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The sail bellies taut and the mast rakes back against dark cloud, torn open at the upper left by a wash of gold light. Men crowd the deck: one in red clings to the rigging, others in pale robes haul at ropes at the bow, and a man in yellow braces against the gunwale. At the stern others sit low in shadow, one leaning out over the side.\u003c\/p\u003e\u003cp\u003eDated 1633, this is the only seascape Rembrandt is known to have painted. Isabella Stewart Gardner bought it in 1898 through the London dealer Colnaghi from the Hope Collection, guided by her friend the art historian Bernard Berenson, and hung it in the Dutch Room of her museum. 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He wears a white shirt gathered into full sleeves under a black sleeveless robe, and a heavy gold chain loops twice across his chest. One hand rests flat on the head of a pale stone bust at the left, set on a table covered in dark red; the other sits on his hip, a ring on one finger. Books stand dimly on a shelf behind at the left. The signature and date are on the table below the bust.\u003c\/p\u003e\u003cp\u003eRembrandt painted this in 1653 for the Sicilian nobleman Don Antonio Ruffo and sent it from Amsterdam to his palace in Messina in the summer of 1654. Ruffo later ordered two companions: an Alexander the Great of 1661, now lost, and a Homer dated 1663, now a fragment in the Mauritshuis. The commission came as his dark palette and heavily built-up paint were falling out of fashion in Amsterdam. The Metropolitan Museum of Art bought it at auction in New York on 15 November 1961.\u003c\/p\u003e\u003cp\u003eRembrandt van Rijn (1606–1669) was a Dutch painter, etcher and draughtsman working in Leiden and Amsterdam, and is generally regarded as one of the greatest artists in Western art history. He painted group portraits such as The Anatomy Lesson of Dr Nicolaes Tulp (1632, Mauritshuis) and The Night Watch (1642, Rijksmuseum), alongside numerous self-portraits, including one from around 1628 also in the Rijksmuseum. Across his career he additionally produced around 300 etched plates, among them The Hundred Guilder Print (c. 1647–49); the Rijksmuseum alone holds some 1,300 impressions of his prints. His paintings and prints are held by the Rijksmuseum and Mauritshuis in the Netherlands, the Metropolitan Museum of Art and the National Gallery in London.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. 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Her other hand rests on a gold ewer poised over a matching basin, both set on a table draped in a richly patterned red and blue carpet; a small gilt jewel box with a blue ribbon sits beside them. Behind her, a map in a dark wood frame hangs against a pale plastered wall, and soft daylight falls across the scene from the left.\u003c\/p\u003e\u003cp\u003eJohannes Vermeer (1632–1675) was a Dutch painter working in Delft. Little is documented about his training; it is unclear with whom he apprenticed, though Carel Fabritius and Abraham Bloemaert have both been suggested. He painted a small number of interior scenes of middle-class domestic life, most often a single figure lit by a window on the left, rendered with an exacting stillness and costly pigments such as ultramarine. His paintings are held by the Rijksmuseum, the Mauritshuis and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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A handcart hauls a shrouded corpse, a horse-drawn cart hauls a mounting pile of skulls, and skeletons in armour cut down soldiers beside a banquet table where cards and a lute lie scattered. Distant hills carry burning towns, gibbets and sinking ships in a pale bay, under a smoke-streaked sky in scorched ochre, brown and grey.\u003c\/p\u003e\u003cp\u003eThe Prado dates the panel to 1562-1563 and reads it as a moralising work on the triumph of Death over worldly things, a theme Bruegel took up under the influence of Jheronimus Bosch. Formerly in the Spanish royal collection, it entered the museum in 1827 and was the only Bruegel in Spain until The Wine of Saint Martin's Day was acquired in 2011. A restoration presented in May 2018 lifted repainting and coloured varnishes that had turned the surface almost monochrome ochre, recovering its crisp blue and red tones.\u003c\/p\u003e\u003cp\u003ePieter Bruegel the Elder (c. 1525–1569) was a Netherlandish painter and printmaker. He trained in Antwerp, likely under Pieter Coecke van Aelst, and travelled to Italy before settling first in Antwerp and later Brussels, working for merchant and court patrons. His crowded panoramas of peasant life, proverbs and biblical scenes set in contemporary Flemish landscape combine close observation of ordinary people with wit and, at times, dark allegory. His paintings are held by the Kunsthistorisches Museum Vienna, the Museo del Prado and the Royal Museums of Fine Arts of Belgium.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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An old woman in a white headwrap cries out beside them, while two younger men behind hold a fiddle and look on, one grinning beneath a feathered black beret. The figures are lit against a plain dark ground, in warm tones of brown, gold and blue.\u003c\/p\u003e\u003cp\u003eGeorges de La Tour (1593–1652) was a French Baroque painter working mainly in Lorraine; little is documented about his training, though his work suggests early contact with the naturalism of Caravaggio, probably through Dutch followers rather than direct study in Italy. He painted religious and genre scenes, many lit by a single candle or hidden flame, in which the fall of light simplifies faces and hands into broad, still planes. Long overshadowed by other Baroque painters, his reputation was largely reconstructed by scholars in the twentieth century. 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He painted a small number of interior scenes of middle-class domestic life, most often a single figure lit by a window on the left, rendered with an exacting stillness and costly pigments such as ultramarine. His paintings are held by the Rijksmuseum, the Mauritshuis and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Gold embroidery and tasseled cords cross the chest of his doublet. One hand loosely holds a folded sheet of paper near the edge of a dark table; his other arm is hidden inside his dark cloak. Deep brown shadow fills the background, with only his face, collar and hand catching strong light.\u003c\/p\u003e\u003cp\u003eRembrandt van Rijn (1606–1669) was a Dutch painter, etcher and draughtsman working in Leiden and Amsterdam, and is generally regarded as one of the greatest artists in Western art history. He painted group portraits such as The Anatomy Lesson of Dr Nicolaes Tulp (1632, Mauritshuis) and The Night Watch (1642, Rijksmuseum), alongside numerous self-portraits, including one from around 1628 also in the Rijksmuseum. Across his career he additionally produced around 300 etched plates, among them The Hundred Guilder Print (c. 1647–49); the Rijksmuseum alone holds some 1,300 impressions of his prints. 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She wears a blue robe with a satin sheen, a white ruffled collar and a drop earring that catches the light. Her arm rests on the back of a chair whose two carved lion-head finials stand in the foreground. Behind her hangs a tapestry in ochre, green and brown, with the painter's monogram near its upper edge at the left.\u003c\/p\u003e\u003cp\u003ePainted on a wood panel rather than canvas, it had its attribution questioned for years; a study by National Gallery of Art curators concluded it is by Vermeer. Technical analysis showed that he began the picture as a portrait of a man in a wide-brimmed hat. Andrew W. Mellon bought it in 1925, and it came to the National Gallery of Art through his trust in 1937.\u003c\/p\u003e\u003cp\u003eThe original: oil on panel, c. 1669, National Gallery of Art, Washington.\u003c\/p\u003e\u003cp\u003eJohannes Vermeer (1632–1675) was a Dutch painter working in Delft. 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Light falls from the upper left past a yellow curtain and a dark-framed mirror. Open boxes on the table spill strings of pearls and a gold chain, with coins nearby, and a heavy blue cloth is heaped in the foreground. Behind her hangs a dark painting of a crowd below a glowing figure.\u003c\/p\u003e\u003cp\u003eIt was once known as Woman Weighing Gold, but microscopic examination has shown that the pans of her balance are empty. With a Last Judgment hanging on the wall behind her, the scene has been read as a vanitas, as an image of divine justice and as an aid to meditation. It was sold from the estate of Jacob Dissius in Amsterdam in 1696 and now hangs in the National Gallery of Art, Washington.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, c. 1664, National Gallery of Art, Washington.\u003c\/p\u003e\u003cp\u003eJohannes Vermeer (1632–1675) was a Dutch painter working in Delft. 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She wears a yellow jacket trimmed with speckled white fur, a pearl necklace and a pearl earring, and a large map of Europe hangs on the wall behind her. In the shadowed foreground a blue cloth lies over a dark chair back, an open book rests on the table, and a studded chair stands at right on a black-and-white tiled floor.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, c. 1662–63, The Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003eJohannes Vermeer (1632–1675) was a Dutch painter working in Delft. Little is documented about his training; it is unclear with whom he apprenticed, though Carel Fabritius and Abraham Bloemaert have both been suggested. He painted a small number of interior scenes of middle-class domestic life, most often a single figure lit by a window on the left, rendered with an exacting stillness and costly pigments such as ultramarine. His paintings are held by the Rijksmuseum, the Mauritshuis and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Under a pear tree at centre, harvesters sit on sheaves sharing bread, bowls of porridge and pears on a white cloth, and a man sprawls asleep against the trunk. Stooks stand across the stubble behind, and beyond them the land falls to green meadows, a church, a village pond and a wide bay with ships under a pale sky.\u003c\/p\u003e\u003cp\u003ePainted in 1565 for the Antwerp merchant and collector Nicolaes Jonghelinck, it belongs to a cycle on the times of the year of which five panels survive: three in the Kunsthistorisches Museum in Vienna, one in Prague's Lobkowicz Palace and this one. Its subject is peasant work and rest rather than a religious scene. It entered the Metropolitan Museum of Art in 1919.\u003c\/p\u003e\u003cp\u003eThe original: oil on oak, 1565, The Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003ePieter Bruegel the Elder (c. 1525–1569) was a Netherlandish painter and printmaker. He trained in Antwerp, likely under Pieter Coecke van Aelst, and travelled to Italy before settling first in Antwerp and later Brussels, working for merchant and court patrons. His crowded panoramas of peasant life, proverbs and biblical scenes set in contemporary Flemish landscape combine close observation of ordinary people with wit and, at times, dark allegory. His paintings are held by the Kunsthistorisches Museum Vienna, the Museo del Prado and the Royal Museums of Fine Arts of Belgium.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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His paintings turn religious and moral themes into crowded scenes of temptation, folly and damnation filled with hybrid creatures, most fully in the triptychs The Garden of Earthly Delights, The Haywain and The Temptation of St Anthony. Only about 25 paintings are now confidently given to him. His work was copied in his lifetime, and Pieter Bruegel the Elder was his best-known follower. His paintings are held by the Museo del Prado, the National Gallery of Art, Washington and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on archival matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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