Medieval and Renaissance Frescoes

Black and white photographs documenting faded frescoes and artistic works from churches, indicating historical art techniques and styles.

Lazio Roma Anguillara Sabazia S. Francesco8. Hutzel, Max 1960-1990 Post-medieval: Architecture (15th century) including ruins of cloister. Fresco cycle of Madonna and Child with two angels (13-14th century). Several views of church exterior, and extensive coverage of interior frescoes, both before their restoration in l960, and afterwards, in l983. General Notes: Hutzel sent us two sets of prints (57 in one, 72 in the other) made from the same set of negatives but assigned different numbers. These two have now been synthesized into one sequence. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic

Reproduction of a map ,.

Woman in Manteau Robert Henri (American, 1865-1929). Woman in Manteau, 1898. Oil on canvas, 58 1/16 x 38 11/16 in. (147.5 x 98.3 cm). Painted in Paris at a time when Robert Henri was determined to make his professional mark as a young artist, this workin a dark, smoky palette deliberately recalling European Old Mastersfeatures his favorite model, Berthe Terrier. Although he intentionally allied his art with revered tradition, Henri also added a contemporary mood by portraying Terrier with a bold, almost defiant expression. X-radiographs reveal that Henri repainted this work extensively as he struggled to capture his model’s anatomy. At an earlier stage (see illustration), the placement of the shawl exposed much more of her shoulders and bust. Such focus on the nude reflects the artist’s early academic training at the Pennsylvania Academy of the Fine Arts, where Thomas Eakins’s Realist tradition was still strongly felt. American Art 1898

Lazio Roma Rome S. Paolo33. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture fragments, tomb sculpture fragments, sculptural fragments, inscribed tomb markers, sculpture, fresco painting, mosaics Specific Location: Basilica Antiquities: Architectural sculpture fragments, tomb sculpture fragments, sculpture fragments General Notes: the "tomb markers" need to be sorted and catalogued German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Lazio Roma Rome S. Paolo27. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture fragments, tomb sculpture fragments, sculptural fragments, inscribed tomb markers, sculpture, fresco painting, mosaics Specific Location: Basilica Antiquities: Architectural sculpture fragments, tomb sculpture fragments, sculpture fragments General Notes: the "tomb markers" need to be sorted and catalogued German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Portrait of a Woman Robert Feke (American, ca.1707-ca.1752). Portrait of a Woman, 1748. Oil on canvas, 49 3/8 x 39 9/16 in. (125.4 x 100.5 cm). The Conservator's Eye An X radiograph of this portrait reveals a compositional change invisible to the naked eye: the elimination of an elaborate blue drape that initially hung from the sitters right shoulder and wrapped around her waist. This hidden feature shows up in the radiograph because Robert Feke used lead white pigment to paint the highlights. Lead is a dense material that absorbs X-rays, causing the highlights to appear white in the radiograph, even where they have been covered with additional paint. The blue color of the draping is visible within the cracks under strong magnification. Feke made this change late in the painting process, but it is unknown if the change was made at the sitters request. American Art 1748

Wrijfprent ,, c. 1900 Rubbing. China paper. ink Rubbing. China paper. ink

Carvings of Darius at Bisotun. Relief depicting King Darius facing a group of men, representing rebels defeated by the King. God Ahuramazda in a winged disk. Relief is carved into a rock face at Behistun (Bisotun). Kermanshah Province, Iran. Old 19th century engraved illustration, Le Tour du Monde 1863

The Young David Playing the Harp ca. 1548-50 Michelangelo Anselmi Italian Delicately rendered in black chalk, this drawing constitutes a study for the figure of the Young David playing the harp frescoed by Michelangelo Anselmi in monochrome on the entrance arch of the western apse of the church of Santa Maria della Steccata in Parma. The placement of the figure, seated in a niche rounded at the top and bottom, is directly inspired by the same motif in Parmigianino's unfinished decoration in the vault of the eastern apse of the Steccata, a project documented in a celebrated double-sided sheet in the Metropolitan Museum collection (inv. 62.135). Anselmi was, in fact, one of the artists commissioned in 1548 to continue the decoration of the church after Parmigianino's disgrace and death in 1540. Though his formal dependence on Parmigianino's example is evident, Anselmis style as a draughtsman is here strikingly different in its soft pictorial ‘chiaroscuro shading. (FR). The Young David

Fragments. Peru, north coast, Culebra Valley, La Capilla. Date: 1000-1476. Dimensions: a: 52.1 × 68.6 cm (20 1/2 × 27 in.)b: 17.8 × 15.2 cm (7 × 6 in.). Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA.

Basilicata Matera Matera Chiesa del Peccato Originale6. Hutzel, Max 1960-1990 Medieval: Architecture, frescoes German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Sketch of a woman and a landscape, anonymous, 1480 - 1600, Sketch of a standing woman and a landscape with a hill and a tree., draughtsman: anonymous, 1480 - 1600, paper, pen, h 245 mm × w 192 mm

Lazio Roma Albano Laziale Tempio di Cellomaio1. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture (some in ruins) Object Notes: Undocumented Hutzel name German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

The Dance House: Nocturne. James McNeill Whistler; American, 1834-1903. Date: 1889. Dimensions: 272 x 170 mm (image, trimmed within plate mark); 275 x 170 mm (sheet). Etching with foul biting in dark brown ink on cream laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

The Channel Sketchbook, Joseph Mallord William Turner, 1775-1851, British, ca. 1845, Watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), boat, channel (water body component), hull, marine art, England, English Channel, Europe, La Manche, United Kingdom

The Sisters Abbott H. Thayer (American, 1849-1921). The Sisters, 1884. Oil on canvas, 54 5/16 x 36 1/4 in. (138 x 92.1 cm). The women in this portrait were Bessie (left) and Clara Stillman, the sisters of the powerful financier James Stillman. Abbott Handerson Thayers biographer, Nelson C. White, recorded an anecdote about his own experience of viewing this painting at an exhibition in 1922: “I was looking at the picture when two elderly women came and stood before it. As I glanced from the canvas to their faces I suddenly realized that they were the subjects of the portrait. Thayer had rendered their character in their youth with such insight and feeling that the likenesses survived the modulations of age and easily identified them.” American Art 1884

Umbria Perugia Bettona Palazzo Podesta8. Hutzel, Max 1960-1990 Post-medieval: Architecture, architectural sculpture, frescos, decorative arts Owner: Pinacoteca German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Portrait of Charley Toorop, looking in a record book, 1898 zinc drypoint historical persons - BB - woman. girl (child between toddler and youth). book

Trial proof of A Game of Checkers (La partie de dames) from the series Paysages et intérieurs. Dimensions: 39 cm x 36 cm, 34 cm x 26.5 cm. Museum: Van Gogh Museum, Amsterdam. Author: EDOUARD VUILLARD.

Campania Caserta Carinola Cathedral8. Hutzel, Max 1960-1990 Medieval: 11th c. architecture, architectural sculpture, sculpture, mosaics, cosmati tiling, fresco paintings. Post-medieval: Fresco painting, paintings, sculpture Antiquities: Sculpture, sculptural relief German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Panels (2). Culture: Italian. Dimensions: L. 89 1/2 x W. 56 1/2 inches (227.3 x 143.5 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

The Dance House: Nocturne. James McNeill Whistler; American, 1834-1903. Date: 1889. Dimensions: 270 x 169 mm (sheet excluding tab); 274 x 169 mm (sheet including tab). Etching in black ink on ivory laid paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Mrs. Barnet (Catherine Bergen) Johnson William Sidney Mount (American, 1807-1868). Mrs. Barnet (Catherine Bergen) Johnson, ca. 1839. Oil on canvas, 30 1/4 x 25 1/8 in. (76.8 x 63.8 cm). American Art ca. 1839

Scattered Debris, from Les Phénomènes. Jean Dubuffet; French, 1901-1985. Date: 1959. Dimensions: 520 × 395 mm (image); 645 × 450 mm (sheet). Lithograph on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Umbria Terni Narni S. Domenico06. Hutzel, Max 1960-1990 Medieval: 1965 photos, 29 Architecture, architectural sculpture (12th century); Wall painting (13-16th century); Mosaic, cosmati style pavement (c. 1200) 1986 photos, 44 Architecture, architectural sculpture, cosmati pavement, sculpture. Post-medieval: 1965 photos, 56 Frescoes, painting (13-16th century); sculpture (14-16th century) 1986 photos 167 Frescoes, painting, sculpture, metalwork Antiquities: 1986 Weaponry Object Notes: Church deconsecrated and modified for use as museum, 1970 General Notes: Bibliographic material sent, Getty Center library () German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaiss

Emilia-Romagna Ferrara Pomposa Abbazia di Pomposa, Museo08. Hutzel, Max 1960-1990 Medieval: Fragments: capitals (Byzantine, 6th century), also capitals carved with human faces; marble friezes (10th century, later inscriptions); cornices, (with spolia) 11-12th centuries; ciborium; frescos. Post-medieval: Terracotta statuary, "neo-classical" (Hutzel); frescos: Bolognese, 14th century Antiquities: Amphora; grave monuments German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Marked Down. Willoughby Wallace Hooper (English, 1837 - 1912)

ME DUELE ESPAÑA - 1964-1966 - TELA METALICA Y OLEO SOBRE TABLA - 162 x 228 cm. Author: MANUEL RIVERA HERNANDEZ (1927-1995).

Mosaic of maiden with fruit, Beit Jibrin 1900, Israel, Bet Guvrin

Lazio Rieti Poggio Nativo S. Paolo7. Hutzel, Max 1960-1990 Post-medieval: Architecture (with elements of original Medieval structure remaining), cosmati style decoration, stucco decoration, paintings on canvas, fresco, sculpture German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Study. Draughtsman: George Hendrik Breitner. Dating: c. 1912. Place: Amsterdam. Measurements: h 196 mm × w 116 mm. Museum: Rijksmuseum, Amsterdam.

Allegory on heroism with fame, Lorenzo Baldissera Tiepolo, After Giovanni Battista Tiepolo, 1757 - 1761 print paper etching Magnificent; 'Magnificence' (Ripa). Hunger; 'Fama', 'Good fame', 'Chiara fame' (Ripa)

Marches Macerata San Severino Marche Chiesetta della Misericordia. Hutzel, Max 1960-1990 Post-medieval: Paintings on canvas; fresco; architectural decoration German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Equivalent Made 1929 United States. For more on the Alfred Stieglitz collection at the Art Institute, along with in-depth object information, please visit the website The Alfred Stieglitz Collection.. Gelatin silver print . Alfred Stieglitz

Five Pine Trees, 1747. Li Shan (Chinese, 1711-aft 1754). Hanging scroll, ink on paper; image: 199.1 x 94 cm (78 3/8 x 37 in.); mounted: 260.2 x 106 cm (102 7/16 x 41 3/4 in.).

Lady in Black Emil Fuchs (American, born Austria, 1866-1929). Lady in Black, 1901. Oil on canvas, 46 15/16 x 36 15/16 in. (119.2 x 93.8 cm). American Art 1901

Oil grisaille on paper mounted on canvas by Alessandro Magnasco showing figures in a temple, highlighting gestures, architecture, and composition before 1710.

Lazio Roma Rome S. Sebastiano and Catacumbas. Hutzel, Max 1960-1990 Medieval: Fresco paintings from chapel of Onorio III, "Sebastiano ad Catacumbas" (13th century, c. 1216-1227). Post-medieval: 17th century architecture (1609, architectural sculpture, sculpture, painting, fresco painting, stucco. On via Appia. General Notes: Missing 15-17, and 38-41. 94 prints total according to H. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

The Razorback Bunch (Etching VI). Robert Rauschenberg (American, 1925-2008); published by Universal Limited Art Editions (American, founded 1955). Date: 1982. Dimensions: 747 x 558 mm. Photoetching from three plates on white wove paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Umbria Terni Amelia Palazzo Comunale2. Hutzel, Max 1960-1990 Medieval: Architectural sculpture: sarcophagus, capitals. Post-medieval: Architecture & architectural sculpture. Piazza del Municipio (Piazza Matteotti) with view of Palazzo Comunale; portal; coats of arms & insignia. Interior views of frescoes, friezes, 16th & 17th century paintings in Salons I & II Antiquities: Architecture & architectural sculpture, 1st century B.C.-1st century A.D. Remains & fragments of former Roman palace & of sepulchres, capitals, statues, gravestones, sarcophagi, sacrificial altar. Object Notes: The Palazzo Comunale stands on the site of a Roman palace of the pre-Christian era. The Antiquities fragments & remains are displayed in the courtyard of the Palazzo and in the grotto-like rooms of the former Roman palace. Hutzel photo campaign date: September 9, 1985. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this proj

Don Ignacio Leonel Gómez Cervantes Mexican. Don Ignacio Leonel Gómez Cervantes, 1788. Oil on canvas, 40 1/2 x 32 1/2in. (102.9 x 82.6cm). Painted in two major colonial American centers, these portraits from Boston and Mexico City (then New Spain) share a formality of pose and an emphasis on fine costume that reveal a common source in European portraiture. John Haskins holds his hand on his hip, in a pose of authority found in Elizabethan portraits. Nevertheless, this upright barrel maker known as Honest John Haskins” was a modest patron when compared to his wealthy and ambitious Mexican counterpart. The inscription at the bottom of Don Ignacio Leonel Gómez Cervantes’s portrait lists honors and inherited titles that explicitly identify him as a descendant of an aristocratic Spanish American family. European Art 1788

Two terracotta sculptures from Europe that is lifted by a bull and an Amazon, Marcel Gustave Laverdet, c. 1852 - in or before 1857 photomechanical print Paris paper photolithography piece of sculpture, reproduction of a piece of sculpture (+ clay, sand, etc. ~ arts). Jupiter, usually in the shape of a white bull, abducts Europa and carries her across the water. (story of) the Amazons

Umbria Perugia Schifanoia S. Michele Arcangelo5. Hutzel, Max 1960-1990 Medieval: Architecture (14th century); pavement. Post-medieval: Frescos (14th-16th centuries) Object Notes: Undocumented Hutzel name. According to his notes, Schifanoia is a part of Narni. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Attic Red-Figure Calyx Krater Fragment. Unknown

Manuel Valdés/ El guante, 1995. Óleo sobre arpillera. 200 x 150 cm. Museum: Centro de Arte Reina Sofía, MADRID, SPAIN. Author: MANUEL VALDES BLASCO.

Dead bird with pipe and test, 1940 - 1948 zinc etching

Textile Fragment 5th-6th century. Textile Fragment 444218

Woodblock for Woman Picking Flowers 1773-1828 England. Wood engraving block . Thomas Bewick

La Route de Jouy (The Road to Jouy) (Furnishing Fabric). Designed by Horace Vernet (French, 1789-1863); Manufactured by Oberkampf Manufactory (French, 1738-1815); France, Jouy-en-Josas. Date: 1815-1835. Dimensions: 75.1 × 71 cm (29 1/2 × 28 in.). Cotton, plain weave; copperplate printed. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

The Fugitive, Study for Timon of Athens Thomas Couture (French, 1815-1879). The Fugitive, Study for Timon of Athens, ca. 1857. Oil on canvas, 25 7/8 x 33 3/8 in. (65.7 x 84.8 cm). Within months of his arrival in Paris, Francisco Oller entered the studio of the popular painter Thomas Couture, who completed this study from life at about the same time. Couture taught the importance of drawing, anatomy, and classical proportions, the traditional European art-school curriculum dating back to Italian academies in the Renaissance. His painting style was a combination of the real and the ideal, and he trained students to reproduce the wonders of nature and ideas of our own time,” though never to the degree of Oller’s other great mentor in Paris, Gustave Courbet. Oller submitted two paintings to the 1865 Paris Salon exhibition as a pupil of Couture. Pocos meses después de su llegada a París, Francisco Oller ingresó al taller del popular pintor Thomas Couture, quien completó este estudio en vi

Bliżej Kultury unknown

Fresque d'Haghia Triada Crète. Musée de Candie , Frescoes. Nicholas Catsimpoolas Collection

Snowscape Style of Tang Yin (Chinese, 1470-1523). Snowscape, 1739. Hanging scroll; Ink on paper, Overall: 20 3/4 x 76 7/8 in. (52.7 x 195.3 cm);. Asian Art 1739

Poelzig Hans (1869-1936), exhibition of porcelain Volkstedter models after designs by Poelzig and Moeschke in the Kunsthalle, Mannheim (without year): Kandelaber. Photo on paper, 22.3 x 10.4 cm (including scan edges)

Veil early 19th century. Veil 447115

Fukusa (Gift Wrapper). Culture: Japan. Dimensions: 28 x 26 in. (71.12 x 66.04 cm). Date: late 18th or early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment (From a mantle). Peru, Possibly central or south coast. Date: 1000-1532. Dimensions: 48.3 x 42.6 cm (19 x 16 3/4 in.). Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA. Author: Tiwanaku.

The Brooklyn Oracle Papyrus The Brooklyn Oracle Papyrus, October 4, 651 B.C.E. Papyrus, pigment, ink, Overall: 10 15/16 × 210 5/16 in. (27.8 × 534.2 cm). The Brooklyn Oracle Papyrus records the petition of a man named Pemou on behalf of his father, Harsiese. Harsiese was an ordinary priest in the service of the god Amun-Re at Karnak, but he wished to leave that god's service and join the priesthood of the neighboring temple of Montu-Re-Horakhty. Because temple personnel were seen as the property of the divinity, the god had to be consulted about any change in staff. Pemou asked for the god's advice on behalf of his father, and the god responded favorably. To record the verdict, Pemou had this papyrus drawn up and decorated. The papyrus shows the procession of a image of Amun-Re, the fragments of whose shrine can be seen above the carrying poles borne by the priests. Above the shrine appear two ostrich-feather fans shading the god from the sun. In front of the priestly file stand the h

La Revolution I Adolf Hoffmeister (Czech, 1902-1973). , 1920. Woodcut with watercolor, Sheet: 13 1/2 x 8 1/8 in. (34.3 x 20.6 cm). European Art 1920

Textile Design for Stencil 17th century Japan. Textile Design for Stencil 68430

Cope-shape. Culture: Italian. Dimensions: H. 39 x W. (at top) 104 inches (99.1 x 264.2 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Quast Ferdinand von (1807-1877), organ brochure in Jericho () (Without Dat.): Fleeting view sketch. Pencil on cardboard, 34.9 x 20.4 cm (including scan edges) Quast Ferdinand von (1807-1877): Orgelprospekt, Jericho ()

Emilia-Romagna Ferrara Pomposa Abbazia di Pomposa, Museo05. Hutzel, Max 1960-1990 Medieval: Fragments: capitals (Byzantine, 6th century), also capitals carved with human faces; marble friezes (10th century, later inscriptions); cornices, (with spolia) 11-12th centuries; ciborium; frescos. Post-medieval: Terracotta statuary, "neo-classical" (Hutzel); frescos: Bolognese, 14th century Antiquities: Amphora; grave monuments German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Emilia-Romagna Ferrara Pomposa Abbazia di Pomposa, Museo86. Hutzel, Max 1960-1990 Medieval: Fragments: capitals (Byzantine, 6th century), also capitals carved with human faces; marble friezes (10th century, later inscriptions); cornices, (with spolia) 11-12th centuries; ciborium; frescos. Post-medieval: Terracotta statuary, "neo-classical" (Hutzel); frescos: Bolognese, 14th century Antiquities: Amphora; grave monuments German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Piece. Culture: French or British. Dimensions: 19 1/4 x 20 3/4 inches (48.9 x 52.7 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

abstracció, 1964, tecnica mixta sobre tabla, Juli Ramis, museo modernista de Can Prunera, siglo XX, Soller, Sierra de Tramuntana, Mallorca, balearic islands, spain, europe.

Leonhard Beck's drawing on wooden stick (1514-1516) depicts the first battle scene before Thérouanne from the Weißkunig series featuring Emperor Maximilian I.

Don Ignacio Leonel Gómez Cervantes Mexican. Don Ignacio Leonel Gómez Cervantes, 1788. Oil on canvas, 40 1/2 x 32 1/2in. (102.9 x 82.6cm). Painted in two major colonial American centers, these portraits from Boston and Mexico City (then New Spain) share a formality of pose and an emphasis on fine costume that reveal a common source in European portraiture. John Haskins holds his hand on his hip, in a pose of authority found in Elizabethan portraits. Nevertheless, this upright barrel maker known as Honest John Haskins” was a modest patron when compared to his wealthy and ambitious Mexican counterpart. The inscription at the bottom of Don Ignacio Leonel Gómez Cervantes’s portrait lists honors and inherited titles that explicitly identify him as a descendant of an aristocratic Spanish American family. European Art 1788

Emilia-Romagna Forli Rimini Palazzo Comunale, Museo e Pinacoteca Comunale1. Hutzel, Max 1960-1990 German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Equivalent, from Set A (Third Set, Print 3) Made 1929 United States. For more on the Alfred Stieglitz collection at the Art Institute, along with in-depth object information, please visit the website The Alfred Stieglitz Collection.. Gelatin silver print . Alfred Stieglitz

MINIATURA-SALOME CON LA CABEZA DEL BAUTISTA. Location: NATIONAL LIBRARY. France. SALOME. SAN JUAN BAUTISTA.

Fragment. Dimensions: 12 11/16 in. high 9 1/4 in. wide (32.3 cm high 23.5 cm wide). Date: 5th century. Museum: Metropolitan Museum of Art, New York, USA.

"Americana Print: Map of Paris" Textile. Designer: Ralph Barton (American, Kansas City, Missouri 1891-1931 New York). Dimensions: 39 × 19 1/2 in. (99.1 × 49.5 cm). Date: 1925. Museum: Metropolitan Museum of Art, New York, USA.

'A Cloudburst', c1480 (1945). Artist: Leonardo da Vinci.

Lazio Frosinone Anagni Palazzo Comunale2. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture, architectural fragments, fresco fragments. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Fresco fragment. Unknown

Piece 18th-19th century Japan. Piece 67062

Lazio Latina Terracina Tempio di Giove Anxur0. Hutzel, Max 1960-1990 Antiquities: General views of the precinct of Giove and of the ruins of the Temple of Giove Anxur, the Little Temple and of the Pisco Montana. Object Notes: Hutzel photo campaign notes are undated. See also Marburger Index, no. 532. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Grimaldi after rain, Italy painting by Francis Picabia

Children of Yesteryear Arthur B. Davies (American, 1862-1928). Children of Yesteryear, ca. 1897. Oil on canvas, 24 15/16 x 20 1/16 in. (63.4 x 51 cm). American Art ca. 1897

Grasshopper (). Watercolour, 1777/1783

Keith's Union Square Everett Shinn (American, 1876-1953). Keith's Union Square, ca. 1902-1906. Oil on canvas, 20 5/16 x 24 1/4 in. (51.6 x 61.6 cm). American Art ca. 1902-1906

Portrait of a Man with Right Hand Corneille de Lyon (Dutch,1500/10-1575, active in France). Portrait of a Man with Right Hand, 1530s. Tempera on panel, 6 1/8 x 5 1/4 in. (15.6 x 13.3 cm). European Art 1530s

The Madonna Enthroned Follower of Bernardo Daddi. The Madonna Enthroned, 1340-1350. Tempera on panel, Open: 22 x 18 3/4 x 2 1/2 in. (55.9 x 47.6 x 6.4 cm). European Art 1340-1350

Abruzzo Teramo Tossicia S. Maria Assunta6. Hutzel, Max 1960-1990 External views of church and facade with its carved human heads, although in most part rather rustic. Photos of late Renaissance interior (1570) with its curved moldings and ornamentation in the time between the Renaissance and Baroque. It is not as ornate as later Baroque interiors. There are details of a painting of the Assumption, the pulpit and the ornate high altar of wood decorated with gold. There are also a few photos of restoration taking place. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by pro

Portrait of Mlle Fiocre in the Ballet "La Source" (Portrait de Mlle...Eugénie Fiocre: à propos du ballet "La Source") Edgar Degas (French, 1834-1917). Portrait of Mlle Fiocre in the Ballet "La Source" (Portrait de Mlle...Eugénie Fiocre: à propos du ballet "La Source"), ca. 1867-1868. Oil on canvas, 51 1/2 x 57 1/8 in., 166 lb. (130.8 x 145.1 cm, 75.3kg). The first of Edgar Degas’s many works to focus on the ballet, this painting depicts Eugénie Fiocre, a celebrated ballerina, in her role as princess Nourreda in the ballet La Source. The production presented a fantasy of an exotic “Orient,” featuring Mlle Fiocre as (in the words of one writer) “the prettiest blonde houri who ever wore the bonnet and the corset of pearls in the paradise of Muhammad.” The 1866 production at the Paris Opéra—with its elaborate costumes and sets, including the hydraulic-powered running stream and live horse seen in Degas’s painting—astonished audiences and provided fodder for caricaturists, who comp

Gift Cloth (Fukusa) Japan. Gift Cloth (Fukusa). Japan. Silk, metallic thread. Edo period (1615-1868). Textiles-Woven

Self-Portrait Eastman Johnson (American, 1824-1906). Self-Portrait, ca. 1865-1870. Oil on canvas, 9 3/4 x 7 13/16 in. (24.8 x 19.9 cm). In this self-portrait, Eastman Johnson labors over a desk in a warmly lit room, most likely his Manhattan studio on Washington Square. The paintings dark palette and quiet mood recall seventeenth-century Dutch genre paintings, whose style Johnson absorbed while studying at The Hague in the Netherlands. Some of the small framed paintings in the background were probably acquired during the artists time abroad, and the canvas itself is an artifact from that period of his life: x-radiographs reveal that Johnson painted this work over a copy of a Dutch portrait. American Art ca. 1865-1870

Portrait of a Gentleman with a Medallion Corneille de Lyon (Dutch,1500/10-1575, active in France). Portrait of a Gentleman with a Medallion, mid-16th century. Tempera painting, 6 7/8 x 6 in. (17.5 x 15.2 cm). European Art mid-16th century

William Rush Carving His Allegorical Figure of the Schuylkill River Thomas Eakins (American, 1844-1916). William Rush Carving His Allegorical Figure of the Schuylkill River, 1908. Oil on canvas, 36 1/4 × 48 1/4 × 1 1/4 in. (92.1 × 122.6 × 3.2 cm). This is one of several paintings in which Thomas Eakins provided an imaginary glimpse of the Philadelphia sculptor William Rush carving The Water Nymph and Bittern, which was installed in Philadelphia's Centre Square In 1809. Although Eakins's initial motives came from a desire to restore Rush's name to the history of American art, his primary focus on the back of a strongly highlighted nude model also calls into play issues about traditional methods of art instruction. Rush was a founder of the Pennsylvania Academy of the Fine Arts, where Eakins taught for many years until 1886, when he was dismissed in a controversy about his allowing female students to attend life classes. American Art 1908

Feltre.Relief from the Grappa area. .

of 2