Related

Hebe

On the River

The Siesta

Sloop, Nassau

The painting depicts a wintry scene from an elevated point of view, showing people skating and playing games on a frozen river. On the left, leafless trees line the frozen bank. On the right, there are brown buildings with snow on their roofs and smoke rising from their chimneys. A woman stands on one of the porches, holding a small child. On the snowy ground outside the buildings, a sled is being pulled by two horses. In the center of the painting is the wide frozen river. The people on it wear colorful clothes in shades of red, yellow, green, blue, and brown. Some of them slip and fall on the ice, and others lace skates on their feet. Four men in the center hold long curved sticks and look towards a small round ball on the surface of the ice. In the distance, the horizon is marked by blue-tinged mountains under a cloudy gray sky.

The Windmill

Hof

Young Woman with Ibis

The year 1907 was a turning point for Sargent; the sought-after portraitist stepped away from his successful portraiture career to pursue plein-air landscape painting. This work, depicting his traveling companions and fellow artists Wilfrid and Jane Emmet de Glehn, captures that moment of transition. Combining landscape and portraiture, the composition speaks to friendship and painterly pursuits while also celebrating color, light, and movement.

Procession or Pardon at Perros-Guirec

When this work was painted, millinery work (hat making) was considered a prestigious trade, elevating the women who succeeded in the business. Degas addressed this subtle shift in the class hierarchy: He gave his milliner a dress nice enough to be worn by an affluent woman, and though she does not wear the expected hat of a high-class lady, Degas playfully positioned the hat with green trimmings so it seems to sit atop the woman’s head.

A Woodland Fête

Mount Sainte-Victoire

The Mower

Still Life with Apples and Pears

Woman before an Aquarium

This painting shows a green landscape from an elevated viewpoint. In the distance, light blue water meets a pale-yellow sky, and the sun casts a golden glow over the landscape. Closest to us is a shore covered in overlapping greenery and several round trees. There is a small hill on the right, with a small gray structure sitting atop it. At the bottom, two indistinct brown animals graze on a dirt mound. Behind them, another gray building is tucked away behind bushes and trees. Golden clouds drift across the sky.

A six-story, narrow building stands alone in an otherwise unoccupied lot under the deck of a high bridge, with a river and cityscape in the background in this horizontal painting. Dozens of people, small in scale, are each painted with a few swipes of black and some with peach-colored faces. They gather at the foot of the building and around a fire to our left, near the lower left corner of the composition. The fire is painted with a dash of orange, a few touches of canary yellow, and a smudge of gray smoke. Several more people stand and sit against the building, which has a streetlamp near its entrance. The back end of the building angles away from us to our right, so we see the narrow, front entrance side to our left. Each of the six floors of the building has two windows with fire escape ladders on the narrow side we can see. Some strokes in red and white on the lower levels of the long, flat side of the building suggest signs or posters. The top story glows a warm sienna brown in sunlight, while the rest of the building and the scene below are in shadow. More people walk along a grayish-violet fence that encloses the lot beyond the building. The ground is painted thickly with slate gray, pale, sage green, and one smear of white to suggest snow. To our right and a short distance from us, a white horse pulls a carriage near the foot of the bridge. The ivory-white, concrete piling rises up and off the right edge of the canvas and supports the deck of the bridge above. Only a sliver of the brick-red underside of the bridge is visible, skimming the top edge of the painting in the upper right corner. Two twiggy, barren trees grow up beyond the muted purple fence, and the landscape beyond is bright in the sunlight. A terracotta-orange building rises along the left edge of the painting, with the area between it and the lot under the bridge filled with thickly painted patches of butter yellow, amethyst purple, and sage green. Beyond that, an ice-blue river flows across the composition. The shore beyond is lined with patches of beige and tan paint that could be buildings. A black tugboat puffs bright white smoke in the river. The sky above is frosty white. The artist signed the work with dark blue in the lower left corner of the painting, “Geo Bellows.”

Inside the Bar

Peasant Woman Cooking by a Fireplace

This frightening print illustrates the story of Kohada Koheiji, a Kabuki actor who was drowned by his wife’s lover but later came back to haunt the couple. The tale was popular in the 18th century, eventually inspiring a novel and several Kabuki plays. Here, the skeletal ghost of Kohada Koheiji pulls down the mosquito net and eerily peers at the sleeping couple in their bed.

Allegory of Sacred Music

Two people, perhaps a woman and man, and a baby sit at a table in a courtyard surrounded by vine-covered walls in this square painting. The scene is loosely painted with visible dabs, dashes, or smudges. The table is to the left of center. The man sits on the far side, to our left, and the woman, who appears to have her brown hair pulled up, sits facing away from us wearing a smoke-gray garment. A child wearing pink and pale blue sits to our right of the woman and seems to raise both arms. The ground is dotted with cream white and fog gray against the brown board on which this was painted. Steps lead up to a building at the back of the courtyard to the left, and the vine-covered wall stretches across the right two-thirds of the background. The artist signed the lower left corner, “E Vuilllard.”

Vase of Flowers

Low Tide at Pourville, near Dieppe, 1882

Angel (Peri) Riding a Composite Camel

The Sunlight

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.

This painting shows a person in a small boat on a body of water. The person is all the way on one end of the boat, leaning towards the right and reaching out over the side of the boat, holding a rope that appears to be tied to the white antlers of a large brown deer that is almost completely submerged in the water. A black-and-white dog swims in the water behind the deer. The person has pale skin and short brown hair, and they are wearing a black hat and a gray coat. The boat is gray-brown, and the water below is painted with lines of blue, white, green, and teal. The background is a mix of dark gray and olive green.

On a tiled courtyard between buildings with arches and columns, a winged angel kneels and looks up at a woman standing to our right in this vertical painting. Both people have pale skin, blond hair, and plate-like gold halos at the back of their heads. To our left, the angel wears a silvery-white tunic under a scarlet-red cloak lined with cobalt blue. The wings are fawn brown on the underside, closer to the body, and aquamarine blue on the outside. Gold lines delineate feathers. The angel holds a white lily with two blooms and four buds on a long stem in the hand farther from us, which rests on a bent knee. The other hand is raised in front of the chest. The woman, Mary, stands along the right edge of the painting, her body angled toward the angel. Mary’s long, wavy hair falls to her shoulders, and she wears a lapis-blue robe with a pine-green lining over a red dress. She holds her right hand, farther from us, to her chest and touches the fabric of her cloak with the other, by her hip. The tip of one red shoe peeks out under her voluminous robe. Between the angel and Mary is a stone-white urn with scrolled handles, holding a bouquet of pink and white roses with dark green foliage. The ground is tiled with squares marbled in pale pink, sky blue, rust red, charcoal gray, and brown. Narrow, white panels between the tiles create a grid. The buildings around the pair are fog gray, parchment white, shell pink, or coral red, and are trimmed in black, red, or pink. Rows of arches recede into the square behind the angel and woman, ending at a coral-red wall that encloses the courtyard. An arched doorway in that wall opens onto a pathway leading over a small brook and into a hilly forest. A narrow, conical tree outside the courtyard reaches over the wall, into the vibrant blue sky above. A white dove descends from among the few scattered clouds with golden beams projecting toward the woman to our right.

Café Wepler

Fragment van een muurschildering

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.

In saturated, vivid tones of mint green, marigold orange, dandelion yellow, sky blue, and rose pink, a long building stretches away from us along a walkway. The narrow end of the building facing us to the right is orange, and the long side is frosty green. The roof is painted garnet red, and the windows are created with slashes of midnight blue and dark red outlined with topaz blue. A wall enclosing the structure is lemon-lime yellow, and a fence in front of that is painted ultramarine blue. The walkway beneath the fence is pink and, to the left of that, pale blue. Two trees painted with twisting lines of ruby red, shamrock green, black, and off white edge into the scene along the left side, and the sky is lapis blue around a mint-green halo that surrounds the building’s roofline and walls. The scene is loosely painted with visible brushstrokes throughout.

A buck jerks to the right as it leaps toward us, over a boulder and away from a rolling river in this horizontal watercolor painting. The buck is just right of center, and his body scissors, presumably as a gunshot lands. His curling horns nearly meet in an oval overhead, and one front leg is pulled up. The river is painted with tones of spruce green and sapphire, topaz, and celestial blue. The black silhouettes of two animals, either more deer or dogs, are in the distance to the right, and a white puff is along the far bank to the left. The forested background is painted broadly with tones of earthy green, tan, and smoky blue. The artist signed and dated the watercolor in the lower left corner, “Oct 12 1892 Homer.”

The Merry Family

We look across a coral-pink beach that curves around a royal-blue bay, under a glimmering, pale blue sky in this horizontal watercolor landscape. The area of the beach closest to us is cast under a pale, plum-purple shadow. The beach curves away from us and to the right, like a backward C. At the curve, a short distance from us, a bank of emerald-green vegetation and a scrubby, dark green tree leads back to a low, grassy hill. A pair of two-story buildings with oyster-white walls and bright white roofs perch on the spit of land opposite us, across the water. Pale pink boats are pulled up onto the beach in front of and to our left of the buildings. The buildings and the green hill reflect in the water, which laps against the sand closest to us with bands of azure blue. More loosely painted buildings line the horizon, which comes about a third of the way up the composition. Two brick-red smudges to our left could be people standing at the water’s edge in the distance. The sky above has puffy white clouds against a brilliant blue sky. The artist signed the painting in the lower left, “HOMER.” In the lower right, the location and date are written in dark gray, “Salt Kettle Dec 1899.”

The Adoration of the Magi

Channel Bass

Three men with crowns and wearing gold-trimmed robes stand and kneel before a woman sitting on a wooden, box-like seat holding a baby to our right, in front of a rocky cave and landscape, in this horizontal painting. A balding man with a gray beard and hair, Joseph, and two younger people with blond hair stand around the woman, Mary, to our right, while a group of five young men or boys and three horses gather near the left edge. All the people have pale skin. Mary, the baby Jesus, Joseph, and the three men closest to them all have shimmering gold halos. One balding man with a long white beard kneels and kisses the baby’s feet. He wears a gold and crimson-red brocade-like robe over a burgundy-red garment, and he holds a pointed gold crown in his right hand, which rests on the ground. Behind him and to our left, a younger man with curly blond hair and goatee, wearing a wine-red tunic belted with gold and a gold crown on his head, holds his hands in prayer as he kneels down on one knee. The third stands to our left, cleanshaven with long blond hair. He wears a fur-lined, thigh-length scarlet-red robe and a gold crown, and he holds up a gold vessel in one hand. To our right, Mary wears a lapis-blue robe that covers her head and falls to her feet. The baby is covered only by a white cloth across his hips, and he has short blond hair. He touches the kneeling man’s head with one hand. His body is pudgy but his face has more adult-like, delicate features. Joseph stands at the woman’s far shoulder, wearing a butter-yellow robe over a rose-pink garment. His hands are gathered on a walking stick in front of his chest and his brows are furrowed with deep lines. One of the two younger people behind Mary, to our right, holds a lidded gold vessel. The group of five attendants to our left gather around cream-white, gray, or chestnut-brown horses. These blond people wear garments of dark olive-green, coral-red, royal-blue, or rose-pink tunics over black stockings. The rocky, brown cave behind Mary and Jesus, to our right of center, is occupied by a donkey and an ox behind a wooden trough. The landscape beyond is segmented into quilt-like squares of stylized crops. The horizon line comes almost to the top edge of the panel beneath a narrow strip of vivid, cobalt-blue sky. A gold star like a sunburst with rays of light hovers over the woman and child.

Combat for the Colors

Copy of The Night Watch

Sunflowers

Palm Tree, Nassau

The Sacrifice of Isaac

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

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.

After the Bath

A man, woman, and four winged angels gather and kneel around a nude infant lying on the ground under a stone arched opening set in front of a landscape in this vertical painting. All of the people have pale white or lightly tanned skin. To our left, the woman wears gold-edged, royal-blue robes and has long, curly brown hair. The baby lies on the hem of her robe, his body facing her. An older, balding and bearded man kneels to the right, leaning on a walking stick. He wears a red garment under a green robe, and he holds a hat in his hands as he gazes at the baby. About a third the size of the man and woman, two of the angels kneel between the man and woman and another pair kneel to our left of the woman, seeming close to us. The angels wear colorful gold, pink, red, or yellow robes and all have long wavy blond hair. Their hands touch in prayer and all look down toward the baby. The people are sheltered in front of a crumbling stone wall under a wooden structure. To our left, a cow and donkey are penned in a stable. Two pairs of men stand near or lean on the other side of the rock wall that encloses the scene. A landscape with green rolling hills and a distant town with towers and buildings fills the background beneath a clear blue sky. A triangular structure made of wood beams is framed within the carved archway, which seems to separate us from the space of the painting. The face of the arch looks like it is carved with a nude man atop a column to the left and a similar woman to the right, and with miniature scenes stacked on tiny platforms curving upward to the apex of the arch.

The Burning of the Houses of Lords and Commons, 16 October 1834

Natural Bridge, Bermuda

Cuckoo Flying under a Full Moon

Interieur van een timmermanswerkplaats

Cabin in the Cotton

Abhisarika Nayika (Heroine Running to Meet her Lover)

Youth Playing a Pipe for a Satyr

A pale-skinned young woman wearing a kimono stands facing our left in a dim interior in this vertical painting. Her black hair is upswept, and her head tilts slightly down with eyes closed. The seat of a wooden, ladderback chair rests against the back of her knees. With her left hand, closer to us, she reaches back to grasp the top rail chair behind her. She holds a folded white and brown fan in her other hand, by her side. Her voluminous robe is fawn brown and trimmed with brilliant scarlet red down the collar and around the hem. The kimono has wide, long brown sleeves that come down past her hips. The red collar extends nearly to her knees, and another slash of red lines the deep sleeve on her extended arm. The robe pools on the floor at her feet. Above the red band along the bottom hem, the robe is painted loosely in patches and dabs of black, cobalt blue, turquoise, ruby red, and pale pink. Light from the upper right gives her peachy skin a golden tinge and highlights the furniture near her, while casting the rest of the room in shadow. She stands in front of a round table draped with a fabric mottled in earth brown and gray, and bordered with a dark brown band filled with smudges of orange and green. A book and a black carrying case or bag are barely visible on the table's shadowy surface. An image framed in light blue hangs on the olive-green wall over the table. The wall to our right, behind the woman, is mostly forest green. The artist signed the lower right in black paint, “Alfred H. Maurer.”

Figures in the Woods

Woman at Her Toilette

Rosso fiorentino, san giovannino, collezione privata firenze

Die Fruchtbarkeit, umgeben von den vier Elementen

Arm of Eve

The Girl by the Window

In this portrait, Gauguin depicts the 13-year-old Tahitian girl Tehamana in a missionary dress holding a Samoan fan. A ripe mango alludes to fertility. In the background, Gauguin combined various non-European emblems—glyphs derived from an Easter Island tablet and a female deity inspired by Polynesian and Hindu sources—to build a generic sense of foreignness, transforming Tehamana into the embodiment of his own imagination.

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.”

On the Sands

Gezicht op bolwerk Westerbeer

The Milkmaid

Estérel Village

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.

Seesturm

Mademoiselle Nys

Invocation to Love

Seated African Woman

Taking on Wet Provisions (Schooner Marked Newport, K. W.)

A man stands and a woman sits near a herd of seven cows under a light-drenched sky in this horizontal landscape painting. The herd gathers on a grassy rise just beyond some large boulders and twiggy branches. The cows are caramel or copper brown and ivory white. They stand and lie, legs tucked demurely beneath their hulking bodies, facing different directions, their short horns curling like parentheses against the sky. The man stands on our side of the herd with his back to us to the left of center. He holds a tall shepherd’s staff in one hand as he hunches slightly and points with the other, to our right. He wears a high-crowned, wide-brimmed black hat, a crimson-red jacket, black trousers, and black knee-high boots. A knapsack hangs across one shoulder and rests behind his left hip. The woman sits on the far side of the herd so we see her under the man’s raised arm. She looks at him, her face peachy and round under a wide-brimmed straw-colored hat. She wears a white shirt under a robin’s egg-blue dress, and also holds a tall staff upright with both hands. Two more pale-skinned people sit on the ground or on a donkey in the near distance to our right, near the right edge of the canvas. Both wear hats and earth-toned clothing in black, gray, and blue. The donkey stands facing us, its face low, and a pair of baskets are slung across its back. The people and cattle cast long shadows from the setting sun, out of view to our left. The sunset ignites the undersides of the towering, slate-gray clouds with peach and gold against the ice-blue sky. A body of water stretches from beyond the low hill to a distant shore, where stone ruins are outlined on the horizon, which comes about a third of the way up the composition. A flock of six birds and another pair dot the sky.

European Banquet Scene (or The Marriage Feast at Cana?)

Marshland

Arion on a Sea Horse

Path Near the Pond of Vipers, Fontainebleau Forest

The Orange Christ

A three-storied, white manor house with a rust-red roof and wings extending off both sides sits across an emerald-green lawn lined with tall, sage and dark green trees in this horizontal painting. Straw-brown paths lead to the house from either side of the lawn, where they meet an oval-shaped path directly in front of the house. The grassy area inside the oval is cordoned off with posts and weighted chains. Closer to us, three men, two women, and a gray dog stand on the lawn. Two of the men wear uniforms with navy-blue, button-lined jackets with golden yellow epaulets and collars, dark, tricorn hats, and butter-yellow britches over black, knee-high boots. The third man wears a brown suit with a white collar. Both the women wear white dresses. One has a sky-blue sash around her waist and the other has a black shawl wrapped across her torso, and wears a white bonnet. Two light-skinned people, perhaps a man and a child, walk along the path to our left, wearing gray suits. Four people closer to the house have brown skin. One of them, a woman, stands at the front center of the oval path and other three men approach a door in the wing to our left. One of that trio carries a shovel over his shoulder, one a rake, and the other a staff. A carriage guided by a seated horseman and pulled by four horses enters the scene from our right. To our left and right, covered walkways connect the main house to the side wings. The wing to our right is mostly hidden by trees and cut off by the right edge of the painting. The wing to our left has a teal-blue roof, red brick chimneys, and the same white walls as the manor. The main house has a triangular pediment over the front door and chimneys to each side of the red roof. A spire-like lantern is at the center of the roofline, over the pediment. Faint, wispy white clouds billow against the azure-blue sky above. Centered at the bottom of the scene across a white margin are the words, “A VIEW OF MOUNT.VERNON THE SEAT OF GENERAL WASHINGTON.”

The Annunciation

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.

Rectangular plots of flowers, each in a single color, stretch toward us below a sky nearly filled with cream-white clouds in this horizontal landscape painting. Together, the monochromatic plots create the impression of a patchwork quilt, with large areas of pale pink, butter yellow, bright white, and baby blue. A person walks across the plots to our right. The horizon line comes almost halfway up the painting and is lined with dark brown houses with tall, pitched roofs. Two barren trees twist into the cloudy sky. The loose, short, parallel brushstrokes and touches of paint create a soft, hazy effect.

Annunciation

Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda

Denshin kaishu Hokusai manga nihen

Émilie

In front of a crumbling stone building, an older man kneels in front of a second man, smaller in scale, hanging from a tall, wooden cross, with a city in the background in this vertical painting. Both men have pale skin. At the lower center of the composition, the kneeling man, Saint Jerome, pulls his navy-blue robe to one side to expose his muscular but slender bare chest with a bloody mark at its center. With his other hand, he holds a rounded, gray stone touched with pink, also suggesting blood, by his side. He has long, silvery-gray hair and a long, pointed beard. His pink lips are parted, and we see his teeth. He raises gray eyes to look up at the man on the slender cross, which rises along the left edge of the composition. The man on the cross brown hair, a plate-like gold halo, and a white loincloth is draped across his hips. The shell-pink ground is littered with rocks. A red hat with a shallow brim and a tasseled chin cord sits near Saint Jerome’s sandaled feet. A miniature lion lies between Saint Jerome and the arched opening of the crumbling, terracotta-red structure along the right edge of the painting. Ivy grows up one side of the arch, and an hourglass and book with a red cover and gold-edged pages sit on a white cloth under the opening. An owl perches on a branch of an oak tree growing from the front face of the structure, and a hawk sits on a branch of the fruit tree growing from the stone courtyard, between Saint Jerome and the crucifix. A shrub with dark green leaves and clusters of three olive-green fruits fills in most of the space beneath the canopy of the fruit tree. To our right and in the distance, a man with a pointed black hat, a black jacket, and white pants rides away from us on a gray horse. To our left, the courtyard gives way to an amphitheater-like space. There, next to a donkey, a man with a long white beard hands a bundle of wood or planks to another man whose brown hair is cut into a ring encircling his head. Both men wear rose-pink garments over navy-blue togas. A town with white and pale pink stone buildings rises up a hill into the distance. The sky above deepens from honeydew green along the horizon to pale then peacock blue along the top edge of the composition. A few ice-blue, white, and light gray clouds float across the sky.

Three whole, green pears against a caramel-brown background fill this horizontal still life painting. The painting was created with long, parallel, visible brushstrokes throughout, and a strip of unpainted canvas lines the top edge. We look slightly down onto the fruit, which was painted with thick strokes of lemon-lime, asparagus, and spring green, and each piece of fruit is outlined with navy blue. The two pears to either side stand up and the third, between them, lies on the table with its brown stem angled to our left.

Dozens of light-skinned men and women gather around clusters of columns and sandstone-colored buildings that line a crimson-red river to our right in this horizontal painting. The center of the painting is dominated by a structure made up of three rows of three columns each, which hold up a flat-topped roof. A similar structure angles into the distance along the left edge of the painting. The columns of these two structures are carved with bands showing people separated by rings of vertical lines. The capitals are carved with stylized leaves. Just beyond the columns to our left, a blocky, rose-pink structure is carved with more people, seated or standing singly or in pairs. More rectangular, parchment-brown buildings extend into the distance along the water’s edge. The people gathered along the riverbank wear robes and tunics in deep blue or black, bright white, or saturated tones of cobalt blue, ruby red, or shell pink. Standing within the columns of the central structure, a crowned, bearded man wearing an emerald-green robe under a scarlet-red cloak gestures to our right, toward the red river. A woman nearby, wearing lapis blue and also crowned, watches with hands flung up as a person pours red liquid from a bucket. Most of the other people look or gesture toward the river, which winds in deep S-curves from the horizon line, which comes about two-thirds of the way up the composition, through sage-green fields, to the town. A single, white lightning bolt zigzags down from a white cloud in an otherwise navy-blue sky above.

The Devil Speaks (Mahna No Varua Ino) (recto); Women Washing Clothes (verso)

In this painting, a collection of large, ripe peaches sits on a light green plate with a white rim. The peaches are painted in shades of orange, yellow, and red, with some areas of dark red and black. They are surrounded by wide green and yellow leaves that extend off the plate to the left and right. Beneath the plate is a surface covered in a draping white cloth, its surface painted with shadows in shades of blue and purple and hints of green, and the wall behind the peaches is a tangerine orange color with sections of dark blue, red, green, and peach. The brushstrokes in the painting are thick and visible, with different colors of paint applied over one another in wide, swirling strokes.

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

adoration of the Magi

St. Catherine of Siena and the Beggar