Explore Artworks

Portrait of the Baroness of Bernus (1838)

Philipp Veit (German, 1793–1877)

The Baroness gazes past the viewer, her dark dress stark against the muted background. A single gold bracelet catches the light—subtle, deliberate. Her expression holds something unreadable, poised between melancholy and quiet resolve. The brushwork lingers on the delicate lace at her collar, as if time slows there.
Muse with a globe

Circle of Angelica Kauffmann (Swiss, unknown)

A woman cradles the globe like a fragile treasure, her gaze distant yet intent. The world rests lightly in her hands, an allegory of knowledge or creation—its weight implied but unseen. Her draped figure contrasts with the orb’s smooth surface, a silent dialogue between flesh and sphere.
David Playing the Harp in front of Saul (ca. 1630 – 1631)

Rembrandt van Rijn (Dutch, 1606–1669)

David’s fingers pluck the harp strings as Saul sits rigid, his face shadowed. The music hangs between them—soothing melody against coiled tension. A king and his future rival, bound by the fragile thread of a song.
Unidentified Fish (8)

Luigi Balugani (Italian, 1737–1770)

A slender fish glides across the page, its scales rendered in delicate watercolor washes—pale gold fading to translucent silver. The precise lines of its fins suggest motion, as if it might dart off the paper into deeper waters.
Psyché (1881)

Alexandre Cabanel (French, 1823–1889)

Psyche lies bathed in golden light, her delicate form draped across the canvas like a whispered secret. The air hums with unspoken longing—half-myth, half-dream—as she lingers between mortal and divine. That suspended moment before awakening, when even the gods hold their breath.
Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.013 (1718-1719)

Louis Renard (French, 1678–1746)

Vibrant fish, crayfish, and crabs twist across the page—some striped, others spiked, all with exaggerated colors and strange forms. The creatures seem to writhe under the viewer’s gaze, as if plucked from a fever dream of the sea.
Lamia (1905)

John William Waterhouse (British, 1849-1917)

A woman’s serpentine form coils in shadow, her gaze both alluring and dangerous. The flicker of scales beneath her skin hints at the predator within, while her human face remains hauntingly beautiful. Myth whispers of her curse—love that consumes, beauty that betrays.
Madonna and Child with Young Saint John the Baptist

Sandro Botticelli (Italian, 1444-1510)

The Virgin cradles the Christ child as young John the Baptist looks on, his reed cross foreshadowing destiny. Golden light bathes their faces, halos glowing against the Tuscan hills. A tender moment, yet weighted with prophecy—the Baptist’s gaze already fixed on his sacred role.
Foreign butterflies occurring in the three continents Asia, Africa and America Pl.045 (1779-1782)

Pieter Cramer (Dutch, 1721–1776)

Vibrant wings from three continents—Asia, Africa, America—frozen mid-flight. Each delicate engraving traces the intricate patterns of foreign butterflies, their colors still vivid centuries later. A silent migration preserved on paper.
Portrait de Miss Ella Carmichael (1906)

Edmond Francois Aman-Jean (French, 1858–1936)

A young woman gazes past the viewer, her pale face framed by dark curls. The soft brushstrokes blur her features slightly, as if she might dissolve into the muted background. There’s something wistful in her distant expression—not quite sad, but not present either.
The Education of the Virgin (ca. 1617–18)

Diego Velázquez (Spanish, 1599–1660)

A young Mary kneels with a book, her mother’s hand guiding hers. The light falls softly on their faces, the scene intimate, almost ordinary—yet charged with quiet devotion. The folds of their robes, the worn pages, the tender focus between them: a moment both humble and sacred.
In the roads, Evening (1867)

Ivan Konstantinovich Aivazovsky (Russian, 1817–1900)

Waves roll gently under a fading sky, their crests catching the last amber light. Shadows stretch across the water as dusk settles over the sea, blurring the line between horizon and shore. A quiet moment lingers—neither day nor night, just the hush of twilight on restless waters.
Vase of Flowers (1909)

Odilon Redon (French, 1840–1916)

A glass vase overflows with blooms—some delicate, others wilting. Their petals blur between dream and decay, glowing against the dark like embers. This bouquet feels alive, pulsing with color that defies the stillness around it.
Woman In Red (c. 1870–90)

Gustave Jean Jacquet (French, 1846–1909)

A woman in a sumptuous red dress stands poised, the rich fabric cascading around her. Her gaze holds quiet confidence, the folds of her gown catching the light with every subtle shift. There’s an unspoken story in her stillness, a moment frozen just before movement.
Vase de fleurs (1905-08)

Odilon Redon (French, 1840–1916)

A vase overflows with blooms—soft petals blur into dreamlike hues, dissolving the line between flower and mist. The arrangement feels alive, pulsing with color that seeps beyond its edges. Not a still life, but a whisper of something wild escaping the confines of form.