On View

 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, Possibly Isabella d’Este
Portrait of a Woman, Possibly 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, Possibly 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 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).
Fortitude and Unidentified Virtue, Possibly Hope are two marble sculptures representing Virtues: one is identifiable as Fortitude by her attribute, the column; the other figure is without an attribute and may represent Hope.
Fortitude and Unidentified Virtue, Possibly Hope
Fortitude and Unidentified Virtue, Possibly Hope
Fortitude and Unidentified Virtue, Possibly Hope are two marble sculptures representing Virtues: one is identifiable as Fortitude by her attribute, the column; the other figure is without an attribute and may represent Hope.

Fortitude and Unidentified Virtue, Possibly Hope

Bambaia (Agostino Busti)
Italian (c. 1483–1548)
16th century
c. 1520–25
Marble
a: 23 13/16 x 9 1/2 x 7 5/8 in. (60.5 x 24.2 x 19.3 cm) b: 26 3/16 x 12 3/8 x 6 1/2 in. (66.5 x 31.5 x 16.5 cm)
AP 1981.12 a,b
Agostino Busti, known as Bambaia, was an important Lombard sculptor, notable for his refined technique and innovative classicism.
Parmigianino's oil painting of The Virgin and Child, which counterposes the serenely pensive Virgin with her active Son, who tugs at his mother’s veil.
The Madonna and Child
The Madonna and Child
Parmigianino's oil painting of The Virgin and Child, which counterposes the serenely pensive Virgin with her active Son, who tugs at his mother’s veil.

The Madonna and Child

Parmigianino (Girolamo Francesco Maria Mazzola)
Italian (1503–1540)
16th century
c. 1527–30
Oil on panel
17 5/8 x 13 3/8 in. (44.8 x 34 cm) Framed: 24 1/16 x 20 x 2 1/2 in. (61.1 x 50.8 x 6.4 cm)
AP 1995.09
Hailed as the new Raphael, Parmigianino was one of the most influential artists of the sixteenth century, cultivating a mannered gracefulness of pose and physiognomy, combined with new and dramatic coloristic effects, that transformed the classicism of his Renaissance predecessors.
Head of a Woman is a majestic head of an ideal beauty. He has emulated the smooth and abstracted facial structure found in classical sculpture
Head of a Woman
Head of a Woman
Head of a Woman is a majestic head of an ideal beauty. He has emulated the smooth and abstracted facial structure found in classical sculpture

Head of a Woman

Sebastiano del Piombo (Sebastiano Luciani)
Italian (c. 1485–1547)
16th century
early 1530s
Oil on panel
10 in. diameter (25.4 cm diameter) Framed: 17 x 2 in. (43.2 x 5.1 cm)
AP 1985.08
Notable for the monumental grandeur of his religious paintings and portraits, Sebastiano del Piombo became the preeminent painter in Rome following Raphael’s death in 1520.
The Madonna and Child with a Female Saint and the Infant Saint John the Baptist is Titian's oil painting in which Mary cradles the Christ Child, who is embraced by a kneeling female saint.
The Madonna and Child with a Female Saint and the Infant Saint John the Baptist
The Madonna and Child with a Female Saint and the Infant Saint John the Baptist
The Madonna and Child with a Female Saint and the Infant Saint John the Baptist is Titian's oil painting in which Mary cradles the Christ Child, who is embraced by a kneeling female saint.

The Madonna and Child with a Female Saint and the Infant Saint John the Baptist

Titian (Tiziano Vecellio)
Italian (c. 1488–1576)
16th century
1530s
Oil on panel
41 1/2 x 58 3/8 in. (105.4 x 148.3 cm) Framed: 54 1/2 x 71 1/8 x 3 3/4 in. (138.4 x 180.7 x 9.5 cm)
AP 1986.07
More than any other Renaissance master, Titian was acclaimed—in his own lifetime and for centuries thereafter—for his expressive handling of paint and rich use of color. Like his teachers Giovanni Bellini and Giorgione, Titian set many of his religious subjects in a pastoral landscape.
The Supper at Emmaus is Bassano's oil painting depicting Christ’s miraculous appearance after the Resurrection. In the act of blessing and breaking bread at the inn, Christ, who is seated beneath a velvet green canopy, reveals himself to two of his disciples
The Supper at Emmaus
The Supper at Emmaus
The Supper at Emmaus is Bassano's oil painting depicting Christ’s miraculous appearance after the Resurrection. In the act of blessing and breaking bread at the inn, Christ, who is seated beneath a velvet green canopy, reveals himself to two of his disciples

The Supper at Emmaus

Jacopo Bassano (Jacopo dal Ponte)
Italian (c. 1510–1592)
16th century
c. 1538
Oil on canvas
39 5/8 x 50 5/8 in. (100.6 x 128.6 cm) Framed: 47 x 59 1/4 x 3 1/2 in. (119.4 x 150.5 x 8.9 cm)
APx 1989.03
Jacopo Bassano was one of the most famous and influential masters of the late Renaissance in Italy, admired for his luminous color and sensitively observed incidents from everyday life.
Portrait of a Franciscan Friar is Bassano's oil portrait of a Franciscan Friar.  The skull at the bottom right of the composition is a reminder of the vanity of earthly life, supports the contemplative aspect of the friar’s piety. A pen holder hangs from the rope at his waist, while his left hand is held up in a gesture of benediction.
Portrait of a Franciscan Friar
Portrait of a Franciscan Friar
Portrait of a Franciscan Friar is Bassano's oil portrait of a Franciscan Friar.  The skull at the bottom right of the composition is a reminder of the vanity of earthly life, supports the contemplative aspect of the friar’s piety. A pen holder hangs from the rope at his waist, while his left hand is held up in a gesture of benediction.

Portrait of a Franciscan Friar

Jacopo Bassano (Jacopo dal Ponte)
Italian (c. 1510–1592)
16th century
c. 1540–42
Oil on canvas
31 11/16 x 27 3/16 in. (80.5 x 69 cm) Framed: 48 3/4 x 44 3/4 x 3 5/8 in. (123.8 x 113.7 x 9.2 cm)
AP 1997.02
In this imposing portrait, Jacopo Bassano applies a vigorous and sharply focused naturalism to portray the distinctive features as well as the spiritual temperament and preoccupations of an unidentified Franciscan friar.
The Adoration of the Magi
The Adoration of the Magi

The Adoration of the Magi

Jacopo Bassano (Jacopo dal Ponte)
Italian (c. 1510–1592)
16th century
after 1555
Oil on jasper
7 1/4 x 5 1/2 in. (18.4 x 14 cm) Framed: 12 3/4 x 11 x 1 5/8 in. (32.4 x 27.9 x 4.1 cm)
AG 1990.01
The subject of the Adoration of the Magi, along with the Adoration of the Shepherds, occupies pride of place in Jacopo Bassano’s repertory.
Portrait of Doge Pietro Loredan
Portrait of Doge Pietro Loredan

Portrait of Doge Pietro Loredan

Tintoretto (Jacopo Robusti)
Italian (1518–1594)
16th century
1567–70
Oil on canvas
49 5/8 x 41 15/16 in. (126 x 106.6 cm) Framed: 57 1/2 x 48 3/4 x 4 1/2 in. (146.1 x 123.8 x 11.4 cm)
AP 1986.08
A prolific master of religious and historical works, as well as portraits, Tintoretto developed a rapid, often impetuous manner of painting that was both expressive and expedient.
Wine Flask is a simple, conservative, yet striking wood vessel with broad, softly rounded shoulders curving to a sharp edge that sets off the extreme slope of the body to the narrow waist and broad, flat foot.
Wine Flask
Wine Flask
Wine Flask is a simple, conservative, yet striking wood vessel with broad, softly rounded shoulders curving to a sharp edge that sets off the extreme slope of the body to the narrow waist and broad, flat foot.

Wine Flask

Japan
Momoyama period (1573–1615)
late 16th or early 17th century
Wood with black and red lacquer (Negoro ware)
11 3/4 x 8 3/4 in. (29.9 x 22.3 cm)
AP 1981.16
Negoro lacquerwares constitute a special group of simple food-serving utensils that are distinctive for their solid, cinnabar red finish and austere, functional forms.
The Butcher's Shop is Caracci's forthright portrayal of the tradesmen, with their sober, ceremonious demeanor and clean white aprons.
The Butcher's Shop
The Butcher's Shop
The Butcher's Shop is Caracci's forthright portrayal of the tradesmen, with their sober, ceremonious demeanor and clean white aprons.

The Butcher's Shop

Annibale Carracci
Italian (1560–1609)
16th century
early 1580s
Oil on canvas
23 1/2 x 27 15/16 in. (59.7 x 71 cm) Framed: 30 1/4 x 34 7/8 x 2 3/8 in. (76.8 x 88.6 x 6 cm)
AP 1980.08
Around the time that he painted The Butcher’s Shop, in about 1582, Annibale Carracci joined his older cousin Ludovico and his brother Agostino to found the Carracci Academy in Bologna.
The Cardsharps
The Cardsharps

The Cardsharps

Caravaggio (Michelangelo Merisi)
Italian (1571–1610)
16th century
c. 1595
Oil on canvas
37 1/16 x 51 9/16 in. (94.2 x 130.9 cm)
AP 1987.06
Caravaggio was one of the pivotal figures in the history of Western art. In his short lifetime, he created a theatrical style that was as shocking to some as it was new, inspiring others to probe their subject matter for the drama of psychological relationships.
Sliding Door Panel with Design of Imperial Eagle, Plum Tree, and Camellia is constructed from wood and decorated with a painted design of a majestic white eagle perched on a blossoming plum tree
Sliding Door Panel with Design of Imperial Eagle, Plum Tree, and Camellia
Sliding Door Panel with Design of Imperial Eagle, Plum Tree, and Camellia
Sliding Door Panel with Design of Imperial Eagle, Plum Tree, and Camellia is constructed from wood and decorated with a painted design of a majestic white eagle perched on a blossoming plum tree

Sliding Door Panel with Design of Imperial Eagle, Plum Tree, and Camellia

Japan
Momoyama period (1573–1615)
First half of 17th century
Cryptomeria wood, gesso with pigments
62 3/4 x 32 1/8 x 1 1/8 in. (159.4 x 81.6 x 2.9 cm)
AP 1995.05
This sliding door panel, adorned with a majestic white eagle perched on a blossoming plum tree, is the right half of a two-panel sugito (cedar door). The motif of the eagle, like the hawk, was most likely a symbol of the samurai (warrior) class in Japan.

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