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Hilma af Klint — The Ten Largest — Number 3 Youth

Hilma af Klint — The Ten Largest — Number 8 Adulthood

Hilma af Klint — The Ten Largest — Number 1 Childhood

Hilma af Klint — The Ten Largest — Number 5 Adulthood

Hilma af Klint — The Ten Largest — Number 5 Adulthood

Hilma af Klint — The Ten Largest — Number 4 Youth

Hilma af Klint - Group IX/UW, No. 25, The Dove, No. 1, 1915

Hilma af Klint — The Ten Largest — Number 2 Childhood

Hilma af Klint - Altarpiece No. 1 Group X

Hilma Af Klint - The Swan, No. 12, Group IX/SUW, 1915

Hilma af Klint — The Ten Largest — Number 10 Old Age

Hilma af Klint - Group X, No. 2, Altarpiece, 1915

Hilma af Klint - Group IX/SUW, The Swan, No. 9, 1915

Hilma af Klint "Svanen, nr 17, grupp IX/SUW, serie SUW/UW", 1915. Stiftelsen Hilma af Klints Verk. Photo: Moderna Museet/Albin Dahlström.

Hilma af Klint — The Ten Largest — Number 9 Old Age

"The Swan, No. 18" by Hilma Af Klint [Venice - 13 October 2013]

Tree of Knowledge, No. 1

Hilma Af Klint Series SUW, No 14 Swan, 1914 -1915

Tree of Knowledge, No. 2

Hilma af Klint - The Swan, No. 10, Group IX/SUW, 1915

Hilma af Klint - Group IX/SUW, The Swan, No. 7, 1915

Improvisation No. 30 (Cannons)

Water Lilies

Titel: Svanen, nr 13, grupp IX, serie SUW. Konstnär: Hilma af Klint (1862-1944, svenska). Olja på duk utförd 1915. Stiftelsen Hilma af Klints verk.

Bowl with Inscription, "Sovereignty is God's"

Hilma af Klint - Group IX/SUW, The Swan, No. 1, 1915

Water Lilies (Agapanthus)

Hilma af Klint, Buddha’s Standpoint in the Earthly Life, No. 3a, (1920), courtesy Hamburger Bahnhof

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjūrokkei)"

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei)"

Church Bells Ringing, Rainy Winter Night

The Dream of the Shepherd (Der Traum des Hirten)

The Merry Family

No 1. From "The Parsifal Series", painted 1916. From an exhibition at Moderna Museet, Stockholm.

Grafmonument met alliantiewapen en vier kwartierwapens

Saint John on Patmos

Animal-Spouted Pitcher

Wrestlers in a Circus

Une odalisque, dite La grande odalisque

Terracotta dinos (mixing bowl)

Pichhwai for the Festival of Cows

The Threatened Swan

Jar with Dragon and Clouds Design

Evening, Melancholy I

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

Red-Figure Calyx-Krater (Mixing Vessel): Medea in Chariot (A); Telephos with Baby Orestes (B)

Textile Fragment

Bullfinch and Weeping Cherry (Uso, shidarezakura), from an untitled series of flowers and birds

Unidentified Woman

Cloth with Procession of Figures

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

The great Jewish bride

Mount Fuji with Cherry Trees in Bloom

A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down, and she looks toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire Latin inscription would read, “virgo concipiet et pariet filium et vocabitur nomen eius emmanuel butirum et mel come dit ut fiat reprobare.” A slender, bone-white column separates her from the angel across from her, along the left edge of the painting. The angel has curly, shoulder-length hair and wears a robe with a gold, floral pattern against a burgundy-red background. Long, golden wings emerge from the shoulder blades and extend off the side of the composition. An open archway just beyond the angel is filled with streaks of flax yellow and burnt orange, possibly representing flames. Some of the walls in the room around the pair are pale olive green and other areas are darker spruce green. There are bands of coral-pink molding and inset panels of patterned mosaics. The flat ceiling of the space immediately over the pair is decorated with checkerboard panels in navy blue, hunter green, brown, and brick red. Gold lines create a ray coming from the ceiling toward the woman. At the back of the space, beyond the column separating the woman and angel, the room extends into an alcove with an arched hallway painted with gold stars against a midnight-blue background. Double doors open at the back of the alcove onto a room with a pale-yellow curtain with a mesh-like trim. We see the pair as if through a stone archway that lines the top and sides of the composition. The upper corners are filled with leafy decorations, as if carved into the stone.

Black-Figure Hydria (Water Vessel): Frontal Quadriga (Body); Theseus and Minotaur (Shoulder)

Cranes on snow-covered pine

Misty Sea

Mount Sainte-Victoire

Icon of the Virgin and Child

Tánggǔ (堂鼓)

Red-Figure Fish Plate: Octopi, Mullet, Bream, Shellfish

Stela of Amenemhat and Hemet

The Wade Cup with Animated Script

Rustam's seventh course: He kills the White Div, folio 124 from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020)

Fragment (Dress Fabric)

Quilt

Japan; Illustrated book; Illustrated Books

Unidentified Woman

Woman at Her Toilette

Dragon in foliage with lion and phoenix heads

Chrysanthemum and Horsefly, from an untitled series of Large Flowers

Blackbook I

Goddess Riding a Dragon, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Covered box decorated with chrysanthemums and waterfowl among lotus

Hotei Smoking his Pipe, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Orpheus

Bell (Lai Zhong)

Morning Glories and Tree-frog, from an untitled series of Large Flowers

Oribe-Type Ewer

Hawk, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Fragment textiel

The Milkmaid

Iris and Grasshopper, from an untitled series of large flowers

Goblet

A woman and winged angel, both with pale, peach skin, are situated in a church interior in this tall, narrow painting. To our left, the angel has long, blond, curly hair, smooth skin, and is smiling. The wings are outlined in royal blue, and they blend from blue to green to yellow to crimson. The angel holds one hand, closer to us, up at chest height with the index finger subtly pointing upward. Holding a long scepter in the other hand, the angel angles their body toward the woman to our right. The angel wears a gold jewel and pearl-encrusted crown and a jeweled long, voluminous robe in scarlet-red and shimmering gold brocade. The neck and along the opening down the front are lined with pearls and jewels. The angel looks toward the woman, who wears a royal-blue dress tied with a red belt at the high waist. Her long brown hair is tied back but one tendril falls over her left shoulder, to our right. She kneels facing us with her raised hands facing outward. Her head is tipped a bit to our left, and she looks up and into the distance to our right with lips slightly parted. She kneels behind a book lying open on a low table. A vase of white lilies and a red cushion lies on the floor in front of the table, close to us. The floor is decorated with people and scenes outlined in black and set into square panels, as if inlaid with wood. The church behind and above the people has a row of tall, narrow arches with bull’s-eye glass windows. A walkway lined with columns runs above the arches, and sunlight comes in through arched windows under the flat wood ceiling. A white dove flies toward the woman on gold lines from a window at the upper left of the painting. Latin words painted in gold capital letters are exchanged between the people. The angel says, “AVE GRA PLENA.” The letters of the woman’s response are painted upside down and backward: “ECCE ANCILLA DNI.”

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.

Jewelry Elements

Pink and Rose

Bahram Gur Arrives at the House of a Merchant, text page (recto); Bahram Gur Slays a Dragon (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), known as the Great Mongol Shahnama

Terracotta kernos (vase for multiple offerings)

Code de Hammurabi

Seated Female Nude (Self-Portrait?)

Belt clasp

Grapevine

Copy of The Night Watch

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

This print illustrates the legend of a woman murdered by her husband because she accidentally broke plates. Her corpse and the pieces of the dishes were thrown into a well, but her ghost returned every night to haunt him in the eerie form seen here. This small-format work features a bright blue color that may seem cheery to us, but Hokusai’s original audience would have associated it with death and the occult.

L'Européenne

Waistcoat