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The Windmill

Allegory of Sacred Music

Selbstbildnis

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 Mower

The Merry Family

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

A Maid Asleep

Margaret Fuller

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.

The Milkmaid

Shown from the waist up on the other side of a strawberry-red table, an elderly, pale-skinned woman sits facing us, sleeping with her head propped on her hand in this vertical painting. She is brightly lit from our upper left, which creates deep shadows across her face, and behind and around her. The woman rests her cheek against her closed left fist, to our right. That elbow is propped on a gold and amber-yellow cushion tucked into the corner where the table meets the wall to our right. Her brows are slightly furrowed over deep-set eyes. She has loose jowls, thin lips, and wrinkles line the corners of her eyes and her mouth. Almost lost in shadow, her other hand rests on the large book lying open before her. She wears a black coat draped over a parchment-white garment. Her hair is covered by a ginger-brown and black striped veil that hangs to her shoulders. Three iron-gray keys hang from a rail running across the wall next to her at head height. The wall is sage green and mustard yellow in the light, and the corners and left edge are swallowed in shadow. The artist signed the painting in capital letters on the right, just above the rail, “N. Maes.”

Child Asleep (The Rosebud)

Shown from the waist up, a woman with pale skin and brown hair, wearing a dark corset and white fabric over her shoulders, looks down at needlework in her hands in this vertical painting. Her cheeks are rosy and her dark hair is pulled back, though it seems looser down the sides of her face. A small, coral-red, crescent shape at the back of her head could be covering her hair or holding it in place. White, nearly translucent fabric lies loosely across her shoulders over a dark, moss-brown, long-sleeved dress. Her breasts swell over the squared, lace-trimmed neckline. She holds white fabric and perhaps a needle in her hands, which rest on a tan cushion on her lap. The scene is loosely painted throughout so some of the details are difficult to make out. A darker spot along her right index finger could be a thimble. The background is the same olive-tan of the cushion.

The Siesta

Albert (René) Grenier (1858–1925)

Hebe

Woman Reading a Letter

We look slightly down onto a rocky, natural stone arch next to a cave opening, both perched on a high, grassy cliff in front of a shimmering, aquamarine-blue body of water in this horizontal landscape painting. The arch is situated to our left of center, and the cave beyond the gaping opening extends off the left side of the canvas. In tones of ash and caramel brown, the jagged arch and outcroppings are lit from our left so deep shadows are cast along crevasses to our right. Shadow also sweeps across the emerald-green grass at the base of the arch and cave. A few more serrated rocks poke out of the water like teeth far below, to our right, presumably at the base of the cliff on which we are situated. To our left, the rocky shoreline juts into the water in the distance in front of mauve-purple mountains in the deep distance along the horizon, which comes about halfway up this composition. Tiny in scale, minuscule, triangular white sails dot the waterway. Similarly tiny white birds fly high above the water. Pale, petal-pink and white clouds line the horizon beneath a sky that deepens from light turquoise over the clouds to the same aquamarine blue of the water below.

This painting dates from the later part of Martin Johnson Heade’s long, varied, and peripatetic career. After traveling through the United States, to England and continental Europe, and three different times to Brazil, Heade settled in Saint Augustine, Florida, at the age of 64. There he began painting detailed arrangements of native flowers, including the Cherokee rose, orange blossom, and, as in this work, magnolia.

Morgan Dix

The year 1907 was a turning point for Sargent; the sought-after portraitist stepped away from his successful portraiture career to pursue plein-air landscape painting. This work, depicting his traveling companions and fellow artists Wilfrid and Jane Emmet de Glehn, captures that moment of transition. Combining landscape and portraiture, the composition speaks to friendship and painterly pursuits while also celebrating color, light, and movement.

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

Portrait of Victor Ritter von Bauer

The Power of Music

Gian Lodovico Madruzzo

Amitabha Triad, Tokyo National Museum

The Girl by the Window

The Annunciation

Roses in a Vase

A woman with pale, smooth skin stands wearing a loosely draped, champagne-peach dress in this vertical portrait painting. Her body faces us but she turns her head to look down and off to our right with brown eyes. She has dark brows, an upturned nose, and her carnation-red lips are closed in a slight smile. Her ash-brown hair is loosely pulled up so it sweeps back from her face, while thick curls cascade down her neck and over her shoulders. Her long sleeved, floor-length dress is tied at her waist with a sage-green sash. Gossamer-white fabric drapes around her upper arms, and she holds the long ends in both hands. Her right elbow, to our left, rests on the high base of columns that rise behind her and off the top edge of the canvas. A rust-red curtain drapes down from the top of the painting, over the columns. To our right, beyond the columns, the landscape opens to a view of trees beneath a blue sky with white puffy clouds.

Two people, perhaps a woman and man, and a baby sit at a table in a courtyard surrounded by vine-covered walls in this square painting. The scene is loosely painted with visible dabs, dashes, or smudges. The table is to the left of center. The man sits on the far side, to our left, and the woman, who appears to have her brown hair pulled up, sits facing away from us wearing a smoke-gray garment. A child wearing pink and pale blue sits to our right of the woman and seems to raise both arms. The ground is dotted with cream white and fog gray against the brown board on which this was painted. Steps lead up to a building at the back of the courtyard to the left, and the vine-covered wall stretches across the right two-thirds of the background. The artist signed the lower left corner, “E Vuilllard.”

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

The Banker's Table

Mädchen in rotem Kleid

Young Woman with Ibis

Sketch for "The Oriental Dream"

The Garden Gate, Bahamas

The painting depicts a wintry scene from an elevated point of view, showing people skating and playing games on a frozen river. On the left, leafless trees line the frozen bank. On the right, there are brown buildings with snow on their roofs and smoke rising from their chimneys. A woman stands on one of the porches, holding a small child. On the snowy ground outside the buildings, a sled is being pulled by two horses. In the center of the painting is the wide frozen river. The people on it wear colorful clothes in shades of red, yellow, green, blue, and brown. Some of them slip and fall on the ice, and others lace skates on their feet. Four men in the center hold long curved sticks and look towards a small round ball on the surface of the ice. In the distance, the horizon is marked by blue-tinged mountains under a cloudy gray sky.

St Fredianus Diverts the River Serchio

Männerakt

Seated African Woman

This painting depicts two nude women standing, facing the left. The women have pale skin, and the woman on the left has red-blond hair while the woman on the right has dark brown hair. They are both reaching upward, and behind them is a tall tree with green leaves. Behind the tree is a green landscape with distant blue mountains under a cloudy blue sky.

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

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

Oleanders

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

Still life of flowers

The Bathers, Souvenir of the Banks of the Anio River at Tivoli

Interieur van een timmermanswerkplaats

The Birth and Naming of John the Baptist

This painting shows two women walking towards the left on a gray-brown shore, dressed in white blouses and blue skirts, one wearing red stockings. They both have pale skin, and their faces are turned away from us. Their skirts are blowing in the wind, and strands of dark hair have come out of their low buns. The sea behind them is turbulent with crashing white and blue waves, under a dark gray overcast sky. The shore is dotted with small areas of green, white, and rusty red. The scene is painted in soft and fluid strokes.

A Calling

Annunciation

Saint in Red Cloak

During Raphaelle Peale’s time, still lifes were relegated to the bottom of the hierarchy of painting subjects. Peale, however, ignored their low status and is now acknowledged as America’s first professional still-life painter and leading practitioner. In this particularly fine example, the rhythmic balance of fruit, nuts, and Chinese-export porcelain is enlivened by the diagonal branch of grapes becoming raisins and an orange leaf.

Inside the Bar

A woman with pale white skin and her blond hair covered by a wide veil is shown from the waist up in this vertical portrait painting. Her folded hands rest on the lower edge of the panel, suggesting that she sits just on the other side, close to us. The transparent white veil covers her blond hair and falls in stiff, wide panes down in front of her shoulders. Her hair is pulled back behind a black ribbon over a high forehead. Her light brown eyes are downcast and she has a straight nose and full, pale pink lips. Her chest is covered by another veil and is tucked into the deep V-neck of her long-sleeved, black dress. A wide scarlet-red belt adorned with an ornately filigreed gold belt buckle encircles her narrow waist. Her skin, white veils, and red belt contrast sharply with her velvety black dress and the dark pine green of the background.

This painting shows a green landscape from an elevated viewpoint. In the distance, light blue water meets a pale-yellow sky, and the sun casts a golden glow over the landscape. Closest to us is a shore covered in overlapping greenery and several round trees. There is a small hill on the right, with a small gray structure sitting atop it. At the bottom, two indistinct brown animals graze on a dirt mound. Behind them, another gray building is tucked away behind bushes and trees. Golden clouds drift across the sky.

Das Innere der Piaristenkirche in Wien

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

Margaret of Austria

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.

Giuliano de' Medici

Shown from the chest up, a clean shaven, young man with pale, rosy skin and curly, mahogany-red hair, looks at or toward us against a black background in this vertical portrait painting. His body is angled to our left, and he turns his face slightly to look our way with sienna-brown eyes under curved eyebrows. He has a long, prominent nose and small thin pink lips. His shoulder length hair curls tightly around his face and covers his ears. He wears a tomato-red shirt with a high collar trimmed with white.

The great Jewish bride

Danaë

Still Life with Herring, Bread, and Cheese

John F. Gray

Die Familie des Johann Graf von Majláth

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.

A Fisherman's Daughter

Edward Sheriff Curtis Self-Portrait

Sonniges Felsental

Figures in the Woods

General Nathaniel Lyon

Ungarischer Bauernhof

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.

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

Saint Sebastian

Madame X (Virginie Amélie Avegno Gautreau)

The Holy Family

Portrait de l'artiste tenant un chardon

The laurel branch is a traditional Medici emblem.

Adolph Heinrich Joseph Sutro

Grafmonument met alliantiewapen en vier kwartierwapens

Combat for the Colors

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