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Our collection of more than 30,000 works of art ranges over 5,000 years, from ancient Egypt to the present. The museum was founded by a group of civic-minded philanthropists "for the benefit of all the people forever."
 La Vie ©, 1903.
Pablo Picasso (Spanish , worked in France, 1881-1973)
Oil on canvas, 196.5 x 129.2 cm.
The Cleveland Museum of Art, Gift of the Hanna Fund, 1945.24
 The Holy Family with John the Baptist and St. Margaret ©, ca. 1495.
Filippino Lippi (Italian, ca. 1457-1504)
Oil and tempera on wood (poplar), diam. 153 cm.
The Cleveland Museum of Art, The Delia E. Holden Fund and a fund donated as a memorial to Mrs. Holden by her children: Guerden S. Holden, Delia Holden White, Roberta Holden Bole, Emery Holden Greenough, Gertrude Holden McGinley, 1932.227
 The Crucifixion of St. Andrew ©, 1607
Michelangelo Merisi Caravaggio (Italian, 1573-1610)
Oil on canvas, 202.5 x 152.7 cm.
The Cleveland Museum of Art, Leonard C. Hanna, Jr., Fund, 1976.2
 Victory with Cornucopia ©, Imperial Later Julio-Claudian
Roman, 40-68 AD.
Bronze, H. 42 cm.
The Cleveland Museum of Art, Leonard C. Hanna, Jr., Fund, 1984.25
 Head of a King ©, 17th century.
Nigeria, Edo, Benin City.
Bronze.
Commissioned by royal descendants, effigy heads like this one were placed on raised earthen ancestral altars. Carved ivory tusks, wooden rattle staffs, bronze bells, and other objects displayed on the altars commemorate the power and the presence of past rulers.
 Irises (detail) ©, Edo period.
Watanabe Shiko (Japanese, 1683-1755).
Pair of six-fold screens; ink and color on gold ground paper.
Watanabe Shiko holds an important place in the development of painting in 18th century Japan. In reshaping the pictorial conventions of the past, he emphasized visual reality, which became one of the dominant trends in Japanese art.
 Flame pattern vessel ©
Japan, middle Jomon period, ca. 2500 B.C., earthenware, h. 61 cm. John L. Severance Fund. 1984.68
 Portable Altar and Ceremonial Crosses of Countess Gertrude of Holland and Count Liudolf Brunon ©, about 1040.
Germany, Lower Saxony, Brunswick, from the Guelph Treasure.
An ensemble of eight objects from the Guelph Treasure that put the medieval collection of the Cleveland Museum of Art in the front rank of American museums.
 Time © , about 1500-10.
France.
Tapestry; wool and silk.
This tapestry is one of a set of four that also includes Youth, Love, and Eternity.
 Cupid and Psyche © , 1817.
Jacques Louis David (French, 1748-1825).
Oil on canvas.
Painted while David was in exile in Brussels, the work is a departure from his earlier moralizing pictures.
 Dancers © , about 1896.
Edgar Degas (French, 1834-1917).
Pastel on paper.
The son of an affluent banker, Edgar Degas was one of the principal leaders of the Impressionists, although he detested this label and preferred to think of himself as a "realist." His pastel Dancers reveals a brief moment in this hidden world.
 Harlequin with Violin ("Si tu veux") ©, 1918.
Pablo Picasso (Spanish, worked in France, 1881-1973).
Oil on canvas.
During their close association from 1909 to 1914, Pablo Picasso and Georges Braque created Cubism, the most influential art movement of the 20th century. On their canvases they presented objects from various points of view, flattened and broken into individual planes.
 Romaine Lacaux ©, 1864.
Auguste Renoir (French, 1841-1919).
Oil on canvas.
Renoir painted this charming portrait in 1864, just after he turned twenty-three. Disenchanted with academic methods, he and three fellow students (Monet, Bazille, and Sisley) left the studio of their teacher Charles Gleyre that summer and began painting directly from nature in the forest of Fontainebleau.
 Isabella Brant ©, about 1620.
Peter Paul Rubens (Flemish, 1577-1640).
Oil on wood.
Isabella Brant and Rubens were married in 1609. The artist painted her numerous times in different guises before she died at the age of thirty-five. No portrait of her is more intimate than this one.
 Poplars at Saint-Rémy ©, 1889.
Vincent van Gogh (Dutch, 1853-1890).
Oil on canvas.
When van Gogh began experiencing prolonged seizures in 1889, he committed himself to an asylum in Saint-Rémy. There he sometimes painted the fields and landscape visible through his window. Anxious about the recurrence of his illness, he made even bolder expressions of his feelings of nature.
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