Permanent Collection

Virgin and Child (The Borromeo Madonna)
Virgin and Child (The Borromeo Madonna)

Virgin and Child (The Borromeo Madonna)

Attributed to Donatello (Donato di Niccolò di Betto Bardi)
Italian (1386/87–1466)
15th century
c. 1450
Terracotta
32 7/8 x 20 1/2 in. (83.5 x 52.1 cm)
AP 2006.01
Celebrated for his powers of invention, range of expression, and technical prowess, Donatello was the preeminent Italian sculptor of the fifteenth century.
The Madonna and Child
The Madonna and Child

The Madonna and Child

Giovanni Bellini
Italian (c. 1438–1516)
15th century
c. 1465
Tempera, possibly oil, and gold on panel
32 1/2 x 23 in. (82.5 x 58.4 cm) Framed: 48 x 39 1/8 x 5 in. (121.9 x 99.4 x 12.7 cm)
AP 1971.06
Giovanni Bellini’s half-length devotional paintings of the Madonna and Child enjoyed great popularity in Venice, and later in his career he employed a large workshop to meet the demand.
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist

The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist

Andrea Mantegna
Italian (c. 1430/31–1506)
15th century
c. 1485–88
Distemper, oil, and gold on canvas
24 3/4 x 20 3/16 in. (62.9 x 51.3 cm) Framed: 32 3/8 x 28 3/8 x 3 in. (82.2 x 72.1 x 7.6 cm)
AP 1987.04
Trained in the humanist university town of Padua, Andrea Mantegna developed a lifelong passion for antiquity that profoundly informed his work as an artist.
Portia and Brutus
Portia and Brutus

Portia and Brutus

Ercole de’ Roberti
Italian (c. 1455/56–1496)
15th century
c. 1486–90
Tempera, possibly oil, and gold on panel
19 3/16 x 13 1/2 in. (48.7 x 34.3 cm) Framed: 25 3/4 x 20 1/2 x 2 1/4 in. (65.4 x 52.1 x 5.7 cm)
AP 1986.05
Ercole de’ Roberti spent the latter half of his career at the court of Ercole I d’Este, Duke of Ferrara, painting altarpieces, small devotional works, portraits, and fresco cycles for the Este residences, as well as decorative projects.
Virgin and Child
Virgin and Child

Virgin and Child

South German
15th century
15th century
1486
Silver, parcel-gilt, stones (opal, clear and pale sapphires, garnets, and pale emeralds)
21 × 6 3/4 × 6 3/4 in. (53.3 × 17.1 × 17.1 cm)
AP 2002.03
The subject of this rare example of Late Gothic church sculpture can be identified as the Virgin of the Apocalypse, whose imagery—the aureole of the sun, along with the twelve stars in her crown, and the crescent moon beneath her—is derived from the book of Revelation (12:1–5): “And there appeared a
The Torment of Saint Anthony
The Torment of Saint Anthony

The Torment of Saint Anthony

Michelangelo Buonarroti
Italian (1475–1564)
15th century
c. 1487-88
Tempera and oil on panel
18 1/2 x 13 3/4 in. (47 x 34.9 cm) Framed: 27 x 22 3/8 x 2 1/4 in. (68.6 x 56.8 x 5.7 cm)
AP 2009.01
This is the first known painting by Michelangelo, described by his earliest biographers and believed to have been painted when he was twelve or thirteen years old.
Jacob Obrecht
Jacob Obrecht

Jacob Obrecht

Netherlandish or French
15th century
15th century
1496
Tempera, oil, and gold on panel
20 1/4 x 14 1/4 in. (51.4 x 36.2 cm)
AP 1993.02
The gilt Gothic inscription on this masterpiece of northern Renaissance portraiture identifies the sitter as Jacob Obrecht (1457/58–1505), a renowned choirmaster and one of the greatest composers of his age.
Albarello with Pine Cone Motif
Albarello with Pine Cone Motif

Albarello with Pine Cone Motif

Italian
15th century
c. 1500
Tin-glazed earthenware
12 1/4 x 5 1/2 in. (31.1 x 14 cm)
AP 1979.09
By the late fifteenth century, polychrome wares had replaced the more limited palette of Severe-style majolica, adding new shades of gold and green. Plant forms predominated, particularly an elegantly scrolled “Gothic-floral” leaf motif.
Birds and Flowers of Early Spring
Birds and Flowers of Early Spring

Birds and Flowers of Early Spring

Yin Hong
Chinese (active c. 1500)
Ming dynasty (1368–1644)
c. 1500
Hanging scroll; ink and mineral pigments on silk
66 7/16 x 40 7/16 in. (168.7 x 102.7 cm)
AP 1982.08
Colorful flower-and-bird paintings were created by courtpainters during the Ming dynasty (1368–1644) to decorate the grand halls of imperial palaces, where they could also serve as metaphors for the emperor and his court.
Christ Blessing
Christ Blessing

Christ Blessing

Giovanni Bellini
Italian (c. 1438–1516)
16th century
c. 1500
Tempera, oil, and gold on panel
23 1/4 x 18 1/2 in. (59 x 47 cm) Framed: 31 x 26 x 3 in. (78.7 x 66 x 7.6 cm)
AP 1967.07
Bellini’s Christ Blessing vividly portrays the central mystery of the Christian faith: the incarnation, when Christ––fully human and fully divine––was sent to earth to redeem humankind.
Christ the Redeemer
Christ the Redeemer

Christ the Redeemer

Attributed to Tullio Lombardo
Italian (c. 1455–1532)
16th century
c. 1500–1520
White marble relief
13 3/16 x 12 3/16 x 3 9/16 in. (33.5 x 31 x 9 cm)
AP 2005.04
This marble relief has recently been attributed to the Venetian sculptor Tullio Lombardo. Tullio was well versed in both ancient art and the work of contemporary artists outside Venice, such as Mantegna and Leonardo da Vinci.
Portrait of a Woman, Probably Isabella d’Este
Portrait of a Woman, Probably Isabella d’Este

Portrait of a Woman, Probably Isabella d’Este

Attributed to Gian Cristoforo Romano
Italian (c. 1465–1512)
16th century
c. 1500
Terracotta, formerly polychromed
21 3/8 x 21 1/2 in. (54.3 x 54.6 cm)
AP 2004.01
This rare terracotta portrait bust probably represents Isabella d’Este, Marchioness of Mantua. The most celebrated woman of her day, Isabella d’Este (1474–1539) cultivated one of the most illustrious courts in Renaissance Italy.
Seated Man, Possibly Huehueteotl
Seated Man, Possibly Huehueteotl

Seated Man, Possibly Huehueteotl

Mexico, Aztec culture
Postclassic period (900–1521)
c. 1500
Basalt
25 1/4 x 15 1/4 x 12 1/8 in. (64.1 x 38.7 x 30.8 cm)
AP 1969.19
Aztec society was militaristic and regimented, and their art and culture show a pervasive interest in ritual and the symbolism of death.
The Three Stars of Happiness, Wealth, and Longevity
The Three Stars of Happiness, Wealth, and Longevity

The Three Stars of Happiness, Wealth, and Longevity

Wang Zhao
Chinese (active 1500–1525)
Ming dynasty (1368–1644)
c. 1500
Hanging scroll; ink and light colors on silk
62 1/2 x 37 1/2 in. (158.7 x 95.2 cm)
AP 1985.06
This bold and lively painting by the eccentric artist Wang Zhao depicts a trio of Taoist deities who are charged with caring for the well being of individuals. In popular legend each deity is derived from a historical person, and although grouped as a trio here, each is worshiped separately.
The Judgment of Paris
The Judgment of Paris

The Judgment of Paris

Lucas Cranach the Elder
German (1472–1553)
16th century
c. 1512–14
Oil on panel
16 15/16 x 12 11/16 in. (43 x 32.2 cm) Framed: 21 x 17 x 2 in. (53.3 x 43.2 x 5.1 cm)
AP 2004.03
This is the first of Cranach’s several versions of The Judgment of Paris. According to Greek and Roman mythology, the goddess of discord tossed an apple labeled “to the fairest” among the Olympian gods.
Portrait of Hendrik III, Count of Nassau-Breda
Portrait of Hendrik III, Count of Nassau-Breda

Portrait of Hendrik III, Count of Nassau-Breda

Jan Gossart, called Mabuse
Netherlandish (c. 1478–1532)
16th century
c. 1516–17
Oil on panel
22 1/2 x 18 1/16 in. (57.2 x 45.8 cm) Framed: 29 1/2 x 26 x 3 1/2 in. (74.9 x 66 x 8.9 cm)
AP 1979.30
Having accompanied his patron Philip of Burgundy to Rome in 1508–9, Jan Gossart was one of the first artists to disseminate the Italian style in the Low Countries. The subject of this portrait is Hendrik III, Count of Nassau-Breda (1483–1538).

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