The birth of Greek art, New York: Golden Press, [1964]
Restoration, Center Hall of the Baths of Caracalla
Venus Kallipygos and Venus aux Belles Vesses
Venus Kallypigos dates to the 3rd Century BCE, and Venus aux Belles Vesses dates to the 18th Century
Entrance, Prayer recess, Great Mosque of Cordoba
Detail, Wall and Beam Ends, Pueblo Bonito
Preliminary Project, Section of Stair Hall, Paris Opera
Detail, Peoples of the World, Right Lintel, Church of St Magdalen
Competition Design, New Exchange Building
Cast Iron Constructions & Spandrel Foliage, From Entretiens
Large Living Room, View into Dining Room, Steiner House
Christianity becomes official religion of Rome.
Aerial View, Ba La Village, Northern Rhodes A
Moment of Execution, Viet Cong shot by South Vietnamese
Map of the Beginning of the Empire, Octavian Augustus
Intersection of Two Secondary Roads with Stepping Stones, Pompeii
Augustus, Emperor of Rome, 63 B.C.-14 A.D.
Early 1st Century. Perhaps a copy of a bronze statue of ca. 20 BCE
Basilica Colonnade, with View of the Temple of Hera II Beyond
Dead Man found Next to Palestra, Pompeii
Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010 (9780205800377)
No. 3/No. 13 (Magenta, Black and Green On Orange)
Prehistoric Wall Painting (Line Drawing)
Technique Box: Prehistoric wall painting.
Detail of wall painting, Room 3 of House Xeste 3, Akrotiri, Thera, Cyclades.
Interior Courtyard of Jacques Coeur House
Procession of the Relic of the True Cross Before the Church of St. Mark
The Pastoral Concert or Allegory On the Invention of Pastoral Poetry
Aerial view. Site occupied c. 16001200 bce
Tintoretto, who had a large workshop, often developed a composition by creating a small-scale model like a miniature stage set, which he populated with wax figures. He then adjusted the positions of the figures and the lighting until he was satisfied with the entire scene. Using a grid of horizontal and vertical threads placed in front of this model, he could easily sketch the composition onto squared paper for his assistants to copy onto a large canvas. His assistants also primed the canvas, blocking in the areas of dark and light, before the artist himself, free to concentrate on the most difficult passages, finished the painting. This efficient working method allowed Tintoretto to produce a large number of paintings in all sizes.
Queen Elizabeth I (The Ditchley Portrait)
Self-Portrait as the Allegory of Painting
Still Life With Quince, Cabbage, Melon, and Cucumber