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Giovanni Battista Tiepolo’s work epitomizes the brilliant exuberance of the Late Baroque style. Internationally renowned, Tiepolo was often commissioned to transform palaces and monasteries in Venice and elsewhere in Italy, as well as in Germany and Spain. This painting and three others at the Art Institute once graced the cabinet of mirrors, a richly decorated room in the Venetian palace of the powerful Cornaro family.

Potpourri vase (pot-pourri gondole)

Bacchante on a Panther

Die Fruchtbarkeit, umgeben von den vier Elementen

Das Innere der Piaristenkirche in Wien

Satyress and Child

Invocation to Love

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.

Danaë

Youth Playing a Pipe for a Satyr

Allegory of Sacred Music

Arion on a Sea Horse

The Sacrifice of Isaac

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.

This painting shows various pieces of fruit arranged in a thin white bowl, including apples, peaches, green and purple grapes, cherries, pears, and plums. Some of the fruit is overflowing from the bowl, and rests on the white surface below, surrounding the bowl. Many of the pieces of fruit have thin stems attached to them, and some have thick green leaves. Behind the fruit, the background is dark brown, and there is a tan arched border around the painting.

Pomegranates and Other Fruit in a Landscape

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.

As painter to the king of Spain, Francisco de Goya also designed tapestries for the royal residences. To work out his designs, he first made small oil sketches and followed them with full-scale painted cartoons that served as guides for the king's weavers. This cartoon was produced for a tapestry in a series decorating the dining room in the Royal Palace of El Pardo, outside Madrid.

This painting shows a bowl of red raspberries resting on a surface. The bowl is pale blue with blue details on the rim, and it is surrounded by a pile of pale peaches and pears, red plums, and green and purple grapes. In the bottom left corner, there are some pale purple-and-white carrots and a small group of red berries. On the right is a tree with yellow pears and a small vase with red and white roses. On the left is a thin brown branch with a bird perched on it. The bird has a green back and a yellow chest, and it is leaning down towards the raspberries, its wings flared and its beak partially open. The surface these items rest on is dark gray and the background is a gradient of pale yellow on the left and light blue on the right.

The Holy Family with Saint John the Baptist and Saint Margaret

The victory of the Olympic gods over the ancient race of giants was a perfect subject for Wtewael to showcase exaggerated athletic poses and striking contrasts of space and light. Painted on copper, this small work almost appears gem-like. Wtewael's self-conscious display of skills was a hallmark of the international style known as Mannerism, which was fashionable in Holland around 1600.

Figures in the Woods

Child Asleep (The Rosebud)

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.

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.

Still Life with Peaches

Grafmonument met alliantiewapen en vier kwartierwapens

The Four Seasons

Spring

The Threatened Swan

Manjushri

Mechanical table

Madonna and Child with Two Angels

Annunciation

Sideboard

Hebe

Une odalisque, dite La grande odalisque

Aglaida and Boniface

This painting features two large yellow pears in the center, surrounded by clusters of purple and green grapes cascading down from a gilded teal dish on the right. Next to the pears are two pink peaches, with walnuts and green figs in front of them. In the background on the left, there is a decorative blue vase with gold filigree, filled with various colorful flowers and green leaves, including a white rose, red flowers, and small pale blue flowers. The arrangement is on a table with a red covering, and the wall behind them is dark brown.

We look across a stream and through a loose screen of shadowy trees at a sunlit farm under a powder-blue sky with towering, puffy clouds in this vertical landscape painting. The ground and stream closest to us are painted in tones of olive green, sepia and earth brown, black, and slate gray. Nearly lost in shadow, a group of six people gathers at the water’s edge in the lower left. Small in scale within the composition, they wear brick-red, gray, or caramel-brown garments. Beyond them, a low picket fence winds through and between a loose band of shadowy trees, which are painted with gnarled, dark gray trunks and camel-brown, sage, and pine-green leaves. The trees to our left are closer and taller, while those to our right are a little farther away. The sun pours from the upper left into the field beyond. The farm buildings there have tan walls and sloping, peach-colored roofs. A few animals and people, smaller than the group in front, stand among the buildings, and more cottages can be glimpsed through a stand of trees on our right. The horizon line comes about a third of the way up the composition, and a church and steeple are silhouetted against the sky in the deep distance. A few birds fly in front of gray and white clouds that rise from the right side and spread across the top of the canvas.

Louis XIV (1638-1715), roi de France

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.

The Watermill with the Great Red Roof

Hanger in de vorm van een reukbal

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.

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.

Portrait of a Woman

Sketch for "The Oriental Dream"

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.

Resurrection of Jesus

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.

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.

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

Angel (Peri) Riding a Composite Camel

The Merry Family

Still Life with Peaches and Grapes

Shown from the knees up, a pale-skinned woman sits in front of a vast landscape and holds a nude baby boy on her lap in this horizontal painting. The woman, Mary, sits with her knees angled to our left, but she looks at us from the corners of brown eyes. She has a delicate nose, smooth cheeks, a pointed chin, and her pink lips are closed. A few strands of blond hair escape from braids that overlap across the top of her head. She wears a rose-red dress over a translucent white undergarment, which is visible along the neckline and on the forearms. A cloth striped with azure and powder blue, pale pink, lemon yellow, and teal drapes across her seated thighs and wraps back around her hips. One hand rests in her lap near one of the baby’s feet, and the other braces the child’s other hip. The baby, Jesus, has tightly curled blond hair and a flushed face. His body resembles a somewhat muscular adult. Jesus rests his shoulders back against the woman’s chest and turns to look up at her. One hand touches one of her breasts and the other holds a butterfly by its parchment-yellow wings. The foot not by the woman’s hand rests on a gold dagger near the woman’s far hip. A gnarled tree with dark green leaves winds from a rocky crag to our left. The pair are lit from our left, and Mary casts a shadow on the large, flat boulder on which she sits. The land dips steeply down beyond the boulder. A man wearing a pale pink garment that flaps in the wind stands on a rocky outcropping near a grazing animal. Tiny in scale, three more people walk or run in the distance to our right. Stone structures are tucked in among tree-dotted hills that roll gently back to a hazy blue, mountainous horizon, which comes about five-sixths of the way up this composition. The sky above is a similar icy blue.

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.

Grapevine in the Wind

Spiegellijst, beschilderd met vier allegorische vrouwenfiguren

Set of Four Armchairs and Settee

Rosso fiorentino, san giovannino, collezione privata firenze

This painting was the central element of an altarpiece that was El Greco’s ﬁrst major Spanish commission and large public work. The Virgin ﬂoats upward on the crescent moon, a symbol of her purity, while the apostles express amazement and concern. El Greco’s broad brushstrokes and bold color made this painting a favorite of modern artists such as Pablo Picasso and Mary Cassatt.

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.

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.

The Holy Family with Saints Anne and Catherine of Alexandria

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.

Dragon in foliage with lion and phoenix heads

Le radeau de la Méduse

The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire

Virgin and Child

The Holy Family

Gibbons in a Landscape

Buddhist Deities

Das Bittenlernen (Familie Reiter)

The Sofa

Covered Tureen on Stand (Pot-à-oille)

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.

Fragment van een muurschildering

The two girls in this painting by Pierre-Auguste Renoir are Francisca and Angelina Wartenberg, acrobats who performed in the famed Cirque Fernando in Paris. They are depicted clutching oranges tossed to them from the crowd as gifts. Although they are painted standing in the center of a circus ring, Renoir actually painted them in his studio, where he could take full advantage of natural sunlight.

The Apple Seller

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.

A man stands, leaning on a staff used like a crutch, in a deep, rocky landscape in this round-topped vertical painting. The cleanshaven man has tanned skin and sparse gray hair. He is nude aside from a slate-gray cloth that wraps around his hips. The hand not bracing the crutch is held in a loose fist at his chest. A few plants grow and bloom along the bottom of the panel. The dirt path on which the man stands winds through low, grass-covered mounds to a cave opening at the base of a tall, steep cliff face. A lion stands on the path between the man and the cave. An owl perches in the bare, spike-like branches of a spindly tree growing to our right of the man.

Die Familie des Johann Graf von Majláth

The Siesta

Leaf from Book of Hours

François Tronchin

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

A rutted, dirt road curves from the bottom center of the canvas toward and behind a grove of tall trees to our left, beneath a pale blue sky with fluffy white clouds that fills the top two-thirds of this horizontal landscape painting. The broad, green canopies of the trees to our left create deep shade over twisting trunks, shrubs, and grasses. A narrow stream meandering alongside the road to our left reflects the moss, pine, and sage greens of the leaves. The land rises in a sloping bank to our right, and leads back to open fields with hedgerows that stretch to the horizon. Shorter, more spindly trees cluster along the bank in the distance. Tiny in scale, people are sprinkled throughout the landscape, either singly or in small groups. In the shade of the grove to our left, a man with dark pantaloons, a brown hat and coat, and a walking stick strolls along the road with a woman wearing a red skirt, a dark shirt, and a white apron and cap. Just off the curve of the road to our right, another man with a walking stick, tan hat, and dark gray pantaloons talks to a woman also wearing red, black, and white. Another person, slightly smaller in stature, stands between them. At a pond farther back from this trio, a man with a broad-brimmed hat sits fishing at the edge of the water. Barely visible, a house with a pitched roof, a tall, brick-red chimney, and a white picket fence peeks out from behind the trees beyond the pond. Finally, a man wearing a rust-orange coat, gray pantaloons with white stockings, and a tall hat, carrying a pole propped on his shoulder, walks toward us on a footpath running alongside the fields. Tall, cream-white clouds dot the pale blue sky above, and tiny dots of dark paint suggest flying birds. Soft sunlight pours across the countryside. The artist signed and dated the painting in small script in the lower right corner: “meijndert Hobbema F 1663.”

Six women, eight men, two satyrs, and one child gather in pairs and trios in a loose row that spans the width of this nearly square painting. They are set within a landscape with craggy rocks, cliffs, and trees. Most of the people face us, and the men, women, and child have pale skin. The two satyrs have men’s torsos and furry goat’s legs, and they have darker, olive complexions. Most of the men wear voluminous, knee-length togas wrapped in short robes in shades of white, topaz blue, grass green, coral orange, or rose pink. Most of the women wear long, dress-like garments in tones of shell pink, apricot orange, or lapis blue over white sleeves. For all but one woman, their garments have fallen off one shoulder to reveal a round, firm breast. Several objects are strewn on the rocky, dirt ground in front of the group, including a wide, wooden bucket with a piece of paper affixed to its front to our right, a glass goblet, a pitchfork, a large blue and white ceramic dish filled with grapes and small yellow fruits, and an overturned cup near the center. Cliff-like, craggy rocks rise steeply behind the group to our left, filling much of the sky opposite a tall grove of leafy, dark green trees to our right. A few puffy white clouds float across the vivid blue sky. The slip of paper on the barrel has been inscribed, “joannes bellinus venetus p MDXIIII.”