Franz anton maulbertsch austrian Stock Photos and Images
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Franz anton maulbertsch austrian Stock Photos and Images
RMEDT8WE–Franz Anton Maulbertsch (Austrian, 1724 - 1796), The Adoration of the Shepherds, 1757, pen and black ink with gray wash
RF2HW8KC5–Art inspired by The Glorification of the Royal Hungarian Saints, ca. 1772–73, Oil on canvas, 27 1/2 x 19 7/8 in. (70 x 50.5 cm), Paintings, Franz Anton Maulbertsch (Austrian, Langenargen am Bodensee 1724–1796 Vienna), This oil sketch is preparatory for a fresco on the ceiling of the, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RMRFDA57–The Adoration of the Holy Lamb. Artist: Franz Anton Maulbertsch (Austrian, Langenargen am Bodensee 1724-1796 Vienna). Dimensions: sheet: 6 5/8 x 7 11/16 in. (16.9 x 19.5 cm). Date: 1724-96. Museum: Metropolitan Museum of Art, New York, USA.
RFF1XXYH–AUSTRIA - CIRCA 1974: stamp printed by Austria, shows Franz Anton Maulbertsch, Austrian painter and engraver , circa 1974
RM2CWBFJ0–Crowning Glory of Saint Stanislas', c1744-1796. Artist: Franz Anton Maulbertsch. Franz Anton Maulbertsch (1724-1796) was an Austrian painter and engraver, he was a renowned exponent of rococo painting.
RF2HW63J2–Art inspired by The Adoration of the Holy Lamb, 1724–96, Pen and brown ink, gray wash, sheet: 6 5/8 x 7 11/16 in. (16.9 x 19.5 cm), Drawings, Franz Anton Maulbertsch (Austrian, Langenargen am Bodensee 1724–1796 Vienna, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RM2F5EJ2B–The Glorification of the Union of the Houses of Hapsburg and Lorraine. Franz Anton Maulbertsch (Austrian, 1724 - 1796)
RF2HW5M4R–Art inspired by Saint Wenceslas at the Vintage, Attended by Angels and Putti, mid-18th–late 18th century, Brown ink with gray wash, sheet: 13 1/4 x 8 3/8 in. (33.7 x 21.3 cm), Drawings, Franz Anton Maulbertsch (Austrian, Langenargen am Bodensee 1724–1796 Vienna, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
RMM7P76N–Austrian postage stamp (1974) : Franz Anton Maulbertsch (1724 – 1796) Austrian painter and engraver, renowned exponent of German Roccoco
RM2HHFPX0–The Adoration of the Holy Lamb 1724–96 Franz Anton Maulbertsch Austrian. The Adoration of the Holy Lamb 370811
RM2H1R712–Stamp printed by Austria, shows Franz Anton Maulbertsch, Austrian painter and engraver , circa 1974
RFRA8H94–Franz Anton Maulbertsch (Austrian, 1724 - 1796), The Adoration of the Shepherds, 1757, pen and black ink with gray reimagined
RMD98WYD–Apotheosis of Saint Stanislaus. Study in pen, ink and wash. Anton Franz Maulbertsch (1724-1796) Austrian painter. St Stainislaus of Cracow (1030-1079) Polish bishop and martyr.
RMMPAK3P–. Die Heilige Walburga mit ihren Brüdern Willibald und Wunibald . 1749. Franz Anton Maulbertsch (1724–1796) Alternative names Franz Anton Maulpertsch Description Austrian-German painter and engraver Date of birth/death 7 June 1724 8 August 1796 Location of birth/death Langenargen, Lake Constance Vienna Work location Vienna, Hungary Authority control : Q689388 VIAF: 59876508 ISNI: 0000 0001 2211 5202 ULAN: 500017598 LCCN: n50006593 WGA: MAULBERTSCH, Franz Anton WorldCat 877 Maulbertsch Hl Walburga 1749
RMMP3PBT–. English: Pastoral Serenade, Franz Anton Maulbertsch, 1752 . 3 February 2012. Franz Anton Maulbertsch (1724–1796) Alternative names Franz Anton Maulpertsch Description Austrian-German painter and engraver Date of birth/death 7 June 1724 8 August 1796 Location of birth/death Langenargen, Lake Constance Vienna Work location Vienna, Hungary Authority control : Q689388 VIAF: 59876508 ISNI: 0000 0001 2211 5202 ULAN: 500017598 LCCN: n50006593 WGA: MAULBERTSCH, Franz Anton WorldCat 963 Pastoral Serenade, Franz Anton Maulbertsch, 1752
RF2JE1DJJ–AUSTRIA - CIRCA 1974: a stamp printed in Austria shows Self-portrait, painting by Franz Anton Maulbertsch (1724-1796), Austrian painter, circa 1974
RMMP3GBK–Z 038 . Entwurf zu einem Altarbild: Christus krönt eine Nonne zur Heiligen. Geflügelte Putten, musizierende Engel, Maria Magdalena und Joseph. 18th century. Circle of Franz Anton Maulbertsch (1724–1796) Alternative names Franz Anton Maulpertsch Description Austrian-German painter and engraver Date of birth/death 7 June 1724 8 August 1796 Location of birth/death Langenargen, Lake Constance Vienna Work location Vienna, Hungary Authority control : Q689388 VIAF: 59876508 ISNI: 0000 0001 2211 5202 ULAN: 500017598 LCCN: n50006593 WGA: MAULBERTSCH, Franz Anton WorldCat 876 Maulbertsc
RMH4N3FH–Franz Anton Maulbertsch (Austrian, 1724 - 1796), The Adoration of the Shepherds, 1757, pen and black ink with gray wash
RMP5HR85–Self-portrait . English: An early self-portrait of Austrian rococo painter Franz Anton Maulbertsch. . 1750. N/A 23 Franz Anton Maulbertsch Selbstbildnis Belvedere
RMEDPE45–Franz Anton Maulbertsch (Austrian, 1724-1796). Das Bild der Duldung, 1785. Engraving and etching
RMRFDA03–Saint Wenceslas at the Vintage, Attended by Angels and Putti. Artist: Franz Anton Maulbertsch (Austrian, Langenargen am Bodensee 1724-1796 Vienna). Dimensions: sheet: 13 1/4 x 8 3/8 in. (33.7 x 21.3 cm). Date: mid-18th-late 18th century. Museum: Metropolitan Museum of Art, New York, USA.
RMH4N5BG–Johann Beheim after Franz Anton Maulbertsch (Austrian, c. 1730 - after 1770), Four Saints, 1762, etching and engraving
RM2M2J2K5–Allegory of the Jesuits Order, painting by Austrian-German artist Franz Anton Maulbertsch, 1960s
![Study for "The Presentation of Christ in the Temple" (for Saint Ulrich, Vienna), c. 1750. This loosely painted sketch is the preliminary design for an altarpiece in the Church of Saint Ulrich, Vienna. Mary and Joseph have brought the infant Jesus to the temple to be inducted into the Jewish faith; the aged priest Simeon cradles the infant in his arms, turning his gaze to heaven as he realizes that he is holding the Son of God. Strong contrasts of light and shadow underscore the drama of the moment. The frame is not original to this painting, but was made by an Austrian craftsman in Stock Photo](https://c8.alamy.com/comp/2A52ABG/study-for-quotthe-presentation-of-christ-in-the-templequot-for-saint-ulrich-vienna-c-1750-this-loosely-painted-sketch-is-the-preliminary-design-for-an-altarpiece-in-the-church-of-saint-ulrich-vienna-mary-and-joseph-have-brought-the-infant-jesus-to-the-temple-to-be-inducted-into-the-jewish-faith-the-aged-priest-simeon-cradles-the-infant-in-his-arms-turning-his-gaze-to-heaven-as-he-realizes-that-he-is-holding-the-son-of-god-strong-contrasts-of-light-and-shadow-underscore-the-drama-of-the-moment-the-frame-is-not-original-to-this-painting-but-was-made-by-an-austrian-craftsman-in-2A52ABG.jpg "Study for "The Presentation of Christ in the Temple" (for Saint Ulrich, Vienna), c. 1750. This loosely painted sketch is the preliminary design for an altarpiece in the Church of Saint Ulrich, Vienna. Mary and Joseph have brought the infant Jesus to the temple to be inducted into the Jewish faith; the aged priest Simeon cradles the infant in his arms, turning his gaze to heaven as he realizes that he is holding the Son of God. Strong contrasts of light and shadow underscore the drama of the moment. The frame is not original to this painting, but was made by an Austrian craftsman in Stock Photo")
RM2A52ABG–Study for "The Presentation of Christ in the Temple" (for Saint Ulrich, Vienna), c. 1750. This loosely painted sketch is the preliminary design for an altarpiece in the Church of Saint Ulrich, Vienna. Mary and Joseph have brought the infant Jesus to the temple to be inducted into the Jewish faith; the aged priest Simeon cradles the infant in his arms, turning his gaze to heaven as he realizes that he is holding the Son of God. Strong contrasts of light and shadow underscore the drama of the moment. The frame is not original to this painting, but was made by an Austrian craftsman in
RM2HHC798–Saint Wenceslas at the Vintage, Attended by Angels and Putti mid-18th–late 18th century Franz Anton Maulbertsch Austrian. Saint Wenceslas at the Vintage, Attended by Angels and Putti 358062
RM2H10GJG–Study for 'The Presentation of Christ in the Temple' (for Saint Ulrich, Vienna), c. 1750. Attributed to Franz Anton Maulbertsch (Austrian, 1724-1796). Oil on canvas; framed: 90 x 70 x 9 cm (35 7/16 x 27 9/16 x 3 9/16 in.); unframed: 69.5 x 52.3 cm (27 3/8 x 20 9/16 in.).
RFRATW8R–Franz Anton Maulbertsch (Austrian, 1724 - 1796), The Adoration of the Shepherds, 1757, pen and black ink with gray reimagined
RM2HHB9HG–The Glorification of the Royal Hungarian Saints ca. 1772–73 Franz Anton Maulbertsch Austrian Monochrome, or grisaille, oil sketches allowed artists to work out complex light effects independent of the diverse color palette used in the final painting. This work, with its sophisticated spatial organization, was executed for the Hungarian Cathedral Basilica of Gyor (Raab) by Maulbertsch, the outstanding Austrian exponent of the Venetian tradition embodied by Tiepolo. Saint Ladislaus I (1040–1095), king of Hungary, appears at lower left, while an earlier king, Saint Stephen (975–1038) and his son,
RM2K0A9NE–The Holy Kinship, 1786. Oil on canvas by Martin Johann Schmidt, called Kremser Schmidt or Kremserschmidt. Martin Johann Schmidt (25 September 1718 - 28 June 1801), was one of the outstanding Austrian painters of the late Baroque/Rococo along with Franz Anton Maulbertsch.
RM2WP6NJY–Fourteen or Maulbertsch, Franz Anton (1724-1796); around 1779 (1768-00-00-1789-00-00);Austrian painting, religious scenes, purchase (provenance)
RM2WP60CC–Felix Walery and Jan from Mathy at the feet of the Trinity; unknown, Maulbertsch, Franz Anton (1724-1796); 18th century (1701-00-00-1800-00-00);Feliks Walezy (St. - 1127-1212), Holy Trinity (iconogr.), Austrian painting, religious painting, religious scenes, saints
RMMMXP3E–. Deutsch: Heilige Thekls . between 1757 and 1758. Franz Anton Maulbertsch (1724–1796) Alternative names Franz Anton Maulpertsch Description Austrian-German painter and engraver Date of birth/death 7 June 1724 8 August 1796 Location of birth/death Langenargen, Lake Constance Vienna Work location Vienna, Hungary Authority control : Q689388 VIAF:?59876508 ISNI:?0000 0001 2211 5202 ULAN:?500017598 LCCN:?n50006593 WGA:?MAULBERTSCH, Franz Anton WorldCat Franz Anton Maulbertsch Hl Thekla
RMRFDERB–The Glorification of the Royal Hungarian Saints. Artist: Franz Anton Maulbertsch (Austrian, Langenargen am Bodensee 1724-1796 Vienna). Dimensions: 27 1/2 x 19 7/8 in. (70 x 50.5 cm). Date: ca. 1772-73. This oil sketch is preparatory for a fresco on the ceiling of the nave of the cathedral of Gyor (Raab) in Hungary. In the lower left is Saint Ladislaus I (1040-1095), king of Hungary, while Saint Stephen (975-1038) and his son, Saint Emeric, are shown at the summit of the clouds together with Saint Martin, bishop of Tours. The Trinity appears in the heavens. An artist of enormous facility and i
RMEDT629–Johann Beheim after Franz Anton Maulbertsch (Austrian, c. 1730 - after 1770), Four Saints, 1762, etching and engraving
RM2M2J2MM–Victory of St. James of Compostela over the Saracens at the Battle of Clavigo, painting by Austrian-German artist Franz Anton Maulbertsch, 1960s
RM2A2KJRH–The Quacksalver, 1785, Franz Anton Maulbertsch, Austrian, 1724-1796, Austria, Etching and drypoint on ivory laid paper, 332 × 405 mm (plate), 340 × 415 mm (sheet
RM2JWFRK3–St. Felix of Valois and St. John of Matha beneath the Holy Trinity. Maulbertsch, Franz Anton (1724-1796), cultural circle, unknown, painter
RMRY4T5N–Study for 'The Presentation of Christ in the Temple' (for Saint Ulrich, Vienna), c. 1750. Attributed to Franz Anton Maulbertsch (Austrian, 1724-1796). Oil on canvas; framed: 90 x 70 x 9 cm (35 7/16 x 27 9/16 x 3 9/16 in.); unframed: 69.5 x 52.3 cm (27 3/8 x 20 9/16 in
RM2T91AAC–Theater Design, 18th century, Attributed to Franz Anton Maulbertsch, Austrian, 1724 - 1796, 11 1/8 x 7 15/16 in. (28.26 x 20.16 cm) (sheet)19 5/8 x 15 3/4 in. (49.85 x 40.01 cm) (outer frame), Gouache and white and black chalk with brush and wash on laid paper, Austria, 18th century
RMEE07GK–The Glorification of the Union of the Houses of Hapsburg and Lorraine; Franz Anton Maulbertsch, Austrian, 1724 - 1796; 1775
RFRA801N–Johann Beheim after Franz Anton Maulbertsch (Austrian, c. 1730 - after 1770), Four Saints, 1762, etching and reimagined
RM2A2J2WA–Female Figures with Putti in Clouds, n.d., Possibly Gregorio de’ Ferrari (Italian, 1644-1726), or Domenico Piola (Italian, 1627-1703), or Antonio Allegri, called Correggio (Italian, c. 1489-1534), or Franz Anton Maulbertsch (Austrian, 1724-1796), Italy, Pen and brown ink, with brush and brown wash and black chalk, on ivory laid paper, 357 x 505 mm
RMD994X6–The Quack Doctor' also called 'A Barber Surgeon at Work', before 1785. Oil on wood. Franz Anton Maulbertsch (1724-1796) Austrian painter. Temporary stall in a town, teeth being pulled and remedies being sold. Medicine Dentistry
RMKC8FAY–Saint Wenceslas at the Vintage, Attended by Angels and Putti, Franz Anton Maulbertsch, mid-18th–late 18th century
RMMMXP2T–. Gnadenstuhl (von einer Tabernakeltür) . 18th century. Circle of Franz Anton Maulbertsch (1724–1796) Alternative names Franz Anton Maulpertsch Description Austrian-German painter and engraver Date of birth/death 7 June 1724 8 August 1796 Location of birth/death Langenargen, Lake Constance Vienna Work location Vienna, Hungary Authority control : Q689388 VIAF:?59876508 ISNI:?0000 0001 2211 5202 ULAN:?500017598 LCCN:?n50006593 WGA:?MAULBERTSCH, Franz Anton WorldCat Franz Anton Maulbertsch (circle) Gnadenstuhl
RMRXD08K–The Quacksalver. Franz Anton Maulbertsch; Austrian, 1724-1796. Date: 1785. Dimensions: 332 × 405 mm (plate); 340 × 415 mm (sheet). Etching and drypoint on ivory laid paper. Origin: Austria. Museum: The Chicago Art Institute.
RFRATHDM–Johann Beheim after Franz Anton Maulbertsch (Austrian, c. 1730 - after 1770), Four Saints, 1762, etching and reimagined
RMMMXP2R–. Deutsch: 'Bischofsweihe' (Entwurf für ein Altarbild), Tusche laviert auf Papier, ca. 35 x 22 cm . 18th century. Circle of Franz Anton Maulbertsch (1724–1796) Alternative names Franz Anton Maulpertsch Description Austrian-German painter and engraver Date of birth/death 7 June 1724 8 August 1796 Location of birth/death Langenargen, Lake Constance Vienna Work location Vienna, Hungary Authority control : Q689388 VIAF:?59876508 ISNI:?0000 0001 2211 5202 ULAN:?500017598 LCCN:?n50006593 WGA:?MAULBERTSCH, Franz Anton WorldCat Franz Anton Maulbertsch (circle) Studie Bischofsweihe
RMRXHC0H–Female Figures with Putti in Clouds. Possibly Gregorio de' Ferrari (Italian, 1644-1726); or Domenico Piola (Italian, 1627-1703); or Antonio Allegri, called Correggio (Italian, c. 1489-1534); or Franz Anton Maulbertsch (Austrian, 1724-1796). Date: 1714-1726. Dimensions: 357 x 505 mm. Pen and brown ink, with brush and brown wash and black chalk, on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute.
RFRAYJBC–Franz Anton Maulbertsch (Austrian, 1724-1796). Das Bild der Duldung, 1785. Engraving and etching. Plate: 490 mm x 526 reimagined
RMRFDERF–The Adoration of the Shepherds. Dated: 1757. Dimensions: overall: 31 x 23.2 cm (12 3/16 x 9 1/8 in.). Medium: pen and black ink with gray wash on laid paper. Museum: National Gallery of Art, Washington DC. Author: Franz Anton Maulbertsch.
RF2B906EK–The Quacksalver, 1785, Franz Anton Maulbertsch, Austrian, 1724-1796, Austria, Etching and drypoint on ivory laid paper, 332 × 405 mm (plate), 340 × 415 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
RMRFDCYK–The Institution of the Eucharist. Dated: c. 1765. Dimensions: plate: 41.6 x 31 cm (16 3/8 x 12 3/16 in.) sheet: 42.1 x 31.2 cm (16 9/16 x 12 5/16 in.). Medium: etching and engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: Franz Anton Maulbertsch.
RFRAX84P–The Glorification of the Union of the Houses of Hapsburg and Lorraine, Franz Anton Maulbertsch, Austrian, 1724 - 1796 reimagined
RMRFDE5B–Apotheosis of Saint Stanislaus. Date/Period: Between 1750 and 1759. Drawing. Pen, brown ink, grey and brown wash on paper. Height: 398 mm (15.66 in); Width: 239 mm (9.40 in). Author: Franz Anton Maulbertsch. MAULBERTSCH, FRANZ ANTON.
RF2B8WD4C–Female Figures with Putti in Clouds, n.d., Possibly Gregorio de’ Ferrari (Italian, 1644-1726), or Domenico Piola (Italian, 1627-1703), or Antonio Allegri, called Correggio (Italian, c. 1489-1534), or Franz Anton Maulbertsch (Austrian, 1724-1796), Italy, Pen and brown ink, with brush and brown wash and black chalk, on ivory laid paper, 357 x 505 mm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutioniz
RMR32XJA–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.
RMR2R37G–Saint Florian. Dated: c. 1765. Dimensions: plate: 41.9 x 30.2 cm (16 1/2 x 11 7/8 in.) sheet: 42 x 30.4 cm (16 9/16 x 11 15/16 in.). Medium: etching with engraving on laid paper, mounted on album sheet. Museum: National Gallery of Art, Washington DC. Author: Johann Beheim after Franz Anton Maulbertsch.
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