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akg8537984 Below: Three portraits of Homer (Homere). Up center: Two portraits of Socrates (Socrate, Sokrates). The Hall of the Philosophers contains the busts of poets, philosophers and orators of Greek antiquity, whose images, in Roman times and then in the Renaissance, decorated public and private libraries, homes, villas and parks of the wealthy and sensitive lovers of Arts and Philosophy . - Palazzo Nuovo, Musei Capitolini. (Capitoline Museums ; Musées du Capitole; Museen Kapitolinischen). - Rome , Italy. 2020.
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akg8636971 Partial view of the Parnassus (Le Parnasse, Parnass ). Painting by Raphael (Raffaello Sanzio, Raffael). The Parnassus is the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. Apollo (Apollon) seated at the centre, plays the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom (at left) Homer (Homere) (blind), Virgil (Virgile) and Dante Alighieri (Durante degli Alighieri) are easily recognisable behind him. - Painted in the Stanza della Segnatura (Room of the Signatura, Salle de la Signature, Saal der Signatur) between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello (Raphael Rooms, Chambres de Raphael, Stanzen des Raffael), in the Apostolic Palace in the Vatican. Vatican Museums. 2021.
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akg8636974 The Parnassus (Le Parnasse, Parnass ). Painting by Raphael (Raffaello Sanzio, Raffael). The Parnassus is the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. Apollo (Apollon) seated at the centre, plays the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom (at left) Homer (Homere) (blind), Virgil (Virgile) and Dante Alighieri (Durante degli Alighieri) are easily recognisable behind him , as well as the poetess Sapphos seated at the bottom left, with her name written on the scroll she holds in her left hand. - Painted in the Stanza della Segnatura (Room of the Signatura, Salle de la Signature, Saal der Signatur) between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello (Raphael Rooms, Chambres de Raphael, Stanzen des Raffael), in the Apostolic Palace in the Vatican. Vatican Museums. 2021.
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akg8636958 Partial view of The Parnassus (Le Parnasse, Parnass ). Painting by Raphael (Raffaello Sanzio, Raffael). The Parnassus is the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. Apollo (Apollon) seated at the centre, plays the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom (at left) Homer (Homere) (blind), Virgil (Virgile) and Dante Alighieri (Durante degli Alighieri) are easily recognisable behind him. - Painted in the Stanza della Segnatura (Room of the Signatura, Salle de la Signature, Saal der Signatur) between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello (Raphael Rooms, Chambres de Raphael, Stanzen des Raffael), in the Apostolic Palace in the Vatican. Vatican Museums. 2021.
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akg8636960 The Parnassus (Le Parnasse, Parnass ). Painting by Raphael (Raffaello Sanzio, Raffael). The Parnassus is the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. Apollo (Apollon) seated at the centre, plays the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom (at left) Homer (Homere) (blind), Virgil (Virgile) and Dante Alighieri (Durante degli Alighieri) are easily recognisable behind him. On the ceiling the female allegory representing Poetry. - Painted in the Stanza della Segnatura (Room of the Signatura, Salle de la Signature, Saal der Signatur) between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello (Raphael Rooms, Chambres de Raphael, Stanzen des Raffael), in the Apostolic Palace in the Vatican. Vatican Museums. 2021.
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akg8636965 Left to right: Dante Alighieri (Durante degli Alighieri,dit ), Homer (Homere) and Virgil (Virgile). Detail of The Parnassus (Le Parnasse, Parnass ). Painting by Raphael (Raffaello Sanzio, Raffael). The Parnassus is the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. - Painted in the Stanza della Segnatura (Room of the Signatura, Salle de la Signature, Saal der Signatur) between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello (Raphael Rooms, Chambres de Raphael, Stanzen des Raffael), in the Apostolic Palace in the Vatican. Vatican Museums. 2021.
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akg8636972 Left to right: Dante Alighieri (Durante degli Alighieri, dit ), Homer (Homere) Virgil (Virgile) and Publius Papinius Statius (Stace). Detail of The Parnassus (Le Parnasse, Parnass ). Painting by Raphael (Raffaello Sanzio, Raffael). The Parnassus is the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. - Painted in the Stanza della Segnatura (Room of the Signatura, Salle de la Signature, Saal der Signatur) between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello (Raphael Rooms, Chambres de Raphael, Stanzen des Raffael), in the Apostolic Palace in the Vatican. Vatican Museums. 2021.
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akg8636955 The Parnassus (Le Parnasse, Parnass ). Painting by Raphael (Raffaello Sanzio, Raffael). The Parnassus is the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. Apollo (Apollon) seated at the centre, plays the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom (at left) Homer (Homere) (blind), Virgil (Virgile) and Dante Alighieri (Durante degli Alighieri) are easily recognisable behind him , as well as the poetess Sapphos seated at the bottom left, with her name written on the scroll she holds in her left hand. - Painted in the Stanza della Segnatura (Room of the Signatura, Salle de la Signature, Saal der Signatur) between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello (Raphael Rooms, Chambres de Raphael, Stanzen des Raffael), in the Apostolic Palace in the Vatican. Vatican Museums. 2021.
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akg8692008 Statue of Laocoon and His Sons, also called the Laocoon Group. (Groupe du Laocoon, Laokoon-Gruppe). Attributed to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus. - The figures are near life-size and the group is a little over 2 m in height, showing the Trojan priest Laocoon and his sons Antiphantes and Thymbraeus being attacked by sea serpents. There has been much debate over the date of the statue, which would seem to have been made around 40-30 B.C. inv. 1059. Vatican Museums (Pio Clementino Museum - Octagonal Courtyard). 2021.
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akg8692009 Statue of Laocoon and His Sons, also called the Laocoon Group. (Groupe du Laocoon, Laokoon-Gruppe). Attributed to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus. - The figures are near life-size and the group is a little over 2 m in height, showing the Trojan priest Laocoon and his sons Antiphantes and Thymbraeus being attacked by sea serpents. There has been much debate over the date of the statue, which would seem to have been made around 40-30 B.C. inv. 1059. Vatican Museums (Pio Clementino Museum - Octagonal Courtyard). 2021.
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akg8692006 Statue of Laocoon and His Sons, also called the Laocoon Group. (Groupe du Laocoon, Laokoon-Gruppe). Attributed to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus. - The figures are near life-size and the group is a little over 2 m in height, showing the Trojan priest Laocoon and his sons Antiphantes and Thymbraeus being attacked by sea serpents. There has been much debate over the date of the statue, which would seem to have been made around 40-30 B.C. inv. 1059. Vatican Museums (Pio Clementino Museum - Octagonal Courtyard). 2021.
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akg8181712 Géographes, Géographie et Cartographie / 19e siècle. Marmocchi, Francesco Constantino (1805-1858). "Les voyages d'Ulysse et des Argonautes" (titre original : "viaggi d'Ulisse e degli argonauti"). (En rouge, les voyages d'Ulysse ; en jaune / orange, celui des Argonautes. Le bassin méditerranéen et le monde sont représentés tels que les grecs anciens les concevaient). in Geografia Primitiva de Greci Secondo Esiodo ed Omero, Atlante di geografia universale di Francesco Constantino Marmocchi, Florence, Vincenzo Batelli e Compagni éd., 1842. Collection privée.
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akg8668891 Epoch of Odysseus. In a period of time when history is being made, the life of one person, named Odysseus, will mark the events of particular characteristics for years to come. Travels of need that are about to befall Odysseus and his warriors after the fall of Troy, a series of acts that the Gods arranged. The Nemesis (goddess of revenge) will follow him during his ten years of wandering. Penelope. Drawing and watercolour, 2020.
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akg8909560 Capt. Thomas Hastings. Ruins of Crewkerne Abbey, May 1833Sketches, Vol. 7: Drawings of Devon, Wales, Lakes, etca , 1833. Graphite and pen and brown ink on medium, slightly textured, cream wove paper, 23.8 × 33 cm. Inv. No. B1977.14.2451. New Haven, Yale Center for British Art.
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akg8668873 Epoch of Odysseus. In a period of time when history is being made, the life of one person, named Odysseus, will mark the events of particular characteristics for years to come. Travels of need that are about to befall Odysseus and his warriors after the fall of Troy, a series of acts that the Gods arranged. The Nemesis (goddess of revenge) will follow him during his ten years of wandering. Scylla, a naiad changed into a sea monster with three heads of beasts that tears apart boats (Book XII). Drawing and watercolour, 2020.
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akg8668886 Epoch of Odysseus. In a period of time when history is being made, the life of one person, named Odysseus, will mark the events of particular characteristics for years to come. Travels of need that are about to befall Odysseus and his warriors after the fall of Troy, a series of acts that the Gods arranged. The Nemesis (goddess of revenge) will follow him during his ten years of wandering. (...) "the wind took me first to Ismarus, which is the city of the Cicons. There I sacked the town ...that we had better make off at once, but my men very foolishly would not obey me, so they stayed there drinking much wine and killing great numbers of sheep and oxen on the sea shore. Meanwhile the Cicons cried out for help these were more in number and stronger and they were more skilled in the art of war. They came as thick as leaves and bloom in summer and the hand of heaven was against us so that we were hard pressed. They set the battle in array near the ships and the hosts aimed their bronze-shod spears at each warrior. As the sun went down, towards the time when men loose their oxen, the Cicons got the better of us and we lost half a dozen men from every ship we had; so we got away with those that were left.". Fleeing the Cicons (Book IX). Drawing and watercolour, 2020.
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akg8668883 Epoch of Odysseus. In a period of time when history is being made, the life of one person, named Odysseus, will mark the events of particular characteristics for years to come. Travels of need that are about to befall Odysseus and his warriors after the fall of Troy, a series of acts that the Gods arranged. The Nemesis (goddess of revenge) will follow him during his ten years of wandering. After many years have slipped by, the leaders of the Greeks, opposed by the Fates and damaged by the Trojan War, build a horse of mountainous size, through Pallas's divine art and weave planks of fir over its ribs. They pretend it's a votive offering for Troy: this rumour spreads. They secretly hide a picked body of men, chosen by lot, there, in the dark body, filling the belly and the huge cavernous insides with armed warriors. Troy burning. Drawing and watercolour, 2020.
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akg8668877 Epoch of Odysseus. In a period of time when history is being made, the life of one person, named Odysseus, will mark the events of particular characteristics for years to come. Travels of need that are about to befall Odysseus and his warriors after the fall of Troy, a series of acts that the Gods arranged. The Nemesis (goddess of revenge) will follow him during his ten years of wandering. The suitors of Penelope (Book XXII). Drawing and watercolour, 2020.
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akg5214695 Aachen, Hans von; 1552-1615. "The Judgement of Paris". Oil on wood, 39 x 59 cm. Inv. NM 739. Stockholm, National Museum.
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akg5212705 Lairesse, Gerard de; 1641-1711. "Achilles Discovered Amongst the Daughters of Lycomedes". Oil on canvas, 150,5 x 181,4 cm. Inv. NM 494. Stockholm, National Museum. Museum: Stockholm, National Museum.
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akg5924358 Room of the Signatureby Raphael (Raffaello Sanzio) (1483-1520)Raphael's Rooms The Room of the Segnatura contains Raphael's most famous frescoes. The room takes its name from the highest court of the Holy See, the 'Segnatura Gratiae et Iustitiae', which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. RIGHT: School of AthensThe most famous philosophers of ancient times move within an imposing Renaissance architecture which is inspired by Bramante's project for the renewal of the early Christian basilica of St Peter.LEFT: ParnassusBeneath Poetry, Mount Parnassus is represented: the god Apollo, seated at the centre, plays the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom Homer (blind), Virgil and Dante are easily recognisable behind him, as well as the poetess Sapphos seated at the bottom left, with her name written on the scroll she holds in her left hand.Vatican Museums (Raphael's Rooms - Room of the Signature, Stanza della Segnatura).
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akg5836688 Ireland, Co. Offlay, ruins of Clonmacnoise (former monastery): glass pavillon for Pope John Paull II (right), McCarthy`s Tower and Temple Finghín. The glass pavillon was erected for the visit of Pope John Paul II, in 1979. McCarthy`s Tower was built in 12th century in Romanesque style, it is beneath Temple Finghín, built in the same time. Building of the so called Cathedral (Temple McDermot) in the centre of the abbey grounds startet in 909 by King Flann Sinna and Abbot Colmán mac Ailella. West door way has been restored. Famous is the Gothic style northern doorway with view from and to Shannon river, called Whispering Arch. In this biggest church of Clonmacnoise, lots of graves have been found. Most prominent is the grave of Rory O`Conor, the last High King of Ireland, who was buried here, in 1198, following his father Turlough O`Conor who had built on of the round towers, the O'Rourke's Tower, in 1124, with Gilla Christ Ua Maoileoin (O`Malone), abbot of Clonmacnoise.The monastery of Clonmacnoise, irish Cluain Mhic Nóis, "Meadow of the Sons of Nós", or irish Cluain Muccu Nóis, "Meadow of the Pigs of Nós", was founded in 544 or 548 AD by St. Ciarán ((c. 516 - c. 549 or 552) and seven following monks, who died soon after most probably caused by pestilentia. The monastery became famous for its scriptorium. here, The Book of the Dun Cow (German: Buch der dunkelfarbenen Kuh), the oldest writing in old irish language, was realized. In 1979, Pope John Paul II visited Clonmacnoise. From 9th to 12th century, the monastery was strongly tied with the kings of Meath. Lots of high kings of Tara and Connacht were buried here. From 10th to 16th century, the monastery was continously extended. Within 400 years, Vikings and Normans, often sailing via Shannon river, raided the monastery. The time of Clonmacnoise ended in 1552, when english soldiers of the nearby garrison in Athlone burned and destroyed everything. Most important in Clonmacnoise are the round towers and Hi.
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akg5836690 Ireland, Co. Offlay, ruins of Clonmacnoise (former monastery): Temple Hurpan and Temple Melaghlin (behind, covered) on southeastern side of the Cathedral (also: Temple McDermot). Building of the so called Cathedral (Temple McDermot) in the centre of the abbey grounds startet in 909 by King Flann Sinna and Abbot Colmán mac Ailella. West door way has been restored. Famous is the Gothic style northern doorway with view from and to Shannon river, called Whispering Arch. In this biggest church of Clonmacnoise, lots of graves have been found. Most prominent is the grave of Rory O`Conor, the last High King of Ireland, who was buried here, in 1198, following his father Turlough O`Conor who had built on of the round towers, the O'Rourke's Tower, in 1124, with Gilla Christ Ua Maoileoin (O`Malone), abbot of Clonmacnoise.The monastery of Clonmacnoise, irish Cluain Mhic Nóis, "Meadow of the Sons of Nós", or irish Cluain Muccu Nóis, "Meadow of the Pigs of Nós", was founded in 544 or 548 AD by St. Ciarán ((c. 516 - c. 549 or 552) and seven following monks, who died soon after most probably caused by pestilentia. The monastery became famous for its scriptorium. here, The Book of the Dun Cow (German: Buch der dunkelfarbenen Kuh), the oldest writing in old irish language, was realized. In 1979, Pope John Paul II visited Clonmacnoise. From 9th to 12th century, the monastery was strongly tied with the kings of Meath. Lots of high kings of Tara and Connacht were buried here. From 10th to 16th century, the monastery was continously extended. Within 400 years, Vikings and Normans, often sailing via Shannon river, raided the monastery. The time of Clonmacnoise ended in 1552, when english soldiers of the nearby garrison in Athlone burned and destroyed everything. Most important in Clonmacnoise are the round towers and High Crosses. Open air, there are replicas of the high crosses, only. The original three high crosses are conserved in the museum (interpretive centre) of the visito.
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akg5836689 Ireland, Co. Offlay, ruins of Clonmacnoise (former monastery): Temple Doolin and Temple Hurpan on southeastern side of the Cathedral (also: Temple McDermot). Building of the so called Cathedral (Temple McDermot) in the centre of the abbey grounds startet in 909 by King Flann Sinna and Abbot Colmán mac Ailella. West door way has been restored. Famous is the Gothic style northern doorway with view from and to Shannon river, called Whispering Arch. In this biggest church of Clonmacnoise, lots of graves have been found. Most prominent is the grave of Rory O`Conor, the last High King of Ireland, who was buried here, in 1198, following his father Turlough O`Conor who had built on of the round towers, the O'Rourke's Tower, in 1124, with Gilla Christ Ua Maoileoin (O`Malone), abbot of Clonmacnoise.The monastery of Clonmacnoise, irish Cluain Mhic Nóis, "Meadow of the Sons of Nós", or irish Cluain Muccu Nóis, "Meadow of the Pigs of Nós", was founded in 544 or 548 AD by St. Ciarán ((c. 516 - c. 549 or 552) and seven following monks, who died soon after most probably caused by pestilentia. The monastery became famous for its scriptorium. here, The Book of the Dun Cow (German: Buch der dunkelfarbenen Kuh), the oldest writing in old irish language, was realized. In 1979, Pope John Paul II visited Clonmacnoise. From 9th to 12th century, the monastery was strongly tied with the kings of Meath. Lots of high kings of Tara and Connacht were buried here. From 10th to 16th century, the monastery was continously extended. Within 400 years, Vikings and Normans, often sailing via Shannon river, raided the monastery. The time of Clonmacnoise ended in 1552, when english soldiers of the nearby garrison in Athlone burned and destroyed everything. Most important in Clonmacnoise are the round towers and High Crosses. Open air, there are replicas of the high crosses, only. The original three high crosses are conserved in the museum (interpretive centre) of the visitor centre. Clonmacnois.
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akg5836683 Ireland, Co. Offlay, ruins of Clonmacnoise (former monastery): grave stones in front Cathedral (also: Temple McDermot). Building of the so called Cathedral (Temple McDermot) in the centre of the abbey grounds startet in 909 by King Flann Sinna and Abbot Colmán mac Ailella. West door way has been restored. Famous is the Gothic style northern doorway with view from and to Shannon river, called Whispering Arch. In this biggest church of Clonmacnoise, lots of graves have been found. Most prominent is the grave of Rory O`Conor, the last High King of Ireland, who was buried here, in 1198, following his father Turlough O`Conor who had built on of the round towers, the O'Rourke's Tower, in 1124, with Gilla Christ Ua Maoileoin (O`Malone), abbot of Clonmacnoise.The monastery of Clonmacnoise, irish Cluain Mhic Nóis, "Meadow of the Sons of Nós", or irish Cluain Muccu Nóis, "Meadow of the Pigs of Nós", was founded in 544 or 548 AD by St. Ciarán ((c. 516 - c. 549 or 552) and seven following monks, who died soon after most probably caused by pestilentia. The monastery became famous for its scriptorium. here, The Book of the Dun Cow (German: Buch der dunkelfarbenen Kuh), the oldest writing in old irish language, was realized. In 1979, Pope John Paul II visited Clonmacnoise. From 9th to 12th century, the monastery was strongly tied with the kings of Meath. Lots of high kings of Tara and Connacht were buried here. From 10th to 16th century, the monastery was continously extended. Within 400 years, Vikings and Normans, often sailing via Shannon river, raided the monastery. The time of Clonmacnoise ended in 1552, when english soldiers of the nearby garrison in Athlone burned and destroyed everything. Most important in Clonmacnoise are the round towers and High Crosses. Open air, there are replicas of the high crosses, only. The original three high crosses are conserved in the museum (interpretive centre) of the visitor centre. Clonmacnoise is as well connected with the beautif.
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akg5437279 Ingres, Jean-Auguste-Dominique; 1780-1867. "L'apothéose d'Homère" (Die Apotheose Homers), 1827. (Aquarellfassung des monumentale Deckenbildes im Louvre in Paris). Aquarell und Gouache, 56,6 x 62 cm. Inv. Nr. Pl. 1480. Lille, Musée des Beaux-Arts. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg2162328 Tizian, eigentl. Tiziano Vecelli (o). um 1487/90 - 1576. /. "Orpheus und Eurydike", um 1508 (um 1511(?)). Öl auf Leinwand, 39 × 53 cm. Bergamo, Galleria dell'Accademia Carrara. Museum: Bergamo, Galleria dell'Accademia Carrara.
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akg2315169 Runge, Philipp Otto. 1777-1810. "Achill und Skamandros", 1801. Pinsel in Braun und Weiß über Bleistift auf braun grundiertem Papier, 527 × 673 mm (Papier aus zwei Teilen zusammengesetzt). Inv. Nr. 34231; Kupferstichkabinett, Hamburg, Kunsthalle. Museum: Hamburg, Kunsthalle.
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akg2348878 Etruskische Malerei, 320-310 v. Chr. Opferung trojanischer Gefangener an die Manen des Patroklos durch Acle (Achilles). Kopie, 1931, von Augusto Guido Gatti nach der etruskischen Wandmalerei aus der Tomba François in Vulci (Latium). Florenz, Soprintendenza per i Beni Archeologici d. Toscana. Museum: Florence, Soprintendenza per i Beni Archeologici d. Toscana.
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akg2427519 Griechisch, Kykladen, um 670 v. Chr. Das trojanische Pferd mit angreifenden Kriegern. Halsbild einer Reliefamphora (Pithos mit Darstellungen der Belagerung Trojas). Höhe 120 cm. Inv. Nr. 2240. Mykonos, Museum. Museum: Mykonos, Museum.
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akg2354502 Jordaens, Jacob, 1593-1678, Flemish painter. "Odysseus and Nausicaa", 1630-35. (Homer, The Odyssey VI 127-211). Oil on canvas, 107.5 x 153 cm. London Sotheby's, 10th December 1986, lot 45.
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akg136816 Homer, Greek poet; 8th Century BC. - "Homer and the Greek people". (Homer as a rhapsodist with audience). Steel engr., 1874, by Edouard Schuler. (1806-1882) after drawing by Gustav Jäger (1808-1871). Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg252819 Tischbein, Johann Heinrich Wilhelm 1751-1829. "Odysseus and Penelope", 1810. Oil on canvas, 77 × 105.5cm. Inv. Nr. C 4728. Dortmund, Mus.f.Kunst u. Kulturgeschichte. Museum: Dortmund, Mus. f. Kunst u. Kulturgeschichte.
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akg211759 Mythology / Ulysses. Roman, 3rd century. Ulysses and the Sirens. Detail. (Homer, Odyssee 12,36 ff.). Mosaic, 3.8 × 1.3m. Found at Thugga (Dougga, Tunisia), House of Ulysses. Tunis, Musée national du Bardo. Museum: Tunis, Musée national du Bardo.
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akg138084 Greek vasepainting, Blackfigure, Exekias (c. 550 - 525 BC). "Achilles and Ajax playing a boardgame". Amphora, c. 530 BC. Rome, Vatican Museums. Museum: Rom, Vatikanische Museen.
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akg362500 Langlois, Jérôme-Martin; 1779-1838. "Cassandre implorant la vengeance de Minerve contre Ajax" (Cassandra pleads with Athena for revenge against Ajax), undat. (Cassandra, who fled to the Altar of Athena during the sack of Troy, is violated by Ajax). Oil on canvas, 180.9 × 193 cm. Chambéry, Musée des Beaux-Arts. Museum: Chambéry, Musée des Beaux-Arts.
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akg683256 Carstens, Jakob Asmus; 1754-1798. "Die Helden im Zelt des Achill" (Ajax, Phönix, Ulysses vor Achill und Patroklos;-nach Homer, Ilias IX, 185ff.), 1794. Aquarell und Deckfarben auf braunem Papier, 45,2 x 66,1 cm. Inv.Carstens 27 Kunstsammlung,. Museum: Akademie der Künste., BERLIN.
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akg289673 Canova, Antonio; 1757-1822. "Danza dei figli di Alcinoo" (dance of the sons of Alcinous), 1790/92. (Halios and Laodamas dance before Alcinous, Odysseus, Arete & Nausicaa; left: the blind Demodocos; - Homer, Odyssey 8). Plaster, 136 × 264cm. From a series of reliefs with scenes from Homer, Vergil and Platon. Inv. no. 32. Venice, Museo Civico Correr. Museum: Venedig, Museo Civico Correr.
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akg177936 Genelli, Bonaventura. 1798-1868. Thetis bringt Achilleus neue Waffen. (Ilias XIX, 3-6). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XV. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg366455 Roman, end of 4th / beg. of 5th century. Silver bowl with depiction of Achilles' Wrath (Achilles' argument with Agamemnon on the possession of Briseis, Ilias I, 326-356); so-cal. "Bouclier de Scipion". Silver, engraved a. gilded in parts, dm. 71. cm. Found 1656 in Rhône near Avignon. Cabinet des Medailles, Inv. MOA 344. Paris, Bibliothèque Nationale. Museum: Paris, Bibliothèque Nationale.
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akg177944 Genelli, Bonaventura. 1798-1868. Achilleus greift vergeblich nach dem Schatten des Patroklos. (Ilias XXIII, 59-101). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XX. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177965 Genelli, Bonaventura. 1798-1868. Odysseus bei den Phäaken. (Odyssee XIII, 113). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XV. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177939 Genelli, Bonaventura. 1798-1868. Zeus and Ganymedes". (Iliad XX, 231-235). Outline eng, fr: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart and Tübingen (J.G. Cotta'scher Verlag) 1844, Table XVII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177960 Genelli, Bonaventura; 1798-1868. Circe returns the companions of Odysseus to their human form, having turned them into pigs. (Odyssey X, 388). Outline engraving, from: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Table X. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177912 Genelli, Bonaventura; 1798-1868. Der verwundete Philoktet auf Lemnos; Echo antwortet seinen Schmerzenslauten. (Ilias II, 722-726. Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G.Cotta'scher Verlag) 1844, Tafel III. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177971 Genelli, Bonaventura. 1798-1868. Odysseus begnadigt den Sänger Femios auf Bitten des Telemachos. (Odyssee XXII, 330-356). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XXI. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177948 Genelli, Bonaventura; 1798-1868. Lamentation des femmes auprès du cadavre d'Hector (Andromaque, Hécube, Cassandre et Hélène). (Iliade XXIV, 717). Gravure au trait. IN : B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, pl. XXIV. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177953 Genelli, Bonaventura; 1798-1868. Zeus tötet mit seinem Blitz Iasion, den Geliebten der Demeter. (Odyssee V, 125-128). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel IV. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177968 Genelli, Bonaventura, 1798-1868, German painter. Ulysses and his dog Argos. (Odyssey, XVII, 300). Engraving. From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, plate XVII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177916 Genelli, Bonaventura. 1798-1868. - The wounded Mars bathing, being tended by Hebe. (Iliad V, 904-905). Contour engraving. From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart and Tübingen (J.G. Cotta'scher Verlag) 1844, plate VI. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177920 Genelli, Bonaventura. 1798-1868. Hector's farewell from Andromache and his son Astyanax. (Ilias VI, 474). Etching. From: B.Genelli's illustrations for Homer with explanations by Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, plate IX. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177958 Genelli, Bonaventura, 1798-1868, German painter. Ulysses is getting Polyphemus drunk. (Odyssey IX, 353). From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, plate VII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177951 Genelli, Bonaventura; 1798-1868. The death of Ajax (Poseidon throws Ajax and the rock on which he sits, into the sea). (Odyssey IV, 499-511). Line engraving from Genelli's engravings for Homer with commentary by Dr. Ernst Förster, Stuttgart and Tübingen (J.G. Cotta'scher Publisher). 1844, Plate V. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177959 Genelli, Bonaventura. 1798-1868. Hermès montre à Ulysse l'herbe "moly", qui protège contre le sortilège de Circé. (Odyssée X, 277-307). Gravure. In : B. Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster (Les gravures de B. Genelli sur Homère, avec des explications du docteur Ernst Förster). Stuttgart et Tübingen (J.G. Cotta'scher Verlag) 1844, planche IX. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177932 Genelli, Bonaventura; 1798-1868. Hera, unterstützt von Liebe und Schlaf, verschließt das Auge des Zeus. (Ilias XIV, 346-355). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177966 Genelli, Bonaventura, 1798-1868, German painter. Telemachus and Peisistratus are taking their leave. (Odyssey, XV, 142-172). From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, plate XVI. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177919 Genelli, Bonaventura; 1798-1868. Hektor findet seinen Bruder Paris im Gemach Helenas und ermahnt ihn zur Schlacht. (Ilias VI, 321-325). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel VIII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177929 Genelli, Bonaventura. 1798-1868. Odysseus und Diomedes töten den trojanischen Kundschafter Dolon. (Ilias X, 448-458). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XI. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177964 Genelli, Bonaventura. 1798-1868. Odysseus and the Sirens. (Odyssee XII, 182). Silouette. From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XIV. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177956 Genelli, Bonaventura, 1798-1868, German painter. Ulysses follows Nausicaa and her servants into the city. (Odyssey, VI, 251 - 320). Engraving. From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, plate VI. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177952 Genelli, Bonaventura. 1798-1868. - Menelaus listens to a speech by Proteus. - (Odyssey IV, 460-569). Sketch from: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Plate III. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177962 Genelli, Bonaventura; 1789-1868. Agamemnon and Cassandra are killed by Clytemnestra and her lover Aegisthus. (Odyssey XII, 409). Outline engraving. From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Table XII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177955 Genelli, Bonaventura; 1798-1868. Poseidon leaves Odysseus to the mercy of the wind and the waves. (Odyssey V, 370-381). Line engraving from Genelli's engravings for Homer with commentary by Dr. Ernst Förster, Stuttgart and Tübingen (J.G. Cotta'scher Publisher). 1844, Plate V. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177911 Genelli, Bonaventura; 1789-1868. Agamemnon wird im Traum zum Kampf gegen die Troer aufgerufen. (Ilias II, 16). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G.Cotta'scher Verlag) 1844, Tafel II. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177973 Genelli, Bonaventura. 1798-1868. Hermes leads of souls of the dead suitors to the Underworld. (OOdyssey XXIV, 1-10). Engraving. From: 'B.Genelli's Umrisse zu Homer mit Erläuterungen von Dr. Ernst Förster', Stuttgart & Tübingen (J.G. Cotta'scher Verlag) 1844, Plate XXIII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177947 Genelli, Bonaventura; 1798-1868. Priamos bittet Achilleus um die Herausgabe des Leichnams seines Sohnes Hektor. (Ilias XXIV, 486). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XXIII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177946 Genelli, Bonaventura; 1798-1868. Thetis, nachsinnend über das unvermeidliche Schicksal ihres Sohnes Achilleus. (Ilias XXIV, 77-87). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XXII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177913 Genelli, Bonaventura; 1798-1868. Äneas wird von Phöbos Apollon gegen Diomedes in Schutz genommen. (Ilias V, 297-351). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G.Cotta'scher Verlag) 1844, Tafel IV. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177970 Genelli, Bonaventura; 1798-1868. Penelope weeps as she retrieves Odysseus' bow for the competition between her suitors. (Odyssey XXI, 1-58). Engraving, From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart and Tybingen (J.G. Cotta'scher Verlag) 1844, Plate XX. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177972 Genelli, Bonaventura; 1798-1868. Odysseus and Penelope tell each other about what has happened to them in their twenty years apart. (Odyssey XXII, 330-356). Engraving. From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart and Tubingen (J.G. Cotta'scher Verlag) 1844, Plate XXII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177935 Genelli, Bonaventura; 1798-1868. - Zeus prompts Hypnos and Thanatos to bring the body of Sarpedon back to his home country. (Ilias XVI, 675-682). Contour engraving. From: B. Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, plate XIV. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177945 Genelli, Bonaventura; 1798-1868. Iris überbringt den Windgöttern die Aufforderung, den Scheiterhaufen des Patroklos zu entfachen. (Ilias XXIII, 198). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel XXI. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177934 Genelli, Bonaventura; 1798-1868. Zeus punishes Hera for the persecution of Heracles, by tying her up and trying anvels to her feet. (Iliad XV, 18-24). / Contour Engraving. From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart and Tubingen (J.G. Cotta'scher Verlag) 1844, Table XIII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177949 Genelli, Bonaventura; 1798-1868. Antinous discovers Penelope's treachery at her spinning wheel. (Odyssey II, 93). Engraving. From: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart and Tubingen (J.G. Cotta'scher Verlag) 1844, Plate I. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg177918 Genelli, Bonaventura; 1798-1868. Lykurgos verfolgt Dionysos und zwingt ihn, sich durch einen Sturz ins Meer der Thetis anzuvertrauen. (Ilias VI, 130-137). Umrißstich. Aus: B.Genelli's Umrisse zum Homer mit Erläuterungen von Dr. Ernst Förster, Stuttgart und Tübingen (J.G. Cotta'scher Verlag) 1844, Tafel VII. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg396857 Mythology / Greco-Roman / Trojan War. Aphrodite is followed by Diomedes as she is trying to carry her wounded son Aeneas from the battlefield. (Homer, Iliad). Watercolour, no date, by Peter Connolly. (1935-2012). From the book: The Legend of Odysseus. Copyright: Peter Connolly's artistic copyright cleared via akg-images. This artwork is not in the public domain. akg-images represents the artistic copyright of this artist, please contact us from more information and to clear the necessary permissions.
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akg316981 Draper, Herbert. 1863-1920. "Ulysses and the Sirens" (Odysseus and the Sirens", 1909. (Homer, Odyssee 12,36 ff.). Oil on canvas, 177 × 213.5 cm. Kingston-upon-Hull, Ferens Art Gallery. Museum: Kingston-upon-Hull, Ferens Art Gallery. Author: HERBERT JAMES DRAPER.
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akg319314 Rinaldi, Rinaldo. 1783-1873. "Hector's farewell from Andromache", c. 1814. (Homer, Iliad VI, 394-496). Plaster relief, 81 × 147cm. Vestibule (hall XXII), Venice, Galleria dell'Accademia. Museum: Venice, Galleria dell'Accademia.
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akg261407 Greek vase painting, Attic, black-figure Kleitias (painter) & Ergotimos (potter), c. 570 BC. So-cal. François-Vase. Detail (fr. the top: Calydonian boar hunt, chariot race at the funeral of Patroklos, procession of the gods at the wedding of Peleus). Volute krater. Found at: Chiusi. Inv. no. 4209. Florence, Museo Archeologico. Museum: Florence, Museo Archeologico.
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akg268472 Homer; Greek poet; 8th century BC. Portrait bust. Sculpture, marble, 20th century, outside the Homer-Centre on the island of Chios, (Sporades, Greece). Photo, undated (1999?).
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akg330015 Conconi, Mauro. 1815-1860. "Achilles receives the weapons from his mother Thetis", 1840. (Homer, Iliad XIX, 3-6). Oil on canvas, 165 × 230cm. Inv. no. 496. Venice, Galleria dell'Accademia. Museum: Venice, Galleria dell'Accademia.
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akg579876 Fuseli, Henry; 1741-1825. "The daughters of Pandareos", c. 1795. (Front: Pandareos, in the background the daughters, on top the godesses Artemis, Aphrodite, Hera and Athena; - after Homer, Odyssey XX, 60-78). Ink, washed and heightened in white, 520 × 630 cm. Inv. No. 1940/142. Zurich, Kunsthaus. Museum: Zürich, Kunsthaus. Author: THE YOUNGER JOHANN HEINRICH FUESSLI.
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akg208726 Mythology / Chryses. Roman, 4th century A. D.-The legation of Chryses in front of Agamemnon, Achilles und Odysseus.-Mosaic, 2.94 x 2.05m. Found at the house of the Nymphs in Neapolis (Nabeul, Tunisia). Museum: Museum., NABEUL.
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akg208713 Mythology / Ulysses. Roman, 3rd century.-Ulysses and the Sirens.-(Homer, Odyssey 12,36 ff.). Mosaic, 3.8 x 1.3m. Found at Thugga (Dougga, Tunesia), House of Ulysses. Museum: Musée du Bardo., Tunis.
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akg053449 Mythology / Trojan Horse. Greek, c. 670 B. C. The Trojan Horse with attacking Warriors. Picture from a relief amphora. Height 120cm. Mykonos, Museum. Museum: Mykonos, Museum.
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akg220675 Böcklin, Arnold, 1827-1901, Swiss painter. "Odysseus am Strande des Meeres" (Odysseus by the sea), 1869. Oil on Canvas, 47 × 55 cm. Switzerland, Private Collection.
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akg227796 Mythology / Laocoon. Greek sculpture, Hellenistc, c. 50 BC. Laocoon group. (Work of the Rhodisian sculptors Hagesandros, Athanadoros a. Polydoros; arm added by G.A.Montorsoli). Marble, height 1.84m. Rome, Vatican Museums. Museum: Rom, Vatikanische Museen.
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akg969129 Etruskisch, um 330 v.Chr.-Griffspiegel mit Urteil des Paris.-Bronze, L. 26,2 cm, Dm. 13 cm. Herkunft: Volsinii (?) (Etrurien, Italien). Sammlung Schott. Inv.Nr. 51. Museum: Reiss-Engelhorn-Museum., Mannheim.
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akg969119 Kampanien, Werk des CA-Malers, 350-325 v.Chr.-Lekanis mit Urteil des Paris.-Ton, gebrannt, in rotfiguriger Technik bemalt, H. 18,4 cm, Dm. 31,5 cm. Inv.Nr. Cg 443. Museum: Reiss-Engelhorn-Museum., Mannheim.
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akg969741 Apulisch, um 390 v.Chr., Werk des Sarpedon-Malers.-Gefäßfragment mit Darstellung der Gesandtschaft an Achilleus.-Ton, gebrannt, in rotfiguriger Technik bemalt, aus zahlreichen Fragmenten zusammengesetzt, H. 23,7 cm, B. 21,5 cm. Herkunft: Tarent. Inv.Nr. 26.87. Museum: Antikenmuseum., Leipzig.
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akg969797 Athen, um 550 v.Chr.-Trinkschale: Darstellungen aus dem trojanischen Sagenkreis.-Ton, gebrannt, in schwarzfiguriger Technik bemalt, H. 11,3 cm, Dm. max. 20 cm (mit Henkeln). Sammlung Ludwig. Inv.Nr. BS 1424. Museum: Antikenmuseum., Leipzig.
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akg382145 Mythology / Greek-Roman / Achilles. - The death of Achilles (Achilles is shot in the heel by Apollo's arrow.-Watercolour, undated by Peter Connolly (1935-2012). From the series: The Legend of Odysseus. Copyright: This artwork is not in the public domain. akg-images represents the artistic copyright of this artist, please contact us from more information and to clear the necessary permissions. Peter Connolly's artistic copyright cleared via akg-images.
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akg942499 Corinth, Lovis 1858-1925. "Homerisches Gelächter, I.Fassung", (Laughter of the Gods) 1909.-Vulcan, Mars and Venus. Homer's Odyssey VIII, 326). Oil on canvas, 98,8 x 121,9 cm. Inv.Nr.9559. Museum: Neue Pinakothek., MUNICH.
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akg382146 Mythology / Greco-Roman / Trojan War. Zeus hurling a lightning bolt against the chariot of Nestor and Diomedes; Odysseus is hit in his side by a spear. Watercolour, no date, by Peter Connolly. (1935-2012). From the book: The Legend of Odysseus. Copyright: Peter Connolly's artistic copyright cleared via akg-images. This artwork is not in the public domain. akg-images represents the artistic copyright of this artist, please contact us from more information and to clear the necessary permissions.
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akg141682 Homer; Greek poet, 8th Century BC. Works: Ulysses. Ulysses and the Sirnes. Detail from a stamnos decorated with red figures. 5th Century BC.- Canino Collection. Photo © AKG / Werner Forman. London, British Museum. Museum: London, British Museum.
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akg828905 Alexander der Große, König von Makedonien, 356-323 v.Chr. /-"Alexandre et les poèmes d'Homère" (Alexander der Große und die Dichtungen Homers).-Deckengemälde, 1838-47, von Eugène Delacroix (1798-1863). 221 x 291 cm. Paris, Palais Bourbon (Assemblée Nationale), Bibliothèque, Coupole de la Poésie, 2. Pendentif.
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akg829565 Frankreich, 20. Jh., Replik nach Bildteppich, Frankreich, 18. Jh. nach Gemälde, um 1717/21, von Antoine Coypel (1661-1722). /-"Der Zorn des Achill", (Athene hindert Achill daran, sein Schwert gegen Agamaemnon zu ziehen, der ihm seine Geliebte Briseis vorenthalten will; Homer, Ilias I), Leinen, 480 x 720 cm. Paris, Palais Bourbon. (Ausschnitt).
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akg305831 Le Sueur, Eustache. 1616-1655. "Junon foudroyant Troie" (Juno sets Troy on fire). Painted for the bathroom of Anna of Austria at the Louvre. Oil on canvas, 73 × 116cm. Pinacoteca Manfrediana, Venice, Seminario Patriarcale. Museum: Venice, Seminario Patriarcale.
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akg306649 Greek Vase Painting, Attic, red-figure. Penelope painter, 2nd half of the 5th century BC. Penelope at the loom & Telemachos. Copy, 1998, by Peter Connolly (b. 1935), of the the skyphos in the Museo Archeologico in Chiusi. From the series: The Ancient City. Copyright: This artwork is not in the public domain. akg-images represents the artistic copyright of this artist, please contact us from more information and to clear the necessary permissions. Peter Connolly's artistic copyright cleared via akg-images.
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akg342208 Vase painting, Faliscan, red-figure, Nazzano Painter, c. 360 BC. Scenes from the Trojan War; detail: Menelaus, Aphrodite and Helen. Krater, height 57cm. From: Falerii Veteres (Civita Castellana). Inv. no. 1197. Rome, Museo Nazionale di Villa Giulia. Museum: Rome, Museo Nazionale di Villa Giulia.
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