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Mount Sainte-Victoire

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.

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.

The Milkmaid

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

Copy of The Night Watch

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 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.”

Youth Playing a Pipe for a Satyr

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Paris Street; Rainy Day

Cottage among Trees

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)"

The Merry Family

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)"

Interieur van een timmermanswerkplaats

Hunting and fishing scenes

The Basket of Apples

The Watermill with the Great Red Roof

Woman Reading a Letter

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.”

Water Lilies

Enclosed Valley

Mishima Pass in Kai Province (Koshu Mishimagoe), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

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

Shown from the waist up, an older man with pale, peachy skin looks out at us with deep-set, gray eyes under a furrowed brow, in front of a sable-brown background in this vertical portrait painting. His body is angled to our left, and his face turns to us. He has a faintly pink, bulbous nose, and his slightly sunken cheeks are shaded with gray. His peach-colored lips are framed with a wispy, gray mustache and goatee. Bronze-orange lines are incised within the battleship gray of his hair to create soft curls under his brown beret, which has gold trim around the base. The dark collar of his fawn-brown coat is turned up so his neck is covered. He is lit from the upper left, so his body and the right side of the painting are deeply shadowed. On our left, the canvas is painted with blended strokes of tawny and dark brown. His dark coat blends into the background, and his folded hands are in shadow in the lower left corner. The brushstrokes are visible in some areas, especially in the man’s face. The painting is signed and dated next to his shoulder, to our left, “Rembrandt f. 1659.”

Improvisation No. 30 (Cannons)

Le 28 juillet 1830. La Liberté guidant le peuple

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.

View of Houses in Delft, Known as ‘The Little Street’

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.

The great Jewish bride

Ejiri in Suruga Province (Sunshu Ejiri), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

The Girl by the Window

Farmhouse on the Slope of a Hill

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.”

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

Water Lilies (Agapanthus)

Evening, Melancholy I

Iris and Grasshopper, from an untitled series of large flowers

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

Christ Carrying the Cross

Cabin in the Cotton

Hinds House Window

Fishing by Torch in Kai Province (Koshu hiburi) from the series "One Thousand Pictures of the Ocean (Chie no umi)"

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

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

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

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.

A young woman with pale skin and flushed cheeks stands in a landscape looking to our upper left in this round-topped vertical painting. Her body faces us in the center of the scene. Her fingers are interlaced at her waist, and her head tips slightly to our left. Honey-brown hair cascades over her shoulders, and her hazel eyes roll up under thin brows. She has a short nose and a small, pale pink mouth. A translucent scarf is tied around the full-length, pine-green mantle that drapes across her shoulders and wraps around the V-neck of her rose-red robe. A wine-red inset fills the neckline, and a matching belt is tied around her waist. She stands barefoot on the dirt ground, which is scattered with pebbles. Plants grow and bloom, including a blue iris, in shallow water along the bottom edge of the composition. A lidded pitcher with a narrow neck and scrolling handles sits on a flat rock next to her right knee. Taller, peanut-brown rock formations pile up beyond her under a powder-blue sky. Tawny-brown and sage-green trees, leafy plants, and shrubs sprout among the rocks. Beyond the woman is an open gate in a wooden fence built into one of the rock formations to our right, and sage-green hills dotted with moss-green trees roll out along the left side of the painting.

Tatekawa River Lumberyard at Honjo (Honjo Tatekawa), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

Les Noces de Cana

Une odalisque, dite La grande odalisque

La Dentellière

The Dream of the Shepherd (Der Traum des Hirten)

The great Jewish bride

Tama River in Musashi Province (Bushu Tamagawa), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

Japan; Illustrated book; Illustrated Books

Christ Crucified Between the Two Thieves: 'The Three Crosses'

Jessie Benton Frémont

Gedicht op de zilveren bruiloft van Ludolph Simon de With en Maria de Wit, 15 augustus 1771

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.

St. Catherine of Siena and the Beggar

"Dancing Dervishes", Folio from a Divan of Hafiz

Textile Fragment

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.

Cranes on snow-covered pine

A pale-skinned young girl leaning over a low fence and holding a broom gazes in our direction in this vertical painting. Her red hair is pulled back from her round face, and she has large hazel eyes under thin brows, a petite nose, and her coral-red mouth is slightly open. She is shown from the chest up, behind a wooden partition that spans the width of the painting. She wears a loose, ivory-white shirt under a garment with pumpkin-orange straps on the shoulders and chest. She leans forward with her elbows hooked over the partition as she holds a long-handled broom to her chest. A wooden pail with a bronze handle is overturned to the right of the broom. A blocky brown object to our left is difficult to make out. A dark brown semicircular object close to us in the center of the composition resembles the mouth of a well. Soft light from the upper left illuminates the girl and the left side of the caramel-brown wall behind her and throws the right side into shadow. A signature near the lower left looks like it had been painted on the inner edge of the well. It reads, “Rembrandt f. 1651.”

The Battle of Waterloo

Fragment van een muurschildering

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.

Isaac and Rebecca, Known as ‘The Jewish Bride’

Le radeau de la Méduse

Fan painting with river landscape

Grapevine

The Windmill at Wijk bij Duurstede

Shown from the waist up in front of a black background, a young woman with pale white skin and curly brown hair looks directly out at us over her shoulder with her body angled to our left in this vertical portrait. She has dark brown eyes, a straight nose, smooth skin, and her pink lips are closed. Curls fall across her forehead but the rest of her hair is pulled up under a white lace scarf, called a mantilla. The mantilla is tucked under the wide orange and black shawl wrapped around her shoulders. She clasps her hands at her waist, and her hands and forearms are covered with long white gloves that disappear under the shawl.

Estérel Village

Fragment (Dress Fabric)

Fishing Boats with Hucksters Bargaining for Fish

Palampore

Fujimigahara in Owari Province (Bishu Fujimigahara), from the series "Thirty-six views of Mount Fuji (Fugaku sanjurokkei)"

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

Pink and Rose

Fishing Boats at Choshi in Shimosa (Soshu Choshi) from the series "One Thousand Pictures of the Ocean (Chie no umi)"

Mount Fuji with Cherry Trees in Bloom

Christ and the Virgin in the House at Nazareth

The Tea Plantation of Katakura in Suruga Province (Sunshu Katakura chaen no Fuji), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”

Church Bells Ringing, Rainy Winter Night

Invocation to Love

Pichhwai for the Festival of Cows

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.”

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