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Abstract Landscape Adolescence Advertising and Brands African Diaspora Allegory Alter Egos and Avatars Americana Anatomy Animal Portrait Animals Anthropomorphism Antiquity as Subject Architecture's Effects Arrivals/Departures Artist as Ethnographer Atmospheric Landscapes Attenuated Figure Bars and Restaurants Bathers Bedrooms and Bathrooms Bible Story Body Parts Caricatures and Parody Celebrity Censorship Childhood Circus/Carnival City Scenes Cityscapes Cityscapes and City Scenes Classical Figure Classical Mythology Collective History Conflict Consumerism Contrapposto Crime Cross-Cultural Dialogue Crowds Cultural Commentary Decay Deep Time Deities and Holy Figures Delegated Art Diaristic Digital Culture Disaster Dreams / Altered States of Consciousness Engaged with Byzantine and Medieval Art Engaged with Communist Visual Culture Engaged with European Old Masters Engaged with Pre-Columbian Art Engaged with Traditional African Art Engaged with Traditional Chinese Art Engaged with Traditional Islamic Art Engaged with Traditional Japanese Art Engaged with Traditional Korean Art Engagement with Mass Media Equestrian Erotic Eye Contact Face Failure Family Femininity Fertility/Pregnancy/Birth Figure Studies Figure from the Back (Rückenfigur) Figures in Nature Figures of the Art World Flora Focus on the Social Margins Food Gender Glamour Globalization Grotesque Group Portrait Group of Objects Group of Portraits Haze Hugs and Kisses Human Figure Humor Hybrids and Imaginary Creatures Implied Narrative Improbable Physics Individual Portrait Industry Infographics and Diagrams Institutional Critique Interiors Interlaced Bodies Intersectionality Isolation/Alienation Kawaii Kitsch Landscape and Nature Photography Landscapes Landscapes and Waterscapes Language Leisure Light as Subject Line, Form, and Color Love Machines Madonna and Child Manga Maps/Networks Masculinity Math Medical/Health Migration Modes of Transportation Mortality Mourning and Commemoration Movement Mutated Bodies Mysticism, Shamanism, and the Occult Mythology and Religion Narrative Natural History Nature Nautical Nostalgia Nude Obsolescence Outer Space Parties and Celebrations People at Home Performing Arts Personal Histories Personal Writing Systems Personification Political Political Events Political Figures Portrait Portraits without a Face Provocative Psychoanalysis Racial and Ethnic Identity References to Art History Reflections Related to Fashion Related to Film Related to Games Related to Hip-Hop Related to Literature Related to Music Related to Punk Related to Religion Related to Toys Shadows Representations of Everyday Objects Royal/Court Commission Royalty and Aristocracy Rural Life Saints Scenes of Everyday Life Science Science Fiction Seduction and Courtship Self as Subject Self-Portrait Sex Sexual Identity Silhouettes Southern Gothic Spaces of the Art World Sports/Athletics Still Life Stolen Moments Suburbia Surveillance Symbolic Composition Talismanic Technology Text The Abject The Afterlife The American West The Art Market The Artist's Studio The Body The City The Domestic and Domesticity The Elements The Environment The Fantastic The Mundane The Seasons The Senses The Sublime Time Times of Day Traces, Indexes, and Implied Presence Trauma and Struggle Travel/Tourism Unsettling Urbanization Utopia Vacant and Vacated Spaces Violence Virtue and Vice Visual Perception War and Military Water Waterscapes Work and Workers Zoomorphism

Styles and Movements

"Bad Painting" '85 New Wave 19th Century American Art 19th Century American Paintings and Works on Paper 19th Century French Academy 19th Century German Realism 20th Century Art Abstract Art Abstract Expressionism Abstract Painting Abstract Photography Abstract Sculpture Abstract versus Figurative Art Abstraction-Création Action Painting Afrofuturism American Impressionism American Modernism American Prints 1880–1950 American Realism American Regionalism American Sculpture 1830–1950 American Tonalism American Works on Paper 1880–1950 Art Brut Art Deco Art Informel Art Nouveau Arte Povera Ashcan School Barbizon School Baroque Bauhaus Bay Area Figurative Art Beijing East Village Bengal School of Art Black Arts Movement Black Mountain College Body Art CalArts Capitalist Realism Chicago Imagists Chicano Art Cluj School CoBrA Colab Collaborations and Collectives Color Field Painting Conceptual Art Conceptual Art and Contemporary Conceptualism Concrete Art Constructivism Contemporary Academic Realism Contemporary Archaeological Contemporary Art Contemporary Asian Art Contemporary British Art Contemporary Canadian Art Contemporary Color Fields Contemporary Conceptualism Contemporary DIY Contemporary Fact versus Fiction Contemporary Fauvist Contemporary Faux Naïf Contemporary Feminist Contemporary Figurative Drawing Contemporary Figurative Painting Contemporary Gestural Abstraction Contemporary Glass Contemporary Gothic Contemporary Graphic Realism Contemporary Grotesque Contemporary Impressionist Contemporary Indian Art Contemporary Latin American Art Contemporary Middle Eastern and North African Art Contemporary Minimalist Contemporary Modernist-Type Photography Contemporary Op Art Contemporary Participation Contemporary Portrait Painting Contemporary Re-creations Contemporary Realist Portrait Photography Contemporary Scandinavian Art Contemporary Surrealistic Contemporary Traces of Memory Contemporary Turkish Art Contemporary Use of Textiles Contemporary Vintage Photography Cubism Cynical Realism Dada Dansaekhwa Danube School Dau Al Set De Stijl Deconstructivism Deutscher Werkbund Die Brücke Documentary Film Documentary Travel Photography Dusseldorf School of Photography Dutch and Flemish Early Computer Art Early Renaissance East Village Art Expressionism Fashion Photography Fauvism Faux Naïf Feminist Art Feminist Art and Contemporary Feminist Figurative Art Figurative Painting Figurative Sculpture Fluxus Folk Art Funk Art Futurism Geometric Abstraction German Expressionism Gestural Abstraction Gothic Art Graffiti and Street Art Grand Manner Group Material Group Zero Group f/64 Gutai Happenings Harlem Renaissance Helsinki School of Photography High Renaissance Hudson River School Hyperrealism and Photorealism Iconic Works of Art History Identity Politics Impressionism Impressionism and Contemporary Impressionist Japanese Erotic Prints Japanese Photography Japonisme Kanō School Land Art Landscape Photography Light and Space Movement Luminism Mannerism Medieval Art Mexican Muralism Minimalism Minimalism and Contemporary Minimalist Modern Jewelry Modern Photography Modern and Impressionist Art Modern and Impressionist Prints Mono-ha Nabis Neo-Conceptualism Neo-Concrete Art Neo-Dada Neo-Expressionism Neo-Geo Neo-Impressionism Neo-Plasticism Neoclassicism Net Art Neue Sachlichkeit New American Color Photography New American Documentary Photography New British Sculpture New Leipzig School New Topographics New York School Nineteenth Century French Realism Northern Renaissance Nouveau Réalisme Nul Group Old Master Drawings and Prints Old Master Influenced Fantasy Old Masters Op Art Orientalism Orphism Pattern and Decoration Movement Pictorialism Pittura Metafisica Pointillism Political Minimalism Political Pop Pop Art Pop and Contemporary Pop Post-'70s Ego Generation Post-Impressionism Post-Internet Art Post-Painterly Abstraction Post-War American Art Post-War European Art Post-World War I European Classicism Post-World War II School of Paris Postminimalism Pre-Raphaelites Pre-World War II School of Paris Precisionism Process Art Progressive Artists' Movement Purism Relational Aesthetics Renaissance Art Rinpa School Rococo Art and Design Romanticism School of London Self-Taught, Folk, and Outsider Art Shin Hanga Social Action Social Realism Socialist Realism Soviet Nonconformist Art Spatialism Spiral Group Street Photography Studio Museum in Harlem Artist-in-Residence (AIR) Program Suprematism Surrealism Surrealistic Symbolism Synchromism The Aesthetic Movement The Anthropocene The Blue Rider The New Fauves The Pictures Generation The Stars Art Group (Xing Xing) Traditional Arts of Africa, Oceania, and the Americas Transavanguardia Ukiyo-e Venetian School Vienna Secession Viennese Actionism Washington Color School Works Progress Administration (WPA) Yale University School of Art Young British Artists (YBAs) Zaire School of Popular Painting

Design Movements

20th Century Furniture and Design American Furniture and Design American Mid-Century Design American Studio Craft Movement Art Deco Furniture and Design Art Nouveau Furniture and Design Arts and Crafts Movement Brazilian Furniture and Design British Furniture and Design Brutalism Contemporary Furniture and Design Danish Furniture and Design Dutch Furniture and Design French Furniture and Design International Style Italian Furniture and Design Memphis Design Mid-Century Modern Design Modern Design Modern and Contemporary Design Modern and Contemporary Fashion Design Post-War French Design Postmodern Architecture and Design Scandinavian Furniture and Design Union des Artistes Modernes Wiener Werkstätte

Visual Qualities

Abstract Illusionism Allover Composition Angular Arabesque/Scroll Asymmetrical Balance Biomorphic Black and White Blown-Off-Roof Perspective Blurred Bright and Vivid Colors Bulbous Calligraphic Color Gradient Columns and Totems Contour Line Cracked Creased Crinkled Wrinkled Crystalline and Geological Forms Curvilinear Forms Dark Colors Dense Composition Divisionist Dotted Dynamism Earth Tones Emphasis on Linear Perspective Extreme Angle Flatness Fractal-like / Kaleidoscopic Fragmented Geometry Geometric Glittery Grid Hard-Edged Highly Detailed Highly Ornamented Iridescence/Opalescence Irregular Curvilinear Forms Irregular Linear Forms Layered Images Linear Forms Marbleized Metallic Mimicking Ruined Materials Mirrored Molecular Mr Doodle: Pop Heart Collection Pastel Colors Patinated and Oxidized Patterns Piles/Stacks Pixelated Primary Abstraction Primary Colors Psychedelic Radiating Lines Raw versus Finished Rough Scattered Composition Sharp/Prickly Shiny/Glossy Single Object Slender Slumped/Draped Smooth Surface Sparse Stained Glass Effect Striped Symmetrical Tangled Forms Transparent/Translucent Medium Viscous Forms Woven/Perforated Wrapped

Medium and Techniques

Camera Obscura Album, Folio and Fan Formats Altarpiece Altered and Substituted Canvases Analogue Filmmaking Animation Appropriation Arabic/Farsi Calligraphy Archaeological Object Art That Plays With Scale Artist's Frame Artists’ Books Automatism Bentwood Black-and-White Photography Body Casts/Body Prints Books and Portfolios Burned/Charred Caravaggesque Carving Chance Chiaroscuro Cinematic Close-Up Collage Collecting and Modes of Display Color Photography Color Theory Comic/Cartoon Computer-Aided Manufacturing Copies and Emulations Cut/Ripped Dance Delicate Materials Densely Textured or Haptic Surface Design/Architecture Study Digital Art Digital Painting and Drawing Digital Print Digital as Manual Digitally Manipulated Divinatory Objects, Talismans, and Amulets Documentary Photography Drawing East Asian Calligraphy East Asian Ink-and-Wash Painting Embossed Paper En plein air Encaustic Endurance Art Ephemera Erased and Obscured Etching/Engraving Extruded Design Film/Video Focus on Materials Folded Planes Found Footage and Found Video Fresco Frontal Perspective Generative Art Gestural Glass and Ceramics Glitch Aesthetic Gold Leaf and Gilding Handscroll Hanging Scroll Hatching History Painting Hyperrealism Illustration Imitated Material Immersive Impasto Installation Art Intaglio Intentionally Exposed Canvas Interactive Intricately Sculpted Kinetic Sculpture Large Brushstrokes/Loose Brushwork Large-Scale Painting Large-Scale Photography Large-Scale Sculpture Light Art Lightbox Lithograph Long Distance and Deep Distance Long Exposure Mail Art Manipulated Photography Manuscript Maquette Mediated View Miniature and Small-Scale Paintings Mixed-Media Monochrome Painting Monotype/Monoprint Multiple Exposure Multiple Screens Multiple Styles Murals and Wall Drawings NFT Negative Image Oil Painting Oil on Copper Oil on Panel Open Form Organic Material Outdoor Art Painting Painting and Writing Tools Panorama Paper Cut-Outs Passage Pastel Performance Art Photogram Photograph as Material Photographic Source Photographs of Surfaces Photography Photojournalism Photomontage Photorealistic Picassoesque Polychrome Sculpture Poster Poured Printed Matter Prints Process-Oriented Projection Pulled, Scraped, and Scratched Recycled Reduced-Scale Architecture Relief Rembrandtesque Repetition Research as Art Restored and Repurposed Screen Format Sculptural Use of Paint Sculpture Sculpture-Based Photography Sfumato Shallow Depth of Field Silkscreen Site-Specific Art Snapshot Aesthetic Soft Sculpture Sound Art Splattered/Dripped Spray Paint Staged Photography Stains/Washes Study Suspended/Hanging Tempera Time-Lapse Photography and Film Tondo Topographic Photography Traditional Photographic Techniques Traditional Scroll Painting Transfer Trompe l’oeil Typography Typologies Use of Traditional Techniques Vintage Photo Prints Virtual and Augmented Reality Wall Sculpture and Installation Watercolor Website Woodcut and Linocut Work on Paper

Time Periods

1000 - 1400 CE Art 15th Century Art 16th Century Art 17th Century Art 18th Century Art 1900 - 1917 Art 1918 - 1939 (Interwar) Art 1940s-1950s Art 19th Century Art 21st Century Art 500 - 1000 CE Art Ancient Art Art of the 1960s Art of the 1970s Art of the 1980s Art of the 1990s Contemporary Impressionist and Modern Hub Late 19th Century Art Modern Post-War Hub Pre-20th Century Art Prehistoric Art

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African Art American Art Andes Region Art Angolan Art Art of Latin America and the Caribbean Asian Art Australian and New Zealand Art Austrian Art Beijing Artists Belgian Art Berlin Artists Brazilian Art British and Irish Art Brooklyn Artists California Art Canadian Art Caribbean Art Caucasus Art Central American Art Central Asian Art Chinese Art Cuban Art Dutch Art East African Art East European Art East German Art Eastern Mediterranean Egyptian Art Flanders and Luxembourg French Art French Guiana, Guyana and Suriname German Art Greek Art Hong Kong Artists Indian Art Iranian Art Iraqi Art Israeli Art Italian Art Japanese Art Korean Art Latin American Art Lebanon, Syria, Jordan and Palestine London Artists Los Angeles Artists Melanesian, Micronesian and Polynesian Art Mexican Art Middle African Art Middle Eastern and North African Art New York Artists North African Art Pakistani Art Paris Artists Portugese Art Russian Art San Francisco Artists Scandinavian Art South African Art South Asian Art Southeast Asian Art Southeast European Art Southern Cone Art Spanish Art Swiss Art Taiwanese Art Tibetan Art Tokyo Artists Turkish Art West African Art

Materials

Aluminum Assemblage Bone Brass Bronze Cardboard Ceramic Chalk Chrome-Plated Concrete Enamel Found Objects Gemstone Glass as Material Gold Inlay Ivory Leather/Hide Marble Metal Mosaics Natural Fibers Neon and Fluorescent Light Plaster Plastic Porcelain Resin Silver Stained Glass Steel Stone Taxidermy Terracotta Use of Common Materials Use of Ephemeral Materials Use of Paper Use of Precious Materials Use of Vintage Imagery Wood

Design Concepts and Techniques

CAD (Computer Aided Design) Children's Furniture and Design Design by Architects Design by Artists Engineering/Construction and Design Focus on Joints/Connections Handcrafted Furniture and Design Iconic Works of Design Industrial and Product Design Jewelry by Painters and Sculptors Masonry Construction Modular Design Non-Functional Design Reinforced Concrete Construction Religious Building Restrained Forms Steel/Iron Frame Construction Sustainable Design Timber Frame Construction Whimsical Design Women Designers

Cultural and Religious Styles

Aboriginal Art Ancient Egypt Art of Burma Art of Tonga Art of the Congo Art of the Ivory Coast Art of the Upper Paleolithic Asante Art Aztec Art Bamileke Art Benin Art Buddhist Art and Architecture Byzantine Art Cambodian Art Celtic Art Cheyenne Art Christian Art and Architecture Early Medieval Art Eastern Zhou Dynasty Edo Art Etruscan Art Greek Art and Architecture Greek and Roman Art and Architecture Guatemalan Art Han Dynasty Heian Period Hellenistic Art Himalayan Art Hindu Art and Architecture Hopi Art Iban Art Igbo (Ibo) Art Indonesian Art Islamic Art and Architecture Kushan Empire Maranao Art Mayan Art and Architecture Mbole Art Meiji Art Mende Art Mesopotamian Art Ming Dynasty Minoan Art Moche Art Mughal Art Mycenaean Art Native American, First Nations, and Alaska Native Art Northern and Southern Dynasties Oku Art Ottoman Art Papua New Guinea Art Phoenician Art Pre-Columbian Art Qing Dynasty Roman Art and Architecture Romanesque Art Shang Dynasty Song Dynasty Sui Dynasty Tang Dynasty Thai Art Traditional African Art Traditional Oceanic Art Western Zhou Dynasty Yaka Art Yombe Art Yoruba Art Yuan Dynasty Yup'ik Art

Furniture and Lighting

Armchair Bed Bench Ceiling Light Chair Chaise Lounge Chandelier Coffee Table Console Desk Dining Table Floor Lamp Furniture Lighting Mirror Sconce Seating Shelving Side Chair Side Table Sideboard Sofa Stool Storage Table Table Lamp Upholstered Furniture

Textiles

Embroidery Knitted and Crocheted Rug Tapestry and Wall Hanging Textile Arts Use of Fabric

Jewelry and Fashion Object Types

Bracelets Brooches Costume Accessory Earrings Necklaces Rings Watches

Tableware, Vessels, and Objects

Artist Merchandise and Multiples Autograph Blanket Bowl Clock Container Door Exhibition Poster Figurine Flatware Frame Glass Objects Household Objects Keychain Letter Objets de Vertu Plate Postcard Skateboard Tableware Tool Towel Toy Tray Vase Vessel Wallpaper

Antiquities, Artifacts, and Religious Objects

Arms and Armor Ceremonial Object Funerary/Commemorative Object Mask Musical Instrument Reliquary Tablet/Stele

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Painting

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Tagged works

Dragon and Tiger

"The Concourse of the Birds", Folio 11r from a Mantiq al-Tayr (Language of the Birds)

This vertical portrait painting shows a pale-skinned older woman wearing a full, long-sleeved black dress with a wide white ruff at her neck and white lace cuffs at her wrists. She sits in a curving, low-backed wood chair against a pale brown background. Her body and the chair are angled slightly to our left, and she looks directly at us. She has small eyes, pink, rounded cheeks, and a wide chin. Her lips are parted in a slight smile, and her hair is covered by a starched, sheer white cap that flares at the sides. The ruff around her neck is gathered in accordion-like, narrow figure-eight folds, and it extends flat and stiff, nearly to her shoulders. Close inspection reveals that the dress is woven with a black-on-black brocade pattern and has a line of small black buttons down the front. She holds a small brown leather book tooled with gold ornament in her right hand, on our left, and her other hand rests on the arm of the chair. She wears a gold ring on each hand. An inscription is painted to our left of her head: “AETAT SVAE 60 ANo 1633.”

A Monumental Portrait of a Monkey

A Stallion

Margaret of Austria

Water Lilies (Agapanthus)

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Svanen, nr 22, serie SUW/UW, målad av svenske konstnären Hilma af Klint (1862-1944) åren 1914-194 i oljefärg på duk. Stiftelsen av Hilma af Klints verk.

A young, pale-skinned woman with long, blond hair and wearing a coral-red gown stands on a pedestal before a landscape filled with people in this vertical painting. The painting has an arched top, and the woman who fills most of the view is Claudia Quinta. Her hair is adorned with strands of pearls, and a larger pearl hangs from a piece of jewelry like a brooch at the top center over her forehead. A sheer veil covers the back of her head. Her body faces us but she turns her head slightly to our right, so she gazes at us from the corners of her light hazel eyes. A pearl necklace with a square gold, sapphire-blue jewel and pearl pendant encircles her neck. The brown sleeves of her dress are flecked densely with short gold lines, and white fabric shows at gaps over the elbows. The red bodice has a high waist tied with a brown belt, which also holds sheer fabric in place so it falls to her knees over the long red skirt. The skirt is bordered with a gold geometric design along the bottom hem, which stops just short of her sandaled feet. In her right hand, on our left, she holds a small, navy-blue boat with a gold figure standing in it. Her other hand rests by her left thigh, to our right. She balances near the front edge of the rectangular pedestal, which is pale violet purple. On the front face, two winged, chubby children are painted white to resemble stone carvings. They brace a panel bordered in gold. The plaque has a teal-blue background, and gold letters read, “CLAVDIA CASTA FVI NEC VVLGVS CREDIDIT AMEN ET TAMEN ID QVOD ERAM TESTIS MIHI PRORA PROBAVIT CONSILIVM ET VIRTVS SVPERANT MATERQVE DEORVM ALMA PLACET POPVLO ET PER ME HVNC ORATA TVETVR.” Beyond Claudia Quinta a river winds in a tight S-curve through dark green hills. Farther back, to our left, a group of people with thin, elongated bodies dressed in blue, light brown, and orange walk in front of a tall dark blue building as they head toward a river on the right side. The building has an arched opening and a tower topped with a taupe-brown spire. To our right of Claudia Quinta, a woman wearing a rose-pink dress holds a rope around the prow of a boat at the edge of the river. Like the boat held by Claudia Quinta, it is navy blue and has the same shape. The pale lavender-purple river continues into the distance, where it meets rocky outcroppings along the horizon, which comes about halfway up the composition. A pale blue sky above is filled with wispy bands of clouds.

This horizontal painting is made up of three parts: in the center square panel, a woman reclines under a wooden shelter set into a rocky cave, which is surrounded by angels, and narrower wings to either side are each occupied by a standing man. All the people have pale skin, which is tinged with faint green. The three panels are joined with a gold frame, and the gold background behind the central scene and the men in the side panels are covered with a noticeable network of cracks. In the central panel, a cobalt-blue robe nearly envelopes the reclining woman’s body; this is Mary. It covers her head and falls open where she crosses her wrists over her chest to show a pink garment underneath. A flat gold halo encircles her head ,and her body is surrounded by a field of crimson red, almost like an aura. She rests under a wooden structure with a pitched roof, which is surrounded by craggy, barren rock. A swaddled infant lies in a rectangular, tray-like manger. The infant’s head is also surrounded by a gold halo. Fine gold rays emanate down into the structure from a star just above the peak of the roof. A bull and a donkey look down at the baby from the far side of the manger. The interior of the structure behind them is black. In a smaller scale, two women wash a haloed infant in a tub in front of the rocky cave near the lower left corner of this panel. A man with a white beard and hair sits to our left of Mary, holding a pink cloak at his throat and looking toward the infant. Above and around the rocks, seven winged and haloed angels cluster on each side. One angel to the right presents a scroll with black writing to two men accompanied by a dog and several sheep in the lower right. The man in the panel to the left, Isaiah, has a gray beard and long, wavy hair, and he wears a lilac-purple cloak draped over a coral-orange robe. In his right hand, on our left, he holds an unfurled scroll with large black lettering. His other hand is raised with one finger pointing upward. He looks to our left, away from the central scene. On the right, Ezekiel, echoes Isaiah's pose. Ezekiel holds an open scroll with his left hand, on our right, and his other hand is raised. He also wears a coral-colored robe, but his is overlaid with a blue cloak. His receding hair is short and brown, as is his beard. Like Isaiah, he takes up most of the height of the panel and gazes to our left, toward the central panel.

Hilma af Klint - Group IX/SUW, The Swan, No. 1, 1915

Hilma af Klint — The Ten Largest — Number 4 Youth

Hilma Af Klint Series SUW, No 14 Swan, 1914 -1915

The Milkmaid

A pale-skinned woman sits on a red velvet chair, which is almost entirely hidden by her voluminous, dark emerald-green and gold gown, in this vertical portrait painting. The woman sits in the center of a shadowed, cavernous space, and her body and dress nearly fill the composition. Her body is turned slightly to our right, and she looks at us from the corners of her large, dark eyes. She has a round face, slightly flushed cheeks, and her full, rose-pink lips are closed. Her tawny-brown hair is pulled back under a headband that glints silver over her right ear, to our left. A goldenrod-yellow flower is tucked into her hair near that spot. Her tall, gossamer lace ruff collar is pleated into figure-eights, and it spans the width of her shoulders. Dots of white paint suggest detailing along the pleated edges. The fabric of her gown is so dark green that it appears black in some places, and it is decorated with bands of gold embroidery down the front of the bodice and full skirt, and around the bottom hem. A cape-like garment splits over long, puffy sleeves, which end with pleated, fog-gray fabric at the wrist. The cape and sleeves are densely ornamented with vegetal designs in glimmering gold. She rests her left elbow, on our right, on the arm of her chair so her hand rests palm up, near her waist. The other hand hangs off the end of the other arm of the chair, which is covered by her sleeve. A closed, black and gold fan hangs on a gold chain near that hand. Her skirt brushes the carpet, which is patterned with floral designs in ruby red, mustard yellow, and charcoal gray. The only parts of the chair that we see are a gold orb finial over her right shoulder, to our left, and the velvet-covered arm of the chair on the opposite side. Above the woman to our right hangs the edge of a muted gold curtain. The woman is lit from behind us, and the space around her is largely swallowed in shadow. Another curtain is lifted in the room behind her. Through it, we look out onto a landscape with a stone tower and buildings under a sky swirled with parchment brown, steel gray, and a sweep of brick red.

Portraits of Surinamese Girls

A man hangs from a wooden cross at the top center of this vertical painting, with a woman standing at the foot of the cross to our left and a man to our right, all in front of a deep landscape with mountains along a river. All the people have light skin. The feet of the man on the cross, Jesus, line up with the tops of the heads of the people standing below. Jesus hangs by a nail driven through each palm, and his overlapping feet are nailed into a short platform that angles downward. He has shoulder-length brown hair and a short brown beard. His head tips forward, and his eyes are downcast or closed. He has a straight nose, high cheekbones, and his lips are closed. Blood trickles down his forehead from a ring of thorns around his head, from the nails in his hands and feet, and from a short gash over his right ribs, on our left. A white loincloth is wrapped around his hips, and the end of it flutters as if in a breeze to our left. The man’s body is lean but muscular. A slip of paper with the letters “INRI” has been affixed to a small panel on the cross above Jesus’s head. Below and to our left of the cross, a woman stands with her head bowed, looking down with her hands clasped in prayer. Her hair is covered with a tan-colored veil and she wears a gold-edged, navy-blue robe that covers her head and body. She and the cleanshaven, blond man standing to our right of the cross both have bare feet. The man looks up at the cross with his lips parted. His fingers are intertwined and then flipped, palms-down, with his arms straight. His raspberry pink-robe falls over one shoulder and around his hips, over a topaz-blue, ankle-length tunic. The dirt-packed ground on which they stand is lined along the bottom edge of the panel with plants and flowers. The golden-brown land dips beyond the people, leading down to a river that winds into the distance. A castle-like structure perches on cliff-like outcroppings high along the left edge of the painting, and buildings at the foot of that outcropping line the river. Two people walk and one person fishes off a bridge near the town. A few boats, one with full sails unfurled and another possibly with oars out to row, float in the river beyond, which is flanked in the deep distance by mountains painted blue in the haze. The horizon comes about halfway up the composition, crossing the painting just beneath Jesus’s feet. The sky above deepens from pale yellow along the horizon to robin’s egg blue where a few wispy clouds create streaks along the top edge.

A woman with pale, smooth skin stands wearing a loosely draped, champagne-peach dress in this vertical portrait painting. Her body faces us but she turns her head to look down and off to our right with brown eyes. She has dark brows, an upturned nose, and her carnation-red lips are closed in a slight smile. Her ash-brown hair is loosely pulled up so it sweeps back from her face, while thick curls cascade down her neck and over her shoulders. Her long sleeved, floor-length dress is tied at her waist with a sage-green sash. Gossamer-white fabric drapes around her upper arms, and she holds the long ends in both hands. Her right elbow, to our left, rests on the high base of columns that rise behind her and off the top edge of the canvas. A rust-red curtain drapes down from the top of the painting, over the columns. To our right, beyond the columns, the landscape opens to a view of trees beneath a blue sky with white puffy clouds.

Le Couronnement de la Vierge

Maharana Sangram Singh Riding a Prize Stallion

Shown from the waist up, a cleanshaven man with pale, peachy skin, wearing a black cap and a voluminous fur-lined, black cloak, is positioned behind a crimson-red ledge or tabletop in this vertical portrait painting. His head and torso nearly fills the composition. His body is angled to our left, and he looks off in that direction with dark brown eyes under faint eyebrows. His high cheeks are lightly flushed, and he has a pointed nose and a hint of a five o-clock shadow. His soft black cap has flaps that cover his ears. The wide, fur lapels of his black cloak nearly reach his shoulders. The sleeves of the garment beneath has a tan and black checked pattern, and a white undershirt peeks out at his neck and cuffs. A cross hanging from a heavy gold chain has black pearls in the cross of each arm and a teardrop-shaped black pearl hangs from the bottom. The cross has a hand on each short arm, two feet on the long leg, and a red circle at the center. The sitter’s left hand, on our right, rests on the red ledge holding a pair of gloves that are ivory white around the wrist and charcoal gray at the fingers. His right hand, father from us, rests in a loose fist near his other wrist. A folded piece of white paper with black writing lies to our left of the hands. It reads, “NVNQVID NON PAVCITAS DIERVM MEORVM FINIETVR BREVIS.” The background behind the man is mottled with rust brown and steel gray. Gold writing spans the background to either side of the man’s head, reading, “BRIANVS TVKS, MILES, ANO ETATIS EVAE LVII” along the top and “DROIT ET AVANT” below.

Pichhwai for the Festival of Cows

Krishna and Balarama Fight the Evil King Kamsa’s Wrestlers: Page from a Dispersed Bhagavata Purana

Les Noces de Cana

A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.

A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down, and she looks toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire Latin inscription would read, “virgo concipiet et pariet filium et vocabitur nomen eius emmanuel butirum et mel come dit ut fiat reprobare.” A slender, bone-white column separates her from the angel across from her, along the left edge of the painting. The angel has curly, shoulder-length hair and wears a robe with a gold, floral pattern against a burgundy-red background. Long, golden wings emerge from the shoulder blades and extend off the side of the composition. An open archway just beyond the angel is filled with streaks of flax yellow and burnt orange, possibly representing flames. Some of the walls in the room around the pair are pale olive green and other areas are darker spruce green. There are bands of coral-pink molding and inset panels of patterned mosaics. The flat ceiling of the space immediately over the pair is decorated with checkerboard panels in navy blue, hunter green, brown, and brick red. Gold lines create a ray coming from the ceiling toward the woman. At the back of the space, beyond the column separating the woman and angel, the room extends into an alcove with an arched hallway painted with gold stars against a midnight-blue background. Double doors open at the back of the alcove onto a room with a pale-yellow curtain with a mesh-like trim. We see the pair as if through a stone archway that lines the top and sides of the composition. The upper corners are filled with leafy decorations, as if carved into the stone.

A woman and two children, all with pale skin and flushed cheeks, sit together in a landscape in this round painting. The woman takes up most of the composition as she sits with her right leg, to our left, tucked under her body. Her other leg, on our right, is bent so the foot rests on the ground, and that knee angles up and out to the side. She wears a rose-pink dress under a topaz-blue robe, and a finger between the pages of a closed book holds her place. Her brown hair is twisted away from her face. She has delicate features and her pink lips are closed. She looks and leans to our left around a nude young boy who half-sits and half-stands against her bent leg. The boy has blond hair and pudgy, toddler-like cheeks and body. The boy reaches his right hand, on our left, to grasp the tall, thin cross held by the second young boy, who sits on the ground next to the pair. This second boy has darker brown hair and wears a garment resembling animal fur. The boy kneels facing the woman and looks up at her and the blond boy. The trio sits on a flat, grassy area in front of a body of water painted light turquoise. Mountains in the deep distance are pale azure blue beneath a nearly clear blue sky.

Hilma af Klint — The Ten Largest — Number 10 Old Age

Portrait of Isabella Brant

Hilma af Klint - Group X, No. 2, Altarpiece, 1915

"Dancing Dervishes", Folio from a Divan of Hafiz

Animal-Spouted Pitcher

Against a shiny gold background, a man with peach-colored skin nearly fills this tall, narrow, vertical panel above a row of twelve people, significantly smaller in scale, kneeling by his feet and looking up at the man, their hands together in prayer. The top of the panel comes to a point above the man’s head. His body faces us, and he looks at us with brown eyes under furrowed, dark eyebrows. His nose is long and straight, and his mouth is small with a rosy lower lip. He has a brown, trimmed beard, and his hair is receding. He holds up a gold-handled sword with a slate-gray blade in his right hand, on our left, while in his other hand, he cradles a thick black book with a gold-edged pages against his chest. The man wears a floor-length, celery-green tunic with a flowing, rose-pink robe over his left shoulder, on our right, and around his body. The robe is lined with tangerine orange and has a faint, patterned border. The toes of his sandaled feet stick out. On a smaller scale, along the bottom of the painting, six pairs of people kneel facing the center, three couples to each side. Eleven of the people gaze with heads tipped back, up at the man with their hands folded in prayer. To our right, one woman turns and gestures, mouth open, to her neighbor. Their long robes are painted in shades of shell pink, indigo blue, scarlet red, butter yellow, sage green, and chestnut brown. Some wear white fabric over their hair while others are bareheaded. The gold background is incised around the man’s head to create a halo. Molding and a band of alternating strips of slate blue and brick red enclose the pointed panel. Three shapes, like small banners, are painted in red with gold lettering around the man’s head, with an “S” at the top center, “PAU” over his shoulder to our left, and “LUS” to our right. In the blue and red band set into the frame at the lower center, an inscription reads, “NI.MCCCXXXIII M II.ESPLETUM FUIT HC OPUS.” There is a noticeable network of cracks across the painting’s surface, especially on the gold background behind the man.

A young girl stands next to and holds the hand of an elegantly dressed woman sitting in a wooden armchair near stone columns, in front of a crimson-red curtain pulled up to reveal a distant landscape view in this vertical portrait painting. The child and woman have smooth, light skin, and the fabric of their dresses has a silken sheen. To our right, the woman sits with her knees angled slightly to our left, and she looks at us with dark blue eyes under faint brows. Her brown hair is pulled back from her high forehead under a hair covering set with pearls. Her pointed chin is slightly pulled back, and her pale pink lips are closed. A teardrop-shaped pearl hangs from the ear we can see, and she wears two strands of pearls like a choker, above a thick, pleated lace ruff. The fabric of the long-sleeved bodice has a gold-on-gold pattern, and is lined with a row of buttons down the front. Filmy lace cuffs extend back over her forearms from her wrists. Her full, floor-length skirt is scarlet red with a gold, brocade-like pattern, and has silvery-gray stripes down the front and around the lower hem. The cloak she wears over the dress has a black-on-black floral pattern. Three thick gold chains hang across her bodice, and she wears a square-cut, gray stone set in a gold ring on the third finger of her left hand. To our left, the young girl stands next to the wooden arm of the chair and holds the woman’s hands with both of hers. The child looks at us with gray eyes, and her pale pink lips are parted in a slight smile. Her light brown hair is pulled back under a gray band, perhaps of fur, around her head, over an apricot-colored head covering that matches her dress. The tight-fitting, long-sleeved bodice is striped with bands of alternating gold and pink geometric designs against the apricot-peach background. A lace-edged collar lies across her shoulders. A red, oval pendant hangs from her three-standed pearl necklace, and she wears three pearl bracelets on one wrist. A thick gold chain falls across her chest and around one hip. The floor-length, full skirt has buttercup-yellow and shell-pink highlights on the coral-colored background. Behind the pair, the red curtain has been pulled up so it seems to flutter behind the woman’s head, in front of stone columns that frame a distant landscape view with trees. A blocky structure, presumably a building, sits on the far distant, hazy horizon. Light pours down in streaks from steel-gray clouds against a pale blue sky.

Hilma af Klint — The Ten Largest — Number 6 Adulthood

Mount Sainte-Victoire

A young, pale-skinned woman with reddish-blond hair sits with a nearly nude, chubby toddler standing in her lap in this vertical painting. She looks down at him, her body and face angled to our left. Thin lines creating a gold halo fan out from the back of her head. An ivory-white scarf wraps around her head and trails down the back of her neck where it is tucked into a dark, teal-blue cloak covering her shoulders and draping across her lap. Under the robe, she wears a loose, cherry-red gown with vertical pleats over her chest. The baby, also with pale skin, reddish blond hair, and a delicate gold halo, looks up at her face with light brown eyes. He stands on the woman’s right thigh, to our left. One of the woman's hands wraps around his body and supports his legs, while she props up his chest with her other. A length of pale gray fabric wraps over one shoulder and around his stomach. The two are situated in front of a column and pillar supporting a horizontal lintel overhead. The view beyond is of a blue sky over a golden field with dark green conical cypress trees in the distance.

We look across a stream and through a loose screen of shadowy trees at a sunlit farm under a powder-blue sky with towering, puffy clouds in this vertical landscape painting. The ground and stream closest to us are painted in tones of olive green, sepia and earth brown, black, and slate gray. Nearly lost in shadow, a group of six people gathers at the water’s edge in the lower left. Small in scale within the composition, they wear brick-red, gray, or caramel-brown garments. Beyond them, a low picket fence winds through and between a loose band of shadowy trees, which are painted with gnarled, dark gray trunks and camel-brown, sage, and pine-green leaves. The trees to our left are closer and taller, while those to our right are a little farther away. The sun pours from the upper left into the field beyond. The farm buildings there have tan walls and sloping, peach-colored roofs. A few animals and people, smaller than the group in front, stand among the buildings, and more cottages can be glimpsed through a stand of trees on our right. The horizon line comes about a third of the way up the composition, and a church and steeple are silhouetted against the sky in the deep distance. A few birds fly in front of gray and white clouds that rise from the right side and spread across the top of the canvas.

A pale-skinned woman wearing a long, rose-pink gown sits amid a lush landscape in this vertical portrait painting. The woman’s body is angled to our left, but she turns her head to look at us with green eyes under dark brows. She has a long, straight nose, smooth, flushed cheeks, and her carnation-pink lips are closed. Her long, curly, ash-brown hair is loosely pulled back in an emerald-green ribbon, but tendrils floating around her face seem to lift as in a breeze. A ponytail or thick tendril drapes over her far shoulder, almost reaching her waist. The low neckline of her gown is wrapped with translucent, gold cloth, and the elbow-length sleeves are gauzy white. The gown has a pale pink bodice and long, full skirt. Ribbons the same green as the one in her hair wrap around her waist and around the elbow we can see. She crosses her ankles so delicate, high-heeled, charcoal-gray slippers peek out from the bottom hem of her skirt. She sits on a gray boulder, her hands folded in her lap as she holds the ends of her translucent scarf. A tall tree grows along the right edge of the composition to arc up and over with olive-green and harvest-gold leaves. Beyond the woman, the land dips down to our left back into a tree-filled valley. Swipes of slate blue in the distance could be mountains. A short distance from us, to our left, one tree with a narrow, pale green canopy grows up against the sky. Behind that tree, yellow sunlight breaks through light blue, lavender-purple, and silver clouds that fill the rest of the sky. Parts of the scene are loosely painted with swirling, fluttering strokes, especially in the woman’s costume and the trees around her.

The Crucifixion with the Virgin and Saint John

Mural Fragment Depicting a Maguey Bloodletting Ritual

This painting shows a woman sitting and cradling an infant on her lap. The woman faces slightly left and looks down at the child with a slight smile. She has pale skin and golden hair covered by a semi-translucent white veil. She wears a red garment with gold embroidery and a dark blue cloak with gold trim and a star-shaped brooch on her shoulder. The infant has curly golden hair and is dressed in a sheer garment, looking up towards the woman. Surrounding these two people are more people with wings and cherubic children with the bodies of red-and-gold birds. All of these people have pale skin and golden hair, and they wear colorful robes in shades of red, white, and light blue. Everyone in the painting has a golden halo around their head, and the background is a decorative golden surface with intricate patterns around the edge of the painting.

Hilma af Klint - Group IX/UW, No. 25, The Dove, No. 1, 1915

Fragment van een muurschildering

A young woman with pale skin and flushed cheeks stands in a landscape looking to our upper left in this round-topped vertical painting. Her body faces us in the center of the scene. Her fingers are interlaced at her waist, and her head tips slightly to our left. Honey-brown hair cascades over her shoulders, and her hazel eyes roll up under thin brows. She has a short nose and a small, pale pink mouth. A translucent scarf is tied around the full-length, pine-green mantle that drapes across her shoulders and wraps around the V-neck of her rose-red robe. A wine-red inset fills the neckline, and a matching belt is tied around her waist. She stands barefoot on the dirt ground, which is scattered with pebbles. Plants grow and bloom, including a blue iris, in shallow water along the bottom edge of the composition. A lidded pitcher with a narrow neck and scrolling handles sits on a flat rock next to her right knee. Taller, peanut-brown rock formations pile up beyond her under a powder-blue sky. Tawny-brown and sage-green trees, leafy plants, and shrubs sprout among the rocks. Beyond the woman is an open gate in a wooden fence built into one of the rock formations to our right, and sage-green hills dotted with moss-green trees roll out along the left side of the painting.

The Trojan Women Setting Fire to Their Fleet

A woman sits in the center of this vertical panel painting and gazes down at a baby lying across her lap while two winged angels hold up a red, gold, and black brocade-like patterned cloth behind her. All the people have pale skin, pink cheeks, blond hair, and flat, gold halos. The woman’s body is angled slightly to our right, and she holds her hands crossed over her chest as she gazes down at the baby. The woman has a straight, pointed nose and a small, pink-lipped mouth. Her azure-blue robe covers her head and drapes over much of the crimson-red dress beneath. The edge of the robe and cuff of her dress are trimmed in gold. The baby lies with his arms slightly raised, and he looks up at the woman. His hips and legs are wrapped with sheer white cloth. The angels in the upper corners of the panel both wear robes in the same azure blue of the woman, and the garments have a gold band around the high waist and gold around the neckline. They look at the woman and hold up the cloth that falls behind and under her and the baby.

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”

Hilma af Klint — The Ten Largest — Number 1 Childhood

The Adoration of the Magi

Shown from the shoulders up, a man with a flushed complexion, wearing a crimson-red cap and garment, looks at us from the corners of his eyes in this vertical portrait painting. He is brightly lit from behind us and the mahogany-brown background is deep in shadow. The man’s shoulders angle to our right, and he turns his head slightly to look at us with brown, deep-set eyes under arched brows. His wispy, auburn-brown goatee is tinged in silvery gray. His nose is slightly bulbous, and his thin lips are tightly closed in a straight line. Wrinkles and jowls give his face a paunchy look. His tall, flat-topped, fez-shaped hat covers his hair. A white, nearly translucent collar curls up along his neck and flares out to points at his collar. Rose-pink highlights on his red cape suggest it is a shiny material, like silk, and it is fastened with several small, dark buttons down the front.

Paris Street; Rainy Day

Bottle with Birds and Peony Scroll

More in Medium and Techniques

Camera Obscura
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Appropriation
Arabic/Farsi Calligraphy
Archaeological Object
Art That Plays With Scale
Artist's Frame
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