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Albert (René) Grenier (1858–1925)

Selbstbildnis

Der Maler Theodor von Hörmann

Adolph Heinrich Joseph Sutro

Allegory of Sacred Music

Shown from the waist up, a woman with pale skin and brown hair, wearing a dark corset and white fabric over her shoulders, looks down at needlework in her hands in this vertical painting. Her cheeks are rosy and her dark hair is pulled back, though it seems looser down the sides of her face. A small, coral-red, crescent shape at the back of her head could be covering her hair or holding it in place. White, nearly translucent fabric lies loosely across her shoulders over a dark, moss-brown, long-sleeved dress. Her breasts swell over the squared, lace-trimmed neckline. She holds white fabric and perhaps a needle in her hands, which rest on a tan cushion on her lap. The scene is loosely painted throughout so some of the details are difficult to make out. A darker spot along her right index finger could be a thimble. The background is the same olive-tan of the cushion.

Mrs. Nadassy

Shown from the chest up, a pale-skinned young man with dark hair and a brown mustache and goatee looks at us from the corners of his dark eyes in this vertical portrait painting. His body and face are angled to our left, and his left eyebrow, closer to us, is slightly cocked while other is low over his other eye. He has a straight nose, a square jaw, and his pink lips are closed. His short, brown hair lays flat against his head but curls around the ear we can see. He wears a pecan-brown vest over a black, long-sleeved shirt with a white, lace-edged collar at the neck. His garments blend into the peanut-brown background so the light falling from the upper left highlights his features and white collar.

Das Bittenlernen (Familie Reiter)

A Young Woman Buying a Pink from a Young Man

Unidentified Woman

Portrait of a Woman in Gray

Shown from the waist up in front of a black background, a young woman with pale white skin and curly brown hair looks directly out at us over her shoulder with her body angled to our left in this vertical portrait. She has dark brown eyes, a straight nose, smooth skin, and her pink lips are closed. Curls fall across her forehead but the rest of her hair is pulled up under a white lace scarf, called a mantilla. The mantilla is tucked under the wide orange and black shawl wrapped around her shoulders. She clasps her hands at her waist, and her hands and forearms are covered with long white gloves that disappear under the shawl.

Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.

Familie Markl

Shown from the chest up, a clean shaven, young man with pale, rosy skin and curly, mahogany-red hair, looks at or toward us against a black background in this vertical portrait painting. His body is angled to our left, and he turns his face slightly to look our way with sienna-brown eyes under curved eyebrows. He has a long, prominent nose and small thin pink lips. His shoulder length hair curls tightly around his face and covers his ears. He wears a tomato-red shirt with a high collar trimmed with white.

Shown from the hips up, a young man with pale skin and wearing black clothing sits with his body angled to our right as he turns to look at us in this vertical portrait painting. He looks out with green eyes under hooded lids. Light falls across his face from the upper left so his bumped nose casts a shadow on his high cheekbone. He has a wispy mustache over full, pink lips, which are slightly parted. His hair falls to his shoulders in auburn-brown curls, framing his slender face. Two silvery tassels hang on cords from a tall, wide, flat, bright white collar, which contrasts with the velvety black of his voluminous, long-sleeved jacket. His left hand, farther from us, rests on his knee and the other hand is curled so the back of his knuckles press against his right hip, closer to us. A patch of crimson red near that hand could be a pillow on his chair. His hat rests, presumably on a table, just beyond his legs. The hat has a tall, tapering, conical crown with a flat top. The shadowy wall behind him is mottled with slate gray and caramel brown, with a slightly darker panel to suggest a shallow niche.

Edward L. Davenport

Unidentified Man

Henri-Charles Maniglier

The Burgomaster

Thomas Hicks

Unidentified Woman

Unidentified Man

Shown from the chest up, a young man with a plump, pale-skinned face hooks one elbow over the back of a wooden chair and looks at us in this vertical portrait painting. The man’s body faces our right as he turns his head over his right shoulder, closer to us, to gaze out with brown eyes under lifted brows. His nose ends with a round bump, and his round cheeks are flushed. He has a wispy mustache over full pink lips, which are parted. He wears a tall-crowned, brimmed black hat over a cloud of wavy, shoulder-length black hair. A lace-edged white collar spreads over an ink-black, satin coat. His right elbow is planted across the back of the chair, which has carved finials to either side. That hand is closed in a fist, which may hold something. The man’s hat casts a shadow on the right side of the taupe-gray wall behind him, where the artist has signed the painting with two monograms of his initials, “HF.” The brushwork is loose throughout, especially so in the man’s clothing.

Unidentified Man

Unidentified Woman

Unidentified Woman

Unidentified Man

Unidentified Man

Unidentified Man

Coonley family

Lilliputian King, with John Drummond and Professor Cromwell

Portrait of a Lady

Schuyler Colfax

Shown from the lap up against a dark background, a pale-skinned woman wearing a black dress looks out at us in this vertical portrait. Soft light coming from our left highlights her oval face, the peach blush on her cheeks, and her crisp white collar, cap, and cuffs. Her brown hair is pulled back under the cap that flares slightly over her ears and the wide, lace-trimmed collar covers her shoulders. She has dark eyes, a straight nose, and her pink lips are slightly parted. Her left arm, on our right, rests on a table covered with a rose-red patterned carpet next to two pieces of fruit, perhaps apples, and a book fastened with metal clasps. She rests her other arm on the arm of the wooden chair and holds a deep pink carnation the same color as the carpet. She wears a ring on the third finger of each hand. The artist signed the work with black paint against the dark background near the upper right corner: “Rembrandt. f.1656.”

Miles King Jr.

On the River

Shown from the waist up, a light-skinned man sits sideways in a wooden chair so the arm closer to us rests along the chair’s back in this vertical portrait painting. Brushstrokes are visible throughout, especially in the clothing and hair. The man’s right arm, to our left, drapes across the back of the chair. His face turns slightly to our right, and he looks at us with gray eyes under black, curving brows. He has an oval face with high cheekbones and a snub nose. His coral-pink lips are closed and framed by a mustache and pointed patch of hair under his lower lip. He is lit from our left so the far side of his face is in shadow. His loose, curly brown hair cascades over his shoulders. He wears a tall black hat with a stiff, wide brim with a black rosette or pompom on the brim to our right side. The hat is tipped slightly to one side so it angles away from us. A flat, stiff, white collar extends from his chin down to his shoulders, and two tassels hang at this throat. The voluminous sleeve along the back of the chair has a gold pattern picked out in loosely painted, swirling, feathered, and flaring lines against a black background. The jacket is unbuttoned along the forearm to reveal a stark white undershirt that is gathered with a narrow ruffle at the wrist. The chair has a crimson-red center framed by wooden rails to each side and along the top. The background is earth brown to our right of the man, and deepens to dark shadows along the left. A coat of arms, the size of the man’s palm, hangs from the back wall. Three black cow heads create an inverted triangle on a gold field. Under the coat of arms the artist inscribed, “AETA SVAE.22 1645.”

Zachary Taylor

The image shows five individuals standing closely together in a line. On the left is a man in a dark blue coat with a gold emblem, beige trousers, and black shoes. Next to him is a woman in a black dress with a lace collar. In the center is a young boy in a brown suit with gilt buttons. To the right stands a young girl in a white dress with pink ribbons, and a taller woman in a similar dress holding a parasol. The background shows lush green trees and a clear blue sky.

Shown from about the waist up, a light-skinned man with sagging jowls and a double chin wears a fur garment and hat, a large teardrop pearl earring, and gold chains in this vertical painting. In front of a cracked gray stone wall, the man's body is angled to our right but he turns his face to look at us with brown eyes under a furrowed brow. He has a bulbous nose, and his lips are slightly parted under a wide, wispy mustache. His brown hair is mostly hidden under the tall dark brown fur hat, which is wrapped with a gold chain with a gold medallion at the front. The chestnut-brown fur coat looks especially fuzzy along the neckline, which is also encircled with a thick gold chain. A gold, crown-shaped pendant with a black brush hangs over his right shoulder, closer to us. He holds a gold-tipped cane with his right hand, his thumb extended along the cane. The artist signed and dated the work in the upper right corner, "Rembrandt f: 1637."

Unidentified Man

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.

La Femme au miroir

Meta-koosega

The Holy Family with Saints Anne and Catherine of Alexandria

This painting shows a woman sitting at a round table. She has fair skin, sharp cheekbones, thick eyebrows, and pale lips with one side of her mouth raised in a partial smile. She has short brown hair with bangs across her forehead. She is wearing a black dress with a high collar, a pale yellow bow around her neck, and a white apron over her lap. In her hand, she holds a small, translucent glass that rests on the table. The background is a blurred blend of earthy tones, including brown, gray, and dark green, which suggest a wall behind her. The brushstrokes in the painting are thick and visible.

Alfred W. Ely

William Lee

The Flower Girl

Thomas Stone

Still Life: Balsam Apple and Vegetables

Edward Sheriff Curtis Self-Portrait

This vertical portrait painting shows the head, shoulders, and chest of a pale-skinned young man in front a cream-white, stone window that opens onto blue sky. The man’s body is angled slightly to our left and he looks directly at us with wide-set, pale blue eyes. He has smooth skin, a rounded nose, a wide jawline, and full, light pink lips. He wears a brimless crimson-red cap over brown hair that curls over his ears and down to the nape of his neck. His slate-blue jacket is lined with brown, perhaps fur, around the high neck and down the front. The jacket has puffy sleeves and vertical pleats over the chest. He is positioned in front of the stone opening, the edges of which run parallel to top and sides of the composition. Vivid blue sky fills the opening behind the young man.

Madame Roulin and Her Baby

Madame Case

Figure 45: Contraction électrique forte des triangulaires des lèvres et des sourciliers: douleur et déspoir

Portrait of Isabella Brant

Émilie

Abraham Lincoln and Family

This painting shows a young man against an olive-green background. The man is standing, his body partially turned to the right, with one hand on his hip and the other near his waist. He is looking at us with a neutral expression. The man has light skin and short brown hair under a black hat with pointed ends on either side. He wears a dark outfit with a high white collar and puffed black sleeves. A thin gold ring is visible on his right hand. The green background has visible brushstrokes and some slight variation in color.

Margaret Fuller

The great Jewish bride

The Sunlight

We look slightly down into a lime-green and white rowboat carrying a woman holding a baby and a man in this nearly square painting. The man wears midnight-blue shoes, pants, jacket, and soft, floppy cap. He sits with his back to us, bending forward to row the boat, which is cropped by the bottom edge of the canvas. The left side of his ruddy face is visible over his left shoulder. The woman and baby both have pale skin. The woman and baby sit across from the man, facing us to our left in the bow. The woman’s long-sleeved, sky-blue dress is crosshatched with pink lines. The baby leans back in the woman’s arms, and wears a pink dress, blue socks, and brown shoes. The wide-brimmed hats on both the woman and baby are painted pale celery green. They gaze toward or just past the man. The corner of the boat’s sail, also painted pale green, is pulled taunt by the wind to our left. Azure-blue water surrounds the boat up to the high horizon line, which brushes the top edge of the painting. The shoreline in the distance is lined with trees and dotted with white houses with red roofs.

Seated African Woman

Jean Marie Soulier

Figures in the Woods

Inside the Bar

General Nathaniel Lyon

Child Asleep (The Rosebud)

Roses in a Vase

Christ and the Virgin in the House at Nazareth

[The Oriel Window, South Gallery, Lacock Abbey]

Young Woman with Ibis

John Samuel Sherburne

Alexander Hamilton

Madame X (Virginie Amélie Avegno Gautreau)

Shown from the chest up, a clean-shaven, pale-skinned man holds one hand to his chest and rests the other on a rug-covered ledge with the other in this vertical portrait painting. The man’s body is angled to our left, and he looks down in that direction with dark eyes under thick brows. Crow’s feet crinkle at the corners of his eyes, and there are dark hollows underneath. Soft jowls hang to create a slight double chin. His thin lips are set in a line over a wide, round chin, which is darkened with a five o’clock shadow. He has chin-length, reddish-blond hair, and straight, wispy bangs sweep loosely across his high forehead. He wears a white chemise under a gold, brocade garment, which is mostly hidden by a slate-blue cloak. The cloak is lined with spotted fur, which is turned over to create a wide collar across his shoulders. The sleeve on his left arm, to our right and closer to us, splits over a dusky-pink sleeve. Two gold buttons on the cloak there are decorated with thistle plants and blossoms. The fingers of his right hand, to our left, are gathered like a closed rose bud at his chest. He wears a gold ring on the index finger of the other hand, which rests on the end of the gray stone ledge so his fingertips brush the tapestry draped there. The man is lit from our left against a black background.

Trial Piece Worked on Both Sides

Man of the Djard Family

Excellent Ox, Tokyo National Museum, Japan

Dame in zinnobergrünem Kleid

Mädchen in rotem Kleid

A woman with pale white skin and her blond hair covered by a wide veil is shown from the waist up in this vertical portrait painting. Her folded hands rest on the lower edge of the panel, suggesting that she sits just on the other side, close to us. The transparent white veil covers her blond hair and falls in stiff, wide panes down in front of her shoulders. Her hair is pulled back behind a black ribbon over a high forehead. Her light brown eyes are downcast and she has a straight nose and full, pale pink lips. Her chest is covered by another veil and is tucked into the deep V-neck of her long-sleeved, black dress. A wide scarlet-red belt adorned with an ornately filigreed gold belt buckle encircles her narrow waist. Her skin, white veils, and red belt contrast sharply with her velvety black dress and the dark pine green of the background.

Dudrenec

L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)

Thomas Jonathan Jackson

The Night Watch Militia Company of District II under the Command of Captain Frans Banninck Cocq

As painter to the king of Spain, Francisco de Goya also designed tapestries for the royal residences. To work out his designs, he first made small oil sketches and followed them with full-scale painted cartoons that served as guides for the king's weavers. This cartoon was produced for a tapestry in a series decorating the dining room in the Royal Palace of El Pardo, outside Madrid.

Eugène Murer (Hyacinthe-Eugène Meunier, 1841–1906)

Hebe

Shown from the chest up, an older, pale-skinned man dressed in scarlet red faces us in this vertical portrait painting. His slender body is turned slightly to our right, but his head turns back to our left so he gazes at a point just over our left shoulder. His large, deep-set dark blue eyes are lined with crow’s feet over high, angular cheekbones. His dark brown beard is shot through with silvery gray, and he has brown, chin-length hair and bangs across his lined forehead. His red garment has a high neck, and the opening down the front is lined with white, perhaps fur. A black sash drapes over his left shoulder, to our right. He is illuminated with warm light from the upper left and set against a dark brown background. A portion of an inscribed plaque is visible just over his right shoulder. It reads, “…TIS …OIX.”