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The End of the World, commonly known as The Great Day of His Wrath, [1] is an 1851–1853 oil painting on canvas by the English painter John Martin. [2] Leopold Martin, John Martin's son, said that his father found the inspiration for this painting on a night journey through the Black Country.
The first Horseman of the Apocalypse as depicted in the Bamberg Apocalypse (1000–1020). The first "living creature" (with halo) is seen in the upper right. Then I saw when the Lamb broke one of the seven seals, and I heard one of the four living creatures saying as with a voice of thunder, "Come!" I looked, and behold, a white horse, and he ...
The painting depicts the Four Horsemen of the Apocalypse described in the Book of Revelation. The Lamb of God is visible at the top. It measures 72 by 136 centimetres (28 in × 54 in) and is held by the Glinka State Central Museum of Musical Culture [ ru ] in Moscow. [ 1 ]
The Mont-Saint-Michel Island, depicted in the famous painting of the same name by James Webb in 1857, is a famous tourist destination. Its history dates back to the 8th century.
Four Horsemen of the Apocalypse (painting) G. The Great Day of His Wrath; The Great Red Dragon paintings; L. Landscape with Saint John on Patmos;
The Apocalypse, properly Apocalypse with Pictures (Latin: Apocalipsis cum figuris; German: Die heimliche Offenbaru[n]g ioh[an]nis), [1] is a 1498 printed book by Albrecht Dürer containing fifteen woodcuts accompanied by text. The book depicts scenes from the Book of Revelation, and rapidly brought Dürer fame across Europe. [2]
The painting shows the time when "Heaven and Earth are passing away, and all things are made new." According to Mary L. Pendered's 1923 book John Martin, Painter: His Life and Times, Martin originally intended to call the painting All Things Made New. The painting was retained by Martin's family after his death until it was sold in 1935.
Where traditional compositions generally contrast an ordered, harmonious heavenly world above with the tumultuous events taking place in the earthly zone below, in Michelangelo's conception the arrangement and posing of the figures across the entire painting give an impression of agitation and excitement, [4] and even in the upper parts there is "a profound disturbance, tension and commotion ...