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Shown from the knees up, a pale-skinned woman sits in front of a vast landscape and holds a nude baby boy on her lap in this horizontal painting. The woman, Mary, sits with her knees angled to our left, but she looks at us from the corners of brown eyes. She has a delicate nose, smooth cheeks, a pointed chin, and her pink lips are closed. A few strands of blond hair escape from braids that overlap across the top of her head. She wears a rose-red dress over a translucent white undergarment, which is visible along the neckline and on the forearms. A cloth striped with azure and powder blue, pale pink, lemon yellow, and teal drapes across her seated thighs and wraps back around her hips. One hand rests in her lap near one of the baby’s feet, and the other braces the child’s other hip. The baby, Jesus, has tightly curled blond hair and a flushed face. His body resembles a somewhat muscular adult. Jesus rests his shoulders back against the woman’s chest and turns to look up at her. One hand touches one of her breasts and the other holds a butterfly by its parchment-yellow wings. The foot not by the woman’s hand rests on a gold dagger near the woman’s far hip. A gnarled tree with dark green leaves winds from a rocky crag to our left. The pair are lit from our left, and Mary casts a shadow on the large, flat boulder on which she sits. The land dips steeply down beyond the boulder. A man wearing a pale pink garment that flaps in the wind stands on a rocky outcropping near a grazing animal. Tiny in scale, three more people walk or run in the distance to our right. Stone structures are tucked in among tree-dotted hills that roll gently back to a hazy blue, mountainous horizon, which comes about five-sixths of the way up this composition. The sky above is a similar icy blue.

This intimate devotional panel, an early work by Antonio da Correggio, reveals the young artist's evolving style. The distant landscape demonstrates his awareness of Northern European precedents, and the figural composition references the manner of Raphael, while its soft outlines recall Da Vinci. The gentle sensuousness of the figures and the tenderness they show one another, however, are unique to Correggio.

A woman and nude child, both with pale skin, sit in front of a deep landscape in this vertical painting. Shown from about the knees up, the woman’s body is angled slightly to our right, and she supports the baby under his bottom with her left hand, on our right. She wears a long-sleeved, crimson-red dress with a sheer, nearly translucent fabric around her shoulders. Fern-green drapery, nearly matching the color of the grassy landscape, is gathered behind her hips, and a deep lapis-blue cloth lies across her lap. Her blond hair is pulled back. She has a straight nose, rosy cheeks, and her pink lips are closed. Her head tilts to our left, and she gazes down and to our right with brown eyes. Her right hand, on our left, rests in her lap, and she holds the baby with her other hand. The blond baby half sits, half stands on the woman’s lap so one foot rests on the hand in the woman’s lap. He reaches his arms around her neck and turns to look over his left shoulder, also gazing down and to our right. Thin, gold halos above their heads are barely visible against the pale blue sky. An expanse of green grass extends behind the pair leading to a cluster of trees to our left and buildings on a distant hill to our right. Hazy blue hills line the horizon in the distance below a blue, nearly cloudless sky.

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.

Shown from the waist up, a young woman embraces a baby in this vertical painting. They both have peachy skin, reddish-blond hair, and round faces. The woman is angled to our left and almost takes up the height of the painting. She looks down with gray eyes through lowered lids, under slender, arched brows. She has a straight nose and her pale pink lips are closed. Barely visible, a thin dotted white line spans her brow. A few loose, copper-colored tendrils frame her face under an azure-blue mantle that drapes over her head, shoulders, and arms. Under the mantle she wears a brick-red robe with a stylized, plant-like pattern in gold on the upper bodice and the cuff we can see. Her left elbow, on our right, rests on a sage-green ledge that runs along the bottom edge of the composition, and that hand dangles over the child’s leg. Her other hand curves around the baby’s back. The child is turned to our right to face the woman. He is wrapped in a cloak the same red as the woman's robe, and it has a thin gold border. He sits on a kelly-green cushion resting along the left side of the ledge. His head is turned to gaze off to our right with large hazel eyes under thin brows. He has a button nose and a rosy flush around his small pink mouth, which is slightly open. His right hand dips into the woman’s neckline while the other arm embraces her neck. His right leg stretches out toward her so one pudgy foot peeks out from under the red cloth. The horizon of the landscape behind them comes halfway up the painting. Sloping fields are dotted with trees. Low hills are ice blue in the hazy distance along the horizon, and the sky above is nearly white near the mountains, deepening to pale blue along the top edge.

A partially nude woman with pale, peachy skin sits to our left looking into a mirror held up by a nearly nude, winged child to our right in this vertical painting. The woman’s body is angled to our left but she looks across her body to our right. She holds her left hand to her chest, and her right hand grips the fur-lined edge of the scarlet-red, velvet fabric that drapes over that upper arm and around her hips. Her blond hair is coiled up in rows of pearls, and she has dark eyes, a straight nose, and her pale pink lips turn up in a subtle smile. A teardrop pearl earring hangs from the ear we can see, and she wears rings and gold bracelets. The child-like figure to the right stands on a gold-striped cushion facing away from us as he holds up the rectangular, black-framed mirror. He has small silver wings and a sash of golden yellow hangs from one shoulder around the opposite hip. A second child reaches from behind the mirror to hold up a ring of laurel leaves. A forest-green curtain is gathered in the upper left corner and the beige wall beyond falls into shadow to our right.

The Sacrifice of Isaac

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.

La Femme au miroir

The Holy Family

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.

This painting depicts a woman seated outdoors with a baby in her lap on the left and a young child standing nearby on the right. The woman is sitting on the ground, while the baby is facing the right with their arms outstretched. The baby is partially wrapped in a white cloth. The woman has a serene expression and delicate facial features. She is wearing a green and red robe. The young child on the right is holding a small lamb and has curly blond hair. In the upper left corner of the painting, two cherubic faces peer down from a cloud. The background shows a pastoral setting with trees, shrubs, hills, grass patches, and bunnies near the forest edge, under a cloudy sky.

Madonna and Child

This painting depicts a woman holding a child. The woman is turned towards the left, and she looks down at the child in her lap. She has pale skin, reddish-brown hair, high, arched, eyebrows, and thin, slightly downturned lips. Her hair is put up above her head under a red and brown net with a thin veil hanging over her face. A golden halo is behind her head. Her clothes are ornate, in shades of gold and brown with a collar decorated with pearls and green gems. The child is nude except for a red necklace and red bracelets. They also have pale skin and brown hair, and they are looking up at the woman. The child rests on a green cushion and holds a light pink peach or apple in one hand, and there is a faint golden halo around their head. Next to the woman, on a white marbled surface, is a white bowl of light pink fruit. Behind her is a landscape of green fields, tree-lined, rocky hills, and a light blue body of water. The sky above is a gradient of blue, white towards the horizon and fading into dark blue at the top of the painting. Puffy white clouds drift across the top of the sky.

sacra conversazione

Virgin and Child

A smiling young woman and an elderly man with exaggerated features embrace and gaze into each other’s eyes while a person dressed in the orange costume of a fool lurks behind them to our left in this horizontal painting. All three have pale skin and are shown from the chest up behind a ledge or tabletop against a black background. The older man to our right wears a dark teal-blue garment and a bright crimson-red head covering that drapes over both shoulders. Wrinkles and age spots cover his face, which is accentuated by a bulbous nose and a leering smile that exposes missing teeth. His arms reach out and encircle the woman to our left. Cradling the right side of her head with his right hand, his left arm reaches across to her upper body, his thumb visible at her breast. A blue and gold band holds the woman’s auburn-brown hair back. A white shift peeks through the slashed sleeves of her emerald-green, gold-trimmed gown. She reaches toward the elderly man with her right arm, her hand holding his chin. Her left arm reaches across her body under his arm and she holds a leather pouch in that hand. A man wearing an orange cap with asses’ ears reaches for the pouch, eyes crossed and his tongue protruding from the side of his mouth. Playing cards and coins lie on the ledge to our left.

The Holy Family with Saints Anne and Catherine of Alexandria

Resurrection of Jesus

A woman holding a nude baby boy sits on a blue patterned pillow on the floor in front of a brick-red curtain held up by two angels in this vertical painting. The people all have pale, almost gold-colored skin with a green cast, though their cheeks are flushed with pale pink. The woman sits facing us and looks slightly off to our right. She has almond-shaped eyes, a straight nose, and her lips are closed. She wears a blue cloak with a white hood over a shell-pink dress. Her right arm, on our left, rests in her lap and she supports the baby with her other arm. The baby’s nude body is pudgy like a baby but his face and head are proportioned more like an adult. His body turns toward the woman and he reaches up to her neck, and he looks into the distance to our left. Both have flat, plate-like gold halos. The winged angels holding up the red curtain also have halos and they wear blue robes. The curtain falls in gentle folds behind the mother and child, and fabric of the same color underneath the blue pillow on which they sit suggests that the curtain extends onto the floor. A dove, also haloed, floats at the top center of the painting. The gold background around the curtain and behind the angels and dove is painted into an arch over the people, and the upper corners of the panel are dark. A Latin inscription is painted with capital gray letters against a white band along the bottom edge of the panel: “AVE: MARIA: GRATIA: PLENA: DO.”

A winged angel, a woman, and a baby are gathered on a terrace that overlooks a softly lit landscape in this vertical painting. The people all have parchment-white skin tinged faintly with green, delicate gold halos, and they are close to us. The baby is round and plump, and faces us as he lies on his side on a carpet of pine-green grass dotted with small white and pink flowers. A band of caramel brown spans the lower edge of the painting. Propped up on one elbow, the baby turns his blond head to look at the woman kneeling beside him to our right. The woman, Mary, towers over the baby with her body angled slightly to our left. A midnight-blue cloak trimmed in gold is wrapped around her coral-red gown. The fingertips of her raised hands lightly touch as she bows her head and lowers her brown eyes to look at the child. A transparent white veil drapes over her blond hair. To our left, the angel also kneels and looks down at the baby with arms crossed over the chest. The angel has curly, copper-red hair and wears a carnation-pink robe over a transparent chemise. Semi-transparent, bronze-colored wings nearly disappear into the background. Just beyond the trio, a low balustrade with an opening near Mary encloses the space. A colonnade with arched openings extends into the distance to our left, behind the angel. A flat, olive-green wall rises the height of the painting behind Mary. Between them, the landscape is carpeted with moss and celery-green grass, and dotted with trees. A river winds toward slate-gray hills in the deep distance.

Danaë

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.

Rosso fiorentino, san giovannino, collezione privata firenze

Annunciation

The head, shoulders, and chest of a man wearing a deep rose-red garment fills this vertical portrait painting. His body is angled slightly to our left, and he looks directly at us from the corners of his eyes. His brown hair falls across his forehead, sweeps down over his ears, and curls gently at the nape of his neck. His eyebrows arch over brown eyes, and he has a long, angular nose. His upper lip is full, and his mouth is closed. He has high cheekbones and a cleft in his chin. The high collar is a black band over the voluminous red garment, which falls in pleats or folds down his chest. His right hand, on our left, lifts to clutch the fabric near his chest, in the lower left corner of the painting, and he wears a gold ring on his pinky finger. The background behind the man fades from dark aquamarine blue across the top to pale arctic blue at his shoulders, which span the width of the composition.

Christ and the Virgin in the House at Nazareth

Against a deep, hilly landscape, a young woman sits facing us on a rocky ledge with a small child in her lap in this square painting. The woman and child, Mary and Jesus, both have pale skin and blond hair. Mary wears a cobalt-blue gown over a coral-pink undergarment that peeks out from under the bottom hem and at her cuffs. A paler blue mantle is draped over the back of her head and falls to cover her shoulders and body. A sheer white veil covers her hair and forehead. Jesus wears a sheer white, loose, long-sleeved tunic. Both gaze downward to the bunch of green grapes Mary holds delicately in her left hand, to our right. Jesus reaches forward with both hands to pluck some fruit as Mary supports his body with her other hand. An oval shaped, woven basket with a lid sits on the ground next to Mary’s feet. The gray, rocky outcropping on which they sit is blanketed with straw-colored moss or other growth. A small clearing behind the pair is framed by trees on either side. The trees have tall, slender trunks speckled with light gray patches and canopies of olive and celery-green leaves. To our left and beyond the outcropping, a gray donkey stands behind a tree, nibbling on some grasses at the edge of the outcropping. To our right, in the middle distance, a pale-skinned, bearded man stands and arches back with a long stick raised overhead, as if about to strike the tree in front of him. Beyond him and about two-thirds of the way up the panel, a row of dark green shrubbery separates the clearing from rolling blue hills in the distance.

Madonna of the Cat

This painting depicts three people seated side-by-side outdoors. The central person is a young, nude child with curly, reddish hair and a red beaded necklace, sitting on a red cushion. Their head is turned to the right. The woman on the left wears a white head covering, a sheer veil around her neck, a green dress, and a red cloak with floral designs. She holds the torso of the child and drapes a white cloth around its legs. The woman on the right has long, flowing reddish hair and wears a white dress or robe with gold detailing down the front, on the neckline, and on the wrists. She holds an open red book, and the child is turning one of the thin pages. All three people have pale skin. Above them, in the cloudy blue sky, there is a white dove with its wings outstretched, gold lines radiating from it. Above the dove, there is an image of a crowned bearded man with pale skin, wearing red robes and holding an orb. He is against a golden background with red dots that breaks through the pale clouds. The background shows a landscape with green trees, hills, and pale blue buildings.

Bacchante on a Panther

A man stands, leaning on a staff used like a crutch, in a deep, rocky landscape in this round-topped vertical painting. The cleanshaven man has tanned skin and sparse gray hair. He is nude aside from a slate-gray cloth that wraps around his hips. The hand not bracing the crutch is held in a loose fist at his chest. A few plants grow and bloom along the bottom of the panel. The dirt path on which the man stands winds through low, grass-covered mounds to a cave opening at the base of a tall, steep cliff face. A lion stands on the path between the man and the cave. An owl perches in the bare, spike-like branches of a spindly tree growing to our right of the man.

In the stone ruins of a building, a woman, Mary, kneels with her hands in prayer over a thin-limbed baby lying in front of her in this vertical painting. There is a man behind Mary, to our left, two more in a field to our right, and a winged angel in the upper right corner. They all have pale skin. Mary’s unbound blond hair falls over her shoulders. She wears a celestial-blue dress, and her teal-blue cloak is edged with gold. Her body is angled to our right, and she looks down her straight nose at the baby near her knees. The nude baby has blond curls and a chubby tummy and cheeks. An ox and an ass look down at the baby from behind a stone trough to our right. The man behind Mary wears a forest-green cap and scarf over a tomato-red robe. One hand rests on a staff, and he looks up at the angel in the top right corner. An owl looks down at the man from atop the stone ruins, near the top left corner. Two men recline and about a dozen white sheep lie on low hills in the near distance to our right. One of those men sleeps and the other holds up both hands as he looks into the sky. The angel in the top right corner emerges from a petal-pink and pale yellow halo against a star-strewn blue sky. The angel wears rose pink and has dark pink wings. A scroll held across both arms reads, “GLO” and “INECELSIS DEO.”

Shown from the waist up, a young woman with pale, peachy skin faces and looks directly at us in this vertical portrait painting. The subtly upturned corners of her mouth and the outer corners of her eyes are touched with shadows. Her delicate eyebrows are faintly painted over dark brown eyes. She has a long straight nose and an oval-shaped face framed by large teardrop pearl earrings. Her dark brown hair is parted down the middle and pulled back under a wide, gold-colored headdress, which creates a halo-like ring around her head. Precisely formed curls rest against her forehead over each temple. Her black dress has voluminous, puffy sleeves framing a sheer, butter-yellow panel covering her chest. White ruffles emerge at her neck and cuffs. A gold Maltese cross, which flares at the end of each arm, hangs from a thick gold chain that falls over her chest and down to her waist. She touches the chain with her left hand, on our right, and with the other she holds the body of a small furry brown animal with bared teeth. The background behind the woman is black down the center and a dark emerald-green curtain falls to either side.

The victory of the Olympic gods over the ancient race of giants was a perfect subject for Wtewael to showcase exaggerated athletic poses and striking contrasts of space and light. Painted on copper, this small work almost appears gem-like. Wtewael's self-conscious display of skills was a hallmark of the international style known as Mannerism, which was fashionable in Holland around 1600.

Saint John on Patmos

The Adoration of the Magi

This vertical portrait shows the head, shoulders, and chest of a young man with smooth, pale skin and shoulder-length, dark blond hair positioned behind a narrow gray, stone ledge. Shown against a black background, the man tilts his head to our left and his eyes cut to our right. His left eyebrow, on our right, is slightly arched over brown eyes. He has a long, straight nose, pale pink lips, and his hair falls down the sides of his face from beneath a crimson-red, flat-topped cap. He wears a brown garment with white linen peeking through at the shoulder seams. The neck and seam down the front are lined with white, perhaps fur. He holds his right hand to his chest with his middle finger overlapping his ring finger.

Das Bittenlernen (Familie Reiter)

Une odalisque, dite La grande odalisque

St Fredianus Diverts the River Serchio

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.

Close to us, a bearded, balding man leads a donkey carrying a woman and child to our right against a hilly landscape in this horizontal painting. All three people have pale, peachy skin and halos. The man has a gray beard and hair, and wears a royal-blue tunic under a ruby-red robe. He leans on a walking stick and looks back at the donkey. The woman riding the donkey wears a blue and gold brocade-like cloak covering her head and body. She has a straight nose, small pink lips, and she looks toward the infant she holds close to her body. The baby wears a white garment and reaches for the woman’s face with one hand as he turns to look over his shoulder toward us. The path they walk on is lined with grass and detailed plants. A river runs parallel to the path a short distance away. The horizon line comes about two-thirds of the way up the painting is lined with green trees, blue mountains, and a few buildings to our left. Wispy white clouds sweep across an azure-blue sky streaked with peach near the horizon.

The Martyrdom of Saint Justina

This painting was the central element of an altarpiece that was El Greco’s ﬁrst major Spanish commission and large public work. The Virgin ﬂoats upward on the crescent moon, a symbol of her purity, while the apostles express amazement and concern. El Greco’s broad brushstrokes and bold color made this painting a favorite of modern artists such as Pablo Picasso and Mary Cassatt.

A woman wearing a cobalt-blue robe and a white veil sits with her hands raised, palms out, as she looks toward a slender, bearded man who stands to our left in this vertical painting. Both have light skin and delicate features, and they sit in a room with stone walls and arched windows. There are faint circles under the woman’s light brown eyes. She has a long slender nose, and her pink lips are pursed. One knee is bent, and she is low to the ground, suggesting she sits on a stool. A book lies open on a wooden stand in front of her to our right, below her left elbow. The ruffled edges of her multi-layered, white veil sweep over her forehead and down to her shoulders. Her loose, long-sleeved blue garment is edged with gold and falls in angular folds to pool at her feet. She holds her long-fingered, slender hands up at her chest, palms facing the man to our left. He stands with his body angled toward her as he looks down, his head tipped slightly forward. His brown hair falls over his shoulders. His voluminous, gold-edged, red cloak is fastened at his throat with a gold, jeweled brooch, and it drapes over his shoulders and around his lower torso, leaving his arms, chest, and a gash over his right ribs exposed. He holds a tall, gold staff topped with a jeweled cross in his left hand, to our right. A moss-green pennant flutters back from the base of the cross, as if lifted in a breeze. The man holds up his other hand so the palm faces the woman with the first two fingers raised. Round, puncture wounds with red blood mark the palm of that hand and tops of both bare feet. The floor is patterned with gray, brown, blue, and green tiles. The wall behind the woman has honey-brown paneling along the bottom half and the top half is slate gray. Gray columns are spaced along that wall, supporting a curving, vaulted ceiling. Two arched windows pierce the wall behind the woman, and both have stained glass designs within the curving tops. The window closer to us opens onto a narrow view of a landscape with a rose-pink arch over a bridge, and a path winding through green fields. An open door over the shoulder of the man, to our left, shows the stepped roofline of a pink building under a blue sky. The entire scene is framed with a flattened arch supported by gleaming columns of polished, veined brown stone, creating the impression that we look onto the people and room through the arch. The columns have leafy capitals and white bases. The tan-colored arch is carved with a row of stylized rosettes along the opening that spans the top of the painting.

Le Tricheur à l’as de carreau

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.

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.

The Birth and Naming of John the Baptist

Portrait de l'artiste tenant un chardon

Adoration of the Christ child with the young St. John the baptist,St. Romuald,angels,the hands of God the Father and the Holy Ghost as a dove - Filippo Lippi

Portrait de Lisa Gherardini, épouse de Francesco del Giocondo, dit La Joconde ou Monna Lisa

The Crucifixion with the Virgin and Saint John

The Holy Family with Saint John the Baptist and Saint Margaret

Child Asleep (The Rosebud)

Madonna and Child with Two Angels

BELLINI, Giovanni St Jerome Reading in the Countryside Oil on wood, 151 x 113 cm Galleria degli Uffizi, Florence

Twigs of a magnolia tree with light green, glossy leaves and three cream-white blossoms lie on a sapphire-blue cloth in this horizontal still life painting. Brightly lit from our left, the blossoms and leaves nearly fill the composition, and the cut ends lie on the fabric to our right. The blue fabric cascades from the upper left and across the table or ledge. The three flowers are in various stages of bloom. The tightest bud is to our left, overlapped by a stem and the tender, unfurling leaves of a branch. The blossom next to it, at the center, is starting to open. The petals of the third blossom, to our right, splay open around the flower’s oval-shaped stamen. Light glints off the waxy leaves surrounding the flowers. The tawny-brown underside of one leaf is visible where it turns over, near the cut ends of the branches. Light shimmering on the fabric darkens from bright blue to our right, to deep royal blue in the shadows to the upper left, suggesting the fabric is velvet. The background is streaked with tan and pine green behind the fabric, and becomes nearly black in the shadows of the upper right corner and along the bottom edge. The artist signed the lower right corner, "MJ. Heade."

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.

The Test of Fire of Moses

Allegory of Autumn

Madonna and Child

Icon of the Mother of God and Infant Christ (Virgin Eleousa)

Madonna and Child with Donors

About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.

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.

The laurel branch is a traditional Medici emblem.

The Crucifixion of Saint Andrew

Shown from the thighs up, a pale-skinned woman wearing a cream-white gown ornamented with gold bows looks at us from the corners of her brown eyes in this vertical portrait. Her body faces us, but she turns her head to our left. She has thin, arched eyebrows, a straight nose, flushed cheeks, a dimple in her chin, and her pink lips are closed. Her chestnut-brown hair is parted down the middle and pulled back under a gold and pearl headdress, but two wispy curls lie on her smooth forehead near the temple we can see. A string of black pearls ending in a gold pendant hangs down the front of her ear. A white ruffled collar encircles her neck over two heavy, gold necklaces. A blue stone and a pearl in a gold setting lies on her chest, and the second chain reaches to her waist. The satin bodice is fitted, and the sleeves are puffy below the shoulders. Voluminous long sleeves are slitted and a white chemise patterned with delicate black designs is pulled through, creating little tufts. She wears three gold rings on her two hands. She holds white gloves and a pink carnation in one hand, which rests on a table covered in a red tapestry to our right, and a dark green feather fan in her other hand. Her gown splits over a pine-green skirt beneath. A shimmering, forest-green velvet curtain behind the woman sweeps to one side to reveal a caramel-grown stone pillar along the left edge of the painting.

Shown from the shoulders up, a man with peachy skin looks off to our left as he holds the feathered end of an arrow up in a hand resting along the bottom edge of this vertical portrait painting. Shown against a marine-blue background, he looks into the distance with hazel eyes under bushy eyebrows. He has a long, bumped nose, and his full, pale pink lips are closed. His round cheeks are tinged with pink, and there is a hint of a five-o-clock shadow around his mouth and jawline. Chestnut-brown, curly hair hangs to the base of his neck, and wispy curls fall across his forehead from under his tall, chocolate-brown cap. The cap has a small gold pin high over the ear we can see. The man wears a garnet-red jacket with a black collar over a white collarless shirt decorated with five black, narrow bands below the neckline. The fingers of his right hand, to our left, rest with the fingertips braced along on the bottom edge of the painting, as if along a ledge. He pinches the shaft of an arrow with his index finger and thumb, so we see the sienna-brown feathers. He wears a gold ring embedded with a small blue gem near the first knuckle of his ring finger.

Study for the Nude Youth over the Prophet Daniel (recto); Figure Studies for the Sistine Ceiling (verso)

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.

Six women, eight men, two satyrs, and one child gather in pairs and trios in a loose row that spans the width of this nearly square painting. They are set within a landscape with craggy rocks, cliffs, and trees. Most of the people face us, and the men, women, and child have pale skin. The two satyrs have men’s torsos and furry goat’s legs, and they have darker, olive complexions. Most of the men wear voluminous, knee-length togas wrapped in short robes in shades of white, topaz blue, grass green, coral orange, or rose pink. Most of the women wear long, dress-like garments in tones of shell pink, apricot orange, or lapis blue over white sleeves. For all but one woman, their garments have fallen off one shoulder to reveal a round, firm breast. Several objects are strewn on the rocky, dirt ground in front of the group, including a wide, wooden bucket with a piece of paper affixed to its front to our right, a glass goblet, a pitchfork, a large blue and white ceramic dish filled with grapes and small yellow fruits, and an overturned cup near the center. Cliff-like, craggy rocks rise steeply behind the group to our left, filling much of the sky opposite a tall grove of leafy, dark green trees to our right. A few puffy white clouds float across the vivid blue sky. The slip of paper on the barrel has been inscribed, “joannes bellinus venetus p MDXIIII.”

La pala fu commissionata per la cappella della villa medicea di Cafaggiolo,ristrutturata da Michelozzo nel 1451. Il Wedgwood Kennedy ipotizza una commissione da parte di Piero il Gottoso, per il quale il Baldovinetti aveva giá lavorato nella cappella della SS. Annunziata e, forse, in quella di S. Croce. Lo studioso suggerisce una datazione per la committenza al 1453, anno di nascita di Giuliano, secondogenito di Piero, avvalorata dalla presenza di San Giuliano insieme agli altri santi "medicei".

A woman wearing long robes and standing on an upturned, gold crescent moon is surrounded by twenty winged angels who lift her up, sing, or play musical instruments in this vertical painting. Below, a grassy landscape with rocky hills, a river, and buildings stretches into the distance. Along the top edge of the painting and smaller in scale, more angels surround two men sitting on a throne, holding a crown. All the people have smooth, pale skin, oval faces with small, delicate facial features, and long wavy hair. They wear fluttering, jewel-toned robes. The woman at the center, Mary, stands facing us with her eyes downcast and her hands held together in prayer. Her strawberry-blond hair lightens where her hair rests over her shoulders, and a jeweled band encircles her head. She wears a long, ruby-red dress with a jeweled neckline and navy-blue cloak trimmed with gold. Eight of the winged angels seem to lift her body, four along each side. Seven more angels float around the scene playing instruments, including a lute, a harp, recorder-like instruments, and stringed instruments, one of which resembles a violin and another a dulcimer. Along the top of the group, around Mary’s head, four angels sing, holding sheet music. In tiny letters, writing on the sheet of music to our left reads, “A ve regina celorum mr regis,” while the writing on the music to our right reads, “A Tenor ve regina.” The angels wear robes in emerald green, royal or sky blue, butter yellow, rose pink, tomato red, silver, or white, and their wings match their robes. Some of the robes are embroidered with gold and some angels wear jeweled diadems. The edges of an oval, gold halo are visible behind the angels at Mary’s head and feet. Above Mary and the angels, a scene, much smaller in scale, recedes into the distance within a ring of dark clouds. Two haloed, bearded men wearing scarlet-red robes and with shoulder-length brown hair sit on a wide throne covered with a black and gold brocade cloth. The man to our left is bareheaded and the man to our right has a tall, blue and gold crown. A white dove with wings spread hovers above a second gold crown they hold between them. More than a dozen angels surround the throne, holding up the cloth or singing. A black and red checked tile floor stretches in front of the throne. Along the bottom edge of the painting, beneath Mary and the angels, a grassy landscape with fields and trees stretches into the distance to gray castle-like structures. A river winds from the lower right between the buildings. A man rides a horse near the riverbank to our right, and the shore is lined with minuscule shells. To our left, a second man walks in the field, away from us toward the building, and another man crosses a short bridge over a second, smaller stream.

This painting depicts a man with light skin, white hair, and a white beard wearing an orange cloth draped over a dark-blue garment with gold embroidery around the shoulder and neckline. He holds two large red keys in his left hand, and a thin, red, cross-topped rod in his right hand. There is a faint outline of a halo around the man's head, which is slightly turned to the right. The background is gold, enclosed within a red, white, and black patterned border.

Arion on a Sea Horse

Dozens of people form a line starting from an opening in a city wall or building in the background to a rustic shed-like structure close to us, to kneel before a seated woman holding a baby on her lap in this vertical painting. All of the people have pale skin tinged faintly with green. The top edge of the panel is shaped so it has two rounded sections like shoulders leading to a stepped, crown-like form with an inward curving triangle at the top. A nickel-gray, crenelated stone wall of a distant city is nestled into the top, stepped section, with a glimmering gold sky above filling the uppermost triangle. Tile-roofed and domed buildings and a few towers appear densely packed beyond the wall. People on foot and horseback create a line from an arched opening in the wall toward us and to our right. Three of the people on horseback in the distance wear long robes and have gold halos. The line of people winds behind a tall, narrow hill to our right and it continues close to us. Two horses, two camels, and several people wait to the right but our attention is drawn to the trio in the foreground, Mary, Jesus, and Joseph, and the three men near the infant, the Magi. Mary wears a lapis-blue mantle covering her head and shoulders over a petal-pink dress, and she sits on a wooden or stone chest in the center of the painting. Her body faces us but she turns her face to look with pale blue eyes off to our right. In one hand she holds a hexagonal gold vessel that tapers to a flame-like finial. With the other hand, on our left, she supports the blond infant sitting in her lap. He is covered only with a white cloth around his waist, and he looks toward the vessel as he holds up the index and middle fingers of his right hand. To our left and slightly behind Mary, a balding man with white hair and beard and wearing a blue garment under a red robe sits with his head propped in his hand, looking down. His other hand rests on what might be the handle of a crutch or staff. The man, woman, and child have gold halos with what appears to be writing. The three Magi also have gold halos and they all wear scarlet-red shoes. The oldest kneels before Mary and kisses Jesus's feet. He has a long, light gray beard and is balding. He wears a brocade-like gold robe over pale brick-red sleeves. A cleanshaven man with dark brown hair and wrinkles around his mouth kneels to our left as he raises a jewel-encrusted gold crown from his head. He wears a gold and red floral-patterned garment and holds a rounded vessel, also with a flame-like finial. A younger, cleanshaven man with smooth features and shoulder-length, curling blond hair to our right also wears a gold crown. A dagger hangs from the waist of his sky-blue tunic, and his leggings are pale plum purple. Both arms are bent to his hands are held up, and in his right hand, he holds another tabernacle-like gold vessel. The structure to our left houses a donkey and bull munching hay. A gold sunburst floats above the roof, which seems to be built up against the stone wall of a building. The hills and trees beyond the people is painted with pine and moss greens and brown.

Shown from the waist up, a pale-skinned, round-cheeked young boy wears a brocade red and gold garment and hat in this vertical portrait painting. The boy’s body is angled to our left, but he turns his face toward us as he looks slightly down with gray eyes. He has a square face with a high forehead, faint brows, a small, rounded nose, bow-shaped pink lips, and a pointed chin. A fringe of pale blond hair lines the top of his head under a gold cap that ties under his chin. A white feather drops off the edge of a red disk around the top of the hat. His brilliant red garment is lined with gold bands, and the sleeves split over voluminous gold sleeves, which are lined with white ruffles at the wrists. The boy is behind a ledge draped with a crinkled, emerald-green cloth. He rests one hand on the ledge and holds a gold orb on a stick in that hand. His other hand hovers over the ledge with the palm facing out. The background is late gray. A strip of paper affixed to the front face of the ledge has eight lines of Latin text in all caps. It reads, “PARVVLE PATRISSA, PATRIÆ VIRTVTIS ET HÆRES ESTO, NIHIL MAIVS MAXIMVS ORBIS HABET. GNATVM VIX POSSVNT COELVM ET NATVRA DEDISSE, HVIVS QVEM PATRIS, VICTVS HONORET HONOS. ÆQVATO TANTVM, TANTI TV FACTA PARENTIS, VOTA HOMINVM, VIX QVO PROGREDIANTVR, HABENT VINCITO, VICISTI. QVOT REGES PRISCVS ADORAT ORBIS, NEC TE QVI VINCERE POSSIT, ERIT. Ricard: Morysini. Car:”

Die Familie des Johann Graf von Majláth

Figures in the Woods

Jean Hey, known as the Master of Moulins, was a leading painter in 15th-century France. Here, he captured the moment the archangel Gabriel announced to Mary that she would give birth to a son. The painting once formed the right side of an altarpiece, with the left side depicting Mary’s own Immaculate Conception and a central section, now lost, featuring the enthroned Virgin and Child.

Shown from the hips up, a young boy with pale, peachy skin wears a voluminous, black cloak that nearly falls off his shoulders over a rose-pink tunic, with a sword hanging from one hip in this vertical portrait painting. His body is angled slightly to our right, and he looks off to our left with dark brown eyes under gently arched brows. He has a wide nose, and his pink lips are closed with the corners pulled slightly back. His skin is smooth and his cheeks slightly flushed. His dark brown hair is cut close and comes to a point in front of his ears. His tunic is painted with dusky pink highlights against wine-red to suggest a sheen across a vertically striped, leafy pattern. The garment has a high neck lined with a white ruffle and has a row of buttons down the front. His black coat has wide lapels that reach beyond his shoulders, and the puffy sleeves gather on his arms. The coat has a silvery-white cross over the chest to our right. The left and right arms of the cross are lost in the folds but the arms at the top and bottom are forked at the ends. The boy’s pine-green belt is edged with gold, and the hilt of the sword is angled toward us on his left hip, to our right. He holds one fawn-brown glove in his right hand, to our left, and his other arm disappears behind the folds of his coat. The background is deep olive green, almost brown. The artist signed the painting with dark paint near the right edge of the canvas near the boy’s shoulder, “TITANVS F.”

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.

A young, bearded man wearing only a white loincloth stands facing us in a pale blue river with a man to one side and a winged angel to the other in this vertical painting. They all have pale or tanned skin and tawny-brown hair. The man at the center, Jesus, stands knee-deep in the placid water with his hands together in prayer. He looks off to our left, his hollow eyes set above a drooping mouth. To our left, a man kneels on the rocky riverbank and trickles water from his hand onto Jesus’s head. That man wears a fawn-brown robe under a raspberry-red cloak. He is bearded with curly brown hair, and he has dark circles under his eyes and a downturned mouth. The winged angel stands to our right on a flat stone, closer to us. Gold and pink wings rise vertically along the right edge of the composition. The angel wears voluminous white robes and holds a marine-blue garment in both hands. A white dove hovering over Jesus’s head is surrounded by a halo edged with teal, pea-green, and pink rings. A bearded man wearing a tiered, jeweled crown looks down from a round opening in the ice-blue sky above the dove. He holds one hand up in blessing and holds an orb topped by a cross in the other. About ten fish nibble at the rocks near Jesus’s feet in the river, which winds through a pale green field to a town of turrets and towers in the distance.