
The Resurrection
Christ rises with his banner while an unearthly dawn detonates behind him in bands of orange and scarlet over black crags.

Christ rises with his banner while an unearthly dawn detonates behind him in bands of orange and scarlet over black crags.

Thousands are clubbed and thrown off cliffs, and Dürer paints himself walking calmly through the middle of it holding a banner with his name.

A cucumber nose, a peach cheek, a garlic-clove ear, and Arcimboldo's own name woven into the collar of plaited straw.

A head made of cracked bark and bare twigs, standing for the dying year and, flatteringly, for a Habsburg dynasty that stays evergreen.

Saul sprawls on the ground with his arm up while the white horse rears above him with something close to ballet in it.

The serpent stands upright against the tree with a near-human face, and every leaf in the garden is catalogued one by one.

Around two hundred children playing some eighty different games, no adults anywhere, and no particular place for the eye to start.

Jupiter has turned himself into a grey cloud, and a dim face and hand come out of the mist to hold her.

Zeus arrives as a shower of gold and the old nurse scrambles to catch the coins in her apron while Danae simply reclines.

The tower is already leaning as it goes up, and Bruegel drew the cranes and ramps in enough detail that you could nearly build it.

Two men carry the porridge in on an unhinged door, the bagpiper eyes it hungrily, and the bride sits idle under her paper crown.

Vermeer never sold this one. The model poses as Clio, muse of history, with a great map of the Netherlands filling the wall behind.

Three hunters come home over the hill with one thin catch while villagers skate below. Bruegel painted it for a series on the months.