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30 of 264 paintings
An unknown man looks out from this portrait with a self-assured stare. His rosy lips, soft eyes and pale, youthful complexion are framed by a curly white wig that falls down his back. It is held in place with a neat black ribbon, as was fashionable for wealthy gentleman of the time.Carriera was n...
Not on display
An unidentified young man dressed plainly in black stares back at us from the canvas. He stands upright and motionless while behind him clouds race across the sky. The composition has been carefully centred so that a vertical line could be drawn straight down the bridge of his nose and through th...
Not on display
Andrea Gritti (1455–1538) was elected doge (head of the Venetian state) in 1523, and this painting was probably made soon afterwards. He wears his robes of office and on his left hand is a gold ring with a device representing the doge kneeling before Saint Mark, patron saint of Venice.Catena’s po...
Not on display
An ageing man looks affably out at us, a hint of a smile on his lips. The cassock, collar and skull cap he wears indicate that he is a priest, though his identity is unknown. He is shown standing, in three-quarter length, his head and left hand starkly lit against a plain background. The portrait...
Not on display
Paul Cézanne was about 40 years old when he painted this self portrait in Paris around 1880–1. He was now middle-aged with a family to support, and the intensity of his earlier self portraits has here given way to a more distant and reflective presence. Although relatively small, the portrait has...
Not on display
This triple portrait was intended as a model for a full-length statue of Armand-Jean du Plessis, duc de Richelieu (1585–1642), who became Cardinal in 1622 and the Chief Minister of France in 1624. He wears a Cardinal’s robe, skull cap and blue ribbon adorned with the Order of the Holy Spirit, sym...
A young boy stands at a small wooden table fully absorbed in building a house out of playing cards. He is Jean-Alexandre Le Noir, whose father, Jean-Jacques Le Noir, was a furniture dealer and cabinet-maker, who commissioned several paintings from Chardin.The theme of a child building a house of...
We don‘t know the identity of the young man in this small painting, but he is clearly a person of wealth and taste. He wears a bright red robe trimmed with fur, and at his waist is a black bag with a ’notebook' of wax tablets inside. He holds a small but luxurious manuscript, probably a Book of H...
A blue-eyed man with a brown beard gazes past us. The date, 1543, appears in the top right-hand corner. The sitter has been identified from this portrait’s resemblance to a drawing in the Musée Condé, Chantilly. He is almost certainly Jehannot d‘Andoins, soldier, courtier and intimate of the Fren...
Not on display
In this painting of 1640 of a well-to-do but unremarkable Dutch family, Pieter Codde’s challenge was to give life to a static scene. The sitters are unknown, although it has been suggested that they are Hendricus Meursius and Judith Cotermans with their son. Whatever their identity, their fine cl...
Not on display
Although we don't know the identity of this woman, her clothing and the objects around her suggest that she was painted in around 1500 and most probably came from Cologne. The portrait was almost certainly part of a diptych (a painting made of two panels), which could have been hinged at the cent...
The boy regarding us stands in a relaxed confident manner, with one hand on his hip and the other holding the hilt of his sword. The vertical glossy gold stripes of the curtain effectively frame his elegant pose. The costume suggests a date in the mid-1540s and is plainly that of a wealthy family...
Not on display
The languid brown eyes of a young man gaze out at us, his look faintly quizzical. But who is he? His long hair waves softly about his neck, the shadow of a moustache dusts his upper lip, a wisp of a curl brushes a wide brow, and his full mouth pouts a little, adding to the uncertainty of his exp...
A finely dressed young woman gazes assuredly out at the viewer. The distinct shape of her nose, the turn of her mouth and her faintly dimpled chin reveal that this is a portrait, though the sitter’s identity is unknown. She is shown in the guise of Saint Agnes, with the saint’s attributes of a la...
Not on display
This is one of five paintings intended to hang together, each of which denotes one of the five senses – a common theme for painting in the Low Countries in the seventeenth century. In each painting Gonzales Coques has used a traditional activity to represent the relevant sense. This is Sight, dep...
Not on display
This is one of five paintings intended to hang together, each of which denotes one of the five senses – a common theme for painting in the Low Countries in the seventeenth century. In each of these paintings Gonzales Coques has used a traditional activity to represent the relevant sense.Here, pip...
Not on display
This painting was once thought to be by Gonzales Coques, one of the most successful portrait artists in Antwerp between the 1650s and 1680s. It is unsigned and undated, but the costume and hairstyle suggest that it was painted in about 1650, and the pose and spirited look in the sitter’s eyes are...
Not on display
A thin-faced man with a hooked nose gazes directly out at us. He wears a black hat and his dark grey garments are perhaps made of watered silk: an irregular swirling black pattern extends across both chest and the puffed shoulders. There are no indications of the sitter’s identity.Corneille de Ly...
We do not know who the man in this small portrait is. He seems to be in his thirties. He’s dressed in what might be black silk and he holds a pale brown glove in one hand. His clothes, the style of his hair and beard, and the angle of his hat suggest a date of around 1550.In the early twentieth c...
Not on display
A man with blue eyes and a brown beard – slightly reddish below his mouth – looks out at us from this small picture. We don't know who he is but his black hat, known as a biretta, and his clothing indicate that he is a priest or a lawyer. He may well have been an important person: Corneille de Ly...
A middle-aged man with a luxuriant beard gazes past us into the distance. He holds a scroll in one hand and lays the other across a pair of brown leather gloves which rest on a table. His black hat has lappets, turned up and fastened to the brim; in cold weather they could have been let down over...
Not on display
We don't know who the young woman in this small portrait was, but her jewellery and clothes, which are in the fashion of around 1560, are not enormously rich: she was probably not a lady of the court.A rather similar but even smaller portrait of a similarly dressed lady is in the collection of th...
Not on display
The man in this portrait appears to have just turned away from the darkness surrounding him to take a look at us. His lips are slightly parted as though he might speak.An inscription on the back of the panel names him as Battista Fiera, doctor at the court of Mantua as well as a poet, though we c...
From around 1842 and into the 1850s Courbet painted about 20 self portraits in which he presented himself in different guises. This portrait is a reduced version of The Man with the Leather Belt (Musée d’Orsay, Paris), which Courbet painted around 1845–6.Courbet painted replicas of at least three...
Not on display
We don‘t know the identity of this woman dressed in sumptuous fabrics and heavy gold jewellery, but her clothing is like that worn by the elite of society and ladies of the Saxon court. Her outfit is, in parts, physically impossible: the rings she wears under her gloves are higher up her fingers...
This painting makes up the right panel of a portrait diptych (a painting made of two parts) that depicts two future electors of Saxony, Johann the Steadfast and his son, Johann Friedrich the Magnanimous.Johann Friedrich was six years old when this portrait was made. Against convention, he was por...
Johann the Steadfast, Elector of Saxony from 1525 to 1532, would have been about 38 when this portrait was made. He wears a sumptuous black hat and coat, both decorated with gold thread and seed pearls.This panel is part of a diptych (a painting made of two parts) – the conjoining panel depicts J...
The coat of arms on the left resembles that of Johann Feige, chancellor of Hesse (a state in central Germany) between 1514 and 1542, while the shield on the right may represent that of his mother. Feige moved in the same Protestant circles that employed Cranach, and is likely to have known the ar...
Aelbert Cuyp is famous for his landscapes but he also painted a small number of portraits, of which this is a rare example. For some time it was believed that the sitter might be Cuyp’s father, Jacob, a portraitist who taught his son to paint. However, it is now believed to depict Cornelis van So...
Not on display
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