Works of Art (270)
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Head of an Angel, ca. 1250, France, Paris, Notre-Dame Cathedral (?), Limestone (1990.132) |
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Abraham, Noah, Moses, David, ca. 1408–10,
Lorenzo Monaco (Piero di Giovanni) (Italian),
Tempera on wood, gold ground (65.14.1–.4) |
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Christ Crucified between the Virgin and Saint John, 14th century,
Probably French,
Onyx; mounted, probably a pendant in gold with enamel and rock crystal (40.20.59) |
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Page from an Illuminated Gospel, late 14th century,
Ethiopia, Highland region,
Parchment (vellum), wood (accacia), tempera, ink (1998.66) |
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Roundel, fragment, 7th century,
Byzantine; Egypt (?),
Polychrome wool and undyed linen, tapestry weave (63.178.2) |
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Samson Captured by the Philistines, 1619,
Guercino (Giovanni Francesco Barbieri) (Italian, Ferrarese),
Oil on canvas (1984.459.2) |
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The Adoration of the Magi,
Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Sienese),
Tempera and gold on wood (1982.60.4) |
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The Agony in the Garden, predella panel,
Raphael (Raffaello Sanzio or Santi) (Italian, Marchigian),
Oil on wood (32.130.1) |
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The Annunciation, ca. 1485,
Botticelli (Alessandro di Mariano Filipepi) (Italian, Florentine),
Tempera and gold on wood (1975.1.74) |
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The Betrayal of Christ, predella panel,
Bartolomeo di Tommaso (Italian, Umbrian),
Tempera on wood (58.87.1) |
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The Crucifixion, 1340s,
Pietro Lorenzetti (Italian, Sienese),
Tempera on wood, gold ground, with original engaged frame (2002.436) |
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The Flight into Egypt, early 1470s,
Cosimo Tura (Cosimo di Domenico di Bonaventura) (Italian, Ferrarese),
Tempera on wood (49.7.17) |
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The Holy Family, ca. 1510–20,
Jan Gossaert (Netherlandish),
Pen and two colors of light brown ink, over remains of black chalk, on vellum (2001.190) |
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The Lamentation, ca. 1582,
Ludovico Carracci (Italian, Bolognese),
Oil on canvas (2000.68), |
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The Last Supper,
Ugolino da Siena (Italian, Sienese),
Tempera on panel (1975.1.7) |
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The Virgin and Child with Saint John the Baptist, ca. 1520–30,
Northern Italian,
Sardonyx; mounted in gold as a ring (38.150.4) |
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The Young Virgin, ca. 1632–33,
Francisco de Zurbarán (Spanish),
Oil on canvas (27.137) |
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Abner's Messenger before David (?), wing of an altarpiece, ca. 1480,
Master of the Saint Barbara Legend (Netherlandish),
Oil on wood (32.100.56a) |
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Abraham and Isaac, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching and burin; only state (29.107.26) |
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Abraham Sacrificing Isaac, late 19th century, Iran, Opaque watercolors and ink on paper (1970.275) |
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Adam and Eve, 1504, Albrecht Dürer (German), Engraving (19.73.1) |
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Adam and Little Eve, 1921, Paul Klee (German), Watercolor and transferred printing ink on paper (1987.455.7) |
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Adam, modeled in 1880; this bronze case in 1910, Auguste Rodin (French), Bronze (11.173.1) |
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Adoration of the Magi, 1507, Circle of the Strassburger Werkstattgemeinschaft, German (Munich), Pot-metal and colorless glass, silver stain, and vitreous paint (1996.262) |
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Adoration of the Magi, 1526, Quentin Massys (also Matsys or Metsys) (Netherlandish), Oil on wood (11.143) |
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Adoration of the Magi, ca. 1520, Attributed to Master of James IV of Scotland, Ink and tempera on vellum (48.149.15) |
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Adoration of the Magi, Imitator of Antwerp Mannerism, Oil on oak panel (1975.1.122) |
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Adoration of the Magi, Netherlandish (Antwerp Mannerist) Painter, ca. 1520, Oil on wood (21.132.2) |
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The Adoration of the Shepherds with Saint Catherine of Alexandria, 1599, Cigoli (Ludovico Cardi) (Italian, Florentine), Oil on canvas (1991.7) |
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Adoration of the Shepherds, 14th century, Bartolo di Fredi (Italian, Sienese), Italian; Made in Siena, Tempera on wood, gold ground, arched top (25.120.288) |
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The Adoration of the Shepherds, before 1527,
L'Ortolano (Giovanni Battista Benvenuti) (Italian, Ferrarese),
Oil on canvas, transferred from wood (30.95.296) |
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The Adoration of the Shepherds, ca. 1500, Francesco Marmitta (Italian), Tempera and gold leaf on parchment (1975.1.2491) |
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Adoration of the Shepherds, shortly after 1450, Andrea Mantegna (Italian, Paduan), Tempera on canvas, transferred from wood (32.130.2) |
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Adoration, ca. 1760–70, François Boucher (French), Gouache over black chalk on paper (1997.95) |
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All Saints in an Initial E: Cutting from an Antiphonary, ca. 1430–40, Osservanza Master (Italian), Tempera and gold leaf on parchment (1975.1.2484) |
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The Angel Gabriel Appearing to Zacharias, ca. 1799–1800, William Blake (British), Pen and black ink, tempera and glue size on canvas (51.30.1) |
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The Annunciation to Zacharias; (verso) The Angel of the Annunciation,
Giovanni di Paolo (Italian, Sienese),
Tempera and gold on wood, (1975.1.37) |
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Annunciation Triptych, ca. 1425, Robert Campin and Assistant (South Netherlandish), South Netherlandish; Made in Tournai, Oil on wood (56.70) |
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Annunciation, 1480–89, Hans Memling (Netherlandish), Oil on canvas, transferred from wood panel (1975.1.113) |
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The Annunciation, 1672, Luca Giordano (Italian, Neapolitan), Oil on canvas (1973.311.2) |
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The Annunciation, Attributed to Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma), Oil on wood (1982.319) |
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Annunciation, ca. 1522–25, Correggio (Antonio Allegri) (Italian, Parma), Pen and black ink, brush and gray wash, highlighted extensively with white gouache squared in red chalk, on pink-washed paper (19.76.9) |
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"Antioch Chalice," first half of 6th century, Byzantine; Made in Antioch or Kaper Koraon (?), Silver, silver-gilt (50.4) |
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Apse, 1175–1200, Spanish; From the Church of San Martin, Fuentidueña, Segovia, Limestone (L.58.86) |
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Assumption of the Virgin in an Initial A: Cutting from an Antiphonary, ca. 1470–80, Cosimo Tura (Italian), Tempera and gold leaf on parchment (11.50.1) |
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Assumption of the Virgin with Saints Michael and Benedict, altarpiece, late 1480s, Luca Signorelli and Workshop (Italian, Tuscan), Oil and gold on wood (29.164) |
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Assumption of the Virgin, ca. 1340, Bernardo Daddi (Italian [Florence]), Tempera on panel (1975.1.58) |
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Assumption of the Virgin, early 16th century, Bergognone (Ambrogio di Stefano da Fossano) (Italian, Milanese), Oil and gold on wood (27.39.1) |
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The Assumption of the Virgin, Francesco de Mura (Italian, Neapolitan), Pen and black ink, gray wash, over black chalk (1971.243) |
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Baptism of Christ, ca. 1480–1490, Pupil of Veit Stoss, Cracow, Lindenwood (12.130.1) |
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Batrashil, 1534/35, Syria, Silk embroidery with metallic thread (14.137) |
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Belles Heures of Jean of France, Duke of Berry, 1406–8 or 1409, Pol, Jean, and Herman de Limbourg (Franco-Netherlandish), French; Made in Paris, Ink, tempera, and gold leaf on vellum (54.1.1) |
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Bible, ca. 1250–1275, French; Paris, Tempera and gold leaf on parchment; leather binding (1997.320) |
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Biblia Italica (Italian Bible), Book 2: Frontispiece (signature AA1),
Translator: Niccolò Malermi (or Malerbì),
Venice: Giovanni Ragazzo for Lucantonio Giunta, October 15, 1490,
Book with printed text and woodcut illustrations, handcolored (33.66) |
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Birth of the Virgin, 1467, Fra Carnevale (Bartolomeo di Giovanni Corradini) (Italian, Marchigian), Tempera and oil on wood (35.121) |
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The Block, 1971, Romare Bearden (American), Cut and pasted papers on Masonite (1978.61.1-6) |
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Bookbinding, 18th century, Iran, Papier-mâché, painted and lacquered (34.23) |
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Brother Gregorio Belo of Vicenza, 1547,
Lorenzo Lotto (Italian, Venetian),
Oil on canvas (65.117) |
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Bust of the Virgin, ca. 1390–95,
Bohemian,
Terracotta with several layers of paint (2005.393)
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Calling of Matthew, Workshop of Jan Sanders van Hemessen (Netherlandish), Oil on wood (71.155) |
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Calvary Scene, 18th century, Ecuadoran (Quito), Wood, polychromed and gilded, with glass eyes and silver attachments (64.164.230–.233) |
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Capital with Bust of the Archangel Michael, ca. 1250–1300, Byzantine; Made in Constantinople, possibly from the Monastery of the Virgin Peribleptos ("All-Seeing"), now the Sulumanastir, a mosque, Marble (1983.167) |
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Capital, with the Presentation of Christ in the Temple, From the Abbey of Saint-Guilhem-le-Désert, France, Limestone (25.120.60) |
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Chalice of Peter of Sassoferrato, ca. 1341–1342, Italian; Siena, from the Franciscan Church of Sassoferrato, Silver gilded and translucent enamel (1988.67) |
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Chasuble, ca. 1330–1350, English, Silk and silver-gilt thread and colored silks in underside couching, split stitch, laid-and-couched work, and raised work, with pearls on velvet (27.162.1) |
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Christ and the Adulteress, mid-1540s, Lucas Cranach the Elder (German), Oil on wood (1982.60.35) |
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Christ and the Apostles Entering the Temple in Jerusalem in an Initial D, ca. 1411–13,
Lorenzo Monaco (Piero di Giovanni) (Italian, Florentine); Fra Angelico(?) (Italian),
Pen and ink on parchment (1999.391)
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Christ Blessing the Children, mid-1540s, Lucas Cranach the Elder (German), Oil on wood (1982.60.36) |
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Christ Blessing, ca. 1524,
Andrea Solario (Italian, Milanese),
Oil on wood (22.16.12) |
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Christ Carrying the Cross, ca. 1475–80, Martin Schongauer (German), Engraving (35.27) |
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Christ Crucified between the Two Thieves: The Three Crosses, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Drypoint printed on vellum; second state (41.1.31) |
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Christ Crucified between the Two Thieves: The Three Crosses, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Drypoint, engraving, and scraping; fourth state of five (41.1.33) |
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Christ in the Wilderness,
Moretto da Brescia (Alessandro Bonvicino) (Italian, Brescian),
Oil on canvas (11.53) |
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Christ on the Cross, with the Virgin and Saints Mary Magdalene, John the Evangelist, Monica(?), Augustine(?), Peter Martyr, Thomas Aquinas, Francis, and Elizabeth of Hungary(?), ca. 1453–54,
Fra Angelico (Italian),
Tempera on panel (14.40.628) |
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Christ Presented to the People, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Drypoint; eighth (final) state (41.1.36) |
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Christ Presented to the People, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Drypoint; second state of eight (41.1.34) |
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The Circumcision: From the series The Early Life of the Virgin, 1593–94, Hendrick Goltzius (Netherlandish), Engraving (17.37.36) |
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Claviorganum, 1598, Made by Laurentium Hauslaib, Nuremberg, Germany, Wood and various materials (89.4.1191) |
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Coconut Cup with Cover, ca. 1533–34, Hans van Amsterdam (Low Countries, 's Hertogenbosch), Silver gilt, coconut (Cocos nucifera) (17.190.622ab) |
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Coronation of the Virgin, ca. 1455, Giovanni di Paolo (Italian, Sienese), Tempera on panel (1975.1.38) |
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The Coronation of the Virgin, Peter Paul Rubens (Flemish), Oil on wood (1984.433.336) |
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Creation of the World and the Expulsion from Paradise, 1445, Giovanni di Paolo (Italian, Sienese), Tempera on panel (1975.1.31) |
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Crib of the Infant Jesus, 15th century, South Netherlandish; Made in Brabant, Carved and polychromed oak, copper gilt, silver gilt, painted parchment, and silk embroidered with seed pearls, gold thread, tinsel, and translucent enamels (1974.121) |
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The Crucified Christ, ca. 1300,
Walrus ivory with traces of paint and gilding (2005.274) |
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Crucifix, 1180–1230, Said to be from a monastery near Treviso, northern Italy, Wood with traces of paint (47.100.54) |
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Crucifix, second half of 12th century, Spanish; From the convent of Santa Clara de Astudillo, Palencia, Cross: red pine, polychromy, textured gilt, and glass; Christ: white oak and polychromy (35.36ab) |
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Crucifixion with Donors and Saints Peter and Margaret, ca. 1525–27, Cornelis Engebrechtsz (Netherlandish), Oil on wood (88.3.88) |
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The Crucifixion, ca. 1420,
Fra Angelico (Italian),
Tempera on panel (43.98.5) |
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Crucifixion, ca. 1570, Hans Speckaert (Flemish), Pen and brown and brownish black iron gall inks, brush and iron ink washes, heightened with white (1999.85) |
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Crucifixion, part of an altarpiece wing, ca. 1400, Master of the Berswordt Altar (German, Westphalian), Tempera and gold on wood (43.161) |
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Crucifixion; The Last Judgment, ca. 1430, Jan van Eyck and Workshop Assistant (Netherlandish), Oil on canvas, transferred from wood (33.92ab) |
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Cuirass and Tassets (Torso and Thigh Defense), ca. 1510–20, Attributed to Kolman Helmschmid (German), German (Augsburg), Etched steel (38.143) |
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Cylindrical box, ca. 1225–1250; Ayyubid, Syrian or northern Mesopotamian (Jazira), Brass with silver inlay (1971.39) |
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David with the Head of Goliath, 15th century (1470–80),
Bartolomeo Bellano (Italian, Paduan),
Gilt bronze, oil gilding of later date (64.304.1) |
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Dead Christ with the Virgin, Saint John, and Angels, ca. 1390–1405, French (Paris), Opaque and translucent enamel on gold (17.190.913) |
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The Denial of Saint Peter, Caravaggio (Michelangelo Merisi) (Italian, Lombard), Oil on canvas (1997.167) |
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Descent from the Cross, ca. 1550–60, School of Jean Goujon (French), Marble (29.56) |
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Diptych with Scenes of the Annunciation, Nativity, Crucifixion, and Resurrection, 1300–1325, German; Made in Cologne (possibly), Rhine valley, silver gilt with translucent and opaque enamels (1980.366) |
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Diptych with the Last Judgment and Coronation of the Virgin, ca. 1250–1270, French; Paris, Elephant ivory (1970.324.7a–b) |
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A Dominican Friar [Petrus de Cruce?] and a Companion below the Dragon's Tower, ca. 1417–20,
Fra Angelico (Italian),
Pen and brush with brown ink, on parchment (1972.118.260) |
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Doorway from Moutiers-Saint-Jean, ca. 1250, French, Limestone with traces of polychromy (32.147) |
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Double-Sided Pendant Icon with the Virgin and Christ Pantokrator, ca. 1080–1120, Byzantine; Made in Constantinople, Cloisonné enamel, gold (1994.403) |
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Embroidery with the Annunciation, mid-15th century, Netherlandish, Silk and metallic threads on linen (1990.350) |
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Enkolpion: Cameo of an Archangel (Michael?), probably 14th century, Byzantine (Constantinople?), Sardonyx (40.20.58) |
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Enthroned Virgin and Child, ca. 1260–1280, French; Paris, Elephant ivory with traces of paint and gilding (1999.208) |
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Enthroned Virgin and Child, French; Made in Burgundy, Birch with paint (47.101.15) |
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Enthroned Virgin, late 12th century, Scandinavian, perhaps from Gotland, Poplar with remains of polychromy (17.190.716) |
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Entombment of Christ, ca. 1390–1405, French (Paris), Opaque and translucent enamel on gold (1982.60.398) |
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The Entombment, 1554,
Moretto da Brescia (Alessandro Bonvicino) (Italian, Brescian),
Oil on canvas (12.61) |
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The Entombment, ca. 1654, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching printed on Chinese paper; first state of four (20.46.17) |
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The Entombment, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching, drypoint, and engraving; second state of four (23.51.7) |
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Epiphany, possibly ca. 1320, Giotto di Bondone (Italian, Florentine), Tempera on wood, gold ground (11.126.1) |
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Esther before Ahasuerus, Artemisia Gentileschi (Italian, Roman), Oil on canvas (69.281) |
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Eve with Cain and Abel, fragment, 1520s, Bacchiacca (Francesco d'Ubertino) (Italian, Florentine), Tempera and oil on wood (38.178) |
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Fifteen Mysteries and the Virgin of the Rosary, Netherlandish Painter (possibly Goswijn van der Weyden), Oil on wood (1987.290.3a–p) |
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Figures of the Mourning Virgin and Saint John, ca. 1744–45, Italian; Capodimonte, Soft-paste porcelain (45.7 cm) |
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The Flagellation; The Madonna of Mercy, processional banner, ca. 1540,
Girolamo Romanino (Italian, Brescian),
Distemper and oil(?) on canvas (1989.86) |
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Flask with Adoration of the Magi, 500s, Byzantine, Silver with gilded silver (1984.196) |
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The Flight into Egypt, Luca Giordano (Italian, Neapolitan), Oil on canvas (61.50) |
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Four Horsemen of the Apocalypse, ca. 1497–98, Albrecht Dürer (German), Woodcut (19.73.209) |
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Frontispiece of the Apocalypse, 1555, Jean Duvet (French), Engraving (25.2.68) |
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The Gathering of Manna: From a set of Old Testament prefigurations of the Eucharist and Passion of Christ, 1595–96,
Designed by Alessandro Allori (Italian, Florentine); workshop of Guasparri di Bartolomeo Papini, Florence,
Italian,
Wool and silk (2004.165) |
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Gift-Bearing Figures (from a Nativity Group), 18th century, Guatemalan, Wood, polychromed and gilded (64.164.176–.179) |
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Golgotha, 1945,
Romare Bearden (American),
Watercolor, pen and India ink, and pencil on paper (54.143.9) |
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The Good Samaritan, 1633, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching and drypoint; first state of four (41.1.53) |
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Guardroom with the Deliverance of Saint Peter, ca. 1645–47, David Teniers the Younger (Flemish), Oil on wood (64.65.5) |
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Hagar in the Wilderness, 1835,
Jean-Baptiste-Camille Corot (French),
Oil on canvas (38.64) |
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Hanging lamp (cesendello), late 15th–early 16th century,
Venice,
Free-blown glass, enameled and gilded (14.83) |
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Head of an Apostle, ca. 1280–1300, Upper Rhineland, probably Strasbourg, Red sandstone (2004.453) |
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Head of Christ, late 15th–early 16th century, Netherlands, North Brabant, Limestone, traces of wood (1983.406) |
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Head of Joseph, ca. 1230,
France; Chartres,
Limestone with traces of polychrome (2007.143)
|
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Head of King David, ca. 1145, France, Paris, Cathedral of Notre-Dame, south portal of west facade (Saint Anne Portal), Limestone (38.180) |
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Head of the Madonna, fragment, Andrea del Sarto (Andrea d'Agnolo) (Italian, Florentine), Oil on wood (32.100.89) |
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Head of the Virgin in Three-Quarter View Facing Right, 1508–12, Leonardo da Vinci (Italian), Italian, Charcoal, black and red chalks; traces of framing line in pen and brown ink at upper right (51.90) |
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Holy Family with Saint John, the Magdalene, and Nicodemus, ca. 1512, Albrecht Dürer (German), Drypoint, first state (19.73.51) |
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The Holy Family with Saints and Donors, ca. 1507,
Attributed to Sebastiano del Piombo (Italian, Venetian),
Oil on wood (1973.155.5) |
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Holy Family with Saints Anne and Joachim, Relief, 16th century (1567–68), Diego de Pesquera (Spanish), Made in Spain, Wood, polychromed and gilded (45.128.5) |
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The Holy Family with Saints Francis and Anne and the Infant Saint John the Baptist, probably early 1630s, Peter Paul Rubens (Flemish), Oil on canvas (02.24) |
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Holy Virgins Greeted by Christ as They Enter the Gates of Paradise: Leaf from the Breviary of Charles the Bold and Margaret of York, ca. 1467–70, Simon Marmion (French), Tempera and gold leaf on parchment (1975.1.2477) |
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Ia Orana Maria (Hail Mary), 1891, Paul Gauguin (French), Oil on canvas (51.112.2) |
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Icon with Christ "Overseer of All" and the Chorus of Saints, ca. 1300–1500, Byzantine, Steatite (63.68.1-13) |
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Icon with the Deesis, mid-900s, Byzantine; Probably made in Constantinople, Ivory (17.190.133) |
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Icon with the Koimesis ("Falling Asleep") of the Virgin Mary, late 10th century, Byzantine; Probably made in Constantinople, Ivory (17.190.132) |
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Icon with the Presentation of Christ in the Temple, 1400–1500, Byzantine, Wood, painted, with gold ground (31.67.8) |
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Icon with the Virgin and Child, carved mid-10th–11th century,
Byzantine; Probably made in Constantinople,
Ivory (17.190.103) |
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Initial R, with the Annunciation, from a Gradual, ca. 1300, German; Probably made at the convent of Sankt Katharinenthal, Lake Constance, Tempera and gold leaf on parchment (1982.175) |
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Jeremiah Dictating the Word of God to Baruch, Peter Paul Rubens (Flemish), after Raphael (Italian), Red chalk, brush and red wash, body color, heightened with white, on paper washed with pink (1995.401) |
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The Journey of the Magi (fragment), ca. 1435,
Sassetta (Stefano di Giovanni) (Italian, Sienese),
Tempera and gold on wood, (43.98.1) |
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Judith with the Head of Holofernes, ca. 1530, Lucas Cranach the Elder (German), Oil on wood (11.15) |
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Judith with the Head of Holofernes, ca. 1630–35, Massimo Stanzione (Italian, Neapolitan), Oil on canvas (59.40) |
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King David in Prayer in an Initial B: Cutting from a Psalter, 1450, Zanobi Strozzi (Italian), Tempera and gold leaf on parchment (1975.1.2470) |
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Lamentation Group, dated 1487, Italian (Faenza), probably made for a Franciscan church or convent near Faenza, Tin-glazed earthenware (majolica) (04.26a-h) |
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Lamentation, 1591, Scipione Pulzone (Il Gaetano) (Italian, Roman), Oil on canvas (1984.74) |
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Lamentation, ca. 1450, Petrus Christus (Netherlandish)
Oil on wood (91.26.12) |
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Lamentation, ca. 1510–20, Attributed to Jan de Beer (Netherlandish), Pen and black ink, over traces of black chalk (2001.189) |
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Lamentation, recto and verso, early 1470s, Simon Marmion (French), Oil and tempera(?) on oak panel (1975.1.128) |
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Last Judgment, ca. 1520–25,, Joos van Cleve (Netherlandish), Oil on wood (40.174.1) |
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Last Judgment, from a Book of Hours, ca. 1400, French; Paris, Tempera and gold on vellum (1998.179) |
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Last Supper, from a set of four tapestries of the Passion, known as the Alba Passion, ca. 1520–30, Bernaert van Orley (Flemish); Probably designed by Pieter de Pannemaker (Flemish), Flemish, Wool, silk, and silver-gilt thread (1975.1.1915) |
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Last Supper, triptych, 1515–20, Netherlandish (Antwerp Mannerist) Painter, Oil on wood (17.190.18a–c) |
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Le Cellier Altarpiece, triptych, 1509, Jean Bellegambe (Netherlandish), Oil on wood (32.100.102) |
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Leaf from a Manuscript: The Birth of the Virgin in an Initial G, ca. 1375, Don Silvestro dei Gheraducci, Italian; Florence, Tempera and gold leaf on parchment (21.168) |
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Leaf from a Missal, ca. 1270–1290, French; Made in Paris, Tempera and gold leaf on parchment (1981.322) |
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Madonna and Child Enthroned with Saints and Angels,
Francesco Botticini (Francesco di Giovanni) (Italian, Florentine),
Tempera on wood (61.235) |
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Madonna and Child Enthroned with Saints, altarpiece, ca. 1504, Raphael (Raffaello Sanzio or Santi) (Italian, Marchigian), Tempera and gold on wood (16.30ab) |
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Madonna and Child Enthroned with Two Angels,
Fra Filippo Lippi (Italian, Florentine),
Tempera and gold on wood, transferred from wood (49.7.9) |
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Madonna and Child with Angels,
Cosimo Rosselli (Italian, Florentine),
Tempera and gold on wood (32.100.84) |
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Madonna and Child with Angels, Relief, ca. 1455–60, Antonio Rossellino (Italian, Florentine), Made in Florence, Italy, Marble, gilding on halo and dress (14.40.675) |
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Madonna and Child with Saints and Angels, ca. 1350,
Lippo Memmi (Filippo di Memmo) (Italian, Sienese),
Tempera on wood, gold ground (43.98.6)
|
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Madonna and Child with Saints Francis and Dominic and Angels,
Giulio Cesare Procaccini (Italian, Milanese),
Oil on canvas (1979.209) |
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Madonna and Child with Saints Jerome and Mary Magdalene, ca. 1490,
Neroccio de' Landi (Neroccio di Bartolommeo di Benedetto di Neroccio de' Landi) (Italian, Sienese),
Tempera on wood (61.43) |
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Madonna and Child with Saints,
Bonifazio Veronese (Bonifazio de' Pitati) (Italian, Venetian),
Oil on wood (1995.536) |
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Madonna and Child with Saints, altarpiece, ca. 1520,
Girolamo dai Libri (Italian, Veronese),
Tempera and oil on canvas (20.92) |
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Madonna and Child, 1370s, Paolo di Giovanni Fei (Italian, Sienese), Tempera on wood, gold ground (41.190.13) |
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Madonna and Child, ca. 1485, Filippino Lippi (Italian, Florentine), Tempera, oil, and gold on wood (49.7.10) |
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Madonna and Child, ca. 1495–1500,
Francesco Francia (Francesco di Marco di Giacomo Raibolini) (Italian, Bolognese),
Oil on wood (1982.448)
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Madonna and Child, probably before 1508,
Bramantino (Bartolomeo Suardi) (Italian, Milanese),
Tempera on wood (12.178.2) |
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Madonna in the Clouds, ca. 1581 (no later than 1582), Federico Barocci (Italian), Etching and engraving; sheet (17.50.18.147) |
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Manuscript Illumination with the Evangelist Luke, late 13th–early 14th century, Tempera and gold leaf on parchment (2001.633) |
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Manuscript of the Apocalypse, 1320s, Normandy, Paint, gold, silver, and brown ink on vellum (68.174) |
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Marriage of the Virgin, ca. 1430, Michelino da Besozzo (Michelino de Mulinari) (Italian, Lombard), Tempera and gold on wood (43.98.7) |
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Mater Dolorosa (Mourning Virgin), 18th century, Sino-Spanish, Wood with pigments, gilding, ivory, and silver (2002.133a,b) |
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Meditationes passionis Christi; Devote meditatione sopra la passione del nostro Signore (Devout Meditations on the Passion of Our Lord): The Raising of Lazarus, opening page (folios 1v and 2r),
Author: Pseudo-Bonaventura,
Venice: Hieronymus de Sanctis & Cornelio, 1487,
Printed book with woodcut illustrations (33.17) |
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Miracle of the Loaves and Fishes, ca. 1545–50, Tintoretto (Jacopo Robusti) (Italian, Venetian), Oil on canvas (13.75) |
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Moses and Aaron before Pharaoh: An Allegory of the Dinteville Family, 1537, Master of the Dinteville Allegory (Netherlandish or French), Oil on wood (50.70) |
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Mourning Virgin, from a Crucifixion Group, ca. 1585–90, Manner of Germain Pilon (French), Gilt bronze (1998.437) |
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The Nativity (The Adoration of the Christ Child), ca. 1460,
Zanobi Strozzi (Italian),
Tempera on panel (24.22)
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Nativity Group with Angel, 18th century, Guatemalan, Wood, polychromed and gilded, with glass eyes and silver-gilt halos (64.164.168ab–.172) |
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Nativity Scene, 18th century, Ecuadoran, with Hispano-Philippine ivory inserts, Bodies of wood, polychromed and gilded; faces and shoulders, ivory touched up with polychromy (64.164.172–.174) |
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The Nativity with Donors and Saints Jerome and Leonard, ca. 1510–15,
Gerard David (Netherlandish),
Oil on canvas, transferred from wood (49.7.20a–c) |
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The Nativity, ca. 1435–40,
Zanobi Strozzi (Italian); Fra Angelico (Italian),
Tempera on panel (1983.490) |
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Panel from a Tree of Jesse Window, 14th century, German (Swabia), Pot-metal glass, vitreous paint (22.25a-f) |
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The Parable of the Wise and Foolish Virgins, ca. 1803–5, William Blake (British), Watercolor, brush and gray wash, pen and black ink over graphite (14.81.2) |
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Paradise (predella panel), ca. 1445,
Giovanni di Paolo (Italian, Sienese),
Tempera and gold on canvas, transferred from wood, (06.1046) |
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Paternoster Pendant with the Virgin and Child (obverse) and the Meeting of Joachim and Anna at the Golden Gate (reverse), ca. 1440–50, Franco-Flemish (Burgundy), Onyx cameo, gold (obverse); translucent enamel, silver (reverse) (1975.1.1522) |
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Pendant Brooch with Cameo of Enthroned Virgin and Child, cameo 11th–12th century; Rus' mount 12th–14th century,
Byzantine (Constantinople),
Chalcedony cameo in gold mount with pearls, emeralds, garnets, sapphires, and sardonyx intaglio (2007.9) |
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Pendant Icon, 17th–18th century, Ethiopia; Amharic, Wood, tempera paint (1997.81.1) |
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Pendant Triptych (with Scenes of the Passion), 16th century, Mexican, Boxwood, feathers, gold, enamel (10.141.2) |
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Pietà (Vesperbild), ca. 1400, Bohemian, Limestone (2001.78) |
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Pietà, ca. 1864,
Jean-Baptiste Carpeaux (French), Terracotta (2001.199) |
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Pilate Washing His Hands, 1663, Mattia Preti (Italian, Neapolitan), Oil on canvas (1978.402) |
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Plaque with Emmaus Scenes, ca. 860–880, Carolingian, Ivory (1970.324.1) |
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Plaque with the Ascension, ca. 1050, Western Germany, Ivory (1970.324.2) |
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Plaque with the Crucifixion and the Defeat of Hades, mid-10th century, Byzantine; Probably made in Constantinople, Ivory (17.190.44) |
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Plaque with the Journey to Emmaus and the Noli Me Tangere, ca. 1115–1120, Spanish; Made in León, Ivory, traces of gilding (17.190.47) |
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Plaques with Scenes from the Story of Joshua, 10th century, Byzantine; Probably made in Constantinople, Ivory, traces of polychromy, gilding; bone (border strips) (17.190.137a-c) |
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Portal from the Church of San Leonardo al Frigido, ca. 1170–1180, Italian; Made in Tuscany, White Carrara marble, grayish marble (62.189) |
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Predica del arte del ben morire (Sermon on the Art of Dying Well): Title page (signature a1),
Author: Girolamo Savonarola,
[Florence: Ant. Tubini, shortly after 1500], 4th ed.,
Book with printed text and four woodcut illustrations (25.30.95) |
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Processional Cross, ca. 1000–1050, Byzantine, Silver with gilding and gilded silver medallions (1993.163) |
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Processional Cross, late 11th–early 12th century, Spanish; Made in Asturias, Silver, partially gilt on wood core, carved gems, jewels (17.190.1406) |
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Project for a Wall Tomb for Pope Julius II, Michelangelo Buonarroti (Italian), Pen and brown ink, brush and brown wash, over leadpoint or black chalk and ruling (62.93.1) |
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Prophet, ca. 1390–1410, French (Bourges or Burgundy) or South Lowlands, Colorless glass, silver stain, and vitreous paint (1995.301) |
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Pyx Depicting Women at the Tomb of Christ, 500s, Byzantine; Made in the eastern Mediterranean, Ivory (17.190.57) |
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Reliquary of the True Cross (Staurotheke), late 8th–early 9th century, Byzantine; Made in Constantinople, Cloisonné enamel, silver, silver-gilt, gold, niello (17.190.715ab) |
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Reliquary Shrine, second quarter of 14th century, Attributed to Jean de Touyl (French), Made in Paris, Gilt-silver, translucent enamel, paint (62.96) |
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The Rest on the Flight into Egypt, ca. 1627, Nicolas Poussin (French), Oil on canvas (1997.117.6) |
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Rosary Bead, early 16th century, South Lowlands (Brabant), Boxwood (17.190.475) |
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Saint John the Baptist Preaching, ca. 1650,
Mattia Preti (Italian, Neapolitan),
Oil on canvas (2005.477) |
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Saint Matthew and the Angel, 1534,
Giovanni Girolamo Savoldo (Italian, Brescian),
Oil on canvas (12.14) |
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Saints Peter and John Healing the Lame Man, 1655, Nicolas Poussin (French), Oil on canvas (24.45.2) |
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Saints Peter, Martha, Mary Magdalene, and Leonard, ca. 1514–16,
Correggio (Antonio Allegri) (Italian, Parma),
Oil on canvas (12.211) |
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Salome with the Head of Saint John the Baptist, probably ca. 1506–7,
Andrea Solario (Italian, Milanese),
Oil on wood (32.100.81) |
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Samson Rending the Lion, ca. 1497–98, Albrecht Dürer (German), Woodcut (24.63.111) |
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Samson, ca. 1612–16, Jacques Bellange (French), Pen and brown ink, brush and brown and gray wash, on tan antique laid paper1 (2001.568) |
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Santa Francesca Romana Clothed by the Virgin, Attributed to Antonio da Viterbo the Elder (Italian), Tempera on panel (1975.1.100) |
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Scarf with Old Testament scenes, 1648, India, Linen and silk thread (50.73) |
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Shrine of the Virgin, ca. 1300, German; Made in Rhine valley, Oak, linen covering, paint, gilding, gesso (17.190.185) |
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Silver Plate with David and Goliath, 629–630, Byzantine; Made in Constantinople, Silver (17.190.396) |
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Situla (Bucket for Holy Water), ca. 860–880, Carolingian; From the Church of Saints Peter and Paul, Crannenburg, Germany, possibly made in Reims, northern France, Ivory with copper alloy gilt mounts and inlays (17.190.45) |
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Snuffbox, 1760–70, Myer Myers (American), New York City, Gold (66.102) |
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Standing Virgin and Child, probably ca. 1470, Attributed to Niclaus Gerhaert von Leiden (North Netherlandish), Made in Vienna, Boxwood, tinted lips and eyes (1996.14) |
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Studies for the Nativity (recto); Three Geometrical Diagrams and a Caricature of a Head (verso), 1480–85, Leonardo da Vinci (Italian), Italian, Metalpoint largely reworked with pen and brown ink on salmon-pink prepared paper (17.142.1) |
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The Supper at Emmaus, 1622–23, Diego Rodríguez de Silva y Velázquez (Spanish), Oil on canvas (14.40.631) |
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Tabernacle of Cherves, ca. 1220–1230, French; Made in Limoges, Gilded copper and champlevé enamel (17.190.735) |
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Tapestry with the Annunciation, ca. 1410–1430, South Netherlandish, Wool warp, wool with a few metallic wefts (45.76) |
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Three Holy Women at the Holy Sepulcher, early 10th century; Ottonian, Possibly modern Milan, Northern Italy, Elephant ivory (1993.19) |
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Triptych (Sacring Tablet): Institution of the Sacrament of the Lord's Supper, 16th century, Mexican, Feathers and colored paper laid down on wood, in gilt wood frame (88.3.1) |
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Triptych with the Crucifixion, ca. 1510,
Francesco Granacci (Francesco di Andrea di Marco) (Italian),
Italy; Florence,
Tempera and gold on wood (2006.409)
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Triptych with the Passion of Christ, ca. 1475–85,
South Germany,
Mother-of-pearl mounted on gilt wood frame with silk backing and tooled leather covering (2006.249) |
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Two Angels, first quarter of 14th century, North Italian, Fresco (1971.115.1ab) |
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Two Leaves from a Book of Hours, Representing the Annunciation, 1465, Master of Charles of France, French (Bourges), Tempera and gold leaf on vellum (58.71a,b) |
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The Virgin Adored by Saints, ca. 1627, Peter Paul Rubens (Flemish), Pen and brown ink (2002.12a) |
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The Virgin Adoring the Host, 1852,
Jean-Auguste-Dominique Ingres (French),
Oil on canvas (2005.186) |
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Virgin and Child Attended by Angels, ca. 1495–1500, Attributed to Filippino Lippi (Italian, Florentine), Pen and brown ink, brush and brown wash, highlighted with white gouache (68.204) |
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