
The Garden of Earthly Delights
Three panels run from Eden to hell, with a whole naked humanity climbing into giant fruit in between. Nobody has settled what it means.

Three panels run from Eden to hell, with a whole naked humanity climbing into giant fruit in between. Nobody has settled what it means.

A screaming horse, a mother with her dead child, all in grey. Picasso painted it in weeks after German bombers leveled a Basque town.

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.

A lantern lights a man in a white shirt throwing his arms wide before the firing squad. Goya painted it six years later.

The fainting Virgin curves in an exact echo of her dead son, the stroke that made van der Weyden the most copied painter in the north.

The Spanish general stops the defeated Dutchman from kneeling and lays a hand on his shoulder. Spaniards still call the picture The Lances.

Two saints lower a nobleman into his grave while his soul slips through a tear in the sky. The mourners are El Greco's own neighbors.

Goya painted this straight onto the wall of his own house in his last bitter years and never meant anyone else to see it.

Skeletons herd the living into a coffin-trap while a king clutches his gold and two lovers play music at the corner, not yet looking up.

Gabriel bows to Mary under the loggia while Adam and Eve are driven out of the garden at the left, the sin this undoes.

Not a goddess but a real woman looking straight back, which is why the Inquisition took an interest. Goya painted a clothed version too.

No crowd, no landscape, nothing but the body against black, with the hair fallen forward to half-cover the face. Made for private prayer.

Goya put himself at an easel in the shadows, as Velázquez had, and painted the royal family looking vacant, pompous or merely plain.

Venus twists round to hold him back and he pulls away toward the hunt that will kill him. Cupid sleeps in the shade, useless.

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

Mars sits naked and deflated in a plumed helmet with his armor on the floor, looking more like a tired old soldier.

A giant stands with his head in the clouds while everything below scatters. Whether Goya actually painted it is now disputed.

A bee circles a pomegranate, and in the second before waking it has become two tigers and a bayonet coming at Gala's arm.

God the Father holds his dead son across his knees, the body marble-pale against blue and acid yellow. El Greco's first Spanish commission.

The whole panel is a giant eye, with Christ in the pupil and the words Beware, beware, God sees. It was made for a tabletop.

Father and Son lower the crown together while the group curves into a soft heart shape. Painted for the Spanish queen's private oratory.

Her male colleagues doubted a woman could paint the city, so O'Keeffe painted the city, with a moon caught between two dark buildings.

Christ turns back toward his mother as she swoons, and legend has it the painting was nearly lost in a shipwreck on its way to Palermo.

Saturn bites into his own infant to stop the prophecy, the star of Saturn overhead. Goya would take the same subject somewhere much worse.

Behold the man, said Pilate. Titian strips out the crowd and leaves the scourged Christ half-length, close enough to pray to.

Teniers was the archduke's curator, and he painted the walls tiled with identifiable Titians and Giorgiones as a kind of catalogue.

A quack in a funnel hat cuts the stone of madness out of a man's head, and what comes out is a flower.

The Child sits astride a lamb, which is the sacrifice, and Raphael took the interlocking group straight out of Leonardo.

Nothing in the picture touches anything else. Dalí built it on the physics of the atom, where matter is mostly empty space.

An old man on two sticks, with Aun aprendo written underneath. Goya drew it in exile and failing health, near the end.

Every apostle is named in gold and Judas sits apart with a darkened halo, which makes the panel a teaching aid as much as a picture.