Saint Cloud (?), Georges Michel, 1773 - 1843 - Rijksmuseum

Lucht, Reinier Nooms, 1651 - 1652 - Rijksmuseum

Plattegrond van Saint-Cloud, Martin Marvie, 1744 - Rijksmuseum

Embleem: regen, Caspar Luyken, ca. 1700 - Rijksmuseum

Album of Daoist and Buddhist Themes: Procession of Daoist Deities: Leaf 6 | Cleveland Museum of Art

This extraordinary album has 50 paintings on a variety of religious subjects. They were likely created by several master craftsmen to share with studio apprentices as models for fulfilling commissions. The Jade Emperor and the Daoist pantheon make up the first 26 leaves. The next 14 leaves portray the Buddhist Ten Kings of Hell administering punishments to the dead. The third section, called “Clearing the Mountains,” features divine soldiers, led presumably by the deity Erlang Shen 二郎神, fighting undesirable creatures.

Mirror with a Pair of Phoenixes | Cleveland Museum of Art

Informations of the artwork

Evening Snow at Uchikawa, from the series Eight Views of Kanazawa | Cleveland Museum of Art

Informations of the artwork

Man schuilt voor een hagelstorm, Theodor de Bry, naar Jean Jacques Boissard, 1596 - Rijksmuseum

Bottle Cooler France, Saint Cloud, 18th century | Cleveland Museum of Art

The form of these cachepots is entirely typical of Saint-Cloud porcelain of about 1725. Their decoration, based upon Chinese porcelains of the so-called "famille-verte" type, is most unusual. Polychromed enamels were not often employed on Saint-Cloud porcelains, and figural scenes are very rare.

The Submersion of Pharaoh's Army in the Red Sea | Cleveland Museum of Art

To make this monumental woodcut—considered one of the most ambitious prints of the Renaissance—Titian probably drew directly on the wooden blocks, after which a skilled cutter completed the blocks. The size rivals that of a painting, and the composition would have hung on a wall. Titian’s bold vision presents nature as a vehicle of God’s mercy and wrath. Moses, at right, having parted the seas for the Israelites to pass, commands them to close over the Egyptian forces (Exodus 14:21–31). Titian propelled the narrative with remarkable unity, dedicating entire blocks to the turbulent sea and rolling clouds that culminate in a magnificent cliff and Renaissance city. Some have interpreted the scene as an allegory of Venice’s troubles with the League of Cambrai, a military alliance that threatened the island city.