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The drawing is related to the painting W27 : Study of the legs of a seated woman: c. 1628: Chalk: 22.6 x 17.6 cm: Rijksmuseum Amsterdam: The drawing is related to the painting W37 : The Raising of the Cross: 1628-1629: Black chalk, heightened with white, framing lines in pencil and with the pen and brown ink: 19.3 x 14.8 cm: Museum Boijmans Van ...
Man drawing from a cast: About 1641 B359: 1: Sick woman with a large white headdress [Saskia] About 1641-42 B369: 1: Sheet of studies, with a woman lying ill in bed, etc. About 1641-42 B072: 2: The raising of Lazarus: the small plate: 1642 B082: 1: The descent from the cross: a sketch: 1642 B105: 2: St. Jerome in a dark chamber: 1642 B188: 4 ...
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The Missal, by John William Waterhouse (1902), depicts a woman kneeling on a prie-dieu, a piece of furniture with a built-in kneeler. A kneeler is a cushion (also called a tuffet, hassock, genuflexorium, or genuflectorium) or a piece of furniture used for resting in a kneeling position during Christian prayer.
The Sick Man by Vasili Maximov (1881) portrays a woman kneeling in prayer before the icon corner (Tretyakov Gallery, Moscow). Grand Duchess Olga Nikolaevna of Russia with an icon corner in her bedroom (1915 or 1916, colorized by her sister Maria).
Verily thou art the Most Praiseworthy, the Most Exalted; O God, bless unto Muhammad and unto the family of Muhammad as thou blest unto Abraham and unto the family of Abraham. Verily thou art the Most Praiseworthy, the Most Exalted." The wording may vary depending on the various authentic narrations and preferences in each Fiqh school of thought.
A kneeling woman clutches the waist of the victorious soldier, raising her face to him to beg him to spare his defeated foe. [17] The defeated warrior has a stronger body, a face more in keeping with the conventions of attractiveness at the time, and a more sympathetic expression, while the victorious man is darker skinned and has an expression ...
According to the artist's description, the painting depicts a knight praying in the chapel of the Église Saint-Irénée de Lyon, which had been ruined by the Baron des Adrets in 1562. The knight is seen kneeling in a prayer in front a tomb, beneath a window. The interior of the chapel is very dark and devoided of any significant decoration.