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This painting uses high contrast as it has strong lighting to make the woman's dress very bright against a very dark background. 

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Ms. Kim -- Thomas Anshutz, "A Rose", painting

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Ms. Kim -- Thomas Anshutz, "A Rose", painting

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This piece uses variety as he paints the portraits in different stages of completion. The mans face and hands are rendered more than the dress.

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Ms. Kim -- Henri de Toulouse-Lautre, "The Messenger" painting

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Ms. Kim -- Henri de Toulouse-Lautre, "The Messenger" painting

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This piece uses line in an interesting way to create architectural elements, value and shading.

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Ms. Kim - Giovanni Battista Piranesi "The Round Tower" Engraving

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Ms. Kim - Giovanni Battista Piranesi "The Round Tower" Engraving

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This piece uses pattern throughout to depict parts of the woman's house. She uses different patterns in her dress, the lace, wallpaper and flooring.

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Ms. Kim -  Njideka Akunyili Crosby - Woman and Child, Mixed Media

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Ms. Kim -  Njideka Akunyili Crosby - Woman and Child, Mixed Media

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Ms. Kim - Kara Walker, Resurrection story with patrons, Etching

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Ms. Kim - Kara Walker, Resurrection story with patrons, Etching

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This piece by Kara walker emphasises the outlines of African American women and backgrounds in a unique way. This artist considers both negative and positive space.

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This piece creates movement by hanging the sculptures at different intervals and having lines moving in several directions to move your eye around the piece

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Ms. Kim - Ranjani Shettar, 'Seven ponds and a few raindrops', mixed media sculpture

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Ms. Kim - Ranjani Shettar, 'Seven ponds and a few raindrops', mixed media sculpture

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This piece uses texture by attaching bottlecaps together to create a unique and voluminous wall piece that looks like textiles. He plays with perception.

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Ms. Kim - El Anatsui - Dusasa II - mixed media sculpture

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Ms. Kim - El Anatsui - Dusasa II - mixed media sculpture

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Andy Warhol uses color to play with a famous figure's face, a well known symbol of America. 

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Matisse emphasizes the figure with shape. He emphasizes the heart of the figure with a single dot of red, and uses simple colors and shapes in his work. 

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Ms. Kim - Henri Matisse - Icarus, paper cutout

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Ms. Kim - Henri Matisse - Icarus, paper cutout

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This artist uses shape in a unique way, his shapes are not traditional and geometric, but organic, loose and up to interpretation.

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Ms. Kim Clyfford Still - 1947 H. No 1, painting

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Ms. Kim Clyfford Still - 1947 H. No 1, painting

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This piece uses line in an interesting way. It uses line to make the leaves (I think that's what they are.) stand out more.

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Michael, Maddie, Édouard Manet, Seated, Holding His Hat, Graphite and black chalk on wove (China) paper

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Michael, Maddie, Édouard Manet, Seated, Holding His Hat, Graphite and black chalk on wove (China) paper

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This painting uses high contrast as the lighting is pointed at the car which makes it stand out more than the things around it.

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This piece uses line in a unique way to add texture.

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Isabella and Kendall - Corner Block from a Frieze with a Meander Pattern of Lines and Rosettes

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Isabella and Kendall - Corner Block from a Frieze with a Meander Pattern of Lines and Rosettes

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This piece uses high contrast by having dark wood on the "outside" of it while there is lighter wood in the "inside". 

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Michael, Madison, and Julianna - "Chair of Reniseneb" Wood, ebony, and Ivory

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Michael, Madison, and Julianna - "Chair of Reniseneb" Wood, ebony, and Ivory

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The blue uniform really contrasts with the brown background

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This vase a smooth texture with random dots.

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Michael, Madison, Julianna - Porphyry vessel with bearded masks. Porphyry

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Michael, Madison, Julianna - Porphyry vessel with bearded masks. Porphyry

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This uses small lines to create the whole picture.

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Vincent van Gogh. Letter to his brother Theo. [on or about May 20, 1888] [Van Gogh Museum, Amsterdam, inv. nos. b529 a-c V/1962; pub. in Van Gogh Letters 1958, letter no. 489; Van Gogh Letters 2009, letter no. 611], mentions four small paintings that he has given or is planning to give to the comtesse de La Boissière, possibly including this picture.

Alte Meister: Deutsche und Französische Kunst des 19. Jahrhunderts. Düsseldorf, 1927, unpaginated, ill., mentions authentications by Meier-Graefe and La Faille.

J.-B. de La Faille. "Unbekannte Bilder von Vincent van Gogh." Der Cicerone 19 (February 1927), pp. 101-2, ill., dates it Paris 1887; states that it is at the Kunsthandlung Hans Bammann, Düsseldorf.

J.-B. de La Faille. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, pp. 102-3, no. 365; vol. 2, pl. C [100], states that it was in a private collection, Russia, before going to the Hans Bammann Gallery in Düsseldorf.

Ludwig Thormaelen. Letter to Hans Bammann. April 6, 1932 [see Ref. Dorn and Feilchenfeldt 1993], writes that there is no evidence against the attribution to Van Gogh.

M. O. "Liebermann und Justi: Wieder eine van-Gogh-Affäre." Vossische Zeitung no. 127, evening ed. (March 15, 1932), unpaginated, states that the Nationalgalerie Berlin had the opportunity to purchase six paintings by Van Gogh before World War I for the relatively modest sum of 25,000 marks but passed on the chance because of Wilhelm II's objections (see Koldehoff 2017).

Harry B. Wehle. "A Loan of Paintings." Metropolitan Museum of Art Bulletin 31 (October 1936), p. 209, notes that this picture is currently on view in the MMA galleries, lent by an anonymous collector.

J.-B. de La Faille. Vincent van Gogh. London, [1939], pp. 296, 559, 580, 587, no. 409, ill., dates it to the Paris period.

Harry B. Wehle. "The de Groot Collection." Metropolitan Museum of Art Bulletin 6 (June 1948), p. 269, ill., dates it Paris 1886 or 1887.

Katharina Bromig-Kolleritz von Novisancz. "Die Selbstbildnisse Vincent van Goghs: Versuch einer kunsthistorischen Erfassung der Darstellungen." PhD diss., Universität München, 1955, p. 102 [see Ref. Erpel 1963], dates it fall 1886.

Vincent van Gogh. The Complete Letters of Vincent van Gogh with Reproductions of All the Drawings in the Correspondence. Greenwich, Conn., 1958, under letter no. 489 (possibly this work).

A.-M. Hammacher in Van Gogh Self-Portraits. Exh. cat., Marlborough Fine Art Ltd. London, [1960], unpaginated, fig. e, states that the self-portraits in a straw hat probably all date from the summer of 1887; describes the visible influence of Seurat and Signac, and mentions that the presence of the straw hat may be related to Van Gogh's admiration for Monticelli.

Fritz Erpel. Die Selbstbildnisse Vincent van Goghs. Berlin, 1963, pp. 14, 16-17, 55, no. 15, ill. [English ed., "Van Gogh: The Self-Portraits," trans. Doris Edwards, Greenwich, Conn., [1969], pp. 19, 20, 56, no. 15, ill.], believes it could have been painted later than fall 1886, when Bromig-Kolleritz [see Ref. 1955] dates it.

Paolo Lecaldano. L'opera pittorica completa di Van Gogh e i suoi nessi grafici. Vol. 1, Da Etten a Parigi. repr. [1st ed., 1966]. Milan, 1977, pp. 100, 119, no. 463, ill., dates it late 1887.

J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 170-71, 625, no. F365 verso, ill., dates it Paris 1887; substitutes the Charpentier Art Gallery, Paris, for the unknown Russian collector formerly included in the early provenance of the picture [see Ref. La Faille 1928], since this individual acted for the Charpentier Gallery.

John Walsh Jr. Portrait of the Artist. Exh. cat., The Metropolitan Museum of Art. New York, 1972, p. 16, no. 27, dates it about 1886-88.

Matthias Arnold. "Duktus und Bildform bei Vincent van Gogh." PhD diss., Ruprecht-Karl University, Heidelberg, 1973, p. 188 n. 227.

Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965-1975. New York, 1975, p. 86, ill., dates it 1886.

Bogomila Welsh-Ovcharov. Vincent van Gogh: His Paris Period, 1886-1888. PhD diss., Universiteit Utrecht. Utrecht, 1976, pp. 104, 125 n. 51, p. 226.

Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, pp. 145, 300, 302, 304-5, no. 1354, ill., compares it with the artist's "Self-Portrait with Gray Felt Hat" (F344; Van Gogh Museum, Amsterdam), calling it "a preliminary study for . . . or a less masterly repetition of" the Amsterdam painting.

Ronald Pickvance. Van Gogh in Arles. Exh. cat., The Metropolitan Museum of Art. New York, 1984, pp. 33-35, no. 1, ill. in color (overall and detail).

Pascal Bonafoux. Van Gogh par Vincent. Paris, 1986, p. 189, colorpl. 23 [English ed., "Van Gogh Self Portraits," trans. Daniel Simon, Secaucus, N.J., 1989], dates it 1887.

Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, pp. 10, 60-61, colorpl. 40.

Bogomila Welsh-Ovcharov in Van Gogh à Paris. Exh. cat., Paris. Paris, 1988, p. 116.

Glenn Collins. "Is It or Isn't It? A Van Gogh Languishes in Limbo." New York Times (July 8, 1990), pp. H1, H31, ill. pp. H1 and H31, outlines Feilchenfeldt's doubts about the authenticity of the self-portrait, based on the provenance and style of the picture, and also discusses the Museum's response to this matter.

Anne Reich. "Jedermann weiss, dass es da noch Zeitbomben gibt." Züri Woche (July 26, 1990), p. 37, ill., publishes an interview with Feilchenfeldt, in which he reiterates his doubts about the authenticity of the picture.

Roland Dorn and Walter Feilchenfeldt in "Genuine or Fake?-On the History and Problems of Van Gogh Connoisseurship." The Mythology of Vincent van Gogh. Ed. Kodera Tsukasa. English ed. Tokyo, 1993, p. 296, fig. 188, illustrate it as "attributed to Van Gogh"; discuss it with three other self-portraits (F528, F268, F178v), deciding that none of them "really fits into Van Gogh's production," and adding that they lack the "inner self-control" evident in all of Van Gogh's self-portraits; believe that the only authentic self-portraits painted on the reverse of earlier works are a series of five (F179v, F61v, F77v, F109v, F269v) all dating from the same period, of a uniform format and style, and made as experiments in the position of the head.

Matthias Arnold. Vincent van Gogh: Werk und Wirkung. Munich, 1995, pp. 770-71, 836 n. 424, includes it in a list of works whose authenticity, in his opinion, has to be examined because of its appearance in 1927, at the time of the Wacker forgery scandal.

Bernard Denvir. Vincent: A Complete Portrait. London, 1995, pp. 64-65, ill. (color).

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 494, ill.

Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996, pp. 144, 262, 300, 302, 304, no. 1354, ill. p. 305.

Bogomila Welsh-Ovcharov. "'I Shall Grow in the Tempest': Van Gogh 100 Years Later." Van Gogh 100. Ed. Joseph D. Masheck. Westport, Conn., 1996, p. 16 n. 4, suggests it as one possibility for the self-portrait sold by Theo in October 1888 to the London dealers Sully and Lori.

Klaus Herding in Ausstieg aus dem Bild. Hamburg, 1996, p. 150 n. 20, dates it to winter 1887-88 in Paris; compares the circular brushstrokes around the head to those in "Self-Portrait with Grey Felt Hat" (Amsterdam, Van Gogh Museum), painted in the same period; attributes the brushstrokes to the influence of Millet and Seurat.

Martin Bailey. "Cent Van Gogh remis en question." Journal des arts no. 39 (May 30, 1997), pp. 13-14, 25, ill. in color (overall and detail), discusses Feilchenfeldt's doubts concerning the authenticity of both sides of the painting, as well as Stein's defense of the work on stylistic grounds and her argument that the double-sided format is evidence for its authenticity.

Martin Bailey. "At Least Forty-five Van Goghs May Well be Fakes." Art Newspaper 8 (July-August 1997), pp. 21, 23, ill.

Bogomila Welsh-Ovcharov. Van Gogh in Provence and Auvers. [New York], 1999, ill. p. 9 (color).

Walter Feilchenfeldt. By Appointment Only: Cézanne, Van Gogh and Some Secrets of Art Dealing. English ed. London, 2006, pp. 116-17, ill. (color), as "Self-Portrait with Straw Hat"; questions its authenticity on grounds of provenance and style, and argues that it is derived from "Self-Portrait with Grey Straw Hat" (F344) in the Van Gogh Museum; states that Thannhauser bought the painting after 1932 and sold it in 1936 to De Groot.

Laurence Madeline. Van Gogh, Picasso. Paris, 2006, pp. 144, 176 n. 18, dates it 1888; suggests it inspired some of Picasso's male figures.

Susan Alyson Stein in Masterpieces of European Painting, 1800-1920, in The Metropolitan Museum of Art. New York, 2007, pp. 168, 255, no. 156, ill. (color and black and white).

Jill Lloyd in Van Gogh and Expressionism. Ed. Jill Lloyd and Michael Peppiatt. Exh. cat., Neue Galerie. Ostfildern, 2007, p. 17, colorpl. 74, compares it to Jawlensky's "Self-Portrait with Top Hat" (about 1904; private collection).

Vincent van Gogh. Vincent van Gogh-The Letters. Ed. Leo Jansen, Hans Luijten, and Nienke Bakker. London, 2009, vol. 4, pp. 86-87 n. 3, under letter no. 611, identify it as possibly one of the four small paintings that Van Gogh mentions giving to the Countess de la Boissière.

Henk Tromp. A Real Van Gogh: How the Art World Struggles with Truth. Amsterdam, 2010, fig. 54, illustrates uncredited photograph of Vincent Willem van Gogh, the artist's nephew, posing with the painting in New York in 1949.

Ella Hendriks et al. Vincent van Gogh: Paintings. Vol. 2, Antwerp & Paris, 1885-1888: Van Gogh Museum. Amsterdam, 2011, pp. 264 nn. 2, 5, pp. 356, 410, 435-37, 444, 457, 575, fig. 116f (color), attribute the large number of self-portraits completed in this period in Paris to the artist's lack of models for portraits; state that he seems to have used the same pinkish brown underlayer of paint for it as for four other double-sided works that started with his Nuenen period; note that it was probably one of the works he gave to the comtesse de la Boissière; attribute the reuse of the backs of earlier works in this period to his dire financial situation.

Louis van Tilborgh in Ella Hendriks et al. Vincent van Gogh: Paintings. Vol. 2, Antwerp & Paris, 1885-1888: Van Gogh Museum. Amsterdam, 2011, p. 24 n. 20, tentatively includes this two-sided work in the group of five small paintings given to the comtesse de la Boissière.

Ella Hendriks and Muriel Geldof in Ella Hendriks et al. Vincent van Gogh: Paintings. Vol. 2, Antwerp & Paris, 1885-1888: Van Gogh Museum. Amsterdam, 2011, p. 117 n. 111, compare it to works whose examination revealed matching pinkish-brown ground layers on the reverse of Nuenen canvases, all used in preparation for a series of self-portrait studies and one landscape.

Ella Hendriks et al. "Van Gogh's Recycled Works." Van Gogh's Studio Practice. Ed. Marije Vellekoop et al. Brussels, 2013, pp. 315, 320, 329 table 2.

Walter Feilchenfeldt. Vincent van Gogh: The Years in France. Complete Paintings 1886-1890. London, 2013, p. 278 [1st German ed., 2009], includes it among the self-portraits whose authenticity he doubts.

Stefan Koldehoff. Ich und van Gogh: Bilder, Sammler und ihre abenteuerlichen Geschichten. Berlin, 2015, pp. 144-45, ill. pp. 142 (photograph of de Groot with it), 143 (color), discusses de Groot's purchase and loan of the painting to the MMA, as well as its subsequent transition into the Museum's collection.

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, p. 447, no. 397, ill. pp. 401, 447 (color).

Monique Hageman and Nora Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, p. 312.

Chris Stolwijk in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, p. 50, fig. 33 (color).

Stefan Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, pp. 67-79, 81 nn. 30, 35, pp. 153, 206, 208, 214, no. 59, ill. p. 215 (color), figs. 51 (reproduction of La Faille 1927), 53 (annotated letter from Jean Charpentier to Galerie Thannhauser), discusses the Galerie Hans Bammann, Thannhauser gallery, and Richard Lohe ownership; associates this picture with Kaiser Wilhelm II's objections that caused the Nationalgalerie Berlin to pass on the opportunity to acquire six Van Gogh paintings at modest prices (see O. 1932); identifies it as one of five paintings that had been in the collection of Paris dealer Jean Charpentier; sheds doubt on the La Boissière family's early ownership but notes Emile Bernard's authentication of the Charpentier pictures as having been in Van Gogh's studio in Paris; states that de Groot may have acquired the painting in Berlin sometime prior to 1936.

Nora Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, pp. 304-5.

Martin Gammon. Deaccessioning and Its Discontents: A Critical History. Cambridge, Mass., 2018, p. 215.

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Vincent van Gogh | Self-Portrait with a Straw Hat (obverse: The Potato Peeler) | The Metropolitan Museum of Art

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Vincent van Gogh. Letter to his brother Theo. [on or about May 20, 1888] [Van Gogh Museum, Amsterdam, inv. nos. b529 a-c V/1962; pub. in Van Gogh Letters 1958, letter no. 489; Van Gogh Letters 2009, letter no. 611], mentions four small paintings that he has given or is planning to give to the comtesse de La Boissière, possibly including this picture.

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This piece uses pattern through out the whole piece and repeats it over and over again. 

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Michael, Madison, and Julianna - Inca "Eight-Pointed Star Tunic", Camelid hair, cotton

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Michael, Madison, and Julianna - Inca "Eight-Pointed Star Tunic", Camelid hair, cotton

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This artwork uses texture because the way they made the art is similar to a rug's texture/style.

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Julianna,Micheal,Maddie--Shara Hughes,"How Do You Sleep At Night?

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Julianna,Micheal,Maddie--Shara Hughes,"How Do You Sleep At Night?

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This piece uses color to show different flowers and make you look in different directions all throughout the painting. Colors give off different textures of the painting.

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The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met's Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.

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Shara Hughes | How Do You Sleep At Night? | The Metropolitan Museum of Art

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The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met's Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.

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The leafs roots move to the right and move your eyes to the end of the leaf

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Michael, Madison, Julianna - Dish in the shape of a leaf. Silver with parcel gilding

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Michael, Madison, Julianna - Dish in the shape of a leaf. Silver with parcel gilding

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This piece uses contrast because they use the color red to have both parts of the image pop out. The jumpsuit being red shows it's the main attraction.

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Priscilla, Lily, Antonio- Jumpsuit BY Norma Kamali

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Priscilla, Lily, Antonio- Jumpsuit BY Norma Kamali

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This drawing uses lines, by showing lines turning into a picture. It shows a river, trees, and mountains.

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Lily, Antonio, Priscilla- Georgia O'Keeffe, "Drawing XIII", drawing.

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Lily, Antonio, Priscilla- Georgia O'Keeffe, "Drawing XIII", drawing.

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This piece uses high contrast by using strong lighting to make the portrait pop out. 

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Isabella & Kendall- Marble portrait of a man

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Isabella & Kendall- Marble portrait of a man

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this one emphisizes movement because of all the action of people fighting and all the flags moving 

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this one emphisizes movement because of all the action of people fighting and all the flags moving 

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This could be chosen as emphasis as well, but I think the how the colors and the shapes repeat itself,makes its pattern that much more noticeable.

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Grisaille Lancet - 1265–70

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This artist uses a bit of texture in the background to fill in space. 

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Michael, Madison, Julianna - Paul Cezanne "Still Life with Apples and a Pot of Primroses", Oil on canvas

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Michael, Madison, Julianna - Paul Cezanne "Still Life with Apples and a Pot of Primroses", Oil on canvas

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The animals carved on to the comb gives off a bumpy texture

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the perspective is suggested due to the fluctuations of the size of the lines

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the perspective is suggested due to the fluctuations of the size of the lines

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This piece uses color in a unique way with colors in boxes all over the place with no certain pattern, it also reminds me of when a broadcast/TV losses signal

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This photo uses many different patterns

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Dimand, Maurice S. A Handbook of Muhammadan Art. 2nd rev. and enl. ed. New York: The Metropolitan Museum of Art, 1944. p. 319.

"Catalogue of an exhibition held at the Hayward Gallery, London, 19 October-10 December 1972." In Islamic Carpets from the Joseph V. McMullan Collection. London: Arts Council of Great Britain, 1972. no. 41, p. 43, ill. pl. XIV (color).

McMullan, Joseph V., and Ernst J. Grube. Islamic Carpets. New York: Near Eastern Art Research Center, 1965. no. 41, pp. 164-71, ill. pl. 41 (color).

Schurmann, Ulrich. "The Joseph V. McMullan Collection. New York." In Islamische Teppiche. Frankfurt: Museum für Kunsthandwerk Frankfurt, 1968. no. 25, pp. 58-59, ill. p. 59 (b/w).

Ettinghausen, Richard. "Islamic Carpets. The Joseph V. McMullan Collection." Metropolitan Museum of Art Bulletin vol. 28, no. 10 (1970). p. 415, ill. cover (color).

"The Joseph V. McMullan Collection." In Islamic Carpets. New York, 1970. no. 53.

Dimand, Maurice S., and Jean Mailey. Oriental Rugs in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1973. no. 164, pp. 162-63, 279, ill. fig. 231, (b/w; color).

Taghiyeva, Roya. Azerbaijani Carpet Encyclopedia. Baku, Sharg-Garb, 2017. ill. p. 125 (color).

Farnham, Thomas J. "The Pioneers." Hali Carpet, Textile and Islamic Art (2008). pp. 60-61, ill. (color).

Thompson, Jon. "Exotic Textiles from New York Collectors." In Timbuktu to Tibet. New York, 2008. pp. 14-15, 302-3, ill. fig. 1.1 (color), pl. 107 (color).

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The 'Nigde' Carpet | The Metropolitan Museum of Art

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The Nigde Carpet This rug has become famous as the 'Niğde' carpet. Although certainly produced in the Caucasus, it was found in the mosque of Niğde in central Turkey.

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This painting drags your eyes to look in the middle because of the baby glowing.  The baby is very eye catching.

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Face Mask (Kpeliye'e)

19th–mid-20th century
this piece uses texture by attatching fringe and making it unique as if it was hair dangling from the mask

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This piece uses texture to add dimension and value to the piece.

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Saint Margaret of Antioch - Isabella, Kendall

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Saint Margaret of Antioch - Isabella, Kendall

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It shows pattern by the different color blocks, while also being repetitive.

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Lily, Antonio, Priscilla- Amish Maker, "Quilt, Split Bars pattern", quilt.

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Lily, Antonio, Priscilla- Amish Maker, "Quilt, Split Bars pattern", quilt.

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This piece uses pattern because they repeat the same shapes over and over which makes it look cool

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This piece uses a variety of perspectives and textures. 

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Michael, Madison, Julianna - Antoine Watteau "Mezzetin", oil on canvas

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Michael, Madison, Julianna - Antoine Watteau "Mezzetin", oil on canvas

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This contains many rectangles with sliced up squares in it.  The entire piece is also rectangular. 

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Michael, Maddie, Julianna - Writing box. Box

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Michael, Maddie, Julianna - Writing box. Box

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I can see the other items within this picture though, the brightest thing in the room is the ham.Naturally drawing your eyes to the ham, creating an illusion that it is the only item of importance in this piece.

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This artwork uses space to bring out the object in the middle and also uses texture to fill out the open space. (water texture, fog like texture.)

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This fills the entire space with color, and shows a house with trees using the entire space.

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Lily, Priscilla, Antonio- Georges Braque, "House behind Trees", painting

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Lily, Priscilla, Antonio- Georges Braque, "House behind Trees", painting

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Naomi & Stefanie Queen Esther approaching the palace of ahasueres

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Naomi & Stefanie Queen Esther approaching the palace of ahasueres

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This uses line in a unique way because you can see that there are these parallel lines making the artwork look more organized.

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This artwork makes you look around the piece a lot because of all the things people, colors, etc. they added

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Naomi & Stefanie Dish in the Shape of Leaf

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Naomi & Stefanie Dish in the Shape of Leaf

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This uses texture because it creates a 3D pattern.

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This peice uses pattern by making a sort of illusion with color.

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Inlay, pattern of squares - Kendall, Isabella

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Inlay, pattern of squares - Kendall, Isabella

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This piece uses color in a unique way by using multiple colors to make thing more realistic.

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the coloring of the ladys skin is juxtaposed against the dark backround

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the coloring of the ladys skin is juxtaposed against the dark backround

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This artwork uses emphasis because it uses a light to bring out the instrument more/ shows that the instrument is important in some way.

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This piece uses Variety because it has multiple colors, textures, shapes, and really makes your eye move around the piece to figure out what's going on.

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the many small lines blend togother to create a jaded look

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the many small lines blend togother to create a jaded look

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Naomi & Stefanie Portrait of Jnanatapa Attended by Lamas and Mahasiddhas

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Naomi & Stefanie Portrait of Jnanatapa Attended by Lamas and Mahasiddhas

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This uses pattern in an interesting way because they have repetition in various ways.

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This artwork uses shapes in a unique way because they are not in a certain shape their more like everywhere on the painting which makes it stand out more.

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This piece uses space by having more negatrive space to draw the viewrs attention to the positive space.

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This watercolor makes your eye focus on the pool balls, and the peoples shirts.

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Lily, Antonio, Priscilla - Jacob Lawrence, " Pool Parlor", watercolor

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Lily, Antonio, Priscilla - Jacob Lawrence, " Pool Parlor", watercolor

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This piece uses a lot of movement by having a lot of things happening in it to make you move your eyes around.

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Isabella & Kendall-Ceremonial Textile (Tampan)

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Isabella & Kendall-Ceremonial Textile (Tampan)

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Naomi & Stefanie The Monongahela River Valley, Pennsylvania 

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Naomi & Stefanie The Monongahela River Valley, Pennsylvania 

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This piece of art uses a lot of movement because it causes your eyes to follow the trains and see where they are heading.

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Everything is very dark colors besides her bright red outfit.

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Valerian von Loga. Francisco de Goya. Berlin, 1903, pp. 40, 201, no. 290, pl. 12 [2nd ed., 1921], as in the collection of Mme Bernstein, Paris.

Albert F. Calvert. Goya, an Account of His Life and Works. London, 1908, p. 137, no. 193.

Hugh Stokes. Francisco Goya: A Study of the Work and Personality of the Eighteenth Century Spanish Painter and Satirist. London, 1914, pp. 252, 333, no. 145, as dated 1784 and in the collection of Mme Bernstein, Paris.

August L. Mayer. Francisco de Goya. Munich, 1923, pp. 59, 197, no. 365 [English ed., 1924, pp. 47, 162, no. 365], calls it perhaps Goya's best children's portrait from the 1780s.

Edouard Brandus. "La collection des tableaux anciens de M. Jules S. Bache, à New-York." La Renaissance 11 (May 1928), p. 190, ill. p. 191.

"From El Greco to Goya." American Magazine of Art 19 (April 1928), ill. p. 186.

Tomás G. Larraya. Goya: Su vida, sus obras. Barcelona, 1928, p. 180, erroneously as still in the Bernstein collection.

X. Desparmet Fitz-Gerald. L'oeuvre peint de Goya: Catalogue raisonné. Paris, 1928-50, vol. 2, pp. 51, 313, 328, no. 332, pl. 259, dates it 1787; notes its sale in 1878.

August L. Mayer. "Francisco de Goya." Pantheon 1 (April 1928), ill. p. 191, dates it 1787.

"Cover." International Studio 91 (September 1928), ill. on cover (color).

Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), p. 4, ill. p. 19 (color), comments that "even in this charming likeness of an innocent child [Goya] brings in a cruel and uncanny note".

A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill., notes that in 1924 Henri Bernstein used it as a prop in his play, "La Galerie des Glaces," at the Théâtre du Gymnase, Paris.

Wilhelm R. Valentiner, ed. Unknown Masterpieces in Public and Private Collections. Vol. 1, London, 1930, no. 90, ill., dates it 1787 based on the age of the sitter, costume, and style.

Harry Adsit Bull. "Notes of the Month." International Studio 95 (January 1930), p. 58, calls it "The Boy with the Bird Cage".

Javier de Salas. "Lista de cuadros de Goya hecha por Carderera." Archivo español de arte y arqueología 7 (1931), p. 176, no. 29, as from the Altamira collection.

Virginia Nirdlinger. "Children Now-And Then." Parnassus 3 (December 1931), p. 4.

Helen Comstock. "Loan Exhibition of Goya's Paintings." Connoisseur 93 (May 1934), p. 333, ill.

Ella S. Siple. "A Goya Exhibition in America." Burlington Magazine 64 (June 1934), p. 287.

"Brooklyn Museum Opens Great Exhibition of Spanish Masterpieces." Art Digest 10 (October 1, 1935), p. 6.

A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 42, ill.

Benno Fleischmann. Francisco Goya. Vienna, [1937?], p. 32, colorpl. 3.

"'Spanish Painting Through Goya' Opens the Year in Baltimore." Art Digest 11 (January 15, 1937), p. 15, ill.

R. J. McKinney. "Seeing the Shows: Spain at Baltimore." Magazine of Art 30 (February 1937), p. 113, ill. p. 112.

Mercedes C. Barbarrosa. The Living Goya. Boston, 1939, p. 194, ill. p. 177.

Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 234, ill., date it 1787.

José Gudiol. Goya. New York, 1941, p. 62, ill. p. 15 (color), dates it soon before Goya's 1792 portrait of Sebastián Martinez.

Regina Shoolman and Charles E. Slatkin. The Enjoyment of Art in America. Philadelphia, 1942, p. 471, pl. 426, date it 1787.

Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 290.

A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 41, ill.

Martin S. Soria. "Agustín Esteve and Goya." Art Bulletin 25 (September 1943), p. 257, calls it "Boy in Red," dates it 1786, and discusses it in comparison with Agustín Esteve's "Little Boy with a Dog" (Private collection, Paris).

Margaret Breuning. "Metropolitan Re-Installs Its Treasures in Attractive Settings." Art Digest 18 (June 1, 1944), p. 6.

"Editorial: The Bache Collection." Burlington Magazine 84 (March 1944), p. 55, ill. (frontispiece), dates it towards the end of the 1780s and states erroneously that it has not been exhibited in the United States.

Introduction by Harry B. Wehle. Masterpieces in Color at The Metropolitan Museum of Art, New York. Ed. Bryan Holme. New York, 1945, p. 13, colorpl. 42, dates it probably 1787.

Carlyle Burrows. "Portrait of Don Juan Osorio-Alvarez." New York Herald Tribune (July 22, 1945), section 4, p. 4, ill., compares it to the portrait of Juan Osorio Alvarez (Cleveland Museum of Art), then attributed to Goya.

Herbert Weissberger. "Goya and His Handwriting." Gazette des beaux-arts 29 (February 1946), p. 115, fig. 1 (detail of signature), calls the artist's signature in this picture an intermediary link between those which are integrated into the painting's subject and traditional inscriptions.

Enrique Lafuente Ferrari. Antecedentes, coincidencias e influencias del arte de Goya: Catalogo ilustrado de la exposicion celebrada en 1932. Madrid, 1947, p. 276.

Henry S. Francis. "'Don Juan Maria Osorio-Alvarez: The Boy with a Linnet' by Goya." Bulletin of the Cleveland Museum of Art (June 1947), p. 113, calls the sitter in our painting the cousin of Juan Maria Osorio-Alvarez, whose portrait-ascribed by him to Goya-is in the Cleveland Museum of Art; elsewhere identifies Manuel Osorio's parents as Juan's [confirming that they are actually brothers] .

Millia Davenport. The Book of Costume. New York, 1948, vol. 2, pp. 731-32, no. 2055, ill. (cropped).

Antonina Vallentin. This I Saw: The Life and Times of Goya. New York, 1949, p. 68, ill. opp. p. 56.

Elizabeth E. Gardner. "Notes." Metropolitan Museum of Art Bulletin 7 (June 1949), p. 260, ill. on cover (color detail) and p. 260, dates it 1787 or 1788 and calls its quiet elegance and formality characteristic of Goya's paintings shortly before he became court painter.

J. M. Pita Andrade. "Aportaciones recientes a la historia del arte español." Archivo español de arte 22 (October-December 1949), p. 371, pl. 2, dates it 1787 or 1788.

Francisco J. Sánchez Cantón in "Los niños en las obras de Goya." Goya (Cinco estudios). Saragossa, 1949, pp. 77-78, pl. 12 [2nd ed., 1978], tentatively dates it 1787, noting that before Goya, children were depicted in most secular Spanish painting as miniature adults.

André Malraux. "Goya." Art News Annual, part 2, 49 (November 1950), p. 52, ill. p. 39 (color).

André Malraux. Saturne. Paris, 1950, pp. 27-28 [English ed., 1957, pp. 21-23, ill. (color)].

J. K. Reed. "Goya Forerunner of the Art Movement in Major New York Show." Art Digest 25 (November 15, 1950), p. 28, calls it "an exception to the comparative weakness of the earlier portraits" included in the 1950 Wildenstein exhibition.

F. J. Sanchez Canton. Vida y obras de Goya. Madrid, 1951, pp. 42-43, 168, pl. 24, dates it 1788.

Antonina Vallentin. Goya. Paris, [1951], pp. 85-86, describes it as capturing "the eternal grace of childhood".

S[amuel]. N[athaniel]. Behrman. Duveen. New York, 1952, pp. 113-16, relates that the Bernsteins sold this picture to a Paris dealer for $50,000 and later Bache bought it from Duveen, at the suggestion of his daughter, Mrs. Gilbert Miller, for $275,000; adds that Gilbert Miller negotiated a lower price, against Bache's wishes [see Refs. Fowle 1976 and Secrest 2004 for different accounts of the sales].

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 43.

Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 5.

Pierre Gassier. Goya. New York, 1955, p. 32, ill. p. 10 (color), dates Goya's paintings of children "from 1788 on".

F. M. Godfrey. Child Portraiture from Bellini to Cézanne. London, 1956, pp. 44-45.

Martin S. Soria. Agustin Esteve y Goya. Valencia, 1957, pp. 72, 78, fig. 24, [see Ref. Soria 1943].

A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), p. 106.

Juan Antonio Gaya Nuño. La pintura española fuera de España. Madrid, 1958, p. 158, no. 885.

Roberta M. Alford. "Francisco Goya and the Intentions of the Artist." Journal of Aesthetics and Art Criticism 18 (June 1960), pp. 484-85, fig. 1.

Gerald Reitlinger. The Economics of Taste. Vol. [1], The Rise and Fall of Picture Prices, 1760-1960. London, 1961, p. 331, states that Duveen bought "Miguel [sic] Osorio da Zuniga (the Little Red Boy)" in 1925 for £10,500 and then sold it to Bache for £33,000 after Bache rejected the original price of £56,000 [but see Refs. Fowles 1976 and Secrest 2004 for a refutation of this account].

George Savage. "Two Centuries of Picture Sales." Studio International 162 (November 1961), p. 194, calls it the "Red Boy" and cites Reitlinger's account [see Ref. Reitlinger 1961] of its sale in 1928 for £33,000, the highest recorded price paid for a Goya.

Julián Gállego. La peinture espagnole. Paris, 1962, pp. 182-83, ill. p. 179 (color).

Nigel Glendinning. "Goya and His Times at Burlington House." Connoisseur 155 (January 1964), p. 19, notes the "rigidly triangular pattern" of the composition.

Elizabeth du Gué Trapier. Goya and His Sitters: A Study of His Style as a Portraitist. New York, 1964, pp. 5-6, 52, figs. 9, 11 (overall and detail), dates it 1788 or 1789; comments that in this picture "there appears, perhaps for the first time in his portraiture, evidence of Goya's originality"; notes that similar cats appear later in Goya's 1799 print series "Los Caprichos".

Francisco Javier Sánchez Cantón. Goya. New York, [1964], p. 14, dates it about 1788.

José Gudiol. Goya. New York, 1965, pp. 25, 90, ill. opp. p. 90 (color), dates it 1788.

Claus Virch. Francisco Goya. New York, 1967, pp. 34-35, no. 3, ill., dates it 1787-88 and calls it one of the most famous portraits of children ever painted; notes that "all motion is suspended, but one can easily imagine all hell breaking loose in the next instant, when those monstrously intent cats, foreboding evil, jump at the magpie and tear apart the fragile birdcage, creating disorder and early sorrow... By introducing the dark forces of evil Goya gave poignancy to his portrayal of innocent youth".

Gaspar Gómez de la Serna. Goya y su España. Madrid, 1969, pp. 60, 279.

Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 316 [rev., enl. ed., 1989].

Pierre Gassier and Juliet Wilson. Vie et oeuvre de Francisco Goya. Ed. François Lachenal. Fribourg, Switzerland, 1970, pp. 61, 68, 78, no. 233, ill. p. 95 [English ed., 1971], date it about 1788; note that Goya painted six official portraits for the Bank of San Carlos between 1785-88, including that of the Count of Altamira, which led to commissions for portraits of the Count's wife and daughter, and two sons, Vicente and Manuel Osorio.

José Gudiol. Goya 1746-1828: Biographie, analyse critique et catalogue des peintures. Paris, 1970, vol. 1, pp. 68, 70, 256, no. 251; vol. 2, figs. 355, 356 (color detail) [Spanish ed., 1969-70; English ed., 1971, vol. 1, pp. 70, 73, 262, no. 251; vol. 2, figs. 355, 356 (color detail)], calls it "almost primitive in its essential scheme"; erroneously claims that the sitter became "a person of great influence in later life".

Jacques Paul Dauriac. "Orangerie des Tuileries. Exposition: Goya." Pantheon 28 (November-December 1970), p. 535.

Jeannine Baticle. Goya. Exh. cat., Mauritshuis. The Hague, 1970, unpaginated, no. 10, ill. and frontispiece (color) [Dutch and French eds., 1970].

Julián Gállego. "Crónica de Paris." Goya (November-December 1970), p. 167.

José López-Rey. "Goya: Madmen and Monarchs." Art News 69 (October 1970), p. 56.

D[iego]. A[ngulo]. Í[ñiguez]. "Exposición de Goya en los museos de la Haya y del Louvre." Archivo español de arte 43 (July-September 1970), p. 361.

Jean Chatelain. "Chronique des musées: Expositions, Orangerie des Tuileries, Goya." Revue du Louvre et des musées de France 20 (1970), p. 254, mentions it as an influence on Renoir's picture "Jean Renoir déguisé en clown rouge" [sic for "The Clown (Claude Renoir)," 1909, Musée de l'Orangerie, Paris].

J[eannine]. B[aticle]. "Chronique des musées: Expositions, Orangerie des Tuileries, Itinéraire de l'exposition Goya." Revue du Louvre et des musées de France 20 (1970), p. 256, ill. p. 255, dates it about 1787.

Fred Licht. "Nouveau regards sur Goya." L'Oeil (October 1970), pp. 10-11, fig. 15, comments that the parallel between the cats' fixed stares and the sitter's lost expression fosters a sense of ambiguity and psychological depth.

Marcel Pleynet. "Lettre de Paris." Art International 14 (December 1970), p. 57, remarks that the Orangerie exhibition in 1970 [see Exh. Paris 1970] was the first time this painting was seen in France.

Enrique García-Herraiz. "Crónica de Nueva York." Goya (September-October 1972), p. 107.

William G. Niederland, M. D. "Goya's Illness: A Case of Lead Encephalopathy?" New York State Journal of Medicine (February 1, 1972), pp. 413-14, fig. 1 [reprinted in Leonardo, vol. 6, Spring 1973, pp. 157-61], observes a sinister note in this picture, apparent in some of Goya's pre-1792 paintings; ascribes the change in Goya's work after his illness of 1792-93 to the mind altering effects of lead-poisoning contracted from white pigment.

Boyce Rensberger. "Goya Grotesquery Laid to Lead's Use." New York Times (February 28, 1972), p. 33, ill., in an interview, Niederland [see Ref. Niederland 1972] cites the sinister looking cats in this picture as an early indication of Goya's "premorbid personality structure" caused by brain damage from lead-based paints.

Everett Fahy. "European Paintings: Goya's Portraits of Pepito Costa y Bonells." Metropolitan Museum of Art Bulletin 31 (Summer 1973), p. 174, ill., dates it about 1787 and calls it an example of Goya's early pictures which were highly colored in the 18th-century rococo fashion.

Rita de Angelis. L'opera pittorica completa di Goya. Milan, 1974, pp. 84, 87, 102-03, no. 229, ill., dates it 1788.

Edward Fowles. Memories of Duveen Brothers. London, 1976, pp. 149-50, recounts buying this painting from Bernstein through the intermediary Henri Bardac, for Fr 450,000 and £9,000, on the condition that it remain on loan for Bernstein's play; refutes Behrman's account [Ref. 1952] of Duveen's reducing the sale price for Bache and remarks "he knew that if he did not purchase the picture, it would have been bought at once by Andrew Mellon".

Sarah Symmons. Goya. London, 1977, pp. 11, 24, colorpl. 1 and ill. on cover (color), dates it about 1788 and says that it was paired with a portrait of another brother, Juan María, attributed to Esteve (Cleveland Museum of Art); observes that 18th-century English portraits also depicted children with their pets and relates these cats to the monsters in Goya's "St. Francisco de Borja" (about 1788; Valencia Cathedral).

Lorenz Eitner. "Cages, Prisons, and Captives in Eighteenth-Century Art." Images of Romanticism: Verbal and Visual Affinities. Ed. Karl Kroeber. New Haven, 1978, pp. 18-19, fig. 9, states that in eighteenth-century children's portraits, a caged bird symbolizes childhood innocence; observes in this picture "a stillness like the quiet before an execution".

Fred Licht. Goya: The Origins of the Modern Temper in Art. New York, 1979, pp. 180, 193, 230, 232, 234, fig. 112, compares it to Velázquez's "Infante Philip Prosper" (Kunsthistorisches Museum, Vienna) in which he sees "Velázquez's instinctive desire to enshrine the innocent, fragile boy in a protective interior where all is warm, soft, and benevolent," a direct contrast to the unsettling emptiness of space in Goya's picture; interprets Manuel Osorio's detached stare as deliberate ignorance of the impending doom of his pet bird and remarks that "more than a hundred years before Freud, Goya penetrates the innocence of children's appearance to portray the latent ambiguities and curiosity about death and pain that dwell in every child".

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 394, 398, fig. 716 (color).

Nigel Glendinning. "Convention and Character in Goya's Portraits." Biography in the 18th Century. Ed. J.D. Browning. New York, 1980, p. 171 n. 16, pp. 183-84, compares it to Goya's portrait of Manuel's brother, Vicente (Private collection, Switzerland).

Victor Chan. "Time and Fortune in Three Early Portraits by Goya." Arts Magazine 55 (December 1980), pp. 107, 112, 114, 117, fig. 10, dates it about 1788; calls it a "forthright symbolic portrait about human destiny," interpreting the birdcage as the confinement and protection of childhood, the three cats as Fortune, Time, and the Fates, and the magpie holding Goya's calling card as Destiny, its fate, like Goya's artistic future, dependent on Fortune.

Nigel Glendinning. "Goya's Patrons." Apollo 114 (October 1981), pp. 239, 247 n. 11, comments that the Altamira family portraits are among Goya's most conventional, except for the "strong hint of real life" and sense of irony in Manuel Osorio's; suggests that the Altamiras were not happy with this picture since it was the last work they commissioned from Goya.

Pierre Gassier. Goya dans les collections suisses. Exh. cat., Fondation Pierre Gianadda. Martigny, 1982, p. 38, contrasts the portraits of Manuel and Vicente Osorio, calling Manuel an "éclatant de fraîcheur".

Edward J. Sullivan. Goya and the Art of His Time. Exh. cat., Meadows Museum, Southern Methodist University. Dallas, 1982, p. 84, fig. 37, comments that the central figure in Esteve's "Four Children" (The Sarah Campbell Blaffer Foundation, Houston) is derived from the type of child portrait exemplified by this picture; notes that the bird is a traditional symbol of the soul.

Nancy Coe Wixom in The Cleveland Museum of Art Catalogue of Paintings. part 3, European Paintings of the 16th , 17th, and 18th Centuries. 1982, p. 482.

Charles S. Moffett in Manet, 1832-1883. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 76, 301, cites this picture as an influence on Manet's painting "Boy with a Sword" (1861; The Met 89.21.2), noting that in both works a child is standing among "attributes that reflect the values of adults".

Edward J. Sullivan. "Goya's 'Two Portraits' of Amalia Bonells de Costa." Arts Magazine 57 (January 1983), p. 78, dates it about 1788 and notes that the three cats "would appear in a later avatar as hungry, frightening beasts, in the print series known as 'Los Caprichos'".

Pierre Gassier. Goya: Témoin de son temps. Secaucus, 1983, pp. 114, 120, fig. 65 [French ed., 1983], dates it about 1788.

Julián Gállego in Goya en las colecciones madrileñas. Exh. cat., Museo Nacional del Prado. Madrid, 1983, pp. 64, 92, fig. 21 (color) [French translation of this essay is published in "Goya," Musées Royaux des Beaux-Arts, Belgium, 1985], dates it about 1788 and calls it one of the best child portraits of all time.

Wilhelm Messerer. Francisco Goya: Form und Gehalt seiner Kunst. Freren, Germany, 1983, p. 118, mentions this "puppet like" sitter as an example of the separation between the physical and psychological in Goya's portraits.

Ronald Paulson. Representations of Revolution (1789-1820). New Haven, 1983, pp. 358, 361, fig. 90, compares the bird among the cats in this picture to the artist among the monsters in the print "The Sleep of Reason Produces Monsters" ("Caprichos," pl. 43, 1799) and to Christ among the mob in "The Taking of Christ" (1798; Toledo Cathedral).

Barbara Burn. Metropolitan Children. New York, 1984, p. 67, ill. (color).

John Dowling. "The Crisis of the Spanish Enlightenment: "Capricho 43" and Goya's Second Portrait of Jovellanos." Eighteenth-Century Studies 18 (Spring 1985), p. 341, fig. 2, dates it 1788; comments that the tension between the bird and cats in this picture predicts the grotesque elements characterizing Goya's works from the late 18th century, such as the print series "Los Caprichos" from 1799.

Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, pp. 206-7, 295 [British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987].

Jeannine Baticle. Goya d'or et de sang. Paris, 1986, pp. 58, 61, ill. p. 61 (color).

Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, p. 54, cites the influence of this work on Manet's "Boy with a Sword" (MMA 89.21.2).

John F. Moffitt. "Goya's Emblematic Portrait of Don Manuel María Osorio de Moscoso y Álvarez de Toledo." Konsthistorisk tidskrift 56 (1987), pp. 145-56, figs. 1, 1a, 1b (overall and details), cites the recently discovered baptismal record of the sitter, as well as the record of his death in 1792; dates this portrait about 1787-88 or posthumously in 1792, suggesting that either the emblematic accessories were added to an earlier portrait after the sitter's death or that this picture supercedes an earlier one painted from life; discusses the cats, caged birds, and magpie in relation to images and verses in emblem-books of the period, viewing them as symbols of capricious destiny and the inherent instability of the world, noting that "particularly prone to imminent disaster are the most 'sharp-witted' and 'beautiful' male offspring".

Sarah Symmons. Goya: In Pursuit of Patronage. London, 1988, pp. 126, 132, 135, 137-38, ill. p. 127, dates it about 1788 and remarks on the "incipient violence at the feet of Manuel Osorio".

Jeannine Baticle. "Goya portraitiste." Biennale des antiquaires no. 439 (September 1988), p. 92, ill. p. 93 (detail), dates it about 1787-88.

Janis A. Tomlinson. Francisco Goya: The Tapestry Cartoons and Early Career at the Court of Madrid. Cambridge, 1989, pp. 138, 147, 168, 253 n. 54, fig. 89, notes that "the authority with which Goya endows the offspring of his aristocratic patrons . . . distinguishes his portraiture of children . . . within a period of social transition, their appeal is founded on the reassurance they offer of the perpetuity of lineage"; regards the birdcage as a symbol of childhood innocence that "betrays Goya's interest in the iconography of the ages of man during this period".

Alfonso E. Pérez Sánchez. Goya. Paris, 1989, p. 58, fig. 4 (color), comments on the sitter's sad expression and notes that Goya considered cats symbols of evil and childhood as vulnerable to all dangers.

José Luis Morales y Marín in Goya, 1746-1828. Exh. cat., Galleria Internazionale d'Arte Moderna di Ca' Pesaro [Venice]. Milan, 1989, pp. 106, 240, no. 25, ill. in color (cover and p. 107), dates it 1788.

Marianna Minola de Gallotti. "Cronica de Italia." Goya (July-October 1989), p. 104, ill. p. 103 (color).

Monique de Beaucorps. La peinture espagnole. Paris, 1990, p. 114, ill. p. 115 (color), suggests that the sense of forboding in this picture was a premonition by Goya of the looming political crisis in Spain that would effect aristocratic families like the Altamiras; considers the cats and birds precursors of the beasts in Goya's "Los Caprichos" and "Desastres de la guerra".

Milton Esterow. "Masterpiece Theater." Art News 89 (Summer 1990), pp. 134-35, quotes Everett Fahy's description of this painting as "pure Mozart . . . the early Goya, before he really plumbs the depth of the human soul".

Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. Ed. Nicholas H. J. Hall. New York, 1992, p. 88, compares it to a 1740s portrait of a young boy by Pierre-Hubert Subleyras in which a standoff between a dog and cat suggests a "hint of violence".

Deborah Krohn et al. in From El Greco to Cézanne: Masterpieces of European Painting from the National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York. Exh. cat., National Gallery Alexandros Soutzos Museum. Athens, 1992, pp. 16, 26, 37-38, 308, no. 34, ill. (color).

Jeannine Baticle. Goya. Paris, 1992, p. 132, ill. between pp. 272-73.

William L. Pressly. "Goya's 'Don Manuel Osorio de Zuñiga': A Christological Allegory." Apollo 135 (January 1992), pp. 12-20, colorpl. 1, interprets the picture's iconography in an 18th-century context, and finds allusions to the Christ Child and to the Passion.

José Luis Morales y Marín. Goya: Catálogo de la pintura. Saragossa, 1994, p. 204, no. 178, ill. [English ed., 1997], dates it 1788.

Janis Tomlinson. Francisco Goya y Lucientes, 1746-1828. London, 1994, pp. 65-66, 73, figs. 44-45 (color, overall and detail), suggests that the string attached to the bird was a pictorial device added by Goya as an afterthought; calls it Goya's "last overtly emblematic portrait" and notes that "such a menagerie probably alludes to innocence protected (the caged birds), and its inevitable loss (symbolized by the cats ready to pounce)"; wonders if Goya "complicated the image, perhaps in an attempt to parade his capacity as an intellectual artist".

John F. Moffitt. "Los 'Emblemas Morales' de Francisco de Goya y de Sebastián de Covarrubias." Goya (July-October 1994), pp. 45-47, fig. 1, considers it a posthumous portrait dating from 1792; connects the iconography of the tied magpie with similar images from an emblem-book by Sebastián de Covarrubias, edited in 1610.

Susan Alyson Stein in Goya in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1995, pp. 14, 45, 55, 57, 67, fig. 1 (color), color detail on front cover, and fig. 27 (installation view).

Holland Cotter. "World of Goya and Those Who Would Be Goya." New York Times (September 15, 1995), p. C30.

Paul Jeromack. "Goya: Truth and Enlightenment." Art Newspaper no. 51 (September 1995), p. 12.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 164, ill.

Jean-Louis Augé. "Le portrait de Manuel Osorio à l'âge de trois ans." Dossier de l'art (December 1996), p. 44, ill. in color: p. 45, and details (on front cover and p. 44), dates it about 1787 and calls it a mysterious picture that might be read in terms of Christian symbolism and allegory.

José Manuel Arnaiz. "Nuevas andanzas de Goya: Falsos y auténticos en el Metropolitan." Galería antiquaria no. 136 (February 1996), pp. 43-44, ill. p. 40 (color).

Jeannine Baticle. "Goya au Metropolitan." Connaissance des arts no. 527 (April 1996), p. 60, fig. 1 (color), dates it 1787.

Juan J. Luna in Goya: 250 aniversario. Exh. cat.Madrid, 1996, p. 410 under no. 140.

Juliet Wilson-Bareau. "Goya in The Metropolitan Museum of Art." Burlington Magazine 138 (February 1996), p. 102, observes that it "reveals the care Goya took with the presentation of even his youngest sitters" but laments the current condition of the picture which has lost Goya's original "finishing touches," particularly its colored glazes.

Jonathan Brown in The Robert Lehman Collection. Vol. 2, Fifteenth- to Eighteenth-Century European Paintings. New York, 1998, p. 183.

Jean-Louis Augé in Goya: Un regard libre. Exh. cat., Palais des Beaux-Arts de Lille. Paris, 1998, pp. 61, 70, 156, 158, no. 19, ill. pp. 157, 159, and on cover (color, overall and detail), interprets the iconography of this picture in terms of destiny, the Christ child, the Passion, and premature death; comments that such an image could not be made without the agreement of the sitter's family and wonders if it was intended for Manuel, as the younger son, to devote his life to the church.

Sarah Symmons. Goya. London, 1998, pp. 119-20, fig. 76 (color), compares it to Velázquez's pictures of dwarves and relates the cats to the monsters in Goya's 1788 paintings for the Valencia Cathedral.

David McTavish. "From Rembrandt to Renoir in Toronto: Frank P. Wood's Role as Private Collector, Public Adviser and Munificent Patron." The Private Collector and the Public Institution. Ed. Sheila D. Campbell. [Toronto], 1998, p. 21, notes that Duveen lent this portrait on approval to Woods, whose wife could not bear to see the three cats staring at the magpie every morning as she descended the stairs.

Joseph J. Rishel. Goya: Another Look. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1999, p. 38, ill. p. 43 (color), dates it 1788 and calls it "one of the most fetching and winsome children's portraits of all time".

Isadora Rose-de Viejo. "Goya. Lille and Philadelphia." Burlington Magazine 141 (April 1999), p. 248, mentions as particularly interesting the interpretation of this sitter as a "new Emmanuel" [see Augé et al. 1998].

Robert Hughes. Goya. New York, 2003, p. 115, ill. p. 114 (color), sees it as an "example of Goya's awareness of how contingent life is".

Meryle Secrest. Duveen: A Life in Art. New York, 2004, pp. 200-201, 446.

Manuela B. Mena Marqués in The Spanish Portrait: From El Greco to Picasso. Ed. Javier Portús. Exh. cat., Museo Nacional del Prado. London, 2004, pp. 210, 356-57, no. 53, ill. p. 228 (color) [Spanish ed., 2004], dates it 1788; believes this portrait represents Enlightenment theories about children's education.

Dagmar Feghelm. I, Goya. Munich, 2004, pp. 66, 69, ill. p. 67 (color), dates it about 1788 and calls it "an ambivalent, even multivalent enigma".

Manuela Mena Marqués in Goya: Prophet der Moderne. Ed. Peter-Klaus Schuster et al. Exh. cat., Alte Nationalgalerie, Berlin. Cologne, 2005, pp. 14, 110, no. 18, ill. p. 111 (color), suggests this picture was hung in the Altamira home to teach the children about potential dangers [and see Ref. Mena Marqués 2004].

Werner Hofmann in Goya: Prophet der Moderne. Ed. Peter-Klaus Schuster et. al. Exh. cat., Alte Nationalgalerie, Berlin. Cologne, 2005, pp. 27-28, calls the artist's calling card in the magpie's beak an example of Goya's habit of inserting himself into a picture when he felt a personal association; since the magpie is bound to the boy by the string, questions whether the artist's role is one of outsider or partner in the game of perpetrator and victim.

Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 20-22 [Catalan ed., Barcelona, 2006, p. 19].

Amar Arrada in Citizens and Kings: Portraits in the Age of Revolution, 1760-1830. Exh. cat., Royal Academy of Arts. London, 2007, pp. 184, 202, 327, no. 102, ill. p. 203 (color) [French ed., Portraits publics, portraits privés, 1770-1830, Paris, 2006, no. 48].

Gudrun Maurer in Goya en tiempos de guerra. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2008, p. 220.

Mark A. Roglán in Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute. Ed. Sarah Lees. Williamstown, Mass., 2012, vol. 1, p. 385 n. 12, under no. 160, notes that the costume resembles that of the boy in Goya's "Autumn (The Grape Harvest)" (1786, Clark Art Institute, Williamstown).

Xavier F. Salomon. "Goya and the Altamira Family." Metropolitan Museum of Art Bulletin 71 (Spring 2014), pp. 4-6, 32, 34, 36-39, 41-43, 45-47, figs. 2 (color), 3 (set for "La Galerie des glaces"), 4 (color, photograph of Miller apartment) 50 (color detail).

Jane E. Braun in Goya: Order & Disorder. Exh. cat., Museum of Fine Arts, Boston. Boston, 2014, pp. 110, 378, fig. 43 (color) and ill. on title p. (color detail).

Janis A. Tomlinson in Goya: Order & Disorder. Exh. cat., Museum of Fine Arts, Boston. Boston, 2014, p. 208.

Xavier Bray. Goya: The Portraits. Exh. cat., National Gallery. London, 2015, pp. 63, 66, 71, 213 nn. 23, 27, no. 11, ill. (color).

Thomas Gayford in Xavier Bray. Goya: The Portraits. Exh. cat., National Gallery. London, 2015, p. 229.

Allison Goudie in Xavier Bray. Goya: The Portraits. Exh. cat., National Gallery. London, 2015, p. 244.

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, p. 425, no. 307, ill. pp. 321, 425 (color).

Xavier Bray and Juliet Wilson-Bareau in The Goyas of Zubieta: Portraits of the Adán de Yarza Family. Exh. cat., Museo de Bellas Artes de Bilbao. 2019, p. 15, fig. 2 (color, overall and detail) [https://www.museobilbao.com/pdf/los-Goyas-de-Zubieta_eng.pdf], note that the calling card in the magpie's beak and the engraved card held by the sitter in Goya's portrait of María Ramona de Barbachano (ca. 1787-88; private collection) may be pictorial inventions of the artist.

José Luis Merino Gorospe in The Goyas of Zubieta: Portraits of the Adán de Yarza Family. Exh. cat., Museo de Bellas Artes de Bilbao. 2019, p. 41 [https://www.museobilbao.com/pdf/los-Goyas-de-Zubieta_eng.pdf], notes that the width of this portrait and others painted by Goya around the same time is similar to that of the canvas fabric used for the portraits of María de Barbachano and Antonio Adán de Yarza (both ca. 1787-88; private collection).

Helen Burnham and Genevieve Westerby in Manet Paintings and Works on Paper at the Art Institute of Chicago. Ed. Gloria Groom and Genevieve Westerby. Chicago, 2019, under no. 18 [https://publications.artic.edu/manet/reader/manetart/section/140048].

Katharine Baetjer in European Masterpieces from The Metropolitan Museum of Art, New York. Exh. cat., Queensland Art Gallery | Gallery of Modern Art. South Brisbane, 2021, ill. p. 199 (color).

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Goya (Francisco de Goya y Lucientes) | Manuel Osorio Manrique de Zuñiga (1784-1792) | The Metropolitan Museum of Art

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Goya's portrait of Manuel Osorio Manrique de Zuñiga was already described in 1923 (Mayer) as "perhaps the best" of the artist's portraits of children from the 1780s.

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the colors of the hallway are unatural and seem off

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the colors of the hallway are unatural and seem off

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This piece has a lot of things in it and fills the entire frame.

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Isabella & Kendall-Grape Vines and Fruit, with Three Wagtails

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Isabella & Kendall-Grape Vines and Fruit, with Three Wagtails

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Dancer = Propeller = Sea

1915
this picture uses movement w how the lines and shapes go in alll diff directions

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This piece uses difference and change in the color difference, allowing for the women’s dress to really stand out.

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The flowers on this vase add texture to it.

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Inscription: [chased (?) on underside]: This Enameled Silver Vase / manufactured by Tiffany & Co. for exhibition / at the Columbian Exposition has been / presented to / the / Metropolitan / Museum of Art / by the purchaser a lover of Art / whose identity / will be / disclosed and / name added to this inscription / by Tiffany and Co. / on receipt of the donor's permission / 1899

Marking: [marked on underside]: TIFFANY & Co[superscript O over _] / 11168 MAKERS 3137 / STERLING SILVER / T / [Tiffany mark for World's Columbian Exposition] (all incuse)

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Manufactured by Tiffany & Co. | The Magnolia Vase | American | The Metropolitan Museum of Art

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Inscription: [chased (?) on underside]: This Enameled Silver Vase / manufactured by Tiffany & Co.

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The form of the of the chair legs is really unique. I liked how the artist bends the legs and rest into an unusual shape.

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This shows shape by showing three shapes and that is it. It is very abstract.

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Lily, Priscilla, Antonio - "Blue Green Red" Ells worth Kelly, Oil painting

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Lily, Priscilla, Antonio - "Blue Green Red" Ells worth Kelly, Oil painting

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The different colors and patterns give it more dimension and contrast so that it all doesn't look one color.

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Priscilla, Lily, Antonio- Olive Trees at Collioure BY: Henri Matisse

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Priscilla, Lily, Antonio- Olive Trees at Collioure BY: Henri Matisse

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This shows a unique way of shading in nature and its surroundings.

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This picture uses emphasis by having the leader be the center focus of attention.

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Plaque: Equestrian Oba and Attendants - Kendall, Isabella

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Plaque: Equestrian Oba and Attendants - Kendall, Isabella

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this one shows a lot of movement as a parade marches through a city 

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this one shows a lot of movement as a parade marches through a city 

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The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met's Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.

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Jane Peterson | Parade | American | The Metropolitan Museum of Art

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The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met's Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.

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This painting uses the negative space to draw your eyes to the middle of the drawing.

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The Greta S. Heckett Collection (erroneously as the eye of Empress Josephine); to Sotheby Park Bernet Inc., Heckett Collection, part III, October 1977, lot 329; to a private collection; to the vendor 2009.

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Edward Greene Malbone | Eye of Maria Miles Heyward | American | The Metropolitan Museum of Art

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The Greta S. Heckett Collection (erroneously as the eye of Empress Josephine); to Sotheby Park Bernet Inc., Heckett Collection, part III, October 1977, lot 329; to a private collection; to the vendor 2009

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This piece uses shapes in an intresting way by using unity to bring all of them together to create one piece.

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Twelve-Pointed Star-Shaped Tile - Kendall, Isabella

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Twelve-Pointed Star-Shaped Tile - Kendall, Isabella

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Priscilla, Lily, Antonio- The Village BY: Fernand Leger

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Priscilla, Lily, Antonio- The Village BY: Fernand Leger

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This piece has lots of variety in the shapes and colors.

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the space beyond the grass is made to look far away

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the space beyond the grass is made to look far away

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the clouds are flowing and the wheat is blowing in the wind

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the clouds are flowing and the wheat is blowing in the wind

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jesus is at the center of his disciples with a circle behind his head drawing attention to him

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jesus is at the center of his disciples with a circle behind his head drawing attention to him

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there are 2 normal looking humans and an unnatural looking beast. 

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there are 2 normal looking humans and an unnatural looking beast. 

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sorts

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this piece is made up of abstract shapes to create a body of some sorts

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this piece is made up of abstract shapes to create a body of some sorts