
The Virgin and Child (Ugolino)
The Child reaches up to grasp the edge of his mother's veil. Ugolino followed Duccio more closely than anyone else did.

The Child reaches up to grasp the edge of his mother's veil. Ugolino followed Duccio more closely than anyone else did.

A young man glances up from his guitar mid-song. Greuze usually painted tearful moral lessons, and here he simply does not.

Overbeck and the Nazarenes lived almost as monks in Rome and painted deliberately like the Italians before Raphael. This is the program.

Painted on the wall of a friar's cell at San Marco, stripped of gold and ornament so that it settles the mind rather than dazzles.

One of the Impressionist canvases he owned hangs on the wall behind him. Caillebotte's money and his bequest kept the movement alive.

The whole coast reduced to a few flat zones of color and some quick line. Picasso old, settled in the south, and enjoying himself.

A steward tastes from a bowl and a portly servant tends the jars, and the miracle goes by almost without anyone noticing.

Christ's fingertips cross out of the human part of the picture and blur into light, which is the whole event in one detail.

Christ turns up dressed as a pilgrim with a staff and a traveler's pouch, and the two disciples still have no idea who he is.

Christ stands to place the host on each tongue exactly as a priest does at Mass, in a bare cell-like room with stools.

The head arrives on a platter inside a serene sunlit loggia full of well-dressed Florentines, many of them the family who paid.

Late Botticelli, with the early lightness gone tense. He had fallen under Savonarola's spell and his religious pictures never relaxed again.

Christ strides into the cave to pull Adam out by the hand, treading on a chained Satan as he goes.

Christ kneels with the basin and Peter, flustered, raises a hand to his own head. Some of the others are already loosening their sandals.

Angels dart and grieve around the cross while the Magdalene, hair loose, kneels to embrace its foot. A leaf from a travelling altarpiece.

The feast on the left, the severed head delivered on the right, both staged in a colonnade built with Masaccio's new perspective.

Elizabeth sinks down and clasps the pregnant Mary. Ghirlandaio ran the busiest workshop in Florence, and a boy named Michelangelo apprenticed there.

The tiny kneeling figures in the corners are the Nuremberg family who paid for it, inserted so they could share in the grief.

Coins and cards on the table and a great deal of sidelong glancing. Somebody is being cheated, and the intrigue may not be financial.

An inscription gives his age as ninety-three. Dürer drew him in Antwerp and used the head soon after for a Saint Jerome.