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Young Woman with Ibis

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.

Annunciation

The Annunciation

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.

Jean Hey, known as the Master of Moulins, was a leading painter in 15th-century France. Here, he captured the moment the archangel Gabriel announced to Mary that she would give birth to a son. The painting once formed the right side of an altarpiece, with the left side depicting Mary’s own Immaculate Conception and a central section, now lost, featuring the enthroned Virgin and Child.

Madonna and Child with Two Angels

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.”

A young, pale-skinned woman with long, blond hair and wearing a coral-red gown stands on a pedestal before a landscape filled with people in this vertical painting. The painting has an arched top, and the woman who fills most of the view is Claudia Quinta. Her hair is adorned with strands of pearls, and a larger pearl hangs from a piece of jewelry like a brooch at the top center over her forehead. A sheer veil covers the back of her head. Her body faces us but she turns her head slightly to our right, so she gazes at us from the corners of her light hazel eyes. A pearl necklace with a square gold, sapphire-blue jewel and pearl pendant encircles her neck. The brown sleeves of her dress are flecked densely with short gold lines, and white fabric shows at gaps over the elbows. The red bodice has a high waist tied with a brown belt, which also holds sheer fabric in place so it falls to her knees over the long red skirt. The skirt is bordered with a gold geometric design along the bottom hem, which stops just short of her sandaled feet. In her right hand, on our left, she holds a small, navy-blue boat with a gold figure standing in it. Her other hand rests by her left thigh, to our right. She balances near the front edge of the rectangular pedestal, which is pale violet purple. On the front face, two winged, chubby children are painted white to resemble stone carvings. They brace a panel bordered in gold. The plaque has a teal-blue background, and gold letters read, “CLAVDIA CASTA FVI NEC VVLGVS CREDIDIT AMEN ET TAMEN ID QVOD ERAM TESTIS MIHI PRORA PROBAVIT CONSILIVM ET VIRTVS SVPERANT MATERQVE DEORVM ALMA PLACET POPVLO ET PER ME HVNC ORATA TVETVR.” Beyond Claudia Quinta a river winds in a tight S-curve through dark green hills. Farther back, to our left, a group of people with thin, elongated bodies dressed in blue, light brown, and orange walk in front of a tall dark blue building as they head toward a river on the right side. The building has an arched opening and a tower topped with a taupe-brown spire. To our right of Claudia Quinta, a woman wearing a rose-pink dress holds a rope around the prow of a boat at the edge of the river. Like the boat held by Claudia Quinta, it is navy blue and has the same shape. The pale lavender-purple river continues into the distance, where it meets rocky outcroppings along the horizon, which comes about halfway up the composition. A pale blue sky above is filled with wispy bands of clouds.

Margaret of Austria

The laurel branch is a traditional Medici emblem.

Madonna and Child

Madonna and Child with Donors

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.

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 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.

A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.

Adoration of the Christ child with the young St. John the baptist,St. Romuald,angels,the hands of God the Father and the Holy Ghost as a dove - Filippo Lippi

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.

The Holy Family

Margaret Fuller

Leaf from Book of Hours

A woman holding a nude baby boy sits on a blue patterned pillow on the floor in front of a brick-red curtain held up by two angels in this vertical painting. The people all have pale, almost gold-colored skin with a green cast, though their cheeks are flushed with pale pink. The woman sits facing us and looks slightly off to our right. She has almond-shaped eyes, a straight nose, and her lips are closed. She wears a blue cloak with a white hood over a shell-pink dress. Her right arm, on our left, rests in her lap and she supports the baby with her other arm. The baby’s nude body is pudgy like a baby but his face and head are proportioned more like an adult. His body turns toward the woman and he reaches up to her neck, and he looks into the distance to our left. Both have flat, plate-like gold halos. The winged angels holding up the red curtain also have halos and they wear blue robes. The curtain falls in gentle folds behind the mother and child, and fabric of the same color underneath the blue pillow on which they sit suggests that the curtain extends onto the floor. A dove, also haloed, floats at the top center of the painting. The gold background around the curtain and behind the angels and dove is painted into an arch over the people, and the upper corners of the panel are dark. A Latin inscription is painted with capital gray letters against a white band along the bottom edge of the panel: “AVE: MARIA: GRATIA: PLENA: DO.”

Paradise

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.

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

A woman wearing long robes and standing on an upturned, gold crescent moon is surrounded by twenty winged angels who lift her up, sing, or play musical instruments in this vertical painting. Below, a grassy landscape with rocky hills, a river, and buildings stretches into the distance. Along the top edge of the painting and smaller in scale, more angels surround two men sitting on a throne, holding a crown. All the people have smooth, pale skin, oval faces with small, delicate facial features, and long wavy hair. They wear fluttering, jewel-toned robes. The woman at the center, Mary, stands facing us with her eyes downcast and her hands held together in prayer. Her strawberry-blond hair lightens where her hair rests over her shoulders, and a jeweled band encircles her head. She wears a long, ruby-red dress with a jeweled neckline and navy-blue cloak trimmed with gold. Eight of the winged angels seem to lift her body, four along each side. Seven more angels float around the scene playing instruments, including a lute, a harp, recorder-like instruments, and stringed instruments, one of which resembles a violin and another a dulcimer. Along the top of the group, around Mary’s head, four angels sing, holding sheet music. In tiny letters, writing on the sheet of music to our left reads, “A ve regina celorum mr regis,” while the writing on the music to our right reads, “A Tenor ve regina.” The angels wear robes in emerald green, royal or sky blue, butter yellow, rose pink, tomato red, silver, or white, and their wings match their robes. Some of the robes are embroidered with gold and some angels wear jeweled diadems. The edges of an oval, gold halo are visible behind the angels at Mary’s head and feet. Above Mary and the angels, a scene, much smaller in scale, recedes into the distance within a ring of dark clouds. Two haloed, bearded men wearing scarlet-red robes and with shoulder-length brown hair sit on a wide throne covered with a black and gold brocade cloth. The man to our left is bareheaded and the man to our right has a tall, blue and gold crown. A white dove with wings spread hovers above a second gold crown they hold between them. More than a dozen angels surround the throne, holding up the cloth or singing. A black and red checked tile floor stretches in front of the throne. Along the bottom edge of the painting, beneath Mary and the angels, a grassy landscape with fields and trees stretches into the distance to gray castle-like structures. A river winds from the lower right between the buildings. A man rides a horse near the riverbank to our right, and the shore is lined with minuscule shells. To our left, a second man walks in the field, away from us toward the building, and another man crosses a short bridge over a second, smaller stream.

Saint in Red Cloak

The Birth and Naming of John the Baptist

Portrait de l'artiste tenant un chardon

Hebe

The Holy Family with Saint John the Baptist and Saint Margaret

Saint John on Patmos

A woman, Mary, sitting on a throne made of clouds is surrounded by ten winged angels, floating above a landscape with twelve people gathered closely around a long, rectangular, stone box filled with flowers, all set against a gold background in this tall, vertical painting. Mary and the angels have pale, peachy skin and the men below have more tan complexions. Each person’s head is surrounded by a flat, gold halo. In the upper half of the composition, Mary’s blond hair is covered by a veil, and her white robe is decorated with a pattern of starburst-like, gold shapes and edged in gold. She holds her hands together in prayer and looks up. She sits on a light blue, cloud-like form, which is held up by two angels. The other eight angels look on, four to each side. Six of them each play a different musical instrument, and the top two cross hands across their chests. The angels all have blond hair and wear flowing robes in cranberry red, steel gray, cream white, or pale sky blue. In the bottom half of the painting, the people kneeling or bending over the coffin-sized, stone box wear gold-trimmed robes in azure blue, lilac purple, raspberry pink, marigold orange, sage green, or coral red. All but one is bearded, though the face of one, opposite us, is half-hidden behind the outstretched arm of his neighbor. One man, to our left, points into the box, which is filled with white and red flowers and pine-green leaves, and others look into the box, up, or at each other. The box is inlaid with teal-green panels on the side we can see. Grass and flowers grow below. Beyond the box and people, and between them and Mary above, a person kneels on an olive-green, rocky outcropping with hands raised. The angels around Mary line the inner edge of an arch at the top of the panel. The roundels at the top corners above the arch are occupied by a person wearing a mauve-pink robe over a gold garment to our left and a blue robe over a white and gold garment to our left. The entire panel is surrounded by a gold frame carved with steps and moldings.

La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930)

This painting depicts a woman holding a child. The woman is turned towards the left, and she looks down at the child in her lap. She has pale skin, reddish-brown hair, high, arched, eyebrows, and thin, slightly downturned lips. Her hair is put up above her head under a red and brown net with a thin veil hanging over her face. A golden halo is behind her head. Her clothes are ornate, in shades of gold and brown with a collar decorated with pearls and green gems. The child is nude except for a red necklace and red bracelets. They also have pale skin and brown hair, and they are looking up at the woman. The child rests on a green cushion and holds a light pink peach or apple in one hand, and there is a faint golden halo around their head. Next to the woman, on a white marbled surface, is a white bowl of light pink fruit. Behind her is a landscape of green fields, tree-lined, rocky hills, and a light blue body of water. The sky above is a gradient of blue, white towards the horizon and fading into dark blue at the top of the painting. Puffy white clouds drift across the top of the sky.

St Fredianus Diverts the River Serchio

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

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.

A woman sitting on a throne supports a baby as twelve winged angels look on, all framed in a carved, gilded pointed arch in this vertical panel. It is the center of a three-panel triptych. The background behind all the people is gold, and the top of the panel comes to a rounded, pointed arch under a second taller, sharper point. Trios of spiraling columns frame the left and right sides. The woman, child, and angels all have pale skin tinged faintly with green, and rosy cheeks. They all have blond hair except for the woman, whose hair is covered, and all have plate-like gold halos that overlap, sometimes obscuring the bodies of others. The woman, Mary, faces us from her ivory-white, carved stone throne. She looks slightly above us with brown eyes under delicate brows. She has a small, straight nose, and her narrow pink lips are closed. The lapis-blue robe that covers her head and body is bordered with gold patterns, and has a starburst on her right shoulder, to our left. The pea-green underside of the mantle is visible where it turns over on the sleeves and down the front, and the robe is worn over an ivory-white dress patterned with gold. The child she holds with both hands, Jesus, stands on her lap and wraps one arm around her neck. His other hand grips the high neckline of her dress. He looks up with dark, close-set eyes. He has curly blond hair, a double chin, and rounded cheeks. Two tiny teeth are barely visible below his pink upper lip. Despite the rounded cheeks, his face looks more like that of an adult, and the proportions of his body are also adult-like. He wears a gold-trimmed, pale pink robe over a blue garment, which stops just short of his bare feet. The twelve angels surrounding the throne are grouped in trios, with three looking on to our upper left, three to our upper right, and then two trios gathered in each lower corner. Their wings and robes are painted in tones of celery green, ruby red, butter yellow, and pale rose pink. Each has a triangular diadem above their foreheads. The floor beneath is patterned with gold against a burgundy-red background. Above Mary and Jesus, a bearded man is shown from the chest up in a shape made of three lobes alternating with three points. That man faces us and holds up his right hand, to our left, with the first two fingers raised. He wears a shell-pink garment under a green robe, and holds up an open book with Latin text with his other hand. The frame around Mary, Jesus, and the gable above is carved and gilded. Barely discernable, the panel is inscribed across the bottom below the throne, “AVE MARIA GRATIA PNELA DOMINUS.” The pages of the books read, “EGO SUM A O PRINCI PIU FINIS EGO SUM VI A. VERITAS VITA.”

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.

The Four Seasons

This painting depicts three people seated side-by-side outdoors. The central person is a young, nude child with curly, reddish hair and a red beaded necklace, sitting on a red cushion. Their head is turned to the right. The woman on the left wears a white head covering, a sheer veil around her neck, a green dress, and a red cloak with floral designs. She holds the torso of the child and drapes a white cloth around its legs. The woman on the right has long, flowing reddish hair and wears a white dress or robe with gold detailing down the front, on the neckline, and on the wrists. She holds an open red book, and the child is turning one of the thin pages. All three people have pale skin. Above them, in the cloudy blue sky, there is a white dove with its wings outstretched, gold lines radiating from it. Above the dove, there is an image of a crowned bearded man with pale skin, wearing red robes and holding an orb. He is against a golden background with red dots that breaks through the pale clouds. The background shows a landscape with green trees, hills, and pale blue buildings.

Virgin and Child

A man hangs from a wooden cross at the top center of this vertical painting, with a woman standing at the foot of the cross to our left and a man to our right, all in front of a deep landscape with mountains along a river. All the people have light skin. The feet of the man on the cross, Jesus, line up with the tops of the heads of the people standing below. Jesus hangs by a nail driven through each palm, and his overlapping feet are nailed into a short platform that angles downward. He has shoulder-length brown hair and a short brown beard. His head tips forward, and his eyes are downcast or closed. He has a straight nose, high cheekbones, and his lips are closed. Blood trickles down his forehead from a ring of thorns around his head, from the nails in his hands and feet, and from a short gash over his right ribs, on our left. A white loincloth is wrapped around his hips, and the end of it flutters as if in a breeze to our left. The man’s body is lean but muscular. A slip of paper with the letters “INRI” has been affixed to a small panel on the cross above Jesus’s head. Below and to our left of the cross, a woman stands with her head bowed, looking down with her hands clasped in prayer. Her hair is covered with a tan-colored veil and she wears a gold-edged, navy-blue robe that covers her head and body. She and the cleanshaven, blond man standing to our right of the cross both have bare feet. The man looks up at the cross with his lips parted. His fingers are intertwined and then flipped, palms-down, with his arms straight. His raspberry pink-robe falls over one shoulder and around his hips, over a topaz-blue, ankle-length tunic. The dirt-packed ground on which they stand is lined along the bottom edge of the panel with plants and flowers. The golden-brown land dips beyond the people, leading down to a river that winds into the distance. A castle-like structure perches on cliff-like outcroppings high along the left edge of the painting, and buildings at the foot of that outcropping line the river. Two people walk and one person fishes off a bridge near the town. A few boats, one with full sails unfurled and another possibly with oars out to row, float in the river beyond, which is flanked in the deep distance by mountains painted blue in the haze. The horizon comes about halfway up the composition, crossing the painting just beneath Jesus’s feet. The sky above deepens from pale yellow along the horizon to robin’s egg blue where a few wispy clouds create streaks along the top edge.

Madonna and Child

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.

Lamentation of Christ

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

A young, bearded man wearing only a white loincloth stands facing us in a pale blue river with a man to one side and a winged angel to the other in this vertical painting. They all have pale or tanned skin and tawny-brown hair. The man at the center, Jesus, stands knee-deep in the placid water with his hands together in prayer. He looks off to our left, his hollow eyes set above a drooping mouth. To our left, a man kneels on the rocky riverbank and trickles water from his hand onto Jesus’s head. That man wears a fawn-brown robe under a raspberry-red cloak. He is bearded with curly brown hair, and he has dark circles under his eyes and a downturned mouth. The winged angel stands to our right on a flat stone, closer to us. Gold and pink wings rise vertically along the right edge of the composition. The angel wears voluminous white robes and holds a marine-blue garment in both hands. A white dove hovering over Jesus’s head is surrounded by a halo edged with teal, pea-green, and pink rings. A bearded man wearing a tiered, jeweled crown looks down from a round opening in the ice-blue sky above the dove. He holds one hand up in blessing and holds an orb topped by a cross in the other. About ten fish nibble at the rocks near Jesus’s feet in the river, which winds through a pale green field to a town of turrets and towers in the distance.

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.

Allegory of Sacred Music

Standing Saint

This horizontal painting is made up of three parts: in the center square panel, a woman reclines under a wooden shelter set into a rocky cave, which is surrounded by angels, and narrower wings to either side are each occupied by a standing man. All the people have pale skin, which is tinged with faint green. The three panels are joined with a gold frame, and the gold background behind the central scene and the men in the side panels are covered with a noticeable network of cracks. In the central panel, a cobalt-blue robe nearly envelopes the reclining woman’s body; this is Mary. It covers her head and falls open where she crosses her wrists over her chest to show a pink garment underneath. A flat gold halo encircles her head ,and her body is surrounded by a field of crimson red, almost like an aura. She rests under a wooden structure with a pitched roof, which is surrounded by craggy, barren rock. A swaddled infant lies in a rectangular, tray-like manger. The infant’s head is also surrounded by a gold halo. Fine gold rays emanate down into the structure from a star just above the peak of the roof. A bull and a donkey look down at the baby from the far side of the manger. The interior of the structure behind them is black. In a smaller scale, two women wash a haloed infant in a tub in front of the rocky cave near the lower left corner of this panel. A man with a white beard and hair sits to our left of Mary, holding a pink cloak at his throat and looking toward the infant. Above and around the rocks, seven winged and haloed angels cluster on each side. One angel to the right presents a scroll with black writing to two men accompanied by a dog and several sheep in the lower right. The man in the panel to the left, Isaiah, has a gray beard and long, wavy hair, and he wears a lilac-purple cloak draped over a coral-orange robe. In his right hand, on our left, he holds an unfurled scroll with large black lettering. His other hand is raised with one finger pointing upward. He looks to our left, away from the central scene. On the right, Ezekiel, echoes Isaiah's pose. Ezekiel holds an open scroll with his left hand, on our right, and his other hand is raised. He also wears a coral-colored robe, but his is overlaid with a blue cloak. His receding hair is short and brown, as is his beard. Like Isaiah, he takes up most of the height of the panel and gazes to our left, toward the central panel.

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".

Bacchante on a Panther

The Triumph of Fame

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

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.

Le Couronnement de la Vierge

Arion on a Sea Horse

This intimate devotional panel, an early work by Antonio da Correggio, reveals the young artist's evolving style. The distant landscape demonstrates his awareness of Northern European precedents, and the figural composition references the manner of Raphael, while its soft outlines recall Da Vinci. The gentle sensuousness of the figures and the tenderness they show one another, however, are unique to Correggio.

Portrait of the Great Master Yeongwoldang Eungjin

In the margins are depicted hybrid angel-musicians, a bear-trainer and musicians, apes trapping a bird, apes at school, a nude man at the far left, and an ape kneeling before a doctor with a urinal.

The Crucifixion with the Virgin and Saint John

Danaë

The great Jewish bride

This painting depicts a woman seated outdoors with a baby in her lap on the left and a young child standing nearby on the right. The woman is sitting on the ground, while the baby is facing the right with their arms outstretched. The baby is partially wrapped in a white cloth. The woman has a serene expression and delicate facial features. She is wearing a green and red robe. The young child on the right is holding a small lamb and has curly blond hair. In the upper left corner of the painting, two cherubic faces peer down from a cloud. The background shows a pastoral setting with trees, shrubs, hills, grass patches, and bunnies near the forest edge, under a cloudy sky.

Figures in the Woods

The Sacrifice of Isaac

Madonna and Child

The Sunlight

Madonna and Child

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.

Aglaida and Boniface

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

The Adoration of the Magi

We look slightly down at a woman with pale skin and two men with ruddy complexions sitting at a table near a railing overlooking a boat-clogged waterway in this horizontal painting. Only the corner of the table is visible in the lower right corner of the canvas. The woman sits next to one man on the far side of the table, and the third person leans onto the table from our right, along the edge of the composition. The table is covered with a dark, ruby-red, floral cloth. The red-haired woman wears a dark green dress and leans back, extending her right arm along the railing. Her back is to the river below, and she gazes directly ahead, to our right. The dark-haired, bearded man sitting to her left, our right, leans toward the cleanshaven, dark-haired man sitting across from him. That second man wears a cap, and he has a prominent nose and square jaw. Sailboats, rowboats, a steamship, and vessels of every size occupy much of the waterway. Rows of buildings extend along the river to our left and right, and trees line the distant horizon at the center of the painting. The river is a tan color and the pale blue sky is hazy.

Two Tahitian Women

Cabinet Decorated with Episodes from the Parable of the Prodigal Son

A woman and two children, all with pale skin and flushed cheeks, sit together in a landscape in this round painting. The woman takes up most of the composition as she sits with her right leg, to our left, tucked under her body. Her other leg, on our right, is bent so the foot rests on the ground, and that knee angles up and out to the side. She wears a rose-pink dress under a topaz-blue robe, and a finger between the pages of a closed book holds her place. Her brown hair is twisted away from her face. She has delicate features and her pink lips are closed. She looks and leans to our left around a nude young boy who half-sits and half-stands against her bent leg. The boy has blond hair and pudgy, toddler-like cheeks and body. The boy reaches his right hand, on our left, to grasp the tall, thin cross held by the second young boy, who sits on the ground next to the pair. This second boy has darker brown hair and wears a garment resembling animal fur. The boy kneels facing the woman and looks up at her and the blond boy. The trio sits on a flat, grassy area in front of a body of water painted light turquoise. Mountains in the deep distance are pale azure blue beneath a nearly clear blue sky.

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.

Shown from the waist up, a pale-skinned man with long, honey-blond hair and beard faces us in front of a gold background in this vertical painting. The man has a long face and nose, with closed peach-colored lips, which turn slightly down at the corners. Almond-shaped, hazel-brown eyes under arched brows stare over our left shoulder. His rose-pink robe is covered by a spruce-blue mantle that drapes over the left shoulder, on our right, and wraps around the waist. The robe and mantle are trimmed with gold. His right hand, on our left, is raised with the index and middle fingers extended up. The other hand holds an open book so the pages face us. The top edge of the pages is burnt orange, and the left and right edges are moss green. The side facing us is inscribed in gold letters, “ECO SUM LUX MUNDI.” A halo incised into the gold background surrounds the man’s head, and clusters of five dots in dark red, blue, and black are placed at the top and to either side within the halo. The panel on which this is painted has a five-sided, angular arch on top that frames the man’s head. A border within the frame has a pattern of gray circles and scarlet-red diamonds against a navy-blue band. The border follows the contours of the panel but runs behind the man’s body, as if he stands in front of it. The panel is framed with dark wood.

Coronation of the Virgin

Souvenir of an "International Ball" (Portrait of Miss Kathleen Bruce)

Crucifix with Scenes of the Passion