mundi (world saviour) in Saint-Martin d'Ainay basilica

alb4156221 Anonymous German Artist active in Westphalia (Active in Westphalia early 15th Century). Diptych with symbols of the Virgin and Redeeming Christ: Christ with the Cross as Redemptor Mundi (Right wing) (ca. 1410). Panel. 28.5 x 18.5 cm. Museum: Museo Nacional Thyssen-Bornemisza, Madrid.

alb3707656 Christ as Salvator Mundi. Dated: 1595. Dimensions: overall: 25.6 x 12.6 cm (10 1/16 x 4 15/16 in.). Medium: pen and brown ink with gray wash on laid paper. Museum: National Gallery of Art, Washington DC. Author: Caspar Meneller.

akg6107645 Kenzingen (Breisgau, Baden-Württemberg), St. Laurentius Church (Catholic parish church, built at the end of the 13th century, Baroque conversion to a hall church from 1729 on), Pulpit (from the monastery of Wonnental, which was secularized in 1806. At the front of the pulpit Saint Peter and Saint Paul. On the pulpit ceiling the Salvator mundi with the four evangelist symbols). - Partial view of the pulpit. - Photo, 2018. Author: ANONYMOUS.

akg6107642 Kenzingen (Breisgau, Baden-Württemberg), St. Laurentius Church (Catholic parish church, built at the end of the 13th century, Baroque conversion to a hall church from 1729 on), Pulpit (from the monastery of Wonnental, which was secularized in 1806. At the front of the pulpit Saint Peter and Saint Paul. On the pulpit ceiling the Salvator mundi with the four evangelist symbols). - Partial view of the pulpit. - Photo, 2018. Author: ANONYMOUS.

akg5085986 Russland, Moskau, Roter Platz, Festival der Blumen, Erlöser-Turm (in der Mitte) und Basilius-Kathedrale (links).

alb5433371 Zagreb, Croatia, Republika Hrvatska, Europe. Mimara Museum (Muzej Mimara). Follower of Antoon van Dyck, Salvator Mundi, (1599-1641), circa 1618-1620, oil on panel.

alb4367836 Mary and Christ as Salvator Mundi (fronts), Coat of arms paintings in gray-green grisaille (backs), oil on limewood, 20.1 x 13.7 cm (left panel) |, 19.9 x 13.6 cm (right panel), Not referenced., On the globe: ASIA, EVRO, AF, RI, Anonym, Süddeutschland (oder Schweiz?), um 1500.

alb3637674 Christ Blessing the Children. Artist: Lucas Cranach the Younger and Workshop (German, Wittenberg 1515-1586 Wittenberg). Dimensions: 6 1/2 x 8 3/4 in. (16.5 x 22.2 cm). Date: ca. 1545-50.The story of Christ Blessing the Children is found in the Gospels. When children are brought to Christ for blessing, and his disciples raise objections, Christ counters with the words inscribed across the top of this panel: "Suffer the little children to come unto me, and forbid them not: for of such is the kingdom of God" (Mark 10:14). The painting and its pendant, Christ and the Adulteress (seen to the right), share the theme of the free dispensation of divine grace, a central tenet of Lutheranism. Their small size suggests that they were meant for a private setting. Museum: Metropolitan Museum of Art, New York, USA.

alb3672539 Salvator Mundi. Artist: Workshop of Hans Memling (Netherlandish, Seligenstadt, active by 1465-died 1494 Bruges). Dimensions: Overall, with integral frame, diameter 10 3/4 in. (27.3 cm); painted surface 8 in. (20.3 cm). Date: 1475-99.Christ is shown as the Savior of the World (Salvator Mundi), a popular image in fifteenth-century painting. Front-faced, he holds a cross-topped globe and raises his right hand in blessing, merging the themes of the Holy Face (Christ's features miraculously imprinted on a cloth) and Christ in Majesty. The small, circular format made this picture appropriate for hanging above a bed. Museum: Metropolitan Museum of Art, New York, USA. Author: Workshop of Hans Memling.

alb3677648 The Crucifixion. Artist: Attributed to Jan Provost (Netherlandish, Mons (Bergen) ca. 1465-1529 Bruges). Dimensions: Overall 13 1/8 x 10 3/4 in. (33.3 x 27.3 cm); painted surface 12 5/8 x 10 1/4 in. (32.1 x 26 cm). Date: ca. 1495.This exquisite private devotional painting contrasts Mary's joy at the Annunciation, shown in the background, with her sorrow at the Crucifixion, where she swoons in John's arms. The darkened sky heightens the poignancy of the Passion scene. Scattered around the cross are bones, referring to the belief that Adam's skull was located on Golgotha. The pairing of the Annunciation and the Crucifixion accords with the medieval tradition that dedicated March 25th to the memory of Adam, the Annunciation, and Christ's death, thus relating the Fall of Man, the conception of Christ, and the redemption of mankind offered by his death. Museum: Metropolitan Museum of Art, New York, USA.

alb3622608 The Last Judgment. Artist: Joos van Cleve (Netherlandish, Cleve ca. 1485-1540/41 Antwerp). Dimensions: 48 3/4 x 34 in. (123.8 x 86.4 cm). Date: ca. 1520-25.This majestic scene is divided into heavenly and earthly zones, which are linked by two hovering angels blowing trumpets. Christ appears at the moment of judgment in a burst of light and color, surrounded by clouds and putti and flanked by the apostles. He blesses the saved, shown at lower left, while Saint Michael shepherds the damned into hell burning in the distance at the right. The nudes in the foreground reflect the artist's study of prints after Raphael's designs, and the figure of Christ seems to be inspired by the famous ancient sculpture of the Laocoön. Museum: Metropolitan Museum of Art, New York, USA.

alb3604471 Salvator Mundi. Artist: Domenico Fetti (Italian, Rome (?) 1591/92-1623 Venice). Dimensions: 23 1/2 x 17 1/4 in. (59.7 x 43.8 cm). Date: ca. 1622-23.The picture was painted in Venice for Count Francesco Gambara of Brescia. Fetti had moved to Venice from Mantua following a fight with a fellow painter. He was a master of loose brushwork, as this late work testifies. It shows Christ seated in clouds above a landscape, his left hand on an orb, his right raised in blessing, as he directs his gaze towards the viewer. The playful cherubs--especially the one peeking out beneath his blue cloak--and the illusionistic character of the composition are a sort of homage to the work of the great sixteenth-century painter Correggio. Museum: Metropolitan Museum of Art, New York, USA.

alb3606472 Christ Crowned with Thorns (Ecce Homo), and the Mourning Virgin. Artist: Adriaen Isenbrant (Netherlandish, active by 1510-died 1551 Bruges). Dimensions: 41 1/2 x 36 1/2 in. (105.4 x 92.7 cm). Date: ca. 1530-40.In this austere and haunting image, Christ is depicted in the form of an Ecce Homo--presented to the people of Jerusalem by Pilate, the Roman prefect of Jerusalem, prior to being led off to be crucified. He wears a crown of thorns and on his exposed torso bears the wounds from his flagellation. The hostile crowd, however, is omitted. Seen up close, in half-length and nearly life-size, Christ and his mother have been isolated for devotional contemplation. They are presented directly to the viewer, who becomes Christ's judge as well as a participant in the Virgin's grief. Museum: Metropolitan Museum of Art, New York, USA. Author: Adriaen Isenbrant.

alb3615197 Head of Christ. Artist: Petrus Christus (Netherlandish, Baarle-Hertog (Baerle-Duc), active by 1444-died 1475/76 Bruges). Dimensions: Overall 5 7/8 x 4 1/4 in. (14.9 x 10.8 cm); parchment 5 3/4 x 4 1/8 in. (14.6 x 10.5 cm). Date: ca. 1445.This intimate image of Christ's head, intended for private devotion, derives from a lost picture of the Holy Face by Jan van Eyck, now known only through copies. Following the Eyckian composition, Petrus Christus treated the head like a portrait by surrounding it with a fictive frame, thereby underscoring the physical immediacy of Christ. His depiction differs from the prototype, however, in presenting Christ with furrowed brow, the crown of thorns, and drops of blood running down his forehead and onto his chest. These details stimulated a more compassionate reflection on the crucified Christ's suffering by engaging the empathy of the viewer. Museum: Metropolitan Museum of Art, New York, USA.

alb3644669 The Lamentation. Artist: Petrus Christus (Netherlandish, Baarle-Hertog (Baerle-Duc), active by 1444-died 1475/76 Bruges). Dimensions: Overall 10 1/8 x 14 in. (25.7 x 35.6 cm); painted surface 10 x 13 3/4 in. (25.4 x 34.9 cm). Date: ca. 1450.Intended for private devotion, this painting depicts the lamentation over Christ's dead body in terms conducive to empathetic contemplation. The figures of Joseph of Arimathea and Nicodemus lifting Christ's dead body would have stood out, as they are dressed in contemporary attire, reflecting the viewer's own world. Mary's limp pose is meant to suggest her co-suffering with her son and affirms her role as co-redeemer. The painting may have been exported to Italy, since it inspired a marble relief by Antonello Gagini in Palermo Cathedral, Sicily. Museum: Metropolitan Museum of Art, New York, USA.

alb3660307 Christ Blessing. Artist: Andrea Solario (Italian, Milan ca. 1465-1524 Milan). Dimensions: 80 1/4 x 51 1/2 in. (203.8 x 130.8 cm).This is one of Solario's last works and must have been painted for a church in or near Milan. The architecture of the frame must have matched the painted architecture in the picture so as to create the illusion that the figure of Christ stands in a space immediately contiguous with our own. Although the panel may have stood on an altar, it could also have been fitted into a recess in a wall as part of the decoration of a chapel or room in a church. Museum: Metropolitan Museum of Art, New York, USA.

alb3479276 Salvator Mundi, ca. 1505, Oil on linden, 22 7/8 x 18 1/2in. (58.1 x 47cm), Paintings, Albrecht Dürer (German, Nuremberg 14711528 Nuremberg), This picture of Christ as Salvator Mundi, Savior of the World, who raises his right hand in blessing and in his left holds a globe representing the earth, can be appreciated both as a painting and as a drawing.

akg286969 Assisi (Umbria, Italy), Basilica of San Francesco d'Assisi, Uppper Church, window of the southern transept. Christ the Saviour between St Francis of Assili and St Anthony of Padua. Stained glass, c. 1275. Diameter of the quatrefoil: 120 cm.

alb3624006 The Descent of Christ Into Limbo. Artist: Pieter van der Heyden (Netherlandish, ca. 1525-1569); After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525-1569 Brussels). Dimensions: sheet: 10 5/16 x 13 9/16 in. (26.2 x 34.5 cm). Publisher: Hieronymus Cock (Netherlandish, Antwerp ca. 1510-1570 Antwerp). Date: 1551. Museum: Metropolitan Museum of Art, New York, USA.

akg8318419 The Bust of Salvator Mundi (the Saviour - Le Sauveur) is the last sculpture created by baroque artist Gian Lorenzo Bernini (Le Bernin), executed in 1679, when the artist was 80 years old. He left the sculpture in his will to his friend and patron Queen Christina of Sweden. Considered lost and 'rediscovered' in 2001 it is currently held in the basilica of di San Sebastiano Fuori Le Mura. There is some dispute over the authorship of the bust. Rome, Italy. 2020.

akg8318418 The Bust of Salvator Mundi (the Saviour - Le Sauveur) is the last sculpture created by baroque artist Gian Lorenzo Bernini (Le Bernin), executed in 1679, when the artist was 80 years old. He left the sculpture in his will to his friend and patron Queen Christina of Sweden. Considered lost and 'rediscovered' in 2001 it is currently held in the basilica of di San Sebastiano Fuori Le Mura. There is some dispute over the authorship of the bust. Rome, Italy. 2020.

akg8318420 The Bust of Salvator Mundi (the Saviour - Le Sauveur) is the last sculpture created by baroque artist Gian Lorenzo Bernini (Le Bernin), executed in 1679, when the artist was 80 years old. He left the sculpture in his will to his friend and patron Queen Christina of Sweden. Considered lost and 'rediscovered' in 2001 it is currently held in the basilica of di San Sebastiano Fuori Le Mura. There is some dispute over the authorship of the bust. Rome, Italy. 2020.

ado00051440 "Salvator Mundi". Oil on wood by Joos van Cleve (ca. 1485-1540/1541). Paris, Muse du Louvre.

akg1572479 Gontscharowa, Natalja Sergejewna 1881-1962. "Erlöser", 1910/11. Triptychon, Mittelteil, Erlöser (mit Weinranke), Öl auf Leinwand, 132,5 × 119,5 cm. Inv. Nr. Sch.-1617 (1989). Moskau, Staatliche Tretjakow-Galerie. Museum: Moskau, Staatliche Tretjakow-Galerie. Author: NATALIA SERGEYEVNA GONCHAROVA. Copyright: © Natalia Goncharova. This artwork is not in the public domain. Additional copyright clearance may be required before use of this image.

akg1572481 Gontscharowa, Natalja Sergejewna 1881-1962. "Erlöser", 1910/11. Triptychon, Rechte Tafel: Erzengel (in Weiß), Öl auf Leinwand, 132 × 68 cm. Inv. Nr. Sch.-1616 (1989). Moskau, Staatliche Tretjakow-Galerie. Museum: Moskau, Staatliche Tretjakow-Galerie. Author: NATALIA SERGEYEVNA GONCHAROVA. Copyright: This artwork is not in the public domain. Additional copyright clearance may be required before use of this image. © Natalia Goncharova.

alb1929953 Salvator Mundi. Christ with the Globe. 1537-1545. Lower Rhin. German Historical Museum. Berlin. Germany.

akg1946642 Iran, Isfahan City, forecourt of the Vank Cathedral (Surp Amenaprgich Vank) in the Christian Armenian district of Djolfa (Jolfa): bronze sculpture (rear view) of the Archbishop Khachatour Kesaratsi (around 1636) erected in 2007 against the backdrop of the Vank Cathedral, built 1606 - 1655. Archbishop in cowl and with bible. opened the first printing house and publishing house in Iran in 1636. To the district of Djolfa (Christian Armenian Quarter): View over the main dome and bell tower of the so-called Vank Cathedral.

alb4105010 Christ as Salvator Mundi. Dating: c. 1500. Place: Zuid-Duitsland. Measurements: h 17.5 cm × w 13 cm; d 4.5 cm. Museum: Rijksmuseum, Amsterdam.

akg252148 Taddeo di Bartolo. 1362/63 - 1422. "Salvator Mundi", 1403. On wood, 64 × 37cm. Inv. no. 1072. Perugia, National Gallery of Umbria. Museum: Perugia, National Gallery of Umbria.

akg8710294 Dyck, Anton (Anthonis) van, 1599-1641. "Christ as Salvator Mundi", around 1620. Counterpart to "Mary with raised hands in supplication". Oil on panel, 82.7 × 69.8 cm (originally 64.5 × 49.5 cm. Since 1764 in the picture gallery. Inv. No. GK I 7757 (gallery no. 90). Potsdam, SPSG, Sanssouci Picture Gallery.

akg8950057 Christus Salvator, Ausschnitt aus einem Tafelbild im Klerikalseminar zu Freising, 50er Jahre.

akg5750462 Bordeaux (Gironde), cathédrale Saint-André (milieu 12e - jusqu'au 15e). Vue intérieure, chapelle du Mont-Carmel, autel : tabernacle, Salvator Mundi sur la porte, fond d'émail bleu à rinceaux.A. Chertier, orfèvre à Paris, 1868. Photographie, septembre 2016.

akg5750458 Bordeaux (Gironde), cathédrale Saint-André (milieu 12e - jusqu'au 15e). Vue intérieure, chapelle du Mont-Carmel, autel : tabernacle, Salvator Mundi sur la porte, fond d'émail bleu à rinceaux.A. Chertier, orfèvre à Paris, 1868. Photographie, septembre 2016.

akg2322808 nach: Cleve, Joos van um 1480/85 - 1540. "Salvator Mundi". Anonymes Gemälde, 16. Jahrhundert. Öl auf Holz, 27 × 21 cm. London, Dulwich College Picture Gallery. Museum: London, Dulwich College Picture Gallery.

akg216811 Icon painting, Russian, end of 15th / beg. of 16th cent. "The Redeemer surrounded by the Heavenly Powers". Tempera on wood, 145 × 106cm. Moscow, Tretjakov Gallery. Museum: Moskau, Staatliche Tretjakow-Galerie.

akg211546 Halle a. d. Saale (Sachsen-Anhalt), Ulrichskirche (erbaut im 14. Jh., heute als Konzerthalle genutzt). Außenansicht: Tympanon am Nordportal mit Relief Marientod und Salvator, davor auf einem Pfeiler sitzende Muttergottes. Foto, undat.

akg286933 Stained glass, Italy, 1st quarter of the 13th Century (?). Christ the saviour. Hight: 78 cm, width: 82 cm. From the chapel of St. Peter of Alcantara in the Basilica of St Francis of Assisi. Assisi (Umbria, Italy), Sacro Convento.

akg261369 Maître E.S. actif v. 1450-67. "Le sauveur bénissant le monde", v. 1467. Gravure sur cuivre, pl. 15,5 × 11,4 cm. Inv. Nr. 118027. Munich, Staatliche Graphische Sammlung. Museum: München, Staatliche Graphische Sammlung.

akg323758 Northern German, c. 1480/1510. "Salvator Mundi". Tempera on wood, Inv. no. B331. Museen Böttcherstraße, Bremen, Ludwig Roselius Museum. Museum: Bremen, Ludwig Roselius Museum. Copyright: Credit to the Museum is obligatory.

akg307043 Maratea (Basilicata, Italie), Monte San Biagio. "Il Redentore" (Le Rédempteur). Statue colossale (21 m), 1963.

akg341741 Batoni, Pompeo 1708-1787. "Salvator Mundi". Oil on canvas, 73.5 × 61cm. No date. London, Sotheby's. Lot 35, 20/4/88.

akg249451 Rhenish school, 16th century:. Salvator Mundi (depicted with a globe by Kaspar Vopell from 1537). Oil on canvas, 63.5 × 54.6 cm. Inv. Nr. Gm 93/24. Berlin, Deutsches Historisches Museum. Museum: Berlin, Deutsches Historisches Museum.

akg3027785 Gallen-Kallela, Akseli. 1865-1931. "Christuskopf", 1895. Öl auf Leinwand, 30 x 20 cm. Inv.Nr.KH 1349. Vaasa, Ostrobothnian Museum. Museum: Vaasa, Ostrobothnian Museum.

akg3002642 Ikonenmalerei, Russland, Moskau, Anfang des 20. Jahrhunderts. - Christus der Erlöser. - Eitempera auf Holz, 18 x 15 cm. Mit Metall-Oklad. Donation Mme Mavromichalis. Genf, Musée d'Art et d'Histoire. Museum: Geneva, Musée d'Art et d'Histoire. Author: ANONYMOUS.

akg3125546 Meister von 1499. "Madonna in der Kirche", 1499. Linker Flügel eines Diptychons mit Abt Christiaan de Hondt; Rückseite: Salvator Mundi. Holz, 31 x 14,5 cm. Inv.Nr. 255 und 530. Antwerpen, Kgl. Museum voor Schone Kunsten. Museum: Antwerpen, Kgl. Museum voor Schone Kunsten.

akg3112647 Holbein, Hans d. Ä.. 1465-1524. "Christus als Salvator Mundi", nach 1493(?). Pinsel und Feder in Schwarz, grau laviert und weiß gehöht auf grau. grundiertem Papier, 26,9 x 14,5 cm. Inv.Nr.4830. Wien, Graphische Sammlung Albertina. Museum: Wien, Graphische Sammlung Albertina. Author: THE ELDER HANS HOLBEIN.

akg3796246 Meister der Mansi-Magdalena, tätig in Antwerpen um 1510/15 - um 1525. "Christus als Salvator Mundi". Öl auf Eichenholz, 67,7 x 49,2 cm. Aachen, Suermondt-Ludwig-Museum. Museum: Aachen, Suermondt-Ludwig-Museum.

akg3796247 Meister des Kölner Ursula-Zyklus. tätig in Brügge um 1470/1471 - um 1500. Werkstatt. "Krönung Mariens", Ende 15.Jh. Öl, Tempera auf Holz, 30,5 x 24,5 cm. Darmstadt, Hessisches Landesmuseum. Museum: Darmstadt, Hessisches Landesmuseum.

akg1572477 Gontscharowa, Natalja Sergejewna 1881-1962. "Erlöser", 1910/11. Triptychon. Öl auf Leinwand. Mittlerer Teil: Erlöser (mit Weinranken), 132,5 × 119,5 cm. Linker Teil: Erzengel (in Grün), 132 × 69,5 cm. Rechter Teil: Erzengel (in Weiß), 132 × 68 cm. Inv. Nr. Sch.-1615-1617 (1989). Moskau, Staatliche Tretjakow-Galerie. Museum: Moskau, Staatliche Tretjakow-Galerie. Author: NATALIA SERGEYEVNA GONCHAROVA. Copyright: © Natalia Goncharova. This artwork is not in the public domain. Additional copyright clearance may be required before use of this image.

akg1947717 Bruni, Nikolaj Alexandrowitsch. 1856-1935. "Der Erlöser" (Salvator Mundi). letztes Viertel 19. Jahrhundert. Öl auf Leinwand. St. Petersburg, Staatl. Russisches Museum. Museum: St. Petersburg, Russian Museum.

akg1823272 Provost, Jan um 1465 - 1529 (Umkreis). "Der Tod, einzige Gewissheit", 16. Jahrhundert. Öl auf Holz, 73,9 × 64 cm. Inv. 91. Mons, Musée des Beaux-Arts. Museum: Mons, Musée des Beaux-Arts.

akg1849939 Indische Miniatur, Dekkan, 19. Jahrhundert. /-Christus (Salvator Mundi).-/ Gouache auf Papier. Museum: Private Collection., Privatsammlung.

akg1003132 Fra Bartolomeo 1472-1517. "Salvator Mundi" (The Resurrected Christ with the four Evangelists), 1516. Oil on canvas, 282 x 204cm. Museum: Palazzo Pitti, Gall. Palatina., Florenz.

akg6514015 Saint-Martin d'Ainay Basilica. Main Altar. Golden statue of Jesus Christ Salvator Mundi (World Saviour). Lyon. France.

akg6107644 Kenzingen (Breisgau, Baden-Württemberg), St. Laurentius Church (Catholic parish church, built at the end of the 13th century, Baroque conversion to a hall church from 1729 on), Pulpit (from the monastery of Wonnental, which was secularized in 1806. At the front of the pulpit Saint Peter and Saint Paul. On the pulpit ceiling the Salvator mundi with the four evangelist symbols). - General view of the pulpit. - Photo, 2018. Author: ANONYMOUS.

akg6107643 Kenzingen (Breisgau, Baden-Württemberg), St. Laurentius Church (Catholic parish church, built at the end of the 13th century, Baroque conversion to a hall church from 1729 on), Pulpit (from the monastery of Wonnental). - Pulpit ceiling with the Salvator mundi and the the four evangelist symbols. - Photo, 2018. Author: ANONYMOUS.

akg6107646 Kenzingen (Breisgau, Baden-Württemberg), St. Laurentius Church (Catholic parish church, built at the end of the 13th century, Baroque conversion to a hall church from 1729 on), Pulpit (from the monastery of Wonnental, which was secularized in 1806. At the front of the pulpit Saint Peter and Saint Paul. On the pulpit ceiling the Salvator mundi with the four evangelist symbols). - General view of the pulpit. - Photo, 2018. Author: ANONYMOUS.

akg6107640 Kenzingen (Breisgau, Baden-Württemberg), St. Laurentius Church (Catholic parish church, built at the end of the 13th century, Baroque conversion to a hall church from 1729 on), Pulpit (from the monastery of Wonnental, which was secularized in 1806. At the front of the pulpit Saint Peter and Saint Paul. On the pulpit ceiling the Salvator mundi with the four evangelist symbols). - General view of the pulpit. - Photo, 2018. Author: ANONYMOUS.

akg6107641 Kenzingen (Breisgau, Baden-Württemberg), St. Laurentius Church (Catholic parish church, built at the end of the 13th century, Baroque conversion to a hall church from 1729 on), Pulpit (from the monastery of Wonnental). - Pulpit ceiling with the Salvator mundi and the the four evangelist symbols. - Photo, 2018. Author: ANONYMOUS.

akg6101208 Ottenau (Gaggenau, Northern Black Forest, Baden-Württemberg, Germany), St. Jodocus Church / St. Jodokus / St. Jodok (Catholic parish church, built 1904-1906, architect: Johannes Schroth). - The Savior (Sacred Heart of Jesus). - Sculpture. Plaster, coloured. Photo, 2018. Author: ANONYMOUS.

akg6540854 Saint-Martin d'Ainay Basilica. Main Altar. Golden statue of Jesus Christ Salvator Mundi (World Saviour). Lyon. France.

akg6540852 Saint-Martin d'Ainay Basilica. Mosaic. Jesus. Lyon. France.

akg6540853 Saint-Martin d'Ainay Basilica. Mosaic. Jesus. Lyon. France.

akg6373250 Statue of Jesus-Christ Salvator mundi (world saviour) in Saint-Martin d'Ainay basilica. Lyon, France.

akg6122814 Sulzbach (Municipality Gaggenau, Baden-Württemberg, Germany), St. Anna Church (Catholic parish church, built 1883-85, architect: Adolf Williard), Choir. - Central window of the choir with the Saviour. - Stained glass window by Geck and Vittali, Offenburg. Photo, 2018.

akg6125477 Hörden (city of Gaggenau, Baden-Württemberg), St. John Nepomuk Church (Catholic parish church, built at the end of the 19th century, architect: Johannes Schroth). - The Savior. - Figure of the high altar with Nativity, Adoration of the Kings, the Savior and Saints John Nepomuk and Wendelin. Wood, carved, polychrome painted. Photo, 2018. Author: ANONYMOUS.

akg7259445 Le christ salvator Mundi, Vitrail 19ème de Joseph Villiet, Eglise Saint Nicolas, Nérac, France.

akg7259447 Le christ salvator Mundi, Vitrail 19ème de Joseph Villiet, Eglise Saint Nicolas, Nérac, France.

akg7259446 Le christ salvator Mundi, Vitrail 19ème de Joseph Villiet, Eglise Saint Nicolas, Nérac, France.

alb3899105 El Salvador adolescente. Date/Period: Ca. 1490-1495. Painting. Oil on panel. Height: 25 cm (9.8 in); Width: 18 cm (7 in). Author: GIOVANNI ANTONIO BOLTRAFFIO.

alb3899227 El Salvador. Date/Period: 1502. Painting. Author: GIOVANNI BELLINI.

alb4101899 Salvator Mundi. Dating: 1650 - 1700. Measurements: h 64.5 cm × w 49.5 cm × t 1.1 cm; d 7.3 cm. Museum: Rijksmuseum, Amsterdam. Author: Anthony van Dyck (copy after).

alb9528747 Upper left drawing of Madonna with standing Child, St.John at lower left, pointing to the Child. Upper right drawing of Madonna with standing Child who reaches to St.John in lower right. Lower left drawing of Madonna with sleeping Child, St.John sitting at lower right, bishop Saint leaning in from left, and female with bared breasts at right. Lower right drawing of standing Madonna holding Child, in niche, probably after sculpture (inscription has been cut away). Date: 1821-22. Pen and ink, brush and brown wash, over black chalk on heavy wove white paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

alb9571310 Teatro Principal, 1857. Integral view of the hall and stage, Teatre Principal, Palma de Mallorca. spain.

alb9579178 Teatro Principal , 1857.Il Trovatore, opera,1853, Giuseppe Verdi .Dirección musical: José Miguel Pérez Sierra. Teatre Principal,Palma de Mallorca. Spain.

alb9574141 Teatro Principal, 1857. Integral view of the hall and stage, Teatre Principal, Palma de Mallorca. spain.

alb1995285 Salvator Mundi, ca 1420, by the Master of Retascon (active ca 1420), tempera on panel, 166x84 cm. Location: Bilbao, Museo De Bellas Artes De Bilbao (Art Museum).

alb5194157 Salvator Mundi, with a Globe and a Cross, Francesco Bartolozzi, Italian, active England, 17271815, Giovanni Francesco Barbieri (called Guercino), Italian, 1591 1666, Engraving in brown ink on white paper, The young man sits at a table, with both hands about a globe surmounted by a cross to his left., Italy, ca. 17601770, Print, Print.

alb9527537 Book of Hours, Salvator Mundi, This pocket-sized Book of Hours, ca. 1460-70, was completed in the circle of Willem Vrelant for the use of Sarum. Featuring twenty-seven extant miniatures and twenty-two historiated initials, it is an important example of the prayer books made in the third quarter of the thirteenth century in Bruges for English owners. While this manuscript is not especially unique amongst its peers, it is exemplary because of its impressive pictorial program, including the aforementioned miniatures and historiated initials. The miniatures include decorative details distinctive of the tradition of the Masters of the Gold Scrolls, which was influential in this period. Also notable is the sensitivity to atmospheric landscape effects imbued with spatial and coloristic qualities reminiscent of manuscripts in the Eyckian tradition. Full-page Passion scenes paired with smaller Infancy episodes in the Hours of the Virgin are juxtaposed, resulting in a rare dualism that speaks to the ambitious artistic program exhibited in this manuscript.

alb9527413 Allegory of Old and New Testament with Father Time and muses with various attributes including scribal scroll, possibly with the Ten Commandments and globe. On the ground is an overturned statue of Pan as a sign of idolatry. Above this group Christ is enthroned as Salvator Mundi in halo surrounded by some monstrous animals, Allegory of Old and New Testament Title page for: Humphrey Prideaux, Het Oude en Niewe Verbond aen een geschakelt in de geschiedenissen der joden en der aengrenzende volkeren, Leiden 1729 Het O. en N. Verbond aan een geschakelt by H. Prideaux , print maker: François van Bleyswijck, (mentioned on object), Frans van Mieris, publisher: Johannes van der Linden (uitgever), (mentioned on object), Leiden, 1681 - 1729 and/or 1729, paper, etching, engraving, h 344 mm × w 220 mm.

alb9524788 Book of Hours, Salvator Mundi, This book was created ca. 1460-70 CE in Bruges by the workshop of Willem Vrelant for an English patron, as suggested by the many English saints included in the calendar. The manuscript is heavily illuminated and contains thirty historiated initials, some with unusual themes, such as Christ's wounds and the Murder of St. Thomas Becket. While the number of illuminations is large, their execution is fairly standard. The Hours of the Virgin cycle is expanded at Lauds with an inserted Hours of the Cross section, which results in a complex quire structure.

alb3732928 Salvator Mundi. Dated: 1608/1611. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: JACQUES CALLOT.

alb3723435 Four Saints. Dated: 1762. Dimensions: plate: 44.4 x 28.9 cm (17 1/2 x 11 3/8 in.) sheet: 49 x 33 cm (19 5/16 x 13 in.). Medium: etching and engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: Johann Beheim after Franz Anton Maulbertsch.

alb9517765 Twelve mirrors by which man tries to see God, Title page for: Jan David, Duodecim Specula Deum, 1610, In a classical structure at the top of the title of the work. In the center, a mirror consisting of twelve small mirrors surrounding a large mirror. The twelve small mirrors are numbered with Roman numerals and show the twelve ways by which man tries to see God: through the mirror of communion (a man's head), the mirror of deception (a globe), the mirror of fire (a fire), the mirror of well-being (a peacock), the mirror of renown (an eye), the mirror of life (a skull), the mirror of purity (a fountain), mirror of creation (the sun and the moon), mirror of Holy Scripture (the Bible), mirror of example (a bird), mirror of allusion (the Trinity in a dark mirror) and mirror of bliss (the Trinity in a clear mirror). The large mirror in the center shows the initials IHS (Iesus Hominum Salvator)., print maker: Theodoor Galle, (mentioned on object), publisher: Johannes Moretus (II), (mentioned on object), Antwerp, 1610, paper, engraving, height 160 mm × width 92 mm.

alb9517932 Christ as Salvator Mundi, Imagini Gentilissime delle dodici Sibille (...) (series title on object), Christ as Salvator Mundi. He makes a blessing gesture and holds in his hand an empire apple topped with a cross. The representation is framed in a medallion with an edge inscription in Greek. Below the representation is a six-line verse in Latin. Around it a frame with flowers. Print is part of an album., print maker: Pietro Paolo Tozzi, (mentioned on object), after print by: Crispijn van de Passe (I), after design by: Crispijn van de Passe (I), Padua, 1601 - 1627, paper, engraving, height 207 mm × width 170 mm.

alb9512038 Book of Hours, Salvator mundi, This Book of Hours was created ca.1460-70 in the Bruges region by artists influenced by the famous illuminator Willem Vrelant. Its fifteen surviving miniatures have been heavily repainted, as have many of the borders, and Lillian Randall has suggested this campaign of refurbishment was likely requested by a later owner who may be depicted in the fully redone Last Judgment image. The limited number of figures, simplification of drapery folds, and avoidance of painting hands where possible show the streamlining used by workshops in this period, which were generating large amounts of similar books.

alb9499573 Book of Hours, Salvator Mundi, This pocket-sized Flemish Book of Hours was likely created in Bruges ca. 1500. It contains illuminations produced by the Ghent-Bruges school stylistically associated with the Master of the Prayerbooks, who was active at that time. The manuscript still retains the original binding signed by Ludovicus Bloc, a binder documented in Bruges ca. 1484-1529.

alb9494534 Christ as Salvator Mundi, draughtsman: Bartolommeo (Fra), 1516 - 1517, prepared paper, h 267 mm × w 161 mm.

alb9497975 Christ as Salvator Mundi with cherubs Iesvs dei filivs Rex regvm (title on object) V, print maker: Schelte Adamsz. Bolswert, (mentioned on object), Peter Paul Rubens, publisher: Schelte Adamsz. Bolswert, (mentioned on object), 1596 - 1659, paper, engraving, h 132 mm × w 93 mm.

alb9488146 Christ Child with Reich's apple in hand makes blessing gesture, Christ as Salvator Mundi V, print maker: Schelte Adamsz. Bolswert, (mentioned on object), Peter Paul Rubens, publisher: Martinus van den Enden, (mentioned on object), 1596 - 1659, paper, engraving, h 128 mm × w 91 mm.

alb9487780 Pray print for the Brotherhood of Jesus in the Nieuwe Kerk in Delft. Christ child as Salvator Mundi surrounded by angels. Left coat of arms, right coat of arms of Delft. text underneath. Ornamental border, Pray print for the Brotherhood of Jesus., print maker: Jacob Cornelisz van Oostsanen, (school of), Jacob Cornelisz van Oostsanen, Low Countries, 1520 - 1540, paper, h 196 mm × w 149 mm.

alb9479636 Mary, standing on a crescent moon in a wreath of clouds and angels, with the Christ child (as Salvator Mundi, with imperial apple) on her arm. Below the representation a line of Latin text (Revelation 12)., Mary with Christ Child standing on a crescent moon, print maker: Jacob de Gheyn (II), (workshop of), print maker: Zacharias Dolendo, (possibly), Jacob de Gheyn (II), (mentioned on object), Netherlands, 1593 - 1597, paper, engraving, h 240 mm × w 167 mm.

alb9479420 Allegory with female personification seated next to the Arma Christi. At a table, the four evangelists each write their version of Christ's teachings. In a niche is a statue of Christ as Salvator Mundi. With the appearance of a dove as a symbol of the Holy Spirit, a bright light shines on those present. Allegory with female personification and four evangelists Title page for: Dirk Smout, Het leven van den heiland Jesus Christus, volgens de harmonie der vier H. evangelisten, Leiden 1723 Het leven van den heiland Jesus Christus, volgens de harmonie der vier H. evangelisten in dichtmaat begrepen , print maker: François van Bleyswijck, (mentioned on object), intermediary draughtsman: Hieronymus van der Mij, (mentioned on object), publisher: Samuel Luchtmans (I), Leiden, 1681 - 1723 and/or 1723, paper, etching, engraving, h 188 mm × w 149 mm.

alb9476949 Allegory of Old and New Testaments, The O. and N. Covenant linked together by H. Prideaux (title on object), Title page for: Humphrey Prideaux, Het Oude en Niewe Verbond aen een geschakelt in de geschiedenissen der joden en der aengrenzende volkeren, 1729, Allegory of Old and New Testament with Father Time and muses with various attributes such as scroll, possibly with the ten commandments, book and globe. On the ground is an overthrown image of Pan as a sign of idolatry. Above this group Christ is enthroned as Salvator Mundi in halo surrounded by some monstrous animals., print maker: François van Bleyswijck, (mentioned on object), after design by: Frans van Mieris, (mentioned on object), publisher: Johannes van der Linden (uitgever), (mentioned on object), Leiden, 1729, paper, engraving, etching, height 339 mm, width 220 mm.

alb9474733 Christ Child as Salvator Mundi (title on object), The Christ Child as Salvator Mundi, seated on a cushion and surrounded by a wreath of cherubs. Very crude, reduced copy in the same direction to engraving by Jan Saenredam after Hendrick Goltzius. Presumably by child or illiterate: inscriptions are copied without understanding of letters., print maker: anonymous, after print by: Jan Saenredam, (attributed to), after design by: Hendrick Goltzius, Northern Netherlands, c. 1680 - 1750, paper, etching, brush, height 246 mm × width 184 mm.

alb9473597 Book of Hours, Salvator mundi, This pocket-size Book of Hours was completed for Use of Rome ca. 1450 and was illuminated under the influence of the artists of the Turin-Milan Hours and the Masters of the Gold Scrolls. There are thirteen extant miniatures (inserted), typological border themes, and drolleries. While the extant miniatures exhibit elegance and technical mastery, the figural decoration in the borders is marked in its contrast. However, the collaborating artists seem to have taken a certain amount of delight in the adjoining drolleries. The book itself has seen heavy use, and its original male owner is depicted with an inscribed scroll in the lower border at the first extant illuminated opening. His image is possibly conflated with that of Lazarus, and he can be seen depicted in borders throughout the manuscript. The majority of female saints in the litany suggests Franciscan and Francophile sympathies. The Book of Hours features calendar additions that indicate Spanish ownership in the second half of the fifteenth century, and it was rebound in Spain in the nineteenth century.

alb9465060 Stained glass project for Dunkirk: Christ Salvator Mundi, Gsell-Laurent, Painter-glassmaker, In 1866, Graphic arts, Drawing, Album, Crayon, Aquarelle, Watercolor, Gouache, Dimensions - Work: Height: 25.5 cm, Width: 6.3 cm.

alb9459421 Book of Hours, Salvator mundi, This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.