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Merode Altarpiece (Open), The Annunciation, Oil on wood, Robert Campin, Metropolitan Museum of Art, New York, 1425-1428, 

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Merode Altarpiece (Open), The Annunciation, Oil on wood, Robert Campin, Metropolitan Museum of Art, New York, 1425-1428, 

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This triptych painting was done by Robert Campin in 1425-1428. This triptych's main function was to aid the viewer in private devotion. The scenes show Mary and Gabriel in the center, the patrons on the left, and Joseph on the right. This art piece belongs in this collection of paintings because of the medium choice of the artist.

Jean Robertson and Deborah Hutton, The History of Art: A Global View (London: Thames & Hudson Ltd., 2021), chap. 40,664
https://digital.wwnorton.com/histartglobalbookpreview.

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Jan van Eyck, Ghent Altarpiece (closed and open), oil on wood, Saint Bavo Cathedral, Belgium, 1432

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Jan van Eyck, Ghent Altarpiece (closed and open), oil on wood, Saint Bavo Cathedral, Belgium, 1432

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This oil painting was executed by Jan van Eyck. The Ghent Altarpiece was commissioned by Joos Vijd and his wife for their chantry chapel. This polyptych is a high altarpiece that shows the biblical event known as the Annunciation and also illustrates the patrons at the moment being portrayed. This art piece belongs in this collection of paintings because of the medium choice of the artist.

Jean Robertson and Deborah Hutton, The History of Art: A Global View (London: Thames & Hudson Ltd., 2021), chap. 40,665
https://digital.wwnorton.com/histartglobalbookpreview.

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Piero della Francesca,Federico da Montefeltro and Battista Sforza, oil and tempera on panel,  Uffizi Gallery, Italy, 1472-1474

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Piero della Francesca,Federico da Montefeltro and Battista Sforza, oil and tempera on panel,  Uffizi Gallery, Italy, 1472-1474

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This diptych of Federico de Montefeltro and Battista Sforza was painted by Piero della Francesca from 1472 to 1474. This oil and tempera painting showcased the Duke of Urbino and his wife as the subject.  Francesca's diptych is representative of the relationship between the artist and the rulers of Urbino. The patrons of the painting are also the subjects. Though the medium is not oil paint alone, it has the classic richness of color which is evident with oil paintings and why it is included with the others.

Jean Robertson and Deborah Hutton, The History of Art: A Global View (London: Thames & Hudson Ltd., 2021), chap. 40,664
https://digital.wwnorton.com/histartglobalbookpreview.

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Isenheim Altarpiece,  Matthias Grünewald ,Oil on wood, Unterlinden Museum at Colmar,France, 1512-1516

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Isenheim Altarpiece,  Matthias Grünewald ,Oil on wood, Unterlinden Museum at Colmar,France, 1512-1516

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This Altarpiece was executed by Matthias Grünewald in 1515. The oil painting's subject includes a depiction of Christ's crucifixion, three figures on Christ's left, a bearded man on his right in the left picture, and Mary and the Christ child in the right picture. The function of this piece was to serve as a central object for devotion in hopelessness specifically in the Isenheim hospital. The Isenheim Altarpiece is placed in the assemblage of oil paintings due to the medium used to complete this piece.

Jean Robertson and Deborah Hutton, The History of Art: A Global View (London: Thames & Hudson Ltd., 2021), chap. 46,749
https://digital.wwnorton.com/histartglobalbookpreview.

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Venus of Urbino, Titian, Oil on canvas, Uffizi Gallery, Italy, 1536 to 1538, 

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Venus of Urbino, Titian, Oil on canvas, Uffizi Gallery, Italy, 1536 to 1538, 

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This oil painting was executed by Titian in 1536 to 1538. The art piece was commissioned by Duke Urbino as a gift for his new wife. The painter positioned the duke and wife as the subjects in the painting.  This art piece belongs in this collection of paintings because of the medium choice of the artist.

Jean Robertson and Deborah Hutton, The History of Art: A Global View (London: Thames & Hudson Ltd., 2021), chap. 47, 769
https://digital.wwnorton.com/histartglobalbookpreview.

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The Crucifixition, Francisco de Zurbarán, Oil on canvas,The Art Institute of Chicago, 1627

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The Crucifixition, Francisco de Zurbarán, Oil on canvas,The Art Institute of Chicago, 1627

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Francisco de Zurbarán painted this oil on canvas in 1627. This is a religious painting in Baroque style and had forceful use of chiaroscuro. The function of this oil painting was to act as a visual aid to assertive piety.  The Crucifixion is placed in the assemblage of oil paintings due to the medium used to complete this piece.

“Zurbarán, De Family.” Grove Art Online, https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000093699?rskey=J3mrtg&result=1.

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The Company of Captain Frans Banning Cocq, Oil on canvas, Dutch, Rembrandt van Rijn, Rijksmusuem, Amsterdam, 1642

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The Company of Captain Frans Banning Cocq, Oil on canvas, Dutch, Rembrandt van Rijn, Rijksmusuem, Amsterdam, 1642

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This oil on canvas by Rembrandt was completed in 1642. The subjects are captain Frans Banning Cocq and his lieutenant surrounded by sixteen of their men. The use of light and shadows make this painting unique and was created for one of the three headquarters of Amsterdam's civic guard. The Company of Captain Frans Banning Cocq is placed in the assemblage of oil paintings due to the medium used to complete this piece.

“Orange Nassau, House of Family.” Grove Art Online, https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000063671?rskey=4pKARc.

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The Art of Painting, Johannes Vermeer, oil on canvas, Kunsthistorisches Museum, Austria, 1666-1667 

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The Art of Painting, Johannes Vermeer, oil on canvas, Kunsthistorisches Museum, Austria, 1666-1667 

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Johannes Vermeer painted this art piece from 1666 to 1667.  The oil painting is presumed to be created to have an outstanding painting in the artist's studio to impress a guest who came to visit. The artist never sold the painting in his lifetime. This art piece belongs in this collection of paintings because of the medium choice of the artist.

Jean Robertson and Deborah Hutton, The History of Art: A Global View (London: Thames & Hudson Ltd., 2021), chap. 54, 881
https://digital.wwnorton.com/histartglobalbookpreview.