Mona Lisa
1504 · Louvre, Paris
She was probably Lisa Gherardini, a merchant's wife, and Leonardo kept reworking her for years and never handed the portrait over.
★ 9.9
The Art canon
Sourced and hung.
Every work chosen by hand and annotated for why it matters.
Browse all 704 works or filter by movement, subject, place, and artist.
Browse all 704 works or filter by movement, subject, place, and artist.
Las Meninas
1656 · El Prado, Madrid
The Infanta and her maids fill the room, but Velázquez has put himself at his easel and the king and queen in a mirror behind.
★ 9.8
Bust of Nefertiti
1345 BC · Neues Museum, Berlin
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.
★ 9.4
Portrait of Giovanni Arnolfini and his Wife
1434 · National Gallery, London
A couple joins hands in a Bruges bedroom, and the mirror behind them catches two visitors at the door. Van Eyck signed the wall above it.
★ 9.1
Portrait of Pope Innocent X
1650 · Galleria Doria Pamphilj, Rome
Velázquez caught every wary line in the pope's face, and Innocent reportedly said it was troppo vero, too true. Francis Bacon reworked it for years.
★ 8.8
Girl with a Pearl Earring
1665 · Mauritshuis, The Hague
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.
★ 8.6
The Ambassadors
1533 · National Gallery, London
Two men pose with globes, sundials and a lute with a broken string, and a smear on the floor turns into a skull from the side.
★ 8.5
The Lady with the Ermine
1490 · Czartoryski Museum, Krakow
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.
★ 8.2
Christ Pantocrator (Sinai)
Artist unknown
560 · Saint Catherine's Monastery, Mount Sinai
Cover one half of the face, then the other, and two expressions emerge, merciful and severe. Sinai was too remote for the iconoclasts to reach.
★ 8.2
Marilyn Diptych
1962 · Tate Modern, London
Warhol silkscreened a publicity photo fifty times just after Monroe died, bright on one half and smudging away to nothing on the other.
★ 8.0
Whistler's Mother
1871 · Musee d'Orsay, Paris
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.
★ 8.0
Portrait of Adele Block Bauer
1907 · Neue Galerie, New York City
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.
★ 8.0
Madame X
1884 · Metropolitan Museum of Art, New York City
The strap fell off her shoulder in the 1884 version, Paris was scandalized, her family demanded it come down, and Sargent repainted the strap.
★ 8.0
Otani Oniji III as Yakko Edobei
1794 · Metropolitan Museum of Art, New York City
Sharaku made about 140 actor prints in ten months and then vanished so completely that people still argue about who he was.
★ 7.9
Jahangir Preferring a Sufi Shaikh to Kings
1617 · Freer Gallery of Art, Washington, District of Columbia
The emperor hands a book to a Sufi and ignores the kings waiting below, one of them James I, copied from an English portrait.
★ 7.9
Portrait of Juan de Pareja
1650 · Metropolitan Museum of Art, New York City
Pareja was Velázquez's enslaved assistant, freed soon after this was painted in Rome as a warm-up before the pope sat for him.
★ 7.8
Study After Velazquez's Portrait of Pope Innocent X
1953 · Des Moines Art Center, Des Moines
Bacon took Velázquez's composed pope and set him screaming behind a curtain of falling paint. He never saw the original in person.
★ 7.8
Three Beauties of the Present Day
1793 · Museum of Fine Arts (Boston), Boston
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.
★ 7.8
Woman with a Hat
1905 · San Francisco MOMA, San Francisco
A critic looked at this and called Matisse and his friends fauves, wild beasts, which is how the movement got its name.
★ 7.8
Self-Portrait (Rembrandt, 1665)
1665 · Kenwood House, London
The old painter holds his brushes and palette, and behind him two large arcs are drawn on the wall that nobody has explained.
★ 7.7
Self-Portrait (van Gogh)
1889 · Musee d'Orsay, Paris
The background ripples around his head like a current in the same blue-green as his suit, and his beard burns red against it.
★ 7.7
Family of Saltimbanques
1905 · National Gallery of Art, Washington, District of Columbia
Circus people stand together in an empty landscape without looking at each other. The Rose Period at its largest and most wistful.
★ 7.5
The Weeping Woman
1937 · Tate Modern, London
Picasso pulled her out of the screaming mother in Guernica and gave her the face of Dora Maar, his lover and a photographer.
★ 7.5
Self-Portrait (Rembrandt, 1658)
1658 · The Frick Collection, New York City
Rembrandt painted himself enthroned like a monarch, staff across his lap, in the same year bankruptcy took his house and everything in it.
★ 7.5
The Polish Rider
1655 · The Frick Collection, New York City
A young horseman rides into the dusk armed and alert, and nobody has ever agreed who he is or where he is going.
★ 7.5
Portrait of Dr. Gachet
1890 · Private collection
The doctor who was caring for him leans his head on one hand, a sprig of foxglove on the table, the background rippling blue.
★ 7.5
Portrait of Doge Leonardo Loredan
1504 · National Gallery, London
Bellini painted the brocade thread by thread and turned the official portrait from a profile on a coin into a man met face to face.
★ 7.4
Laughing Cavalier
1624 · Wallace Collection, London
He is neither laughing nor a cavalier. The lace and gold thread on that sleeve were flicked on in a few confident strokes.
★ 7.4
Portrait of Madame Matisse (The Green Stripe)
1906 · Statens Museum for Kunst, Copenhagen
Matisse ran a green stripe down his wife's face to divide warm from cool, and used color to do the work of light.
★ 7.4
Portrait of Louis Francois Bertin
1832 · Louvre, Paris
The newspaper magnate leans forward gripping both knees, and the picture became the face of the commercial class that ran nineteenth-century France.
★ 7.4
Bacchus
1595 · Uffizi Gallery, Florence
A real Roman boy dressed up as the wine god, heavy-lidded and slightly flushed, holding out a glass while the fruit beside him bruises.
★ 7.3
Medusa
1597 · Uffizi Gallery, Florence
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.
★ 7.3
An Old Man and His Grandson
1490 · Louvre, Paris
The old man's nose is swollen and ruined by disease, and the boy looks up at him without noticing it at all.
★ 7.3
Charles IV of Spain and His Family
1800 · El Prado, Madrid
Goya put himself at an easel in the shadows, as Velázquez had, and painted the royal family looking vacant, pompous or merely plain.
★ 7.2
Ginevra de Benci
1478 · National Gallery of Art, Washington, District of Columbia
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.
★ 7.2
Louis XIV
1701 · Louvre, Paris
At sixty-three the king still turns out one leg to show the dancer's calf he was proud of, under a cascade of ermine and fleurs-de-lis.
★ 7.2
Self-portrait With Thorn Necklace and Hummingbird
1940 · Harry Ransom Center, Austin
A thorn necklace draws blood at her throat, a dead hummingbird hangs from it, and a monkey and a black cat watch from behind.
★ 7.2
Paul Revere
1768 · Museum of Fine Arts (Boston), Boston
Copley painted the silversmith in his shirtsleeves at the bench with a teapot in his hand, which was not how gentlemen were usually shown.
★ 7.1
Three Women
1922 · Museum of Modern Art, New York City
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.
★ 7.1
The Merry Drinker
1630 · Rijksmuseum, Amsterdam
He raises his glass and talks straight at you, painted in slashing strokes laid down about as fast as the moment they catch.
★ 6.9