ACROPOLIS-Images for Untouched by Time

63 Pin179 Ακόλουθοι
Chr.G.Perlberg, 1838. “The Koulouma” National Historical Museum. «Κούλουμα στην Αθήνα». Ελαιογραφία του Chr.Perlberg, 1838. Εθνικό Ιστορικό Μουσείο

Chr.G.Perlberg, 1838. “The Koulouma” National Historical Museum. «Κούλουμα στην Αθήνα». Ελαιογραφία του Chr.Perlberg, 1838. Εθνικό Ιστορικό Μουσείο

Pierre Bonirote, Danse Greque’ acquis par la ville 1843, ελαιογραφία, 159,5 x 209 εκ. Το έργο έχει δημοσιευθεί ως Χορός στην Πνύκα. Ίδρυμα Αρχιεπισκόπου Μακαρίου Γ΄, Πολιτιστικό Κέντρο, Λευκωσία. Pierre Bonirote, Danse Greque’ acquis par la ville 1843, oil painting, 159,5 x 209 cm. Archbishop Makarios III Foundation, Cultural Centre, Nicosia

Pierre Bonirote, Danse Greque’ acquis par la ville 1843, ελαιογραφία, 159,5 x 209 εκ. Το έργο έχει δημοσιευθεί ως Χορός στην Πνύκα. Ίδρυμα Αρχιεπισκόπου Μακαρίου Γ΄, Πολιτιστικό Κέντρο, Λευκωσία. Pierre Bonirote, Danse Greque’ acquis par la ville 1843, oil painting, 159,5 x 209 cm. Archbishop Makarios III Foundation, Cultural Centre, Nicosia

Johann M. Wittmer (1802-1880): Άποψη της Aθήνας από τον Iλισσό, 1833. Έξοχη αποτύπωση ενός οριστικά πλέον χαμένου ιστορικού τοπίου. Yδατογραφία

Johann M. Wittmer (1802-1880): Άποψη της Aθήνας από τον Iλισσό, 1833. Έξοχη αποτύπωση ενός οριστικά πλέον χαμένου ιστορικού τοπίου. Yδατογραφία

James 'Athenian' Stuart 1755-60, View of the Caryatid porche and the Erectheion In 1751 Stuart and his friend Nicholas Revett visited Greece to measure and record antiquities. After his return to London in 1755, Stuart painted views of Greece.n some of the images, Stuart included himself and Nicholas Revett, his friend and traveling partner,in the scenes. This was one of the devices Stuart used in several of his views to call attention to their actual presence in Greece.

James 'Athenian' Stuart 1755-60, View of the Caryatid porche and the Erectheion In 1751 Stuart and his friend Nicholas Revett visited Greece to measure and record antiquities. After his return to London in 1755, Stuart painted views of Greece.n some of the images, Stuart included himself and Nicholas Revett, his friend and traveling partner,in the scenes. This was one of the devices Stuart used in several of his views to call attention to their actual presence in Greece.

Raffaello Ceccoli (1800-1850)-View of the Acropolis with the Theatre of Herodes Atticus

Raffaello Ceccoli (1800-1850)-View of the Acropolis with the Theatre of Herodes Atticus

Martinus Rørbye, 1835-6, Έλληνας στην Ακρόπολη, ιδιωτική συλλογή.

Martinus Rørbye, 1835-6, Έλληνας στην Ακρόπολη, ιδιωτική συλλογή.

Hermann David Solomon Corrodi (Italian, 1844-1905) The Acropolis, Athens signed and inscribed 'H. Corrodi. Roma' (lower left) oil on canvas

Hermann David Solomon Corrodi (Italian, 1844-1905) The Acropolis, Athens signed and inscribed 'H. Corrodi. Roma' (lower left) oil on canvas

Otto Witte (German, 19th century)  Before the Acropolis  signed 'O. Witte' (lower left)

Otto Witte (German, 19th century) Before the Acropolis signed 'O. Witte' (lower left)

Dodwell, The Acropolis, from the west, showing the Turkish cemetery, pathways, and the western defenses, done in the late afternoon. PHI 253. Watercolor by Dodwell, dated July 1805

Dodwell, The Acropolis, from the west, showing the Turkish cemetery, pathways, and the western defenses, done in the late afternoon. PHI 253. Watercolor by Dodwell, dated July 1805

Thomas Hartley Cromek (1809-73)   Athens with the Parthenon  dated 1850

Thomas Hartley Cromek (1809-73) Athens with the Parthenon dated 1850

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