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Approximately two dozen people gather around a man standing with his mouth wide open and holding up two objects in a scarlet-red structure on a horse-drawn cart in this horizontal painting. The people appear to all have pale skin and most are men. Near the center of the composition, the man in the cart wears a white robe over a black, high-collared garment and a tall charcoal-gray hat. A hatch on the red structure appears to be open, and he holds up what might be books or pamphlets. A ginger-brown horse stands behind him with its head bowed. In the crowd, the men wear black, brown, gray, dark blue, or olive-green clothing and hats. Two women are to the left. One wears a green gown with a pumpkin-orange shawl and a wide-brimmed bonnet. She faces away from us. She and two men talk near a stand where another man and woman sell food and drink. More people gather around a second stand or structure beyond this, and, in the lower left corner of the painting, a man with white hair and a hooked nose and chin sits by an open cart with a sign reading, “Bear O! Pi Aiggs.” A few men dance and others mill about to the right of the cart. Closer to us, one boy runs toward another as a soldier lies belly-down on the ground, holding a bayoneted rifle out toward a brown dog. The dog crouches with its mouth open. Beyond the dancers and onlookers, a field stretches back to wooded hills. In the field, more than a hundred people stand or march in lines. Lavender-tinged clouds pile up in the blue sky over the horizon, which comes about halfway up this composition.

Der Auszug der Römer aus Vicenza

The Power of Music

After a Long Cruise

A flatboat with eight light-skinned men floats toward us down a wide river in this horizontal painting. The boat nearly spans the width of the composition and has low sides and a shallowly arched, low cabin upon which the men gather. At the center, a man with dark hair and wearing light blue trousers and a pink shirt dances with one foot and both arms raised. To our right a seated musician plays a fiddle, and to our left a smiling man holds up a metal pot and strikes the flat bottom with the back of his fingers. The remaining men sit or recline around the musicians and dancing man, some looking toward the dancer and two looking out at us. Bedrolls and animal skins are stored in the cabin below. The olive-green surface of the river is streaked with pale blue. The horizon line comes about a third of the way up the composition. The trees and riverbanks in the distance are hazy beneath a watery blue sky.

Copy of The Night Watch

The image shows a street scene with an urban setting. The composition includes buildings, a statue on a pedestal, signs like "City Hotel" and "Hard Ware," a group of men with a horse, a water pump, two dogs, people on a sidewalk and hotel balcony, additional figures, a worker with stacked bricks. The color palette features warm tones like orange, brown, and green. Brushstrokes are precise and detailed, creating a realistic depiction of the scene.

This painting shows a man standing upright, his body slightly turned to the right. He has pale skin and curled white hair under a large black hat, and he wears a long brown jacket over a yellow vest with a white ruffled neck and a wide blue-and-white striped sash over his torso. His pants are black, and he wears tall black boots with brown tops. His hands are covered by yellow gloves, and he is holding a tall, thin rifle on the left, its bottom on the ground. Next to him on the right is a white dog with brown spots and large brown ears. The dog is sitting, looking up at the man. The background features an outdoor setting, with a landscape of hazy hills in shades of pale green and blue below a white and gray sky. There is a tall, dark green tree behind the man, and the ground he stands on is brown.

This painting depicts a rural scene with people gathered in front of log cabins. Hills, sparse trees, and a haystack are visible in the background under a partly cloudy sky. In the distance on the left, two people stand on a pile of logs, a small fire breaking out on the far left and putting gray smoke in the air. Closer to us on the left, a man stands by a machine made of several horizontal rods, appearing to feed long strands of fiber or grain into it. Gathered in a line across the rest of the painting is a crowd of men and women, appearing to hold long, flat objects and bundles of thin fiber. Some of the people talk while others seem to dance. The people all have pale skin, and the women wear colorful dresses with aprons and bonnets, while the men wear jackets, vests, and top hats.

Seesturm

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.

The Merry Family

Youth Playing a Pipe for a Satyr

Twenty-one men in long waistcoats and women in elegantly trimmed gowns gather and dance within a verdant landscape in this horizontal painting. The men wear jackets and breeches in ginger brown, pale pink, or spruce blue. The women’s gowns have full sleeves, tight-fitting bodices, and full skirts in shades of bronze, teal blue, butterscotch gold, or rich pink edged with ribbons and lace. Some of them wear floral wreaths or ribbons in their upswept hair. Groups gather around a woman and man who dance together to our left in the scene. Some in the group of onlookers to our left hold musical instruments, including a violin and a pipe. Another group is nestled among trees just beyond the dancers, at the center of the painting, and more sit and stand to our right. The dancing woman wears a gleaming, ice-blue gown with rows of flowers in muted pink, blue, and gold down the full skirt and around the bottom hem, which falls short of her thin ankles. More garlands cross her chest and shoulders, and flowers are tucked into her dark gray hair. She faces us with her head turned to our right as she looks off in that direction with dark eyes under curving brows. She has a delicate nose, rosy, round cheeks, and pink lips. She holds her arms spread wide with the thumb touching the index finger of each hand. The man with whom she dances wears a coral-red tunic and breeches with sleeves decorated with pale pink and blue ribbons. The brim of his brown hat is turned up. His body faces us but he turns his head to look at the woman, his lips parted. The man and woman each have one gracefully pointed foot raised. The dancers and groups are enclosed within a park-like setting with tall trees to either side, and a screen of trees across the back of the space. The trees have slender trunks and canopies in shades of pine, sage, and moss green. Near the back middle of the scene, a stone column topped by a human head wearing a wreath of laurel leaves rises above the central group. A fountain with a vertical jet of water is tucked into the shadows within a grove of trees along the right edge of the painting. The water falls into a pool in the lower right corner.

Hunting and fishing scenes

We look across a wide, low clearing at a mountain rising beyond rocky hills, which are mostly covered in pines and blazing red and orange autumn trees, in this horizontal landscape painting. The green grass of the clearing is littered with dead trees and stumps. Beyond a narrow opening between the hills, almost at the center of the composition, a massive mountain towers against the powder-blue sky, nearly reaching the top edge of the painting. The mountain’s jagged face is mottled with warm tones of cinnamon, rust, and caramel brown. The scene is bathed in warm light coming from our right but pewter-gray storm clouds move in from the upper left to encircle the mountain peak. Closest to us, a line of broken tree trunks spans the width of the painting, mixed with scarlet-red, marigold-orange, and green vegetation and reeds. A silvery pond lies just beyond them to our left. Tiny in scale within the landscape, a horse and rider gallop along a wide dirt road emerging from the lower right toward a white house nestled at the foot of the hill to our left. The rider wears a knee-length, denim-blue tunic and red leggings. Upon closer inspection, two children and a white dog become visible, walking toward the rider. A straw-yellow structure sits against the hill to our right. A horse-drawn carriage moves away from the house in the far distance, where the road curves toward the notch. The artist signed and dated the painting as if he wrote directly onto a broken trunk in the lower left corner of the painting: “T. Cole 1839.”

Washington Crossing the Delaware

Several people sit, stand, or stroll along a dirt road that winds from the lower left corner of this horizontal landscape painting into the distance, past trees and cottages under a vivid blue sky. The horizon line comes about a third of the way up the canvas, and the cloud studded, azure-blue sky fills the space above. Sunlight filtered through puffy white and steel-gray clouds illuminates the scene from the upper right, creating patches of light and shadow throughout. The road meanders through the center of the composition and is lined with dark and sage-green shrubs, scrubby growth, and gnarled, crooked trees. Closest to us and to our left, two tan cottages are tucked into deep shade created by a grove of several tall trees. The cottages have steeply pitched roofs and windows flanked by gray or brick-red shutters. Three people sit and stand near the path outside the closest building. A short distance to our right, a man sitting on a fallen log carries walking stick and a bundle on his back. His body faces us but his head is turned to our right to gaze toward the man and woman about to stroll past him, headed in our direction. The woman wears a black dress over a white skirt, and a white head covering and shawl. The man wears a brimmed hat with a red decoration, a brown coat with gold buttons down the front and a wide white collar, and heeled shoes. Beyond them, the road curves to our left around a small pond in front of the second cottage. Two people crouch to set a toy sailboat afloat by the edge of the pond, and a brown dog sniffs the ground nearby. Two more people stand talking at the doorway to the second cottage and another dog leaps up at the half-door. Further along the road, the light becomes stronger, illuminating a horse, rider, and another person walking alongside the horse. The road continues to curve around a butter-yellow cottage nestled in a grove of trees on the right. A sunny field is visible in the far distance.

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.

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

This is a painting of a pastoral scene near the water with a ship and buildings in the background. The artwork is in the style of American folk art, presented in an oval frame. The image depicts a serene landscape by the water, with figures engaged in activities such as gathering flowers in the center. The foliage is in shades of green and brown, spreading above under a lightly clouded, blue sky. On the left side, a ship is anchored near the shore, with buildings visible in the distance. The water has soft waves, contrasting with the rocky ground in the foreground. The pastel colors create a calm and reflective mood, evoking tranquility and connection with nature.

A Woodland Fête

Das Bittenlernen (Familie Reiter)

The Battle of Waterloo

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.

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

This painting depicts a green field of cotton plants with white blossoms. Three individuals are seen harvesting the cotton. They appear to be wearing skirts and bonnets and have dark skin, although their faces aren’t detailed. The background includes buildings on the left and green trees against a pale blue sky with hints of grey. The painting utilizes loose, visible brushstrokes. The color scheme is warm and natural, featuring shades of green, brown, and muted tones.

The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire

Die Fruchtbarkeit, umgeben von den vier Elementen

Hebe

Shown from about the hips up, a young, pale-skinned man with curly brown hair stands facing and looking at us, wearing a plum-purple coat under a golden yellow cape in this vertical portrait painting. The man’s oval face is angled a little to our left so he looks out from the corners of his gray eyes. His left eyebrow, on our right, is slightly arched. His skin is smooth and his cheeks lightly flushed. He has a long, straight nose, his pink lips are closed, and there is a faintly painted suggestion of a goatee. Wavy bangs fall across his forehead, and he has curly, chin-length hair. He stands with his right hand, on our left, on his hip, and in his other arm, he holds a wooden staff with a pewter-gray, metal, scoop-like hook at the top. White lace trims the high neck of his garment and the cuffs of his sleeves. Light reflecting off the plum-purple coat suggests a soft material, possibly velvet. Crisp reflections on the deep, butter-yellow cape fastened over one shoulder suggest satin. An emerald-green cloth hanging from the top right corner of the painting falls behind the man’s shoulder. Behind the cloth and to our left, a craggy, rocky outcropping opens to a view of a landscape with a green valley and topaz-blue mountains in the distance. Bands of golden light illuminate the cloudy sky above. The work is inscribed with yellow lettering in the lower right corner to read, “Philip Lord Wharton 1632 about ye age of 19.” The artist’s name is painted in the lower left: “P. Sr Ant: vandike.”

Philip Key

Fishing Boats with Hucksters Bargaining for Fish

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

The Fishermen (Fantastic Scene)

A rutted, dirt road curves from the bottom center of the canvas toward and behind a grove of tall trees to our left, beneath a pale blue sky with fluffy white clouds that fills the top two-thirds of this horizontal landscape painting. The broad, green canopies of the trees to our left create deep shade over twisting trunks, shrubs, and grasses. A narrow stream meandering alongside the road to our left reflects the moss, pine, and sage greens of the leaves. The land rises in a sloping bank to our right, and leads back to open fields with hedgerows that stretch to the horizon. Shorter, more spindly trees cluster along the bank in the distance. Tiny in scale, people are sprinkled throughout the landscape, either singly or in small groups. In the shade of the grove to our left, a man with dark pantaloons, a brown hat and coat, and a walking stick strolls along the road with a woman wearing a red skirt, a dark shirt, and a white apron and cap. Just off the curve of the road to our right, another man with a walking stick, tan hat, and dark gray pantaloons talks to a woman also wearing red, black, and white. Another person, slightly smaller in stature, stands between them. At a pond farther back from this trio, a man with a broad-brimmed hat sits fishing at the edge of the water. Barely visible, a house with a pitched roof, a tall, brick-red chimney, and a white picket fence peeks out from behind the trees beyond the pond. Finally, a man wearing a rust-orange coat, gray pantaloons with white stockings, and a tall hat, carrying a pole propped on his shoulder, walks toward us on a footpath running alongside the fields. Tall, cream-white clouds dot the pale blue sky above, and tiny dots of dark paint suggest flying birds. Soft sunlight pours across the countryside. The artist signed and dated the painting in small script in the lower right corner: “meijndert Hobbema F 1663.”

Hof

We look slightly down onto a scene with people gathering in small groups in a cobblestone town square lined with rows of brick, wood, and stone buildings, many with stepped rooflines, in this horizontal painting. Singly or in pairs or trios, men, women, and children walk across the square, move goods around, or talk to merchants. All the people have light skin. Many of the men have mustaches and wear hats, and some carry swords. In tones of black, olive green, brick red, and plum purple, they wear hip-length cloaks over jackets, with white collars or ruffs and brass buttons, and knee-length breeches over yellow or black stockings. The women all wear long dresses in salmon pink, coral red, or golden yellow, with white collars or ruffs, and many wear black, ankle-length cloaks, some with hoods. Closest to us, a sumptuously dressed man and woman walk toward us while another similarly elegant couple walks away. Also facing away from us, to our left, a man wearing a large drum strapped around his waist raises one drumstick as he looks over his left shoulder. Nearby, a woman peers up out of a cellar door that opens on an angle to the street. More couples gather around a well across the square, and two women and a child talk to a third woman selling wares at a wooden table to our right. A pair of hooded priests or monks walk near a man blowing on a trumpet on horseback. The buildings are mostly shades of brick red and brown, and most have three or four stories with steeply pitched roofs. More people walk along side streets leading off the main square. One gap in the buildings across from us leads to a nickel-gray stone church with a pointed spire and square tower. A grassy, green hill rises steeply beyond the buildings to our right, leading down to a waterway that extends up and away into the distance. A few boats float in the water, which reflects the leaden-gray sky. Beyond the town square, a brown stone structure like a fortress with turret towers and crenellated walls looms along the ridge of the hill to our right. Tiny in scale, people on horseback and tending sheep dot the hillside below. The date “1590” is painted on the front of one of the buildings across from us while another date, “1597,” is painted on the end of a short wall near the lower left corner.

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

Le radeau de la Méduse

Ungarischer Bauernhof

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.

The Trojan Women Setting Fire to Their Fleet

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.”

The Test of Fire of Moses

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.

Christ Carrying the Cross

This painting depicts a coastal scene with a perspective from the water. There are dark, billowing gray clouds above the horizon, and the sky is pale orange. Below, large sailboats are on the dark water, as well as some smaller rowboats and a few pieces of driftwood. The water reflects the ships and the colors of the sky. On the left is a low stone building on a bit of green land, and there is a green hill in the distance on the right, covered with houses and small buildings.

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.

Italienische Landschaft

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

Well at the Side of a Road

The image shows an elevated view of a landscape with hills and a river or lake in the distance. Several buildings, including a church, are scattered across the land. Soldiers in red and white uniforms are lined up near a stone wall and gravestones in the foreground. The sky is blue with a few scattered clouds. The painting style uses precise brushstrokes, featuring a color palette of soft blues, greens, reds, and muted tones.

Le 28 juillet 1830. La Liberté guidant le peuple

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.

Lincoln with Major Union Figures

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.

Standing Officer Holding a Boar's Spear

Rosso fiorentino, san giovannino, collezione privata firenze

This painting shows a maritime scene from the water, with a coastline in the distance marked by small, colorful buildings and distant green hills. Closer to us, a large ship with white sails floats on the green waves, flying the American flag and a flag that appears to have the word "Arkansas." Miniscule figures are visible on the deck of the ship, and thin ropes crisscross the three tall masts. On the left are two smaller ships. The one in the back flies a flag that says "Russia," while the closer ship near the bottom left corner has a design on the back that appears to say "Cuba." The sky above is bright blue, uninterrupted by clouds.

St Fredianus Diverts the River Serchio

Crémieu, Seen from Chaillonnette

The Veteran

The Windmill

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.”

We look across and down at a channel of water separating two landmasses labeled "Boston" and "Charles Town" in this horizontal landscape painting. Four three-masted ships are in the aquamarine-blue harbor between us and the land. Three of them have their sails unfurled and smoke billows from the broad, starboard side of each. Tidy rows of brown houses line the area of Boston. A puff of white smoke rises from the farthest point. Two arrow-shaped missiles, perhaps projectiles on fire, arc toward Charles Town, where billowing gray plumes of smoke rise from vivid orange fire on the far side of the landmass. Rowboats bring soldiers to the shore of Charles Town, close to where hundreds of soldiers line up and fire at each other. Much of the rest of Charles Town is a hill leading to sheer cliffs to our right. Tan and gray-colored smoke mixes among bright white clouds against a pale blue sky on the top half of the painting.

The Fitting Room

Interieur van een timmermanswerkplaats

Path Near the Pond of Vipers, Fontainebleau Forest

The Death of Socrates

The Holy Family

The Threatened Swan

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.

A Procession Scene with Musicians, from a copy of the Padshanama

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.

The Watermill with the Great Red Roof

We look beyond a cluster of flags hanging from the side of one tall building onto a wide street at a row of buildings across from us in this vertical painting. The scene is loosely painted with visible brushstrokes, so some details are difficult to make out. We seem to lean out a window to look along the street, so the building to our right only skims the edge of the composition and continues off the top. The three flags closest to us fly from nearly horizontal flagstaffs along the bottom edge of the painting. All the flags are in shades of scarlet red, white, and royal blue. The flag closest to us is red with the red, white, and blue Union Jack in the upper corner. Beyond it is an American flag with 49 stars, and then the French flag with the vertical bands of blue, white, and red. Those three flags are repeated about a dozen times along the building that stretches away from us, along the right edge of the painting. More of those flags are hung from the cream-white and tan buildings across the street, to our left. Some of those buildings reach off the top edge of the canvas and others come close. The shadows along moldings and the windows are painted with pale and lapis blue. Through narrow gaps left between the fluttering flags, vertical strokes of navy blue and violet purple suggest crowds of people in the street below. The sky between the buildings is ice blue. The artist signed and dated the painting in the center left, “Childe Hassam May 17 1917.”

Les Sabines

Adorazione dei Magi. Il Redentore, i Profeti Isaia e David (nelle cuspidi) 1420 circa

This painting shows a body of water in between wooded mountains. On top of the water there are several long wooden logs with people on them. One of the people stands atop a large log, while the other appears to sit or recline. The people both wear hats, and one of them holds a long stick with a pointed end. The water is a vibrant blue, and the logs are in shades of brown, tan, and yellow. The forest behind the water has trees in shades of dark and light green. The sky has clouds in white and gray against a blue background. The brushstrokes in the artwork are loose, and some of the colors bleed into one another.

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.

Amitabha Triad, Tokyo National Museum

The Large Plane Trees (Road Menders at Saint-Rémy)

Cabinet Decorated with Episodes from the Parable of the Prodigal Son

The Burgomaster

On the Sands

The Young Emperor Akbar Arrests the Insolent Shah Abu’l-Maali, Page from a Manuscript of the Akbarnama

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.

Inside the Bar

This painting shows a village nestled in hills and trees with a cloudy blue sky at the top. Closest to us are simple white buildings, some with white spires and others with red and brown roofs, surrounded by tall trees. In the distance there are hills, smaller trees, and sailboats on a body of water on the right. The artwork has visible brushstrokes, and the buildings are simple and flat. The color palette is earthy, with soft greens, warm tans, and light whites and yellows.

A pale-skinned woman sits in a pool of light against a deeply shadowed background in the bottom half of this vertical painting. She sits in the center of the composition, in a heavy wooden armchair next to a bed, which is flanked by two men. The woman wears a rose-pink, fur-trimmed robe draped over a white chemise. A pearl necklace and gold bracelets gleam at her throat and wrists, and her chestnut-brown hair is partially pulled up while curls fall to her shoulders. She looks to her left, our right, at a shadowy bearded man. He wears a turban wrapped in a gold chain, a cloak patterned with shades of bronze, olive green, and rust red, and a sword hangs from his belt. He stands facing our left, stooping slightly to rest his right arm, farther from us, on her chair, and his hand brushes her shoulder. The woman's mouth is open and brow furrowed as she points to the bed with her right hand, to our left. Her other hand holds up the loose neckline of her chemise to cover her chest. The bed is angled slightly away from us, to our left. It is covered with white linens and a mustard-yellow coverlet. A burgundy-red cloth or garment is draped over a bedpost at the foot of the bed. A younger man stands on the far side of the bed with his body angled to our right. He wears an olive-green tunic. A broad, scarlet-red sash is tied around his waist, and a bunch of keys hangs from it. Shoulder-length, light brown hair frames his face. His head tilts slightly to our right, and his hands are clasped at the waist, holding what looks like a black cap. A faint light him behind him creates a soft halo around his body. The top half of the painting is swallowed in deep shadow. The artist signed and dated the painting in the lower right, “Rembrandt. f. 1655.”

A band of indigenous Americans ride horses toward and through a herd of buffalo, which spreads along a river that winds through plains to mountains in the deep distance in this horizontal landscape painting. The scene is lit with golden light that warms the browns and harvest yellow of the landscape. Several dead or injured buffalo lie across the ground close to us, along with the body of one hunter, barely visible between the bodies of two animals. Just beyond the corpses, one hunter rides a rearing white horse as he lifts a spear lined with feathers high over a charging buffalo to our right of center. Facing away from us, the rider has light brown skin and a feather headdress over long dark hair. He wears a pumpkin-orange loincloth and red and orange bands encircle the ankle, thigh, wrist, and upper arm facing us. Sage-green grass grows in tufts on the dirt ground, which is littered with several animal skulls around the charging buffalo and rider. A smaller buffalo looks on from our left, and a prairie dog pokes its head out of hole in the ground in the lower left corner. A little distance away to our right, along the edge of the canvas, seven hunters gallop into the scene, leaning forward over their horses’ necks. The dozen or so buffalo nearby, as well as a fox and two deer, move away from the hunters, headed to our left. Hundreds of buffalo dot the landscape along the banks of the winding river and some wade in the water. A few trees rise on the plain but the land is mostly flat until it reaches the mountains and cliffs along the horizon, which comes halfway up this composition. Forms along the horizon could be a line of clouds or snow-covered moutains in the deep distance. A few wispy white clouds float across the watery blue sky above. The artist signed the work in the lower right corner: “Albert Bierstadt.”

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.