Duke Karl Insulting the Corpse of Klaus Fleming, Albert Edelfelt, 1878, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=A+I+212

Kristuksen ylösnousemus, ylhäällä leijuva Kristus, alapuolella yksitoista opetuslasta, Berndt Abraham Godenhjelm, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=A+II+985%3A130

Istuva nainen ja jalkaharjoitelmia, Alfred William Finch, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=A+III+2211%3A117

Okänd dam, Marguerite Gérard, Nationalmuseum, SWE

http://collection.nationalmuseum.se/eMuseumPlus?service=ExternalInterface&module=collection&objectId=24871&viewType=detailView

Asgårdsreia, luonnos, Nils Jakob Olsson Blommér, 19??, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=A+I+456%3A4

Сельский вид, 1880, Radishshev Art Museum

Дерево, масло

http://ogis.sgu.ru/ogis/katalog/cgi-bin/museum.cgi-picid=sid-pac=va-id=g-166-bpicid=a-bid=83-bl=a-bs=0.htm

Self-Portrait, Vincent van Gogh, 1887, Art Institute of Chicago: European Painting and Sculpture

In 1886 Vincent van Gogh left his native Holland and settled in Paris, where his beloved brother Theo was a dealer in paintings. Van Gogh created at least twenty-four self-portraits during his two-year stay in the energetic French capital. This early example is modest in size and was painted on prepared artist’s board rather than canvas. Its densely dabbed brushwork, which became a hallmark of Van Gogh’s style, reflects the artist’s response to Georges Seurat’s revolutionary pointillist technique in A Sunday on La Grande Jatte—1884. But what was for Seurat a method based on the cool objectivity of science became in Van Gogh’s hands an intense emotional language. The surface of the painting dances with particles of color—intense greens, blues, reds, and oranges. Dominating this dazzling array of staccato dots and dashes are the artist’s deep green eyes and the intensity of their gaze. “I prefer painting people’s eyes to cathedrals,” Van Gogh once wrote to Theo. “However solemn and imposing the latter may be—a human soul, be it that of a poor streetwalker, is more interesting to me.” From Paris, Van Gogh traveled to the southern town of Arles for fifteen months. At the time of his death, in 1890, he had actively pursued his art for only five years. Joseph Winterbotham Collection Size: 41 × 32.5 cm (16 1/8 × 12 13/16 in.) Medium: Oil on artist’s board, mounted on cradled panel

https://www.artic.edu/artworks/80607/

Still Life, Pieter Claesz, 1643, Saint Louis Art Museum: European Art to 1800

https://www.slam.org/collection/objects/27247/

A Man in a Turban, Jan Lievens, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=C+1098

Apostoli Luukas, puolifiguuri, Berndt Abraham Godenhjelm, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=A+II+985%3A3

Judith and Holofernes, Giorgio Vasari, c.1554, Saint Louis Art Museum: European Art to 1800

https://www.slam.org/collection/objects/11906/

Judith, Jean Mariette, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=C+714%3A8

Shore Landscape from Åland, Elias Muukka, 1888, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=A+I+242

Brita Elisabet Gyllenspetz, Nils Schillmark, Finnish National Gallery

Brita Elisabeth Göhle, 1. aviol. Sucksdorff, 2. aviol. Gyllenspetz (1764-1838).

http://kokoelmat.fng.fi/app?si=A+II+1000

Miehen rintakuva, Georg Friedrich Schmidt, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=RAMSAY+201

Kolme vinttikoiraa, Jacobus Jonckheer, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=C+1067

Purje- ja höyrylaivoja, Alfred William Finch, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=A+III+2211%3A23