Permanent Collection

Virgin and Child (The Borromeo Madonna) is a terracotta relief of the Virgin and Child
Virgin and Child (The Borromeo Madonna)
Virgin and Child (The Borromeo Madonna)
Virgin and Child (The Borromeo Madonna) is a terracotta relief of the Virgin and Child

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 is a half-length devotional painting of the Madonna and Child. Bellini’s Madonna stands behind a veined marble parapet, in front of a cloth of honor brocaded with pomegranates to symbolize the Resurrection.
The Madonna and Child
The Madonna and Child
The Madonna and Child is a half-length devotional painting of the Madonna and Child. Bellini’s Madonna stands behind a veined marble parapet, in front of a cloth of honor brocaded with pomegranates to symbolize the Resurrection.

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 is a devotional painting which places Madonna and Child in the center of the composition
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 is a devotional painting which places Madonna and Child in the center of the composition

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 is a panel in a series by Ercole de’ Roberti of virtuous women. In the painting, Portia shows Brutus a self-inflicted wound  to confirm that she would be ready to endure death
Portia and Brutus
Portia and Brutus
Portia and Brutus is a panel in a series by Ercole de’ Roberti of virtuous women. In the painting, Portia shows Brutus a self-inflicted wound  to confirm that she would be ready to endure death

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.
Her hair, the moon, and other details of the sculpture are gilded.
Virgin and Child
Virgin and Child
Her hair, the moon, and other details of the sculpture are gilded.

Virgin and Child

South Germany
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 depicts how the Egyptian hermit-saint, Saint Anthony, had a vision that he levitated into the air and was attacked by demons, whose torments he withstood. He also included a landscape that resembles the Arno River Valley around Florence.
The Torment of Saint Anthony
The Torment of Saint Anthony
The Torment of Saint Anthony depicts how the Egyptian hermit-saint, Saint Anthony, had a vision that he levitated into the air and was attacked by demons, whose torments he withstood. He also included a landscape that resembles the Arno River Valley around Florence.

The Torment of Saint Anthony

Michelangelo Buonarroti
Italian (1475–1564)
15th century
1487
Tempera 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.
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.
Jacob Obrecht
Jacob Obrecht
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.

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 is a tin-glazed cylindrical earthenware vessel with a staggered design of pine cones derived from Persian palmettes.
Albarello with Pine Cone Motif
Albarello with Pine Cone Motif
Albarello with Pine Cone Motif is a tin-glazed cylindrical earthenware vessel with a staggered design of pine cones derived from Persian palmettes.

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 is a silk hanging scroll with ink and pigment rocks, water, trees, blossoms, and birds.
Birds and Flowers of Early Spring
Birds and Flowers of Early Spring
Birds and Flowers of Early Spring is a silk hanging scroll with ink and pigment rocks, water, trees, blossoms, and birds.

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.
Bellini’s Christ Blessing vividly portrays the incarnation. The Resurrected Savior faces the worshiper with a level gaze. He raises his right hand in blessing, and with his left grips the bright red staff of the banner of the Resurrection.
Christ Blessing
Christ Blessing
Bellini’s Christ Blessing vividly portrays the incarnation. The Resurrected Savior faces the worshiper with a level gaze. He raises his right hand in blessing, and with his left grips the bright red staff of the banner of the Resurrection.

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 is sculpted in mezzo rilievo. The profile view of Christ is deeply undercut, shows twisting tendrils and the crisp patterns of Christ’s beard set against the smooth surface of his skin.
Christ the Redeemer
Christ the Redeemer
Christ the Redeemer is sculpted in mezzo rilievo. The profile view of Christ is deeply undercut, shows twisting tendrils and the crisp patterns of Christ’s beard set against the smooth surface of his skin.

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 is a terracotta bust of who we believe to be Marchioness of Mantua. It represents her in a highly flattering way, presenting an ideal, classicized “likeness."
Portrait of a Woman, Probably Isabella d’Este
Portrait of a Woman, Probably Isabella d’Este
 Portrait of a Woman, Probably Isabella d’Este is a terracotta bust of who we believe to be Marchioness of Mantua. It represents her in a highly flattering way, presenting an ideal, classicized “likeness."

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 is a basalt sculpture of an old macehualli, or man of the people. The bold facial scarification and more subtle, abstract patterns on the kneecaps, shoulder blades, and vertebrae suggest that he also represents the “Old God,” Huehueteotl
Seated Man, Possibly Huehueteotl
Seated Man, Possibly Huehueteotl
Seated Man, Possibly Huehueteotl is a basalt sculpture of an old macehualli, or man of the people. The bold facial scarification and more subtle, abstract patterns on the kneecaps, shoulder blades, and vertebrae suggest that he also represents the “Old God,” 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 is a silk hanging scroll, which depicts a trio of Taoist deities who are charged with caring for the well being of individuals.
The Three Stars of Happiness, Wealth, and Longevity
The Three Stars of Happiness, Wealth, and Longevity
The Three Stars of Happiness, Wealth, and Longevity is a silk hanging scroll, which depicts a trio of Taoist deities who are charged with caring for the well being of individuals.

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 depicts Paris tethering his horse and falling asleep after losing his way in a hunting expedition, at which Mercury appears in his dream and presents the three goddesses.
The Judgment of Paris
The Judgment of Paris
The Judgment of Paris depicts Paris tethering his horse and falling asleep after losing his way in a hunting expedition, at which Mercury appears in his dream and presents the three goddesses.

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 shows the sitter’s finely delineated features. The artist carefully renders the textures of the carpet, fur collar, buttons, and checkered black-and-gold doublet, creating an image of jewel-like intensity.
Portrait of Hendrik III, Count of Nassau-Breda
Portrait of Hendrik III, Count of Nassau-Breda
Portrait of Hendrik III, Count of Nassau-Breda shows the sitter’s finely delineated features. The artist carefully renders the textures of the carpet, fur collar, buttons, and checkered black-and-gold doublet, creating an image of jewel-like intensity.

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).

Pages