Top 100 - Metropolitan Museum of Art
Top 100 paintings from the Metropolitan Museum of Art
One hundred paintings to cross the Met without running, from Duccio to Van Gogh, from Vermeer to Sargent and from Bruegel to Ogata Kôrin.
The Metropolitan Museum of Art has enough major paintings to turn a one-hour tour into a negotiation with closing time. The hundred works come from the official Met records, with a distinct identity and image for each rank.
One hundred paintings, a museum impossible to finish
The Metropolitan Museum without wearing out all its soles
The first places combine world notoriety, historical importance and emblematic role in the collection. Washington Crossing the Delaware, Madame.
The Met contains enough paintings to turn a quick visit into a full day. This Top 100 keeps masterpieces and leaves unnecessary detours in the locker room.Switch to images
The 100 paintings in the Metropolitan Museum of Art
The first twenty rows bring together paintings whose fame extends beyond the Met galleries, from Washington Crossing the Delaware to the Van Goghs and the Vermeers.
#1
Washington Crossing the Delaware
In "Washington Crossing the Delaware", the first look captures the subject; the second begins to understand how Emanuel Leutze organizes the meeting. Leutze transforms American history into a monumental theater, with enough wind in the flags to make us forget that Delaware was probably less cooperative. In "Washington Crossing the Delaware", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Washington Crossing the Delaware", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 1 of "Washington Crossing the Delaware" combines international notoriety, historical importance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#2
The Death of Socrates
David orders gestures, profiles and architecture with a neoclassical clarity that gives each moral decision the clarity of a verdict. In "The Death of Socrates", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 2 of "The Death of Socrates" combines international notoriety, historical importance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#3
Madame X (Virginie Amélie Avegno Gautreau)
With "Madame X (Virginie Amélie Avegno Gautreau)", John Singer Sargent transforms an identifiable motif into a construction of light, rhythm and presence. Sargent balances the portrait between virtuosity, social presence and details capable of discreetly stealing the scene from the model. In "Madame X (Virginie Amélie Avegno Gautreau)", pose, clothing, hands and gaze construct a social identity as much as a face. Rank 3 of "Madame X (Virginie Amélie Avegno Gautreau)" combines international notoriety, historical importance and emblematic role in the collection of the Metropolitan Museum.
See the museum notice →
#4
Wheat Field with Cypresses
The visual success of "Wheat Field with Cypresses" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory stop in front of the cartel. Van Gogh constructs the space by the direction of the key and by a color which describes both the emotion and the motif observed. The landscape of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. The landscape of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. The landscape of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. The landscape of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. The landscape of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. Row 4 of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. The landscape of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. The landscape of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. The row 4 of "Wheat Field with Cypresses" is based on depth, weather and the circulation of light rather than on simple decor. The landscape of "Wheat Field with Cypresses" is based on depth
See the museum notice →
#5
Irises
"Irises" shows why Vincent van Gogh remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. Van Gogh constructs the space by the direction of the key and by a color that describes both the emotion and the observed motif. In "Irises", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. Rank 5 of "Irises" combines international notoriety, historical importance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#6
Self-Portrait with a Straw Hat (obverse: The Potato Peeler)
In front of "Self-Portrait with a Straw Hat (obverse: The Potato Peeler)", the gaze moves from subject to material then returns to the subject with some additional information and, ideally, a little more drums. Van Gogh constructs the space through the direction of the key and through a color that describes both the emotion and the observed motif. In "Self-Portrait with a Straw Hat (obverse: The Potato Peeler)", pose, clothing, hands and gaze construct a social identity as much as a face. In "Self-Portrait with a Straw Hat (obverse: The Potato Peeler)", pose, clothing, hands and gaze construct a social identity as much as a face. Rank 6 of "Self-Portrait with a Straw Hat (obverse: The Potato Peeler)", pose, clothing, hands and gaze construct a social identity as much as a face. Rank 6 of "Self-Portrait with a Straw Hat (obverse: The Potato Peeler)", pose, clothing, hands and gaze construct a social identity as much as a face. Rank 6 of "Self-Portrait with a Straw Hat (obverse: The Potato Peeler)", pose, clothing, hands and gaze construct a social identity as much as a face.
See the museum notice →
#7
Aristotle with a Bust of Homer
The place of "Aristotle with a Bust of Homer" in the collection does not depend only on its author: Rembrandt (Rembrandt van Rijn) condenses an era, a technique and a singular way of addressing the viewer. Rembrandt (Rembrandt van Rijn) gives "Aristotle with a Bust of Homer" a precise identity through drawing, color and the way of distributing attention within the frame. In "Aristotle with a Bust of Homer", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Aristotle with a Bust of Homer", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Aristotle with a Bust of Homer", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 7 of "Aristotle with a Bust of Homer" combines international notoriety, historical importance and an emblematic role in the collection of the Metropolitan Museum.
See the museum notice →
#8
Juan de Pareja (ca. 1608 -1670)
"Juan de Pareja (ca. 1608 -1670)" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Velazquez (Diego Rodriguez de Silva y Velazquez) gives "Juan de Pareja (ca. 1608 -1670)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Juan de Pareja (ca. 1608 -1670)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Juan de Pareja (ca. 1608 -1670)", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Juan de Pareja (ca. 1608 -1670)", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 8 of "Juan de Pareja (ca. 1608 -1670)", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Juan de Pareja (ca. 1608 -1670)", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 8 of "Juan de Pareja (ca. 1608
See the museum notice →
#9
Young Woman with a Water Pitcher
In "Young Woman with a Water Pitcher", Johannes Vermeer adjusts the distance precisely; the work first attracts, then forces you to slow down. Vermeer transforms a calm room into an experience of light, geometry and waiting, without moving more furniture than necessary. In "Young Woman with a Water Pitcher", pose, clothing, hands and gaze construct a social identity as much as a face. Rank 9 of "Young Woman with a Water Pitcher" combines international notoriety, historical importance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#10
The Harvesters
The title "The Harvesters" announces the motif, but Pieter Bruegel the Elder adds a visual structure which explains its lasting presence in the galleries of the Met. Bruegel divides the action throughout the landscape and rewards the attentive eye with episodes that the first glance had let slip away. In "The Harvesters", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 10 of "The Harvesters" combines international notoriety, historical importance and an emblematic role in the Metropolitan Museum collection.
See the museum notice →
#11
View of Toledo
In "View of Toledo", the first look captures the subject; the second begins to understand how El Greco (Domenikos Theotokopoulos) organizes the meeting. El Greco (Domenikos Theotokopoulos) gives "View of Toledo" a precise identity through drawing, color and the way of distributing attention within the frame. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple decor. The landscape of "View of Toledo" is based on depth, weather and the circulation of light rather than simple
See the museum notice →
#12
The Musicians
Caravaggio (Michelangelo Merisi) gives "The Musicians" a precise identity through drawing, color and the way of distributing attention within the frame. The framing of "The Musicians" distributes movements, pauses and side glances like a scene in which no character has the entire storyline. Rank 12 of "The Musicians" combines international notoriety, historical significance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#13
The Dance Class
With "The Dance Class", Edgar Degas transforms an identifiable motif into a construction of light, rhythm and presence. Degas constructs his scenes as surprised framings, where work, waiting and ordinary gestures count more than official pose. The framing of "The Dance Class" distributes movements, pauses and side glances like a scene in which no character has the entire storyline. Rank 13 of "The Dance Class" distributes secondary movements, pauses and glances like a scene in which no character has the entire storyline. Rank 13 of "The Dance Class" combines international notoriety, historical significance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#14
The Gulf Stream
The visual success of "The Gulf Stream" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory stop before the cartel. Homer reduces the story to a few essential forces - sea, sky, body, waiting - then lets nature regain the advantage. The landscape of "The Gulf Stream" relies on depth, weather and the flow of light rather than simple decor. The landscape of "The Gulf Stream" relies on depth, weather and the flow of light rather than simple decor. The landscape of "The Gulf Stream" relies on depth, weather and the flow of light rather than simple decor. The landscape of "The Gulf Stream" relies on depth, weather and the flow of light rather than simple decor. The landscape of "The Gulf Stream" relies on depth, weather and the flow of light rather than simple decor. The landscape of "The Gulf Stream" relies on depth, weather and the flow of light rather than simple decor. Rank 14 of "The Gulf Stream" combines international notoriety, historical significance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#15
Joan of Arc
"Joan of Arc" shows why Jules Bastien-Lepage remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. Jules Bastien-Lepage gives "Joan of Arc" a precise identity through drawing, color and the way of distributing attention within the frame. In "Joan of Arc", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Joan of Arc", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 15 of "Joan of Arc" combines international notoriety, historical importance and an emblematic role in the Metropolitan Museum collection.
See the museum notice →
#16
The Horse Fair
In front of "The Horse Fair", the gaze moves from subject to material then returns to subject with some additional information and, ideally, a little more drums. Rosa Bonheur gives "The Horse Fair" a precise identity through drawing, color and the way of distributing attention in the frame. In "The Horse Fair", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 16 of "The Horse Fair" combines international notoriety, historical importance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#17
View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow
The place of "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow" in the collection does not depend only on its author: Thomas Cole condenses an era, a technique and a singular way of addressing the viewer. Cole transforms the American landscape into a moral, historical and climatic narrative, with clouds rarely engaged as mere extras. The landscape of "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow" is based on depth, historical and climatic, with clouds rarely engaged as mere extras. The landscape of "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -The Oxbow" is based on depth, historical and climatic, with clouds combines international notoriety, historical importance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#18
Heart of the Andes
"Heart of the Andes" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Church combines precise observation and panoramic spectacle to give the landscape the scale of a public event. In "Heart of the Andes", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 18 of "Heart of the Andes" combines international notoriety, historical importance and an iconic role in the Metropolitan Museum collection.
See the museum notice →
#19
The Card Players
In "The Card Players", Paul Cézanne adjusts the distance precisely; the work first attracts, then forces you to slow down. Cézanne slows down the motif to examine volumes, colorful relationships and stability; even an apple seems to have thought long and hard about its place. In "The Card Players", the relationships between figures, space and light seem to have explained the strength of the image better than its sole subject. In "The Card Players", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 19 of "The Card Players" combines international notoriety, historical importance and an emblematic role in the collection of the Metropolitan Museum.
See the museum notice →
#20
Two Men Contemplating the Moon
The title "Two Men Contemplating the Moon" announces the motif, but Caspar David Friedrich adds a visual structure which explains its lasting presence in the galleries of the Met. Caspar David Friedrich gives "Two Men Contemplating the Moon" a precise identity through drawing, color and the way of distributing attention within the frame. In "Two Men Contemplating the Moon", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Two Men Contemplating the Moon", the relationships between figures, space and light explain the strength of the image better than its sole subject. Rank 20 of "Two Men Contemplating the Moon" combines international notoriety, historical importance and an iconic role in the Metropolitan Museum collection.
See the museum notice →From Rembrandt and Vermeer to American landscapes, then from Manet to Klimt, this section brings together portraits, the outdoors and modern ruptures.
#21
Self-Portrait
In "Self-Portrait", the first look captures the subject; the second begins to understand how Rembrandt (Rembrandt van Rijn) organizes the meeting. Rembrandt (Rembrandt van Rijn) gives "Self-Portrait" a precise identity through drawing, color and the way of distributing attention within the frame. In "Self-Portrait", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Self-Portrait" - 1660; Oil on canvas; 31 5/8 x 26 1/2 in. (80.3 x 67.3 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#22
Study of a Young Woman
Vermeer transforms a quiet room into an experience of light, geometry and waiting, without moving more furniture than necessary. In "Study of a Young Woman", pose, clothing, hands and gaze construct a social identity as much as a face. The official benchmarks of "Study of a Young Woman" - ca. 1665-67; Oil on canvas; 17 1/2 x 15 3/4 in. (44.5 x 40 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#23
The Champion Single Sculls (Max Schmitt in a Single Scull)
With "The Champion Single Sculls (Max Schmitt in a Single Scull)", Thomas Eakins transforms an identifiable motif into a construction of light, rhythm and presence. Eakins looks at the body, the craft and the space with a frankness that gives the modern scene an almost documentary density. In "The Champion Single Sculls (Max Schmitt in a Single Scull)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "The Champion Single Sculls (Max Schmitt in a Single Scull)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "The Champion Single Sculls (Max Schmitt in a Single Scull)" - 1871; Oil on canvas; 32 1/4 x 46 1/4 in. (81.9 x 117.5 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#24
The Veteran in a New Field
The visual success of "The Veteran in a New Field" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory ruling before the cartel. Homer reduces the story to a few essential forces - sea, sky, body, waiting - then lets nature regain the advantage. The landscape of "The Veteran in a New Field" is based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "The Veteran in a New Field" - 1865; Oil on canvas; 24 1/8 x 38 1/8in. (61.3 x 96.8cm) Framed: 37 3/8 × 51 1/4 × 5 1/4 in. (94.9 × 130.2 × 13.3 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#25
Fur Traders Descending the Missouri
"Fur Traders Descending the Missouri" shows why George Caleb Bingham remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. George Caleb Bingham gives "Fur Traders Descending the Missouri" a precise identity through drawing, color and the way of distributing attention within the frame. In "Fur Traders Descending the Missouri", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Fur Traders Descending the Missouri", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Fur Traders Descending the Missouri" - 1845; Oil on canvas; 29 x 36 1/2 in. (73.7 x 92.7 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#26
The Rocky Mountains, Lander's Peak
In front of "The Rocky Mountains, Lander's Peak", the gaze moves from subject to material then returns to the subject with some additional information and, ideally, a little more drums. Albert Bierstadt gives "The Rocky Mountains, Lander's Peak" a precise identity through design, color and the way of distributing attention in the frame. The landscape of "The Rocky Mountains, Lander's Peak" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "The Rocky Mountains, Lander's Peak" is based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "The Rocky Mountains, Lander's Peak" are based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "The Rocky Mountains, Lander's Peak" are based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "The Rocky Mountains, Lander's Peak" - 1863; Oil on canvas; 73 1/2 x 120 3/4 in. (186.7 x 306.7 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#27
Thunder Storm Approaching
The place of "Approaching Thunder Storm" in the collection does not depend only on its author: Martin Johnson Heade condenses an era, a technique and a unique way of addressing the viewer. Martin Johnson Heade gives "Approaching Thunder Storm" a precise identity through drawing, color and the way of distributing attention within the frame. In "Approaching Thunder Storm", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Approaching Thunder Storm" - 1859; Oil on canvas; 28 x 44in. (71.1 x 111.8cm) Framed: 42 1/2 × 58 3/8 × 5 in. (108 × 148.3 × 12.7 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#28
Still Life -Violin and Music
"Still Life -Violin and Music" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. William Michael Harnett gives "Still Life -Violin and Music" a precise identity through drawing, color and the way of distributing attention within the frame. The framing of "Still Life -Violin and Music" distributes movements, pauses and secondary glances like a scene of which no character has the entire scenario. The framing of "Still Life -Violin and Music" distributes movements, pauses and secondary glances like a scene of which no character has the entire scenario. The framing of "Still Life -Violin and Music" distributes movements, pauses and secondary glances like a scene of which no character has the entire scenario. The official landmarks of "Still Life -Violin and Music" - 1888; Oil on canvas; 40 x 30 in. (101.6 x 76.2 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#29
George Washington
In "George Washington", Gilbert Stuart adjusts the distance precisely; the work first attracts, then forces you to slow down. Gilbert Stuart gives "George Washington" a precise identity through drawing, color and the way of distributing attention within the frame. In "George Washington", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "George Washington" - begun 1795; Oil on canvas; 30 1/4 x 25 1/4 in. (76.8 x 64.1 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#30
Still Life with Apples and a Pot of Primroses
The title "Still Life with Apples and a Pot of Primroses" announces the motif, but Paul Cézanne adds a visual structure which explains its lasting presence in the Met galleries. Cézanne slows down the pattern to examine volumes, colored ratios and stability; even an apple seems to have thought long and hard about its place. In "Still Life with Apples and a Pot of Primroses", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. The official benchmarks of "Still Life with Apples and a Pot of Primroses" - ca. 1890; Oil on canvas; 28 3/4 x 36 3/8 in. (73 x 92.4 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#31
Boating
In "Boating", the first look captures the subject; the second begins to understand how Edouard Manet organizes the meeting. Manet simplifies the masses, hardens certain contrasts and leaves it to the viewer to resolve a scene which politely refuses to explain everything. In "Boating", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Boating" - 1874; Oil on canvas; 38 1/4 x 51 1/4 in. (97.2 x 130.2 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#32
Young Lady in 1866
Manet simplifies the masses, hardens certain contrasts and leaves it to the viewer to resolve a scene which politely refuses to explain everything. In "Young Lady in 1866", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Young Lady in 1866" - 1866; Oil on canvas; 72 7/8 x 50 5/8 in. (185.1 x 128.6 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#33
The Spanish Singer
With "The Spanish Singer", Edouard Manet transforms an identifiable motif into a construction of light, rhythm and presence. Manet simplifies the masses, hardens certain contrasts and leaves it to the viewer to resolve a scene which politely refuses to explain everything. In "The Spanish Singer", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "The Spanish Singer" - 1860; Oil on canvas; 58 x 45 in. (147.3 x 114.3 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#34
Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848 -1904) and Her Children, Georgette-Berthe (1872 -1945) and Paul-Emile-Charles (1875 -1895)
The visual success of "Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848 -1904) and Her Children, Georgette-Berthe (1872 -1945) and Paul-Emile-Charles (1875 -1895)" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory ruling before the cartel. Auguste Renoir gives "Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848 -1904) and Her Children, Georgette-Berthe (1872 -1945) and Paul-Emile-Charles (1875 -1895)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848 -1904) and Her Children, Georgette-Berthe (1872 -1945) and Paul-Emile-Charles (1875 -1895)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848 -1904) and Her Children, Georgette-Berthe (1872 -1945) and Paul-Emile-Charles (1875 -1895)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848 -1904) and Her Children, Georgette- (1872 -1945) and Paul-Emile-Charles (1875 -1895)", pose, clothing, hands and gaze construct a social identity as much as a face. The official references of "Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848 -1904) and Her Children, Georgette-Berthe (1872 -1945) and Paul-Emile-Charles (1875 -1895)" - 1878; Oil on canvas; 60 1/2 x 74 7/8 in. (153.7 x 190.2 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#35
By the Seashore
"By the Seashore" shows why Auguste Renoir remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. Auguste Renoir gives "By the Seashore" a precise identity through drawing, color and the way of distributing attention within the frame. The landscape of "By the Seashore" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "By the Seashore" is based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "By the Seashore" - 1883; Oil on canvas; 36 1/4 x 28 1/2 in. (92.1 x 72.4 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#36
Two Young Girls at the Piano
In front of "Two Young Girls at the Piano", the gaze moves from subject to material then returns to the subject with some additional information and, ideally, a little more drums. Auguste Renoir gives "Two Young Girls at the Piano" a precise identity through drawing, color and the way of distributing attention within the frame. In "Two Young Girls at the Piano", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Two Young Girls at the Piano" - 1892; Oil on canvas; 44 × 34 in. (111.8 × 86.4 cm) Framed: 57 3/8 × 47 in. (145.7 × 119.4 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#37
Circus Sideshow (Circus Parade)
The place of "Circus Sideshow (Circus Parade)" in the collection does not depend only on its author: Georges Seurat condenses an era, a technique and a singular way of addressing the spectator. Georges Seurat gives "Circus Sideshow (Circus Parade)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Circus Sideshow (Circus Parade)", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Circus Sideshow (Circus Parade)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Circus Sideshow (Circus Parade)" - 1887-88; Oil on canvas; 39 1/4 x 59 in. (99.7 x 149.9 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#38
Study for "A Sunday on La Grande Jatte"
"Study for "A Sunday on La Grande Jatte"" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Georges Seurat gives "Study for "A Sunday on La Grande Jatte" a precise identity through drawing, color and the way of distributing attention within the frame. In "Study for "A Sunday on La Grande Jatte"", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Study for "A Sunday on La Grande Jatte"", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Study for "A Sunday on La Grande Jatte"", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Study for "A Sunday on La Grande Jatte"" - 1884; Oil on canvas; 27 3/4 x 41 in. (70.5 x 104.1 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#39
Ia Orana Maria (Hail Mary)
In "Ia Orana Maria (Hail Mary)", Paul Gauguin adjusts the distance precisely; the work first attracts, then forces you to slow down. Paul Gauguin gives "Ia Orana Maria (Hail Mary)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Ia Orana Maria (Hail Mary)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Ia Orana Maria (Hail Mary)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "Ia Orana Maria (Hail Mary)" - 1891; Oil on canvas; 44 3/4 x 34 1/2 in. (113.7 x 87.6 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#40
Mäda Primavesi (1903 -2000)
The title "Mäda Primavesi (1903 -2000)" announces the motif, but Gustav Klimt adds a visual structure which explains its lasting presence in the galleries of the Met. Gustav Klimt gives "Mäda Primavesi (1903 -2000)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Mäda Primavesi (1903 -2000)", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Mäda Primavesi (1903 -2000)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "Mäda Primavesi (1903 -2000)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "Mäda Primavesi (1903 -2000)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "Mäda Primavesi (1903 -2000)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "Mäda Primavesi (1903 -2000)" - 1912 -13; Oil on canvas; 59 x 43 1/2 in. (149.9 x 110.5 cm) - identify it without enclosing it in a general formula.
See the museum notice →Moreau, Delacroix, Turner, Ingres, Goya and Poussin give the painted story gestures, costumes and a few clouds which take their role very seriously.
#41
Oedipus and the Sphinx
In "Oedipus and the Sphinx", the first look captures the subject; the second begins to understand how Gustave Moreau organizes the meeting. Gustave Moreau gives "Oedipus and the Sphinx" a precise identity through drawing, color and the way of distributing attention within the frame. In "Oedipus and the Sphinx", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Oedipus and the Sphinx" - 1864; Oil on canvas; 81 1/4 × 41 1/4 in. (206.4 × 104.8 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#42
The Repast of the Lion
Henri Rousseau (the Customs Officer) gives "The Repast of the Lion" a precise identity through drawing, color and the way of distributing attention within the frame. In "The Repast of the Lion", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "The Repast of the Lion" - ca. 1907; Oil on canvas; 44 3/4 in. × 63 in. (113.7 × 160 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#43
The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge
With "The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge", Henri de Toulouse-Lautrec transforms an identifiable motif into a construction of light, rhythm and presence. Henri de Toulouse-Lautrec gives "The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge" a precise identity through drawing, color and the way of distributing attention in the frame. In "The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "The Englishman (William Tom Warrener, 1861 -1934) at the Moulin Rouge", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "The Englishman (W
See the museum notice →
#44
The Abduction of Rebecca
The visual success of "The Abduction of Rebecca" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory ruling before the cartel. Delacroix advances the story through color, diagonals and shocks of light rather than through a wisely aligned narration. In "The Abduction of Rebecca", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "The Abduction of Rebecca" - 1846; Oil on canvas; 39 1/2 x 32 1/4 in. (100.3 x 81.9 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#45
Whalers
"Whalers" shows why Joseph Mallord William Turner remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. Joseph Mallord William Turner gives "Whalers" a precise identity through drawing, color and the way of distributing attention within the frame. In "Whalers", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "Whalers" - ca. 1845; Oil on canvas; 36 1/8 x 48 1/4 in. (91.8 x 122.6 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#46
The Toilet of Venus
In front of "The Toilette of Venus", the gaze moves from subject to material then returns to the subject with some additional information and, ideally, a little more drums. François Boucher gives "The Toilette of Venus" a precise identity through drawing, color and the way of distributing attention within the frame. In "The Toilette of Venus", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "The Toilette of Venus" - 1751; Oil on canvas; 42 5/8 x 33 1/2 in. (108.3 x 85.1 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#47
Soap Bubbles
The place of "Soap Bubbles" in the collection does not depend only on its author: Jean Siméon Chardin condenses an era, a technique and a unique way of addressing the viewer. Jean Siméon Chardin gives "Soap Bubbles" a precise identity through drawing, color and the way of distributing attention within the frame. In "Soap Bubbles", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Soap Bubbles" - ca. 1733-34; Oil on canvas; 24 x 24 7/8 in. (61 x 63.2 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#48
Mezzetin
"Mezzetin" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Antoine Watteau gives "Mezzetin" a precise identity through drawing, color and the way of distributing attention within the frame. In "Mezzetin", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Mezzetin" - ca. 1718-20; Oil on canvas; 21 3/4 x 17 in. (55.2 x 43.2 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#49
Bashi-Bazouk
In "Bashi-Bazouk", Jean-Léon Gérôme adjusts the distance precisely; the work first attracts, then forces you to slow down. Jean-Léon Gérôme gives "Bashi-Bazouk" a precise identity through drawing, color and the way of distributing attention within the frame. In "Bashi-Bazouk", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Bashi-Bazouk" - 1868-69; Oil on canvas; 31 3/4 x 26 in. (80.6 x 66 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#50
Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825 -1860), Princess de Broglie
The title "Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825 -1860), Princesse de Broglie" announces the motif, but Jean Auguste Dominique Ingres adds a visual structure which explains its lasting presence in the galleries of the Met. Ingres pushes the line, the fabric and the pose towards an elegance so precise that anatomy sometimes agrees to negotiate. In "Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825 -1860), Princesse de Broglie", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825 -1860), Princesse de Broglie", the relationships between figures, space and light explain better the strength of the image than its sole subject. Broglie" - 1851 -53; Oil on canvas; 47 3/4 × 35 3/4 in. (121.3 × 90.8 cm) Framed: 61 1/4 × 49 1/2 in. (155.6 × 125.7 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#51
Joseph-Antoine Moltedo (born 1775)
In "Joseph-Antoine Moltedo (born 1775)", the first look seizes the subject; the second begins to understand how Jean Auguste Dominique Ingres organizes the meeting. Ingres pushes the line, the fabric and the pose towards an elegance so precise that anatomy sometimes agrees to negotiate. In "Joseph-Antoine Moltedo (born 1775)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Joseph-Antoine Moltedo (born 1775)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Joseph-Antoine Moltedo (born 1775)" - ca. 1810; Oil on canvas; 29 5/8 x 22 7/8 in. (75.2 x 58.1 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#52
Antoine Laurent Lavoisier (1743 -1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758 -1836)
David orders gestures, profiles and architecture with a neoclassical clarity that gives each moral decision the clarity of a verdict. In "Antoine Laurent Lavoisier (1743 -1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758 -1836)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Antoine Laurent Lavoisier (1743 -1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758 -1836)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Antoine Laurent Lavoisier (1743 -1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758 -1836)" - 1788; Oil on canvas; 102 1/4 x 76 5/8 in. (259.7 x 194.6 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#53
Manuel Osorio Manrique de Zuniga (1784 -1792)
With "Manuel Osorio Manrique de Zuniga (1784 -1792)", Goya (Francisco de Goya y Lucientes) transforms an identifiable motif into a construction of light, rhythm and presence. Goya (Francisco de Goya y Lucientes) gives "Manuel Osorio Manrique de Zuniga (1784 -1792)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Manuel Osorio Manrique de Zuniga (1784 -1792)", pose, clothing, hands and gaze construct a social identity as much as a face. In "Manuel Osorio Manrique de Zuniga (1784 -1792)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Manuel Osorio Manrique de Zuniga (1784 -1792)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Manuel Osorio Manrique de Zuniga (1784 -1792)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Manuel Osorio Manrique de Zuniga (1784 -1792)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Manuel Osorio Manrique de Zuniga (1784 -1792)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Manuel Osorio Manrique de Zuniga (1784 -17
See the museum notice →
#54
Condesa de Altamira and Her Daughter, Maria Agustina
The visual success of "Condesa de Altamira and Her Daughter, Maria Agustina" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory ruling before the cartel. Goya (Francisco de Goya y Lucientes) gives "Condesa de Altamira and Her Daughter, Maria Agustina" a precise identity through drawing, color and the way of distributing attention within the frame. In "Condesa de Altamira and Her Daughter, Maria Agustina", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Condesa de Altamira and Her Daughter, Maria Agustina", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Condesa de Altamira and Her Daughter, Maria Agustina", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Condesa de Altamira and Her Daughter, Maria Agustina", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Condesa de Altamira and Her Daughter, Maria Agustina", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Condesa de Altamira and Her Daughter, Maria Agustina", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Condesa de Altamira and Her Daughter, Maria Agustina", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Condesa de Altamira and Her Daughter, Maria Agustina
See the museum notice →
#55
The Fortune-Teller
"The Fortune-Teller" shows why Georges de La Tour remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. Georges de La Tour gives "The Fortune-Teller" a precise identity through drawing, color and the way of distributing attention within the frame. In "The Fortune-Teller", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "The Fortune-Teller" - probably 1630s; Oil on canvas; 40 1/8 x 48 5/8 in. (101.9 x 123.5 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#56
Blind Orion Searching for the Rising Sun
In front of "Blind Orion Searching for the Rising Sun", the gaze moves from subject to material then returns to the subject with some additional information and, ideally, a little more battery. Nicolas Poussin gives "Blind Orion Searching for the Rising Sun" a precise identity through drawing, color and the way of distributing attention within the frame. The landscape of "Blind Orion Searching for the Rising Sun" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "Blind Orion Searching for the Rising Sun" is based on depth, weather and the circulation of light rather than on a simple setting. The landscape of "Blind Orion Searching for the Rising Sun" is based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "Blind Orion Searching for the Rising Sun" are based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "Blind Orion Searching for the Rising Sun" are based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "Blind Orion Searching for the Rising Sun" are based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "Blind Orion Searching for the Rising Sun" are based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "Blind Orion Searching for the Rising Sun" are based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "Blind Orion Searching for the Rising Sun" - 1658; Oil on canvas; 46 7/8 x 72 in. (119.1 x 182.9
See the museum notice →
#57
The Abduction of the Sabine Women
The place of "The Abduction of the Sabine Women" in the collection does not depend only on its author: Nicolas Poussin condenses an era, a technique and a singular way of addressing the viewer. Nicolas Poussin gives "The Abduction of the Sabine Women" a precise identity through drawing, color and the way of distributing attention within the frame. In "The Abduction of the Sabine Women", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "The Abduction of the Sabine Women", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "The Abduction of the Sabine Women" - probably 1633 -34; Oil on canvas; 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#58
Mars and Venus United by Love
"Mars and Venus United by Love" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Paolo Veronese (Paolo Caliari) gives "Mars and Venus United by Love" a precise identity through drawing, color and the way of distributing attention in the frame. In "Mars and Venus United by Love", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Mars and Venus United by Love", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "Mars and Venus United by Love" - 1570s; Oil on canvas; 81 x 63 3/8 in. (205.7 x 161 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#59
Venus and Adonis
In "Venus and Adonis", Titian (Tiziano Vecellio) adjusts the distance precisely; the work first attracts, then forces you to slow down. Titian (Tiziano Vecellio) gives "Venus and Adonis" a precise identity through drawing, color and the way of distributing attention within the frame. In "Venus and Adonis", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Venus and Adonis" - 1550s; Oil on canvas; 42 x 52 1/2 in. (106.7 x 133.4 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#60
The Last Communion of Saint Jerome
The title "The Last Communion of Saint Jerome" announces the motif, but Botticelli (Alessandro di Mariano Filipepi) adds a visual structure which explains its lasting presence in the Met galleries. Botticelli (Alessandro di Mariano Filipepi) gives "The Last Communion of Saint Jerome" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "The Last Communion of Saint Jerome" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The iconography of "The Last Communion of Saint Jerome" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The iconography of "The Last Communion of Saint Jerome" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The iconography of "The Last Communion of Saint Jerome" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The iconography of "The Last Communion of Saint Jerome" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The iconography of "The Last Communion of Saint Jerome" becomes readable by gestures, attributes and the hierarchy of figures, not by a caption plastered after the fact. The official landmarks of "The Last Communion of Saint Jerome" - early 1490s; Tempera and gold on wood; 13 1/2 x 10 in. (34.3 x 25.4 cm) - identify it without enclosing it in a general formula.
See the museum notice →Botticelli, Duccio, Giotto, Van Eyck, Holbein, Raphael, Rubens and the Caravaggesques install devotion, portrait and chiaroscuro in the galleries.
#61
The Annunciation
In "The Annunciation", the first look captures the subject; the second begins to understand how Botticelli (Alessandro di Mariano Filipepi) organizes the meeting. Botticelli (Alessandro di Mariano Filipepi) gives "The Annunciation" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "The Annunciation" becomes readable by gestures, attributes and the hierarchy of figures, not by a caption plastered after the fact. The official landmarks of "The Annunciation" - ca. 1490; Tempera and gold on wood; 7 1/2 x 12 3/8 in. (19.1 x 31.4 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#62
Madonna and Child
Duccio combines a gold background, a flexible line and emotion chosen to make devotion a meeting at eye level. The iconography of "Madonna and Child" becomes readable by gestures, attributes and the hierarchy of figures, not by a caption given after the fact. The official markers of "Madonna and Child" - ca. 1290 -1300; Tempera and gold on wood; Overall, with engaged frame, 11 x 8 1/4 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (27.
See the museum notice →
#63
The Adoration of the Magi
With "The Adoration of the Magi", Giotto di Bondone transforms an identifiable motif into a construction of light, rhythm and presence. Giotto di Bondone gives "The Adoration of the Magi" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "The Adoration of the Magi" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The official landmarks of "The Adoration of the Magi" - possibly ca. 1320; Tempera on wood, gold ground; 17 3/4 x 17 1/4 in. (45.1 x 43.8 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#64
The Crucifixion; The Last Judgment
The visual success of "The Crucifixion; The Last Judgment" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory ruling before the cartel. Jan van Eyck gives "The Crucifixion; The Last Judgment" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "The Crucifixion; The Last Judgment" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought caption. The official landmarks of "The Crucifixion; The Last Judgment" become readable through gestures, attributes and hierarchy of figures, not through an afterthought caption. The official landmarks of "The Crucifixion; The Last Judgment" become readable by gestures, attributes and hierarchy of figures, not by an afterthought ca. 1436-38; Oil on canvas, transferred from wood; Each 22 1/4 x 7 2/3 in. (56.5 x 19.7 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#65
Annunciation Triptych (Merode Altarpiece)
"Annunciation Triptych (Merode Altarpiece)" shows why Robert Campin remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. Robert Campin gives "Annunciation Triptych (Merode Altarpiece)" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "Annunciation Triptych (Merode Altarpiece)" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought legend. The iconography of "Annunciation Triptych (Merode Altarpiece)" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought legend. The iconography of "Annunciation Triptych (Merode Altarpiece)" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought legend. The official landmarks of "Annunciation Triptych (Merode Altarpiece)" becomes readable by gestures, attributes and the hierarchy of figures, not by a caption. 1427-32; Oil on oak; Overall (open): 25 3/8 x 46 3/8 in. (64.5 x 117.8 cm) Central panel: 25 1/4 x 24 7/8 in. (64.1 x 63.2 cm) each wing: 25 3/8 x 10 3/4 in. (64.5 x 27.3 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#66
A Goldsmith in his Shop
In front of "A Goldsmith in his Shop", the gaze moves from subject to material then returns to the subject with some additional information and, ideally, a little more battery. Petrus Christus gives "A Goldsmith in his Shop" a precise identity through drawing, color and the way of distributing attention within the frame. The technique of "A Goldsmith in his Shop" favors line, flat areas and precious details; it requires closer reading than oil on canvas. The official benchmarks of "A Goldsmith in his Shop" - 1449; Oil on oak panel; Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 3/4 in. (100.1 x 85.8 cm); The official benchmarks of "A Goldsmith in his Shop" - 1449; Oil on oak panel; Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); painted surface 38 5/8 x 33 3/4 in. (100.1 x 85.8 cm); Painted surface 38 5/8 x 33 3/4 in. (100.1 x 85.8 cm); The official benchmarks of "A Goldsmith in his Shop" - 1449; Oil on oak panel; Overall 39 3/8 x 33 3/4 in. (100.1 x 85.8 cm); Painted surface 38 5/8 x 33 3/4 in. (100.1 x 8
See the museum notice →
#67
Portrait of a Carthusian
The place of "Portrait of a Carthusian" in the collection does not depend only on its author: Petrus Christus condenses an era, a technique and a singular way of addressing the viewer. Petrus Christus gives "Portrait of a Carthusian" a precise identity through drawing, color and the way of distributing attention within the frame. In "Portrait of a Carthusian", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Portrait of a Carthusian" - 1446; Oil on oak; Overall 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm); Painted surface 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm); Painted surface 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm); Painted surface 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm); Painted surface 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm); Painted surface 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm); Painted surface 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm); Painted surface 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm); 1446; Oil on oak; Overall
See the museum notice →
#68
The Annunciation
"The Annunciation" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Hans Memling gives "The Annunciation" a precise identity through the drawing, color and way of distributing attention within the frame. The iconography of "The Annunciation" becomes readable by gestures, attributes and the hierarchy of figures, not by a caption plastered after the fact. The official landmarks of "The Annunciation" - ca. 1465 -70; Oil on wood; 73 1/4 x 45 1/4 in. (186.1 x 114.9 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#69
Hermann von Wedigh III (died 1560)
In "Hermann von Wedigh III (died 1560)", Hans Holbein the Younger adjusts the distance precisely; the work first attracts, then forces you to slow down. Hans Holbein the Younger gives "Hermann von Wedigh III (died 1560)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Hermann von Wedigh III (died 1560)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Hermann von Wedigh III (died 1560)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Hermann von Wedigh III (died 1560)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Hermann von Wedigh III (died 1560)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Hermann von Wedigh III (died 1560)", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Hermann von Wedigh III (died 1560)" - 1532; Oil and gold on oak; 16 5/8 x 12 3/4 in. (42.2 x 32.4 cm), with added strip of 1/2 in. (42.2 x 32.4 cm), with added strip of 1/2 in. (42.2 x 32.4 cm),
See the museum notice →
#70
Erasmus of Rotterdam
The title "Erasmus of Rotterdam" announces the motif, but Hans Holbein the Younger adds a visual structure which explains its lasting presence in the galleries of the Met. Hans Holbein the Younger gives "Erasmus of Rotterdam" a precise identity through drawing, color and the way of distributing attention within the frame. In "Erasmus of Rotterdam", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Erasmus of Rotterdam" - ca. 1532; Oil on linden panel; 7 1/4 x 5 9/16 in. (18.4 x 14.2 cm); painted surface 6 15/16 x 5 1/2 in. (18.4 x 14.2 cm); painted surface 6 15/16 x 5 1/16 in. (18.4 x 14.2 cm); painted surface 6 15/16 x 5 1/16 in. (18.4 x 14.2 cm); oil on linden panel; 7 1/4 x 5 9/16 in. (18.4 x 14.2 cm); painted surface 6 15/16 x 5 1/2 in. (18.4 x 14.2 cm); 1532; Oil on linden panel; 7 1/4 x 5 9/16 in. (18.4 x 14.2 cm); painted surface 6 15/16 x 5 1/2 in. (18.4
See the museum notice →
#71
Virgin and Child with Saint Anne
In "Virgin and Child with Saint Anne", the first look captures the subject; the second begins to understand how Albrecht Dürer organizes the meeting. Albrecht Dürer gives "Virgin and Child with Saint Anne" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "Virgin and Child with Saint Anne" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The iconography of "Virgin and Child with Saint Anne" becomes readable by gestures, attributes and hierarchy of figures, not by an afterthought legend. The official landmarks of "Virgin and Child with Saint Anne" - probably 1519; Oil on linden; 23 5/8 x 19 5/8 in. (60 x 49.8 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#72
The Meditation on the Passion
Vittore Carpaccio gives "The Meditation on the Passion" a precise identity through drawing, color and the way of distributing attention within the frame. The technique of "The Meditation on the Passion" favors line, flat areas and precious details; it requires closer reading than oil on canvas. The official benchmarks of "The Meditation on the Passion" - ca. 1490; Oil and tempera on wood; Overall 27 3/4 x 34 1/8in. (70.5 x 86.7cm); painted surface 26 3/16 × 33 1/4 in. (66.5 × 84.5 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#73
The Adoration of the Shepherds
With "The Adoration of the Shepherds", Andrea Mantegna transforms an identifiable motif into a construction of light, rhythm and presence. Andrea Mantegna gives "The Adoration of the Shepherds" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "The Adoration of the Shepherds" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought caption. The official landmarks of "The Adoration of the Shepherd" - shortly after 1450; Tempera on canvas, transferred from wood; Overall 15 3/4 x 21 7/8 in. (40 x 55.6 cm); painted surface 14 7/8 x 21 in. (40 x 55.6 cm); The Adoration of the Shepherds" - quickly after 1450; Tempera on canvas, transferred from wood; Overall 15 3/4 x 21 7/8 in. (40 x 55.6 cm); painted surface 14 7/8 x 21 7/8 in. (40 x 55.6 cm); The Adoration of the Shepherds" - quickly after 1450; Tempera on canvas, transferred from wood; Overall 15 3/4 x 21 7/8 in. (40 x 55.6 cm); The Adoration of the Shepherds" - quickly after 1450; Tempera on canvas, transferred from wood; Overall 15 3/4 x 21 7/8 in. (40 x 55.6 cm); The Adoration of the Shepherds" - quickly after 1450; Temper
See the museum notice →
#74
Madonna and Child Enthroned with Saints
The visual success of "Madonna and Child Enthroned with Saints" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory ruling before the cartel. Raphael (Raffaello Sanzio or Santi) gives "Madonna and Child Enthroned with Saints" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "Madonna and Child Enthroned with Saints" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought legend. The iconography of "Madonna and Child Enthroned with Saints" becomes readable through gestures, attributes and hierarchy of figures, not through an afterthought legend. The iconography of "Madonna and Child Enthroned with Saints" becomes readable through gestures, attributes and hierarchy of figures, not through an afterthought legend. The official landmarks of "Madonna and Child Enthroned with Saints" - ca. 1504; Oil and gold on wood; Main panel, overall 67 7/8 x 67 7/8 in. (172.4 x 172.4 cm), painted surface 66 3/4 x 66 1/2 in. (169.5 x 168.9 cm) Glasses, overall 29 1/2 x 70 7/8 in. (74.9 x 180 cm), painted surface 25 1/2 x 67 1/2 in. (64.8 x 180 cm), painted surface 25 1/2 x 67 1/2 in. (64.8 x 171.5 cm).
See the museum notice →
#75
Rubens, Helena Fourment (1614 -1673), and Their Son Frans (1633 -1678)
"Rubens, Helena Fourment (1614 -1673), and Their Son Frans (1633 -1678)" shows why Peter Paul Rubens remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. Peter Paul Rubens gives "Rubens, Helena Fourment (1614 -1673), and Their Son Frans (1633 -1678)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Rubens, Helena Fourment (1614 -1673), and Their Son Frans (1633 -1678)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Rubens, Helena Fourment (1614 -1673), and Their Son Frans (1633 -1678)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Rubens, Helena Fourment (1614 -1673), and Their Son Frans (1633 -1678)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Rubens, Helena Fourment (1614 -1673), and Their Son Frans (1633 -1678)", a precise identity through drawing, color and the way of distributing attention in the frame. In "Rubens, Helena Fourment (1614 -1673), and Their Son Frans (1633 -1678)", and Their Son Frans ( (1633 -1678)" - ca. 1635; Oil on wood; 80 1/4 x 62 1/4 in. (203.8 x 158.1 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#76
Samson Captured by the Philistines
In front of "Samson Captured by the Philistines", the gaze moves from subject to material then returns to the subject with some additional information and, ideally, a little more drums. Guercino (Giovanni Francesco Barbieri) gives "Samson Captured by the Philistines" a precise identity through drawing, color and the way of distributing attention within the frame. In "Samson Captured by the Philistines", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Samson Captured by the Philistines", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Samson Captured by the Philistines" - 1619; Oil on canvas; 75 1/4 x 93 1/4 in. (191.1 x 236.9 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#77
The Immaculate Conception
The place of "The Immaculate Conception" in the collection does not depend only on its author: Guido Reni condenses an era, a technique and a singular way of addressing the viewer. Guido Reni gives "The Immaculate Conception" a precise identity through drawing, color and the way of distributing attention within the frame. In "The Immaculate Conception", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "The Immaculate Conception", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "The Immaculate Conception" - 1627; Oil on canvas; 105 1/2 x 73 in. (268 x 185.4 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#78
The Coronation of the Virgin
"The Coronation of the Virgin" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Annibale Carracci gives "The Coronation of the Virgin" a precise identity through drawing, color and the way of distributing attention within the frame. In "The Coronation of the Virgin", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "The Coronation of the Virgin", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "The Coronation of the Virgin" - after 1595; Oil on canvas; 46 3/8 x 55 5/8 in. (117.8 x 141.3 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#79
The Crucifixion with the Virgin and Saint John
In "The Crucifixion with the Virgin and Saint John", Hendrick ter Brugghen adjusts the distance precisely; the work first attracts, then forces you to slow down. Hendrick ter Brugghen gives "The Crucifixion with the Virgin and Saint John" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "The Crucifixion with the Virgin and Saint John" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The iconography of "The Crucifixion with the Virgin and Saint John" becomes readable by gestures, attributes and the hierarchy of figures, not by an afterthought legend. The official landmarks of "The Crucifixion with the Virgin and Saint John" - ca. 1624-25; Oil on canvas; 61 in. × 40 1/4 in. (154.9 × 102.2 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#80
Merrymakers at Shrovetide
The title "Merrymakers at Shrovetide" announces the motif, but Frans Hals adds a visual structure which explains its lasting presence in the Met galleries. Frans Hals gives "Merrymakers at Shrovetide" a precise identity through drawing, color and the way of distributing attention within the frame. In "Merrymakers at Shrovetide", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Merrymakers at Shrovetide" - ca. 1616-17; Oil on canvas; 51 3/4 x 39 1/4 in. (131.4 x 99.7 cm) - identify it without enclosing it in a general formula.
See the museum notice →The last twenty works move from the Netherlands to Spain and France before ending with four major paintings from China and Japan.
#81
Wheat Fields
In "Wheat Fields", the first look captures the subject; the second begins to understand how Jacob van Ruisdael organizes the meeting. Jacob van Ruisdael gives "Wheat Fields" a precise identity through drawing, color and the way of distributing attention within the frame. The landscape of "Wheat Fields" is based on depth, weather and the circulation of light rather than on a simple setting. The official landmarks of "Wheat Fields" - ca. 1670; Oil on canvas; 39 3/8 x 51 1/4 in. (100 x 130.2 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#82
Leisure Time in an Elegant Setting
Pieter de Hooch gives "Leisure Time in an Elegant Setting" a precise identity through drawing, color and the way of distributing attention within the frame. In "Leisure Time in an Elegant Setting", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Leisure Time in an Elegant Setting" - ca. 1663-65; Oil on canvas; Extended canvas 22 15/16 x 27 5/16 in. (58.3 x 69.4 cm); Original visible painted surface 21 5/8 x 26 in. (58.3 x 69.4 cm); Original visible painted surface 21 5/8 x 26 in. (58.3 x 69.4 cm); Original visible painted surface 21 5/8 x 26 in. (58.3 x 69.4 cm); Original visible painted surface 21 5/8 x 26 in. (58.3 x 69.4 cm); Extended canvas 22 15/16 x 27 5/16 in. (58.3 x 69.4 cm); Extended canvas 22 15/16 x 27 5/16 in. (58.3 x 69.4 cm); Extended canvas 22 15/16 x 27 5/16 in. (58.3 x 69.4 cm); Extended canvas 22 15/16 x 27 5/16 in. (58.3 x 69.4 cm); Extended canvas 22 15/16 x 27 5/16 in. (58.3 x 69.4 cm);
See the museum notice →
#83
Merry Company on a Terrace
With "Merry Company on a Terrace", Jan Steen transforms an identifiable motif into a construction of light, rhythm and presence. Jan Steen gives "Merry Company on a Terrace" a precise identity through drawing, color and the way of distributing attention within the frame. In "Merry Company on a Terrace", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Merry Company on a Terrace" - ca. 1670; Oil on a Terrace", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Merry Company on a Terrace" - ca. 1670; Oil on a Terrace", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "Merry Company on a Terrace" - ca. 1670; Oil on canvas; 55 1/2 x 51 3/4 in. (141 x 131.4 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#84
The Young Virgin
The visual success of "The Young Virgin" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory ruling before the cartel. Francisco de Zurbaran gives "The Young Virgin" a precise identity through drawing, color and the way of distributing attention within the frame. In "The Young Virgin", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official landmarks of "The Young Virgin" - ca. 1632-33; Oil on canvas; 46 x 37 in. (116.8 x 94 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#85
Saint Jerome as Scholar
"Saint Jerome as Scholar" shows why El Greco (Domenikos Theotokopoulos) remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. El Greco (Domenikos Theotokopoulos) gives "Saint Jerome as Scholar" a precise identity through drawing, color and the way of distributing attention within the frame. The iconography of "Saint Jerome as Scholar" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought legend. The iconography of "Saint Jerome as Scholar" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought legend. The iconography of "Saint Jerome as Scholar" becomes readable through gestures, attributes and the hierarchy of figures, not through an afterthought legend. The official landmarks of "Saint Jerome as Scholar" - ca. 1610; Oil on canvas; 42 1/2 x 35 1/16 in. (108 x 89 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#86
Cardinal Fernando Niño de Guevara (1541 -1609)
In front of "Cardinal Fernando Niño de Guevara (1541 -1609)", the gaze moves from subject to matter then returns to the subject with some additional information and, ideally, a little more battery. El Greco (Domenikos Theotokopoulos) gives "Cardinal Fernando Niño de Guevara (1541 -1609)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Cardinal Fernando Niño de Guevara (1541 -1609)", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "Cardinal Fernando Niño de Guevara (1541 -1609)", the relationships between figures, space and light explain better the strength of the image than its sole subject. The official references of "Cardinal Fernando Niño de Guevara (1541 -1609)", the relationships between figures, space and light explain better the strength of the image than its sole subject. The official references of "Cardinal Fernando Niño de Guevara (1541 -1609)", the relationships between figures, space and light explain better the strength of the image than its sole subject. The official references of "Cardinal Fernando Niño de Guevara (1541 -1609)", the relationships between figures, space and light explain better the strength of the image than its sole subject. The official references of "Cardinal Fernando Niño de Guevara (1541 -1609)", the relationships between figures, space and light explain better the strength of the image than its sole subject. The official references of "Cardinal Fernando Niño de Guevara (1541 -1609)", the relationships between figures, space and light explain better
See the museum notice →
#87
Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761 -1818) and Marie Marguerite Carraux de Rosemond (1765 -1788)
The place of "Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761 -1818) and Marie Marguerite Carraux de Rosemond (1765 -1788)" in the collection does not depend only on its author: Adélaïde Labille-Guiard condenses an era, a technique and a unique way of addressing the viewer. Adélaïde Labille-Guiard gives "Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761 -1818) and Marie Marguerite Carraux de Rosemond (1765 -1788)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761 -1818) and Marie Marguerite Carraux de Rosemond (1765 -1788)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761 -1818) and Marie Marguerite Carraux de Rosemond (1765 -1788)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761 -1818) and Marie Marguerite Carraux de Rosemond (1765 -1788)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761 -1818) and Marie Marguerite Carraux de Rosemond (1765 -1788)" a precise identity through drawing, color and the way of distributing attention in clothing, hands and gaze construct a social identity as much as a face. The official references of "Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761 -1818) and Marie Marguerite Carraux de Rosemond (1765 -1788)" - 1785; Oil on canvas; 83 x 59 1/2 in. (210.8 x 151.1 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#88
Countess de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762 -1848)
"Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762 -1848)" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Elisabeth Louise Vigée Le Brun gives "Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762 -1848)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762 -1848)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762 -1848)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762 -1848)" a precise identity through drawing, color and the way of distributing attention in the frame. In "Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762 -1848)", the relationships between figures, space and light explain the strength of the image better than its sole subject. The landmarks officials of "Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762 -1848)" - 1789; Oil on canvas; 45 x 34 1/2 in. (114.3 x 87.6 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#89
Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby
In "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby", Sir Thomas Lawrence adjusts the distance precisely; the work first attracts, then forces you to slow down. Sir Thomas Lawrence gives "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby" a precise identity through drawing, color and the way of distributing attention within the frame. In "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby" a precise identity through drawing, color and the way of distributing attention within the frame. In "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby", the relationships between figures, space and light explain better the strength of the image than its sole subject. The official references of "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby", the relationships between figures, space and light explain better the strength of the image than its sole subject. In "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby", the relationships between figures, space and light explain better the strength of the image than its sole subject. The official references of "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby", the relationships between figures, space and light explain better the strength of the image than its sole subject. The official references of "Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby", the relationships between figures, space and light
See the museum notice →
#90
Hagar in the Wilderness
The title "Hagar in the Wilderness" announces the motif, but Camille Corot adds a visual structure which explains its lasting presence in the Met galleries. Camille Corot gives "Hagar in the Wilderness" a precise identity through drawing, color and the way of distributing attention within the frame. In "Hagar in the Wilderness", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Hagar in the Wilderness" - 1835; Oil on canvas; 71 x 106 1/2 in. (180.3 x 270.5 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#91
Sibyl
In "Sibylle", the first look captures the subject; the second begins to understand how Camille Corot organizes the meeting. Camille Corot gives "Sibylle" a precise identity through drawing, color and the way of distributing attention within the frame. In "Sibylle", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Sibylle" - ca. 1870; Oil on canvas; 32 1/4 x 25 1/2 in. (81.9 x 64.8 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#92
Jalais Hill, Pontoise
Camille Pissarro gives "Jalais Hill, Pontoise" a precise identity through drawing, color and the way of distributing attention within the frame. In "Jalais Hill, Pontoise", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Jalais Hill, Pontoise" - 1867; Oil on canvas; 34 1/4 x 45 1/4 in. (87 x 114.9 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#93
Haystacks: Autumn
With "Haystacks: Autumn", Jean-François Millet transforms an identifiable motif into a construction of light, rhythm and presence. Jean-François Millet gives "Haystacks: Autumn" a precise identity through drawing, color and the way of distributing attention within the frame. In "Haystacks: Autumn", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Haystacks: Autumn" - ca. 1874; Oil on canvas; 33 1/2 x 43 3/8 in. (85.1 x 110.2 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#94
The Forest in Winter at Sunset
The visual success of "The Forest in Winter at Sunset" is due to an immediately readable composition which nevertheless continues to provide details after the regulatory ruling before the cartel. Théodore Rousseau gives "The Forest in Winter at Sunset" a precise identity through drawing, color and the way of distributing attention within the frame. In "The Forest in Winter at Sunset", the relationships between figures, space and light explain the strength of the image better than its sole subject. In "The Forest in Winter at Sunset", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official benchmarks of "The Forest in Winter at Sunset" - ca. 1846-67; Oil on canvas; 64 x 102 3/8 in. (162.6 x 260 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#95
Young Ladies of the Village
"Young Ladies of the Village" shows why Gustave Courbet remains essential to the Met's journey: the work tells, describes and organizes space without confusing abundance and disorder. Courbet gives reality a material weight: faces, rocks, fabrics and earth occupy the canvas without asking to be embellished. In "Young Ladies of the Village", the relationships between figures, space and light explain the strength of the image better than its sole subject. The official references of "Young Ladies of the Village" - 1851-52; Oil on canvas; 76 3/4 x 102 3/4 in. (194.9 x 261 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#96
Woman with a Parrot
In front of "Woman with a Parrot", the gaze moves from subject to material then returns to the subject with some additional information and, ideally, a little more battery. Courbet gives reality material weight: faces, rocks, fabrics and earth occupy the canvas without asking to be embellished. In "Woman with a Parrot", pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Woman with a Parrot" - 1866; Oil on canvas; pose, clothing, hands and gaze construct a social identity as much as a face. The official landmarks of "Woman with a Parrot" - 1866; Oil on canvas; 51 x 77 in. (129.5 x 195.6 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#97
Irises at Yatsuhashi (Eight Bridges)
The place of "Irises at Yatsuhashi (Eight Bridges)" in the collection does not depend only on its author: Ogata Kôrin condenses an era, a technique and a singular way of addressing the viewer. Ogata Kôrin gives "Irises at Yatsuhashi (Eight Bridges)" a precise identity through drawing, color and the way of distributing attention within the frame. In "Irises at Yatsuhashi (Eight Bridges)", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. In "Irises at Yatsuhashi (Eight Bridges)", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. In "Irises at Yatsuhashi (Eight Bridges)", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. In "Irises at Yatsuhashi (Eight Bridges)", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. In "Irises at Yatsuhashi (Eight Bridges)", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. In "Irises at Yatsuhashi (Eight Bridges)", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. The official benchmarks of "Irises at Yatsuhashi (Eight Bridges)", objects, flowers or fruits allow color, texture and duration to be measured with a precision that makes the table surprisingly ambitious. In "Irises at Yatsuhashi (E paper; Image (each screen): 64 7/16 in. x 11ft. 6 3/4 in. (163.7 x 352.4 cm) Overall (each screen): 70 1/2 in. x 12 ft. 2 1/4 in. (163.7 x 352.4 cm) Overall (each screen): 70 1/2 in. x 12 ft. 2 1/4 in. (179.1 x 371.5 cm) - identify it without enclosing it in a general formula.
See the museum notice →
#98
Old Plum
"Old Plum" has this rare quality of museum paintings: being recognizable in reproduction and much more complex as soon as you look at the edges, gestures and silences. Kano Sansetsu gives "Old Plum" a precise identity through drawing, color and the way of distributing attention within the frame. The "Old Plum" technique favors line, flat areas and precious details; it requires closer reading than oil on canvas. The "Old Plum" technique favors line, flat areas and precious details; it requires closer reading than oil on canvas. The official "Old Plum" landmarks - 1646; Four sliding-door panels (fusuma); ink, color, gold, and gold leaf on paper; Overall (of all four panels): 68 3/4 x 191 1/8 in. (174.6 x 485.5 cm) Overall (a): 68 3/4 x 191 1/8 in. (174.6 x 485.5 cm) Overall (of all four panels): 68 3/4 x 191 1/8 in. (174.6 x 485.5 cm) Overall (of all four panels): 68 3/4 x 191 1/8 in. (174.6 x 485.5 cm) Overall (of all four panels): 68 3/4 x 191 1/8 in. (174.6 x 485.5 cm) Overall (of all four panels): 68 3/4 x 191 1/8 in. (174.6 cm) Overall (b): 68 3/8 x 48 3/4 in. (173.7 x 123.8 cm) Overall (c): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x 121.3 cm) Overall (d): 68 1/2 x 47 3/4 in. (174 x
See the museum notice →
#99
Rough Waves
In "Rough Waves", Ogata Kôrin adjusts the distance precisely; the work first attracts, then forces you to slow down. Ogata Kôrin gives "Rough Waves" a precise identity through drawing, color and the way of distributing attention within the frame. The "Rough Waves" technique favors line, flat areas and precious details; it requires a closer reading than oil on canvas. The official benchmarks of "Rough Waves" - ca. 1704-9; Two-panel folding screen; ink, color, and gold leaf on paper; Image: 57 11/16 × 65 1/8 in. (146.5 × 165.4 cm) Overall: 59 1/4 × 66 1/8 in. (146.5 × 165.4 cm) Overall: 59 1/4 × 66 1/8 in. (146.5 × 165.4 cm) Overall: 57 11/16 × 65 1/8 in. (146.5 × 165.4 cm) Overall: 59 1/4 × 66 1/8 in. (146.5 × 165.4 cm) Overall: 57 11/16 × 65 1/8 in. (146.5 × 165.4 cm) Overall: 59 1/4 × 66 1/8 in. (146.5 × 165.4 cm) (244-9; Two
See the museum notice →
#100
Night-Shining White
The title "Night-Shining White" announces the motif, but Han Gan adds a visual structure that explains its lasting presence in the Met galleries. Han Gan gives "Night-Shining White" a precise identity through drawing, color and the way of distributing attention within the frame. The "Night-Shining White" technique favors line, flat areas and precious details; it requires closer reading than oil on canvas. The official "Night-Shining White" landmarks - ca. 750; Handscroll; ink on paper; Image: 12 1/8 x 13 3/8 in. (30.8 x 34 cm) Overall with mounting: 14 in. x 37 ft. 5 1/8 in. (350; Handscroll; ink on paper; Image: 12 1/8 x 13 3/8 in. (30.8 x 34 cm) Overall with mounting: 14 in. x 37 ft. 5 1/8 in. (350; Handscroll; ink on paper; The official markers of "Night-Shining White" - ca. 750; Handscroll; ink on paper; Image: 12 1/8 x 13 3/8 in. (30.8 x 34 cm) Overall with mounting: 14 in. x 37 ft. 5 1/8 in. (350; Handscroll; ink on paper; Image: 12 1/8 x 13 3/8 in. (30.8 x 34 cm) Overall with mounting: 14 in. x 37 ft
See the museum notice →What the ranking reveals
The Met doesn't have a masterpiece, it has several floors
The ranking first favors global notoriety and historical importance, then balances the schools, periods, formats and functions of painting.
Fame has many faces
A national icon by Leutze, a portrait by Sargent and a room by Vermeer do not tell the same story, but each has become a gateway to the museum.
Donors designed the galleries
Havemeyer, Annenberg, Wolfe and many other private collections have given the Met its most spectacular ensembles.
A collection remains alive
Attributions, restorations, hangings and research constantly modify the way of reading works that we thought we knew by heart.
The Met in five dates
Five landmarks before entering the galleries
The Metropolitan Museum of Art was born with the ambition of making art accessible to the American public.
The museum opened its Central Park building, then expanded it until giving the word wing an almost geographical meaning.
Donations and legacies quickly strengthened European and American paintings.
New wings, acquisitions and research give more space to world traditions and modernity.
The Met renews its galleries and readings; even famous paintings change neighbors and sometimes meaning.
The museum in depth
How to classify an encyclopedic museum without losing the plan?
The first places combine world notoriety, historical importance and emblematic role in the collection. Washington Crossing the Delaware, Madame.
The ranking is not limited to the most reproduced works. It preserves the paintings that explain the Met's encyclopedic identity: Italian Renaissance, Dutch Golden Age, Spain, France, American painting, Persian, Indian, Chinese and Japanese traditions.
Each work is verified in the API and the official notice of the Metropolitan Museum. The title, artist, date, technique, dimensions and image must match; duplicate identity and visuals are refused before publication.
The images come from the Met's Open Access. They are displayed in full with object-fit container, including for narrow portraits and large horizontal formats, because a monumental painting deserves better than an involuntary haircut.
After the introduction, the visit goes directly to the hundred paintings, one work per row. No filter or slideshow interrupts the classification.
Four visit keys
How to look at a hundred paintings without mixing everything up
A useful classification must remain readable: looking at the date, function, provenance and technique allows you to go from a medieval Virgin to Van Gogh without confusing speed and haste.
Locate before comparing
Two portraits separated by three centuries can share a pose, but not the same social world nor the same relationship with the viewer.
Ask why the work exists
Devotion, political command, private decoration, study or modern manifesto profoundly change the way of reading a painting.
Look at the material
Tempera, oil, ink, gold and opaque watercolor produce surfaces whose digital reproduction should not erase the differences.
Observe the neighborhoods
At the Met, a work dialogues with its department, its hanging and the architecture; the museum also writes with walls.
Notices, catalogs and research
Continue the visit after number 100
The Metropolitan Museum's records, its Masterpiece Paintings collection, the Heilbrunn Timeline of Art History and the MetPublications catalogs allow you to check dates, techniques, dimensions, provenances and restorations.
Frequently asked questions
The Met without an accordion-folded plan
Some answers to prepare for the visit, understand the classification and find the works in the collection.
What is the most famous painting in the Metropolitan Museum?
Washington Crossing the Delaware by Emanuel Leutze, Madame X by Sargent, the Van Goghs and the Vermeers are among the most famous images. The choice also depends on the period and the school you come to see.
How many paintings does the Met have?
The Met maintains thousands of paintings spread across several departments. This Top 100 is an editorial selection, not the complete inventory of the collection.
Are all these works on permanent display?
No. The hangings change, some works travel or are kept in reserve. The official Met notice often indicates whether a painting is currently visible and in which gallery.
Why are Asian paintings found in this ranking?
The Metropolitan Museum is encyclopedic. Its collections of Chinese, Japanese, Indian and Persian painting are essential; excluding them would give an artificially narrow image of the museum.
Can images be reused?
The images used here are marked as Open Access and public domain by the Met. The notice of each work remains the reference for checking the conditions and downloading the official file.
Where to see the Met's European paintings?
Much of it is in the European painting galleries at Fifth Avenue. Gallery numbers and hangings may change; consult the map and museum instructions on the day of the visit.
How long does it take to see this Top 100 at the museum?
Several hours at least, and probably more if you really look. The Met rewards breaks; it especially sanctions shoes that are too optimistic.
How is this Top 100 ranked?
The front rows combine international notoriety, historical importance and masterpiece status in the collection. The suite balances periods, schools and traditions without duplication of work or image.
0 comments