Eva. Adam og Eva, slangen og træet. Træsnit fra ca. 1535 af den tyske grafiker Hans Sebald Baham.

Beham, (Hans) Sebald (1500-1550): Pacientia - Die Geduld (Patience). Kupferstich/engraving. 10,6 x 7 cm. 1540. B. 138, Pauli 141, Hollstein 141 V (von VI).Vor der zusätzlichen Schraffur im rechten Ende der Säule. Ganz ausgezeichneter, kräftiger, nach oben jedoch etwas ungleichmäßiger Druck mit der vollen Darstellung. Minimal wellig und angestaubt, sonst jedoch tadellos.

Beham, (Hans) Sebald (1500-1550): Querfüllung mit der Maske. Panel with Amascaron. Kupferstich/engraving. 5.1 x 7.6 cm. 1543. B. 231, Pauli, Holl. 235 II. Ganz ausgezeichneter, zart und präzis zeichnender Druck mit breitem Rand. Verso minimal fleckig und mit alten Kleberesten, sonst hervorragendes Exemplar.

Künstler: Beham, Hans Sebald
Entstehungsjahr: um 1536
Maße: 37 × 108,3 cm
Technik: Holzschnitt
Aufbewahrungsort: Oxford
Sammlung: Ashmolean Museum
Epoche: Renaissance
Land: Deutschland
Kommentar: Gedruckt von vier Holzstöcken von Albrecht Glockendon

RETHEL, Alfred
(b. 1816, Diepenbend, d. 1859, Düsseldorf)
Click!
Death on the Barricades
1849
Woodcut

DÜRER, Albrecht
(b. 1471, Nürnberg, d. 1528, Nürnberg)


Coat-of-Arms with a Skull
1503
Engraving, 220 x 156 mm
Art Institute, Chicago

Beham, Hans Sebald (1547): Der Tod und das stehende Weib. (Kupferstich)

http://www.ceskatelevize.cz/ivysilani/209251000030003-umeni-vcera-a-dnes/

prednaska martina hilskyho: Chvála bláznovství, Shakespearovi klauni a šašci

Beham, (Hans) Sebald (1500-1550): Der Narr und die Närrin. The Fool and the Lady Fool. Kupferstich, engraving. 3,7 x 5,2 cm. B. 213, Pauli, Hollstein 213 II. Mit den Streifen auf dem Ärmel des Narren. Ausgezeichneter, gleichmäßiger Druck mit schmalem Rändchen. Winzige Eckabrisschen links, vereinzelte Stockfleckchen, sonst gutes Exemplar. Selten.

no od doreho je toho stale mraky

krizackou historii proilustroval dost komplexne

http://images.google.cz/imgres?imgurl=http://www.texttribe.com/gallery/Gustave_Dore/Crusades/gustave_dore_crusades_after_victory.jpg&imgrefurl=http://www.texttribe.com/gallery/Gustave_Dore/index_Crusades.htm&usg=__rjBdz5K44aKZuH90H165zCdQkac=&h=1210&w=901&sz=453&hl=cs&start=4&um=1&tbnid=JUpRPg4uYgcZXM:&tbnh=150&tbnw=112&prev=/images%3Fq%3Ddore%2Bcrusaders%26imgsz%3Dxxlarge%26hl%3Dcs%26lr%3D%26sa%3DG%26um%3D1

Gustave dore crusades the massacre of antioch

crusaders after victory

dore

Travelogue of the first voyage of the Dutchmen Neck and Warwick to East India (1598-1600), title page w. copperplate engraving.

Gallery: Geographical Works
http://images.google.cz/imgres?imgurl=http://www.oeaw.ac.at/biblio/Woldan/Images/Graphics/reise5.jpg&imgrefurl=http://www.oeaw.ac.at/biblio/en/Woldan/graphics1.html&usg=__fG_s1xZWyYlYN8KacqvrU7MnXCc=&h=1046&w=1424&sz=449&hl=cs&start=701&um=1&tbnid=r5iD3kEhkx3_eM:&tbnh=110&tbnw=150&prev=/images%3Fq%3Dexecution%2Bmedieval%26imgsz%3Dxxlarge%26ndsp%3D21%26hl%3Dcs%26lr%3D%26sa%3DN%26start%3D693%26um%3D1

Caravaggio’s David with the Head of Goliath (1604)



We seem to be in more familiar iconographic territory here. Adolescent boy kills man-sized adversary. The sword, however, looks more David-sized than Giant-sized, and we seem to be at a peculiarly uncomfortable graphic moment in the decapitation. The Goliath head, which is the focus of the composition, is looking toward us with disbelief. He doesn’t know that he’s dead yet. The blood is still gushing from the fresh wound.

This dramatic fresco represents all the desperation of the condemned, persecuted and tortured by the devils as portrayed in a mass of flesh, muscles and bodies prostrated by pain.

vice zde http://images.google.cz/imgres?imgurl=http://www.initaly.com/regions/umbria/pix/duomo/orvieto6.jpg&imgrefurl=http://www.initaly.com/regions/umbria/duomo.htm&usg=__m95-p81JMtBhII7nCucuLALKxWc=&h=771&w=1024&sz=320&hl=cs&start=69&um=1&tbnid=IVNWM1meCTwmwM:&tbnh=113&tbnw=150&prev=/images%3Fq%3Dexecution%2Bmedieval%26imgsz%3Dxxlarge%26ndsp%3D21%26hl%3Dcs%26lr%3D%26sa%3DN%26start%3D63%26um%3D1

This scene was probably influenced by Savonarola’s execution by burning at the stake. Just to the right of the center, the figure of the Anti-Christ stands on a pedestal with a devil clinging to his shoulders. All around is a crowd of figures each representing an important role, such as the rebellious Archangel hit by lightning, a woman receiving money for her sins from a Jew.

AZRAEL: Děkuji. To je ono.