Explore Artworks

Portrait de Jeanne d’Aragon (1518)

Raphael (Italian, 1483-1520)

A noblewoman gazes serenely, her crimson sleeves rich against gold brocade. Pearls glint at her throat, fingers resting lightly on a book—a quiet assertion of intellect amid opulence. The delicate lace headdress frames her face, poised between youth and authority. Every fold whispers power.
Narcissus (1597–1599)

Caravaggio (Italian, 1571–1610)

A boy kneels by dark water, transfixed by his own reflection. His fingers barely break the surface, blurring the face staring back—youth and vanity frozen in that fragile moment before the ripples fade. The pool holds him captive, mirroring a fate already written in myth.
Designs for the Front and Back Cover of ‘L’Evangile de Notre Seigneur Jesus-Christ selon Saint Pierre’ (1895)

Carlos Schwabe (German, 1866–1926)

A celestial figure hovers above a sea of upturned faces, bathed in golden light. Below, dark waves churn with desperate hands reaching skyward. The stark contrast between divine radiance and earthly turmoil pulses with tension—a visual hymn of salvation and struggle.
The curious (1897)

Eugen von Blaas (Italian, 1843–1931)

A young woman leans forward, her dark eyes alight with intrigue. The tilt of her head, the slight part of her lips—she’s caught mid-thought, on the verge of a question. The lace at her collar trembles as if stirred by her quickening breath. Something has just seized her attention.
Trois petites filles au jardin, un matin d’été (circa 1903)

Henri Martin (French, 1860–1943)

Three girls in white dresses drift through sun-dappled garden paths, their blurred forms dissolving into the shimmering summer light. Loose brushstrokes weave blossoms and foliage into a haze of color, as if the air itself hums with warmth. Childhood hangs suspended in this fleeting, golden hour.
Les liliacees Pl.14 (1805-1816)

Pierre Joseph Redouté (French, unknown)

Delicate lilies unfurl on the page, their petals so thin they seem to tremble. Each stamen stands precise as a clock’s gear, while shadows pool beneath curled leaves like spilled ink. This isn’t just a flower—it’s a dissection of light, structure, and the brief moment when a bloom holds perfection.
Ave Maria (1815)

Piotr Stachiewicz (Polish, 1858–1938)

A woman kneels in shadowed devotion, hands clasped tight. The glow of candlelight traces her bowed head, the folds of her shawl, as whispered prayers rise like smoke. Somewhere beyond the frame, an unseen presence lingers—soft, watchful, waiting in the hush.
Sommarnöje (1886)

Anders Zorn (Swedish, unknown)

Sunlight dapples the water as a woman leans back in a rowboat, skirts pooling around her. The breeze carries laughter from the shore. A single oar trails lazily, breaking the glassy surface. Summer hangs thick in the air—warm, idle, ripe with the promise of long afternoons.
The Annunciation (Ca. 1525-1528)

Pieter Coecke van Aelst (Flemish, 1502–1550)

A golden light spills through arched windows as the angel kneels, wings still trembling. Mary’s hands hover between surprise and acceptance, her blue robe pooling around her. The moment hangs—divine interruption in an ordinary room.
Le chat botte (1904)

A. Guillon (French, unknown)

A sly cat in oversized boots stands poised, tail curled with mischief. The fairy tale springs to life in bold strokes—whiskers twitch, leather creaks. One paw rests on a hilt, ready for adventure. No ordinary feline, this one’s got plans.
Carol the Meadow Lark (1919)

Louis Agassiz Fuertes (American, 1874–1927)

A meadowlark perches on a slender stem, its yellow breast bright against muted grasses. The bird’s sharp beak tilts upward, poised mid-song. Delicate watercolor strokes trace each feather’s subtle gradient, grounding scientific precision in quiet observation of wild grace.
The selector’s hut (Whelan on the log)

Arthur Streeton (Australian, unknown)

Sunlight dapples the rough bark of a fallen log, its weathered surface warm against the cool shadows. A simple hut stands nearby, its tin roof catching the light. The air hums with quiet heat, the stillness broken only by the rustle of leaves in the dry Australian breeze.
Icones rerum naturalium, ou figures enluminées d’histoire naturelle du nord Pl.16 (1805-1806)

Peder Ascanius (Norwegian, 1723–1803)

A delicate crustacean, rendered in precise detail, its segmented shell and spindly legs frozen mid-motion—as if paused between ocean currents. The muted blues and earthy tones suggest a creature perfectly adapted to its unseen Nordic waters.
Henry Cabot Lodge

John Singer Sargent (American, 1856-1925)

A stern-faced politician gazes past the viewer, his tailored suit and rigid posture exuding authority. The play of light sharpens his angular features, hinting at both intellect and unyielding resolve. This is a man accustomed to power, captured with unflinching precision.
La sérieuse (1905)

William Bouguereau (French, 1825–1905)

A young woman gazes directly at the viewer, her dark eyes holding quiet intensity. The soft folds of her white dress contrast with the warm glow of her skin. There’s something unspoken in her expression—neither smile nor frown, but a stillness that feels deliberate, almost knowing.