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

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

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.

Bulls and dragons stride across glazed brick in deep blue, raised for Nebuchadnezzar around 575 BC and rebuilt from the original bricks in Berlin.

Two lovers kneel wrapped in a single gold robe, rectangles patterning his side of it and circles hers, on a meadow of flowers.

A man stands on a summit with his back to us, looking out over fog, so that we end up looking at what he sees.

Two bored cherubs lean on the frame at the bottom, and they floated free of the altarpiece long ago onto everything else.

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

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.

Eleven centimeters of limestone from beside the Danube, once tinted red, with a woven cap covering the whole head and no face at all.

Dürer faced himself head-on in a pose reserved for images of Christ, and wrote across the panel that he had painted it at twenty-eight.

Tens of thousands of tiny soldiers fight under a sky that curves like the whole earth. Painted while the Ottomans were pressing on Vienna.

Thomas pushes his finger into the wound and two apostles lean in to watch, brows knotted, close enough to crowd the frame.

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.

Two horsemen haul two women up onto rearing horses, and the whole canvas spins into one great X of limbs and hooves.

Every whisker set down separately, and in the dark eye a studio window is reflected. Dürer signed an animal study as a finished work.

Dürer gave the panels to the Nuremberg council with Luther's words inscribed below, warning the city's rulers against false prophets. His last great work.

The Virgin is far too big for the cathedral because she stands for the Church itself, and real sunlight falls in patches across the floor.

A family is tortured in a room too small for it, painted in Germany in 1919 with the war and the revolution just finished.

All the light in the picture comes off the newborn child, and one shepherd throws up a hand against the glare.

Marc gave his animals symbolic colors, blue for the spiritual, and looked to them for an innocence he thought people had lost.

A man bangs his head on a brick wall, another casts roses before swine, and over a hundred proverbs are acted out literally in one village.

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

A study for an altarpiece that later burned, so the drawing has outlived the painting it was made to serve.

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

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

A single unbroken avalanche of bodies falls from a bright heaven at the top into the dark, with demons pulling them down.

Horses, lions, spears and men knotted into one turning mass, with a rider already thrown and about to be mauled.

Death stands at the left in a patterned robe holding a club, watching a heap of sleeping people who have not noticed him.

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

Louise O'Murphy was a teenage favorite of Louis XV, and Boucher painted her face-down across the cushions for private consumption.

None of these flowers bloom in the same season. Bruegel assembled the bouquet from studies made across the whole year, and let petals droop.

Blindfolded and beaten while pipers play to make a show of it. Everything Italy was perfecting at that moment, Grünewald wanted none of.

Rubens came back to the subject nearly thirty years later with the same fury and a much broader, more fluent hand.

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

The story runs across the canvas in stages, arrival to departure. A later owner cut Leda's head out in disgust and it was repainted.

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

One woman flings both arms over her head, others press their faces to the body. Simone drops all restraint against a sky streaked red.

The lyrical Bosch, all calm light and wide landscape, except for the small insect-demon with a human face tending a fire in the corner.

Gilded hems, fluttering wings, a walled garden behind. Lippi was a friar with a worldly streak and it shows in the ornament.