
Mona Lisa
She was probably Lisa Gherardini, a merchant's wife, and Leonardo kept reworking her for years and never handed the portrait over.

She was probably Lisa Gherardini, a merchant's wife, and Leonardo kept reworking her for years and never handed the portrait over.

One eye is inlaid and the other left blank, which suggests the bust was a master model kept in the sculptor's workshop at Amarna.

Not a portrait of anyone in particular but a tronie, a study of a type, which somehow made her the most looked-at girl in art.

Cecilia Gallerani turns as if someone has come in, and the ermine turns with her. It was her patron's emblem and a pun on her name.

Whistler called it Arrangement in Grey and Black and insisted it was about tone, not feeling. The sitter was his mother, and nobody was fooled.

Only the face and hands are painted naturally and the rest is gold. The Nazis seized it, and a long restitution case eventually got it back.

The strap fell off her shoulder in the 1884 version, Paris was scandalized, her family demanded it come down, and Sargent repainted the strap.

The oba wore it at his hip, its crown made of tiny Portuguese heads. A British expedition looted it from Benin in 1897.

Three famous women of 1790s Edo on mica ground, their faces nearly identical, so you have to read them from the tilt of an eye.

A critic looked at this and called Matisse and his friends fauves, wild beasts, which is how the movement got its name.

Two versions of herself hold hands with one artery running between them, clamped shut. She painted it as her marriage to Rivera fell apart.

Picasso pulled her out of the screaming mother in Guernica and gave her the face of Dora Maar, his lover and a photographer.

Matisse ran a green stripe down his wife's face to divide warm from cool, and used color to do the work of light.

Painted on a convex parade shield, so the head bulges toward you at the exact instant of the scream. A showpiece gift for the Medici.

A juniper bush stands behind her as a pun on her name. The panel was later cut down at the bottom, taking her hands with it.

Three nudes turned on a lathe, smooth and tubular, laid out among furniture built to match. The odalisque redone for the age of the factory.

For once Fragonard is not being naughty. A girl in yellow reads, and the ruff at her wrist is a few flicks of impasto.

The same woman, same cushions, same pose, now dressed. It is thought to have hung in front of the nude and slid aside.

Not a commission but a tronie, a character study made to show off. Hals catches her half-laugh before it has finished.

She had been dead for years when this was painted, and the asp at her throat turns her into Cleopatra.