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Many scientists have criticized the plausibility of cryptids due to lack of physical evidence, [7] likely misidentifications [8] and misinterpretation of stories from folklore. [9] While biologists regularly identify new species following established scientific methodology , cryptozoologists focus on entities mentioned in the folklore record ...
Legendary creatures from Europe, supernatural animal or paranormal entities, generally hybrids, sometimes part human (such as sirens), whose existence has not or cannot be proven. They are described in folklore (including myths and legends), but also may be featured in historical accounts before modernity
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Wild men support coats of arms in the side panels of a portrait by Albrecht Dürer, 1499 (Alte Pinakothek, Munich).. The wild man, wild man of the woods, woodwose or wodewose is a mythical figure and motif that appears in the art and literature of medieval Europe, comparable to the satyr or faun type in classical mythology and to Silvanus, the Roman god of the woodlands.
[citation needed] The theme of the "Triumph of Death" was popular in Europe during the Renaissance, particularly in Northern Europe. The Burgundian artist Guillaume Spicre, also known as the Palazzo Sclafani Master, is often credited with its creation, although other names have been suggested. [1] [2]
The cave's most famous painting is a frieze of five bison, although renditions of many other animals, including wolves, are featured. Kapova cave in southern Ural Mountains (Russia) – presently 173 monochromatic ochre rock paintings and charcoal drawings or their traces are documented, presenting Pleistocene animals and abstract geometric ...
Judith Beheading Holofernes is a painting of the biblical episode by Caravaggio, painted in c. 1598–1599 or 1602, [1] in which the widow Judith stayed with the Assyrian general Holofernes in his tent after a banquet then decapitated him after he passed out drunk. [2]
Rubens painted the allegorical female figures, accompanied by a putto or a winged Cupid in Sight, Hearing, Smell, and Touch, and by a satyr in Taste.Brueghel created the sumptuous settings, which evoke the splendour of the court of Albert VII, Archduke of Austria, and his wife Isabella, governors of the Spanish Netherlands, to which the two artists were attached. [1]