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

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.

Shown from the chest up, a clean-shaven young man with pale, peachy skin looks off to our left against a cloudy sky in this vertical portrait painting. His body is angled to our left, and he gazes in that direction with dark eyes under thick, arched brows. He has a long nose, smooth cheeks, and a hint of a five-o-clock shadow around his closed, peach-colored lips. Chestnut-brown hair is covered by a black headdress with two long tails. One end drapes over the front of his right shoulder, farther from us, and the other end hangs down his back. He wears a brick-red garment that falls in vertical pleats from a high collar. A white undergarment peeks out from the top of the neckline, and the collar is fastened with a small clasp at the throat. Behind him, tan-colored clouds float across a blue sky.

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

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.

The laurel branch is a traditional Medici emblem.

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.”

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.

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

Gian Lodovico Madruzzo

Shown from the shins up, a pale-skinned, balding, bearded man wearing a voluminous rust-red robe lined with black-speckled white fur looks out at us in this vertical portrait painting. The man sits in a wood-framed chair with a curving seat. His body angled slightly to our left, but his face turns to us. He looks out with dark gray eyes under a lined forehead, one eyebrow slightly cocked. He has a rounded nose, thin lips, and paunchy cheeks. A few wisps of gray hair are suggested across the top of his mostly bald head, and his gray beard is trimmed. His left hand, to our right, rests on the terminus of the chair’s arm, and his other hand rests in front of his belly, presumably with that elbow on the other arm. His robe falls heavily in deep folds, and the wide openings of the sleeves continue down and off the bottom edge of the canvas. The front of the robe and the insides of the sleeves are lined with white fur dotted with black. A scarf-like band of fabric brocaded with dark red-on-red drapes over one shoulder. The background is charcoal gray except for a dark, olive-green shape suggesting a doorway over the man’s left shoulder.

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

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.

Saint in Red Cloak

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".

Portrait de l'artiste tenant un chardon

St Fredianus Diverts the River Serchio

A Maid Asleep

Margaret of Austria

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

Isaac and Rebecca, Known as ‘The Jewish Bride’

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.

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

Selbstbildnis

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.

Margaret Fuller

The Burgomaster

Portrait of a Lady

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.

Standing Saint

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.

Philip Key

Charles II of Valois, duke of Orléans.

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 Milkmaid

The Sampling Officials of the Amsterdam Drapers’ Guild, Known as ‘The Syndics’

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.”

Seated African Woman

Young Woman with Ibis

Cape

Portrait of a Man, Possibly Girolamo Rosati

Mädchen in rotem Kleid

Unidentified Man

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

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.”

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

Hebe

Child Asleep (The Rosebud)

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

Annunciation

Fragment van een muurschildering

Henri-Charles Maniglier

La Femme au miroir

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

A woman with pale, peachy skin wearing elegant gold and ink-black garments sits in front of a stone portico in this vertical portrait painting. Her red armchair is angled to our right, but the woman turns to look at us under cocked brows. She has high, rosy cheekbones and a long straight nose. Her pink lips curve up in a smile framed by the faint suggestion of dimples. Her brown hair is pulled back under a gold band or net, and a gold earring hangs from the ear we see. Her gold dress has a fitted bodice with a line of buttons down the front and puffy, brocaded sleeves. She wears the bodice over a white chemise, which comes nearly to the double strand of pearls worn like a choker around her neck. Frothy white lace surges up to encircle the back of her neck, and more lace stretches back along her forearms from the cuffs of her gold dress. The black cloak she wears over the dress splits over the sleeves and flares up behind the neck, echoing the lace. A long gold chain weaves back and forth across the open front of the black cloak, which is patterned with black on black. The woman wears a ring on her right hand, which rests in her lap and holds a white flower. The cloak stops at the woman’s knees to reveal a gold and red striped skirt. The woman’s other hand, farther from us, rests along the arm of the chair and holds an ostrich' feather fan with a silver handle. A scarlet-red curtain in the upper left corner above the chair gives way to a view into a courtyard lined with a portico along the right side. The portico has three openings separated by wide, horizontally ribbed columns. Ornamental shells, creatures, and people are carved into the face of the portico, and bright green trees are just visible through the openings. Gray and white clouds sweep across a vivid blue sky around the woman’s head.

This painting is a portrait of a seated woman, her body turned slightly to the right and her head looking towards us. She has a fair complexion, with round, rosy cheeks, pale eyebrows, large green eyes, and thin pink lips in a neutral expression. Her light blonde hair is styled in short curls close to her head and adorned with pearls and a clip or barrette in the shape of small leaves. She is dressed in a cream-colored dress with intricate embroidery in shades of brown, gold, and black. On top of the dress is a long black garment that flows over her shoulders and upper arms and has a high collar, decorative buttons, and more embroidery. Her gown is paired with a ruffled white collar and lace at her neckline and wrists. Long gold chains drape across her chest, and she wears a pearl necklace around her neck and two small golden rings on her fingers. In her left hand, our right, she holds a small book, while a lace handkerchief is in her right hand, our left. She wears pearl earrings, strands of pearl bracelets, and a decorative brooch in the shape of a white dog with a pink bow. The seat she sits on is wooden with dark red cushions decorated with golden tassels and embroidery, behind her on the left is a draped green cloth, and on the right, a table is covered with music sheets, a stringed instrument, books, and small blue and yellow ribbons. The wall behind the table is brown, and there is some gold lettering in the top right corner.

Dame in zinnobergrünem Kleid

Ōtsu-e of a Youth Holding Irises (Yarō)

Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.

Unidentified Man

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.

James H. Lane

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

The image shows a young child standing next to a rocking horse. The child is standing upright with one hand resting on the rocking horse's head and the other hand holding a whip. The child has fair skin, blue eyes, and short blonde hair with a small curl at the top. The child wears an orange dress with floral patterns, white lace-trimmed pantaloons, white stockings, and black shoes. The background includes red drapery on the left side and a bright landscape visible through a window, as well as a deep green hue on the right side.

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

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.

"Lotto" Carpet

Madame X (Virginie Amélie Avegno Gautreau)

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

Velvet and Silk Carpet

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 Test of Fire of Moses

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.

Unidentified Man

Edward L. Davenport

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

Amitabha Triad, Tokyo National Museum

John F. Gray

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

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.”

Carpet with Triple-Arch Design

Copy of The Night Watch

Virgin and Child

Allegory of Sacred Music

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.

Son of Prince de Joinville (Pierre Philippe Jean Marie d'Orleans)

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.

Alexander Campbell

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.

Bassoon