End Of The World Collection (page 5)

Gothic Art: Last judgment, Damned in hell, Detail of reliefs of Pulpit, 1265-1268
LRI4584211 Gothic Art: Last judgment, Damned in hell, Detail of reliefs of Pulpit, 1265-1268 by Pisano, Nicola (c. 1220-84); Duomo, Siena

The Last Judgment: Hell (tempera on wood, 1432-1435)
LRI4613380 The Last Judgment: Hell (tempera on wood, 1432-1435) by Angelico, Fra (Guido di Pietro/Giovanni da Fiesole) (c.1387-1455); Museo di San Marco, Florence, Italy; Luisa Ricciarini; Italian

The last judgment Jesus Christ in a mandorle (Detrempe on wood, 15th century)
LRI4613321 The last judgment Jesus Christ in a mandorle (Detrempe on wood, 15th century) by Angelico, Fra (Guido di Pietro/Giovanni da Fiesole) (c.1387-1455); Museo di San Marco, Florence

Curtain of Revelation (1373-1383), n. 7: the elderly give glory to a lamb
JLJ4672017 Curtain of Revelation (1373-1383), n. 7: the elderly give glory to a lamb, symbol of Christ. Tapestry by Nicolas Bataille (1330-1405), 14th century

Hanging of Revelation (1373-1383), n. 58: an angel repands his cup. Below, n
JLJ4686982 Hanging of Revelation (1373-1383), n. 58: an angel repands his cup. Below, n. 65, the bete has seven heads and the Woman, sitting on her

Curtain of Revelation (1373-1383), n. 13: God and the Lamb, symbol of Christ. Below, n
JLJ4686970 Curtain of Revelation (1373-1383), n. 13: God and the Lamb, symbol of Christ. Below, n. 20, the three angels liberate the powers. Tapestry by Nicolas Bataille (1330-1405), 14th century

Curtain of Revelation (1373-1383), n. 3: John sees seven golden candlesticks surrounding
JLJ4686964 Curtain of Revelation (1373-1383), n. 3: John sees seven golden candlesticks surrounding a son of man. Tapestry by Nicolas Bataille (1330-1405), 14th century

Woman mounted on the Beast (monstrous), 11th century
AIS5390364 Woman mounted on the Beast (monstrous), 11th century by French School, (11th century); Bibliotheque Nationale, Paris, France; (add.info.: Painted miniature, 11th century)

Cartoon about science. Series on "the Comete of 1857"
JEB4915210 Cartoon about science. Series on " the Comete of 1857" : I want no ticket..." Engraving by Honore DAUMIER (1808-1879)

The End of the World Ms Ludwig XV 9 fol. 95v, 1469 (ink, colour washes
3077097 The End of the World Ms Ludwig XV 9 fol. 95v, 1469 (ink, colour washes, and tempera on paper) by Schilling, Hans (fl.1459-67) (follower of); 28.6x20.3 cm; J

The Virgin as the Woman of the Apocalypse, c. 1623-4 (oil on panel)
3077055 The Virgin as the Woman of the Apocalypse, c.1623-4 (oil on panel) by Rubens, Peter Paul (1577-1640); 64.5x49.8 cm; J

Detail from the Apocalypse, 1498 (1964). A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

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"Unveiling the Terrifying Beauty: A Glimpse into the End of the World" In a world where art imitates life, these haunting masterpieces transport us to a realm where darkness prevails and humanity teeters on the edge of oblivion. From Peter Bruegel's "Triumph of Death" to Gustave Dore's chilling illustration for The Bible, each stroke of paint or etched line reveals an apocalyptic vision that sends shivers down our spines. Bruegel's "Triumph of Death, " painted in 1562, depicts a desolate landscape overrun by skeletal figures and decaying corpses. It serves as a stark reminder that death is an inevitable fate awaiting all living beings. Similarly, Hans Holbein the Younger's "The End of Mankind" captures the essence of despair as mankind faces its ultimate demise. The Apocalypse Tapestry or Apocalypse of Angers, created between 1375-80, weaves together intricate scenes portraying destruction and chaos. These tapestries serve as harbingers of doom with their vivid depictions of fire raining from the sky and monstrous creatures emerging from dark corners. Among these nightmarish visions emerge The Four Horsemen - symbols synonymous with cataclysmic events. In Albrecht Durer's engraving from 1511, they gallop forth on their steeds; War brandishing his sword, Famine holding scales tipped towards starvation, Pestilence spreading disease like wildfire, and finally Death himself astride a pale horse followed closely by Hell. Gustave Dore adds another layer to this grim narrative with his illustration showcasing Death riding upon his pale mount in eerie harmony with biblical prophecy. As he passes through our mortal realm, Hell follows relentlessly at his heels – an ominous signifier that damnation awaits those left behind. Even amidst Bosch’s surreal masterpiece "The Garden Of Earthly Delights, " we find a panel dedicated to the horrors of Hell.