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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.”

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.”

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

Copy of The Night Watch

The great Jewish bride

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

The great Jewish bride

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.”

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.”

Portrait of Isabella Brant

A partially nude woman with pale, peachy skin sits to our left looking into a mirror held up by a nearly nude, winged child to our right in this vertical painting. The woman’s body is angled to our left but she looks across her body to our right. She holds her left hand to her chest, and her right hand grips the fur-lined edge of the scarlet-red, velvet fabric that drapes over that upper arm and around her hips. Her blond hair is coiled up in rows of pearls, and she has dark eyes, a straight nose, and her pale pink lips turn up in a subtle smile. A teardrop pearl earring hangs from the ear we can see, and she wears rings and gold bracelets. The child-like figure to the right stands on a gold-striped cushion facing away from us as he holds up the rectangular, black-framed mirror. He has small silver wings and a sash of golden yellow hangs from one shoulder around the opposite hip. A second child reaches from behind the mirror to hold up a ring of laurel leaves. A forest-green curtain is gathered in the upper left corner and the beige wall beyond falls into shadow to our right.

Le Tricheur à l’as de carreau

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.

The great Jewish bride

La Femme au miroir

Shown from the waist up, a young woman with pale, peachy skin faces and looks directly at us in this vertical portrait painting. The subtly upturned corners of her mouth and the outer corners of her eyes are touched with shadows. Her delicate eyebrows are faintly painted over dark brown eyes. She has a long straight nose and an oval-shaped face framed by large teardrop pearl earrings. Her dark brown hair is parted down the middle and pulled back under a wide, gold-colored headdress, which creates a halo-like ring around her head. Precisely formed curls rest against her forehead over each temple. Her black dress has voluminous, puffy sleeves framing a sheer, butter-yellow panel covering her chest. White ruffles emerge at her neck and cuffs. A gold Maltese cross, which flares at the end of each arm, hangs from a thick gold chain that falls over her chest and down to her waist. She touches the chain with her left hand, on our right, and with the other she holds the body of a small furry brown animal with bared teeth. The background behind the woman is black down the center and a dark emerald-green curtain falls to either side.

Shown from 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.”

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 Sacrifice of Isaac

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

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

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

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

The Merry Family

Shown from the knees up, a pale-skinned woman wearing a black dress with white cuffs and a wide, starched collar sits in a wooden chair against a dark brown background in this vertical portrait painting. Her body faces us and she looks off to our left with brown eyes. She has slight jowls at her chin and her eyes, mouth, and forehead are lined. Her hair is pulled back under a close-fitting black cap. Extending straight from around her neck, her white collar is pleated into narrow figure-eights and nearly reaches her shoulders. She wears a brown stole over her velvety black dress, and both nearly blend with the dark background. She holds a pair of pince-nez spectacles in her right hand, which rests on a thick book in her lap. The spine faces her right, and the opposite edge is fastened with metal clasps. A braided cord affixed to the narrow end of the book near us creates a loop.

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

The Adoration of the Magi

Portrait de l'artiste tenant un chardon

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

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.

The Milkmaid

Margaret of Austria

La Dentellière

Christ and the Virgin in the House at Nazareth

The head, shoulders, and chest of a man wearing a deep rose-red garment fills this vertical portrait painting. His body is angled slightly to our left, and he looks directly at us from the corners of his eyes. His brown hair falls across his forehead, sweeps down over his ears, and curls gently at the nape of his neck. His eyebrows arch over brown eyes, and he has a long, angular nose. His upper lip is full, and his mouth is closed. He has high cheekbones and a cleft in his chin. The high collar is a black band over the voluminous red garment, which falls in pleats or folds down his chest. His right hand, on our left, lifts to clutch the fabric near his chest, in the lower left corner of the painting, and he wears a gold ring on his pinky finger. The background behind the man fades from dark aquamarine blue across the top to pale arctic blue at his shoulders, which span the width of the composition.

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.

The Holy Family with Saints Anne and Catherine of Alexandria

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.

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.”

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

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 Battle of Waterloo

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.

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.

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.

Shown from the waist up, a light-skinned man sits sideways in a wooden chair so the arm closer to us rests along the chair’s back in this vertical portrait painting. Brushstrokes are visible throughout, especially in the clothing and hair. The man’s right arm, to our left, drapes across the back of the chair. His face turns slightly to our right, and he looks at us with gray eyes under black, curving brows. He has an oval face with high cheekbones and a snub nose. His coral-pink lips are closed and framed by a mustache and pointed patch of hair under his lower lip. He is lit from our left so the far side of his face is in shadow. His loose, curly brown hair cascades over his shoulders. He wears a tall black hat with a stiff, wide brim with a black rosette or pompom on the brim to our right side. The hat is tipped slightly to one side so it angles away from us. A flat, stiff, white collar extends from his chin down to his shoulders, and two tassels hang at this throat. The voluminous sleeve along the back of the chair has a gold pattern picked out in loosely painted, swirling, feathered, and flaring lines against a black background. The jacket is unbuttoned along the forearm to reveal a stark white undershirt that is gathered with a narrow ruffle at the wrist. The chair has a crimson-red center framed by wooden rails to each side and along the top. The background is earth brown to our right of the man, and deepens to dark shadows along the left. A coat of arms, the size of the man’s palm, hangs from the back wall. Three black cow heads create an inverted triangle on a gold field. Under the coat of arms the artist inscribed, “AETA SVAE.22 1645.”

Shown from the hips up, a man with peachy skin and long, brown curly hair and goatee stands in front of a window opening onto a moonlit sky in this vertical portrait painting. His body faces our right and his right fist, closer to us, rests on his hip so his elbow juts toward us. Wearing a dark, wide brimmed hat, he turns his head to look over his right shoulder directly at us. His eyebrows are slightly raised over brown eyes, and he has a bumpy nose, a slight double chin, and pale pink lips that curve in the suggestion of a smile. He wears a golden yellow jacket with buttons along the sleeve we can see. The wrist of the jacket is trimmed with a wide, lace-edged cuff and a similarly wide, lace-trimmed collar lies over the armor breastplate that covers his chest. A marigold-orange sash is tied around the breastplate as well near the waist, and the goldenrod-yellow jacket drapes from a portly belly over his hips. He stands in front of a gray wall pierced with a rectangular window. The view has a veil of dark gray clouds over the moonlit sky.

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.

Le radeau de la Méduse

Shown from the chest up, a young man with a plump, pale-skinned face hooks one elbow over the back of a wooden chair and looks at us in this vertical portrait painting. The man’s body faces our right as he turns his head over his right shoulder, closer to us, to gaze out with brown eyes under lifted brows. His nose ends with a round bump, and his round cheeks are flushed. He has a wispy mustache over full pink lips, which are parted. He wears a tall-crowned, brimmed black hat over a cloud of wavy, shoulder-length black hair. A lace-edged white collar spreads over an ink-black, satin coat. His right elbow is planted across the back of the chair, which has carved finials to either side. That hand is closed in a fist, which may hold something. The man’s hat casts a shadow on the right side of the taupe-gray wall behind him, where the artist has signed the painting with two monograms of his initials, “HF.” The brushwork is loose throughout, especially so in the man’s clothing.

Writing Box (Suzuribako) with Phoenix in Paulownia

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.

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.

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.

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

L'Européenne

Panel with the god Zeus/Serapis/Ohrmazd and worshiper

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.

Youth Playing a Pipe for a Satyr

The Crucifixion with the Virgin and Saint John

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

Charles and Lavinia Stratton

Woman Reading a Letter

A Young Woman Buying a Pink from a Young Man

A woman wearing a cobalt-blue robe and a white veil sits with her hands raised, palms out, as she looks toward a slender, bearded man who stands to our left in this vertical painting. Both have light skin and delicate features, and they sit in a room with stone walls and arched windows. There are faint circles under the woman’s light brown eyes. She has a long slender nose, and her pink lips are pursed. One knee is bent, and she is low to the ground, suggesting she sits on a stool. A book lies open on a wooden stand in front of her to our right, below her left elbow. The ruffled edges of her multi-layered, white veil sweep over her forehead and down to her shoulders. Her loose, long-sleeved blue garment is edged with gold and falls in angular folds to pool at her feet. She holds her long-fingered, slender hands up at her chest, palms facing the man to our left. He stands with his body angled toward her as he looks down, his head tipped slightly forward. His brown hair falls over his shoulders. His voluminous, gold-edged, red cloak is fastened at his throat with a gold, jeweled brooch, and it drapes over his shoulders and around his lower torso, leaving his arms, chest, and a gash over his right ribs exposed. He holds a tall, gold staff topped with a jeweled cross in his left hand, to our right. A moss-green pennant flutters back from the base of the cross, as if lifted in a breeze. The man holds up his other hand so the palm faces the woman with the first two fingers raised. Round, puncture wounds with red blood mark the palm of that hand and tops of both bare feet. The floor is patterned with gray, brown, blue, and green tiles. The wall behind the woman has honey-brown paneling along the bottom half and the top half is slate gray. Gray columns are spaced along that wall, supporting a curving, vaulted ceiling. Two arched windows pierce the wall behind the woman, and both have stained glass designs within the curving tops. The window closer to us opens onto a narrow view of a landscape with a rose-pink arch over a bridge, and a path winding through green fields. An open door over the shoulder of the man, to our left, shows the stepped roofline of a pink building under a blue sky. The entire scene is framed with a flattened arch supported by gleaming columns of polished, veined brown stone, creating the impression that we look onto the people and room through the arch. The columns have leafy capitals and white bases. The tan-colored arch is carved with a row of stylized rosettes along the opening that spans the top of the painting.

This vertical portrait painting shows a pale-skinned older woman wearing a full, long-sleeved black dress with a wide white ruff at her neck and white lace cuffs at her wrists. She sits in a curving, low-backed wood chair against a pale brown background. Her body and the chair are angled slightly to our left, and she looks directly at us. She has small eyes, pink, rounded cheeks, and a wide chin. Her lips are parted in a slight smile, and her hair is covered by a starched, sheer white cap that flares at the sides. The ruff around her neck is gathered in accordion-like, narrow figure-eight folds, and it extends flat and stiff, nearly to her shoulders. Close inspection reveals that the dress is woven with a black-on-black brocade pattern and has a line of small black buttons down the front. She holds a small brown leather book tooled with gold ornament in her right hand, on our left, and her other hand rests on the arm of the chair. She wears a gold ring on each hand. An inscription is painted to our left of her head: “AETAT SVAE 60 ANo 1633.”

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.

Margaret Fuller

Les Sabines

Shown from the shoulders up, a man with peachy skin looks off to our left as he holds the feathered end of an arrow up in a hand resting along the bottom edge of this vertical portrait painting. Shown against a marine-blue background, he looks into the distance with hazel eyes under bushy eyebrows. He has a long, bumped nose, and his full, pale pink lips are closed. His round cheeks are tinged with pink, and there is a hint of a five-o-clock shadow around his mouth and jawline. Chestnut-brown, curly hair hangs to the base of his neck, and wispy curls fall across his forehead from under his tall, chocolate-brown cap. The cap has a small gold pin high over the ear we can see. The man wears a garnet-red jacket with a black collar over a white collarless shirt decorated with five black, narrow bands below the neckline. The fingers of his right hand, to our left, rest with the fingertips braced along on the bottom edge of the painting, as if along a ledge. He pinches the shaft of an arrow with his index finger and thumb, so we see the sienna-brown feathers. He wears a gold ring embedded with a small blue gem near the first knuckle of his ring finger.

Danaë

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.

Doublet

Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.

Ensemble

Guanyin

Walking ensemble

Charles and Lavinia Stratton

Shown from the shoulders up, a man with a flushed complexion, wearing a crimson-red cap and garment, looks at us from the corners of his eyes in this vertical portrait painting. He is brightly lit from behind us and the mahogany-brown background is deep in shadow. The man’s shoulders angle to our right, and he turns his head slightly to look at us with brown, deep-set eyes under arched brows. His wispy, auburn-brown goatee is tinged in silvery gray. His nose is slightly bulbous, and his thin lips are tightly closed in a straight line. Wrinkles and jowls give his face a paunchy look. His tall, flat-topped, fez-shaped hat covers his hair. A white, nearly translucent collar curls up along his neck and flares out to points at his collar. Rose-pink highlights on his red cape suggest it is a shiny material, like silk, and it is fastened with several small, dark buttons down the front.

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.”

Louis XIV (1638-1715), roi de France

Les Noces de Cana

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.

Henri-Charles Maniglier