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Dove vedere arte e quando apre il museo.

Collezioni: Art Institute of Chicago, Cleveland Museum of Art, Ermitage, Galleria Tret'jakov, Getty Museum, Harvard Art Museums, Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Minneapolis Institute of Art, Museo del Louvre, Museo Puškin delle belle arti, Museo russo, Museo Smithsoniano del Design Cooper Hewitt, Museum of Modern Art, National Gallery of Art, National Museum of Asian Art, National Portrait Gallery, Rijksmuseum, Smithsonian American Art Museum, Statens Museum for Kunst, Victoria and Albert Museum, Villa Getty, Whitney Museum of American Art, Yale Center for British Art, Yale University Art Gallery, Catalogo statale del fondo museale russo (274 musei), Europeana (19 musei), Wikidata (44 musei), Paris Musées (12 musei), Joconde, la banca dati dei musei del Ministero della Cultura francese (495 musei) e il Catalogo generale dei Beni Culturali del Ministero della Cultura (25 musei). Le immagini appartengono ai titolari dei diritti.

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60.822 opere da 131 musei44 esposte oraAzzera tutto

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Tecnica
  • Tutte
  • Grafite137.439
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Costume study for Two Gentlemen of Verona (?), Edwin Austin Abbey, n.d.Edwin Austin AbbeyCostume study for Two Gentlemen of Verona (?)n.d.Yale University Art Gallery
Study of an unidentified young woman, Edwin Austin Abbey, n.d.Edwin Austin AbbeyStudy of an unidentified young womann.d.Yale University Art Gallery
"Sweet as the primrose..." - illustration for Oliver Goldsmith's The Deserted Village (London and New York: 1902), p. 99, Edwin Austin Abbey, 1894Edwin Austin Abbey"Sweet as the primrose..." - illustration for Oliver Goldsmith's The Deserted Village (London and New York: 1902), p. 991894Yale University Art Gallery
"There from the tree we'll cherries pluck," sketch for "To Master Anthony Stafford," from The Quiet Life, Edwin Austin Abbey, ca. 1883Edwin Austin Abbey"There from the tree we'll cherries pluck," sketch for "To Master Anthony Stafford," from The Quiet Lifeca. 1883Yale University Art Gallery
Sketch for Oliver Goldsmith's She Stoops to Conquer, Edwin Austin Abbey, ca. 1884Edwin Austin AbbeySketch for Oliver Goldsmith's She Stoops to Conquerca. 1884Yale University Art Gallery
Clown: "I will show myself highly fed and lowly taught," from Act II, Scene ii, All's Well That Ends Well, Edwin Austin Abbey, 1891Edwin Austin AbbeyClown: "I will show myself highly fed and lowly taught," from Act II, Scene ii, All's Well That Ends Well1891Yale University Art Gallery
Bottom & Titania, illustration for A Midsummer Night's Dream, Act III, Scene i, Edwin Austin Abbey, 1893Edwin Austin AbbeyBottom & Titania, illustration for A Midsummer Night's Dream, Act III, Scene i1893Yale University Art Gallery
Serpent, sketch for The Lay of the Lobster, Edwin Austin Abbey, ca. 1886Edwin Austin AbbeySerpent, sketch for The Lay of the Lobsterca. 1886Yale University Art Gallery
"In the forest of Arden," illustration for Act II, Scene iv, As You Like It, Edwin Austin Abbey, 1890Edwin Austin Abbey"In the forest of Arden," illustration for Act II, Scene iv, As You Like It1890Yale University Art Gallery
Ophelia: "And of all Christian souls! I pray God. God be wi' you!" - Elsinore, A Room in the Castle - Act IV, Scene V, Hamlet, Edwin Austin Abbey, 1902Edwin Austin AbbeyOphelia: "And of all Christian souls! I pray God. God be wi' you!" - Elsinore, A Room in the Castle - Act IV, Scene V, Hamlet1902Yale University Art Gallery
Study for "His looks adorned..." - illustration for Oliver Goldsmith's The Deserted Village (London and New York: 1902), p. 47, Edwin Austin Abbey, n.d.Edwin Austin AbbeyStudy for "His looks adorned..." - illustration for Oliver Goldsmith's The Deserted Village (London and New York: 1902), p. 47n.d.Yale University Art Gallery
Early study for "The Trial of Queen Katherine", Edwin Austin Abbey, n.d.Edwin Austin AbbeyEarly study for "The Trial of Queen Katherine"n.d.Yale University Art Gallery
Studies for an unidentified Shakespearean play (Falstaff?) (recto and verso), Edwin Austin Abbey, mid-19th to early 20th centuryEdwin Austin AbbeyStudies for an unidentified Shakespearean play (Falstaff?) (recto and verso)mid-19th to early 20th centuryYale University Art Gallery
Sheet of sketches, Edwin Austin Abbey, n.d.Edwin Austin AbbeySheet of sketchesn.d.Yale University Art Gallery
Mistress Quickly: "Have not your worship a wart above your eye?" - Act I, Scene IV, Merry Wives of Windsor, Edwin Austin Abbey, 1889Edwin Austin AbbeyMistress Quickly: "Have not your worship a wart above your eye?" - Act I, Scene IV, Merry Wives of Windsor1889Yale University Art Gallery
"His house was known to all the vagrant train," illustration for Oliver Goldsmith's The Deserted Village (London and New York: 1902), p. 43, Edwin Austin Abbey, 1890Edwin Austin Abbey"His house was known to all the vagrant train," illustration for Oliver Goldsmith's The Deserted Village (London and New York: 1902), p. 431890Yale University Art Gallery
Dromio of Ephesus: "Why, mistress, sure my master is horn-mad," illustration for Act II, Scene i, Comedy of Errors, Edwin Austin Abbey, 1881Edwin Austin AbbeyDromio of Ephesus: "Why, mistress, sure my master is horn-mad," illustration for Act II, Scene i, Comedy of Errors1881Yale University Art Gallery
The Imprisonment of the Queen - Act II, Scene I, The Winter's Tale, Edwin Austin Abbey, 1891Edwin Austin AbbeyThe Imprisonment of the Queen - Act II, Scene I, The Winter's Tale1891Yale University Art Gallery
Arthur - Act IV, Scene III, King John, Edwin Austin Abbey, 1902Edwin Austin AbbeyArthur - Act IV, Scene III, King John1902Yale University Art Gallery
Sketch for Ex Libris: M.G. & E.A. Abbey, Edwin Austin Abbey, n.d.Edwin Austin AbbeySketch for Ex Libris: M.G. & E.A. Abbeyn.d.Yale University Art Gallery
"She then shines forth, solicitous to bless, in all the glaring impotence of dress" - illustration for Oliver Goldsmith's The Deserted Village (London and New York: 1902), p. 87, Edwin Austin Abbey, ca. 1890sEdwin Austin Abbey"She then shines forth, solicitous to bless, in all the glaring impotence of dress" - illustration for Oliver Goldsmith's The Deserted Village (London and New York: 1902), p. 87ca. 1890sYale University Art Gallery
Study for Puck, from A Midsummer Night's Dream, Edwin Austin Abbey, ca. 1893Edwin Austin AbbeyStudy for Puck, from A Midsummer Night's Dreamca. 1893Yale University Art Gallery
Study of a bespeckled, caped, old woman (recto); Study of a woman (verso), Edwin Austin Abbey, mid-19th to early 20th centuryEdwin Austin AbbeyStudy of a bespeckled, caped, old woman (recto); Study of a woman (verso)mid-19th to early 20th centuryYale University Art Gallery
Isabella at the Nunnery (study for .1103), Act I, Scene V, Measure for Measure, Edwin Austin Abbey, n.d.Edwin Austin AbbeyIsabella at the Nunnery (study for .1103), Act I, Scene V, Measure for Measuren.d.Yale University Art Gallery
Enter Time, as Chorus - Act IV, Scene I, The Winter's Tale, Edwin Austin Abbey, 1891Edwin Austin AbbeyEnter Time, as Chorus - Act IV, Scene I, The Winter's Tale1891Yale University Art Gallery
Early study for King - Act II, Scene III, All's Well That Ends Well, Edwin Austin Abbey, ca. 1891Edwin Austin AbbeyEarly study for King - Act II, Scene III, All's Well That Ends Wellca. 1891Yale University Art Gallery
The King on the wall of Flint Castle; "Yet know my master, God omnipotent and threat the glory of my precious crown"-Act III, Scene III, Richard II, Edwin Austin Abbey, 1902Edwin Austin AbbeyThe King on the wall of Flint Castle; "Yet know my master, God omnipotent and threat the glory of my precious crown"-Act III, Scene III, Richard II1902Yale University Art Gallery
The Spell, illustration for Act V, Scene i, The Tempest, Edwin Austin Abbey, 1891Edwin Austin AbbeyThe Spell, illustration for Act V, Scene i, The Tempest1891Yale University Art Gallery
Sketch for "With Jockey to the Fair," from Old Songs I (book published by Harper in 1889, previously published in Harper's Monthly Magazine), Edwin Austin Abbey, ca. 1889Edwin Austin AbbeySketch for "With Jockey to the Fair," from Old Songs I (book published by Harper in 1889, previously published in Harper's Monthly Magazine)ca. 1889Yale University Art Gallery
Sketch for "The Vicar(?)," from The Quiet Life (book published by Harper in 1890 and 1899, previously published in Harper's Monthly Magazine), Edwin Austin Abbey, ca. 1890Edwin Austin AbbeySketch for "The Vicar(?)," from The Quiet Life (book published by Harper in 1890 and 1899, previously published in Harper's Monthly Magazine)ca. 1890Yale University Art Gallery
Sketch of a little girl; preliminary study for New Year's card, 1937.3648, Edwin Austin Abbey, n.d.Edwin Austin AbbeySketch of a little girl; preliminary study for New Year's card, 1937.3648n.d.Yale University Art Gallery
Study of three heads of a woman, Edwin Austin Abbey, n.d.Edwin Austin AbbeyStudy of three heads of a womann.d.Yale University Art Gallery
Study for Twelfth Night (?), Edwin Austin Abbey, n.d.Edwin Austin AbbeyStudy for Twelfth Night (?)n.d.Yale University Art Gallery
The Oracle Defied, Act III, Scene ii, The Winter's Tale, Edwin Austin Abbey, 1892Edwin Austin AbbeyThe Oracle Defied, Act III, Scene ii, The Winter's Tale1892Yale University Art Gallery
Sketch for "Phillada Flouts Me," from Old Songs, Edwin Austin Abbey, 1886Edwin Austin AbbeySketch for "Phillada Flouts Me," from Old Songs1886Yale University Art Gallery
Friar Laurence: "Till holy church incorporate two as one" - Act II, Scene VI, Romeo and Juliet, Edwin Austin Abbey, 1902Edwin Austin AbbeyFriar Laurence: "Till holy church incorporate two as one" - Act II, Scene VI, Romeo and Juliet1902Yale University Art Gallery
Sketch of figures around a table - unidentified illustration for a play (?), Edwin Austin Abbey, n.d.Edwin Austin AbbeySketch of figures around a table - unidentified illustration for a play (?)n.d.Yale University Art Gallery
Study of an angel (for stained glass? for a ceiling?), Edwin Austin Abbey, n.d.Edwin Austin AbbeyStudy of an angel (for stained glass? for a ceiling?)n.d.Yale University Art Gallery
Lucentio: "Pardon, sweet father," from Act V, Scene i, Taming of the Shrew, Edwin Austin Abbey, 1892Edwin Austin AbbeyLucentio: "Pardon, sweet father," from Act V, Scene i, Taming of the Shrew1892Yale University Art Gallery
Lear, Kent, Fool, and Edgar - Act III, Scene IV, King Lear, Edwin Austin Abbey, 1902Edwin Austin AbbeyLear, Kent, Fool, and Edgar - Act III, Scene IV, King Lear1902Yale University Art Gallery
Study for Mariana, from Measure for Measure, Edwin Austin Abbey, n.d.Edwin Austin AbbeyStudy for Mariana, from Measure for Measuren.d.Yale University Art Gallery
Petruchio Overturns the Trencher, from Act IV, Scene i, Taming of the Shrew, Edwin Austin Abbey, ca. 1892Edwin Austin AbbeyPetruchio Overturns the Trencher, from Act IV, Scene i, Taming of the Shrewca. 1892Yale University Art Gallery
Study for Priest and the Great Lady (watercolor), Edwin Austin Abbey, n.d.Edwin Austin AbbeyStudy for Priest and the Great Lady (watercolor)n.d.Yale University Art Gallery
Claudio (reads from a scroll): "Done to death by slanderous tongues. Was the Hero that here lies," illustration for Act V, Scene iii, Much Ado About Nothing, Edwin Austin Abbey, 1890Edwin Austin AbbeyClaudio (reads from a scroll): "Done to death by slanderous tongues. Was the Hero that here lies," illustration for Act V, Scene iii, Much Ado About Nothing1890Yale University Art Gallery
1st page of "Merchant of Venice" Manuscript, Edwin Austin Abbey, ca. 1888Edwin Austin Abbey1st page of "Merchant of Venice" Manuscriptca. 1888Yale University Art Gallery
Unidentified illustration [Boy in a small boat], Edwin Austin Abbey, 19th centuryEdwin Austin AbbeyUnidentified illustration [Boy in a small boat]19th centuryYale University Art Gallery
"The swain responsive as the milkmaid sung" from The Deserted Village, Edwin Austin Abbey, 1890Edwin Austin Abbey"The swain responsive as the milkmaid sung" from The Deserted Village1890Yale University Art Gallery
Lancastrian Soldier: "Who's this? O God! it is my father's face, whom in this conflict I unawares have kill'd," from King Henry VI, Part III, Act II, Scene V, Edwin Austin Abbey, 1903Edwin Austin AbbeyLancastrian Soldier: "Who's this? O God! it is my father's face, whom in this conflict I unawares have kill'd," from King Henry VI, Part III, Act II, Scene V1903Yale University Art Gallery
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