Common in ancient civilizations, offering figures such as this represented prayers for health, good fortune, or thanksgiving, providing a tangible form that worshipers could leave for the god or goddess he venerated.

This Roman head of a young man is both technically brilliant and touchingly human. In the bravura Antonine sculptural style of the mid-second century CE, his great mop of curly hair is luxuriantly carved, and his eyes are incised to suggest the sparkle of life.

Common in ancient civilizations, offering figures such as this represented prayers for health, good fortune, or thanksgiving, providing a tangible form that worshipers could leave for the god or goddess he venerated.

One of the more enigmatic artifacts of the ancient Mediterranean world is this type of Cycladic marble figurine [see another in the Dallas Museum of Art's collection: 1982.292.FA], found mainly in western Anatolia or in th

The area of Greek settlements in western Anatolia known as Ionia developed a rich decorative ceramic style during the Archaic period. This oinochoe, or small wine jug, is covered in leaf, bird, and geometric patterns.

One of the more enigmatic artifacts of the ancient Mediterranean world is this type of marble figurine found mainly in the Aegean islands of the Cyclades. These starkly abstract human figures dating from the 3rd millennium B.C.

This richly detailed painting thrusts us into the tumultuous history of the French Revolution and its aftermath. The two men shown greeting each other at the center of the painting are Joseph Cange, a prison guard, and Monsieur George, an aristocrat who was imprisoned during the Terror, the most radical phase of the Revolution that took place between 1793 and 1794.

Painted at the height of Anne Vallayer-Coster's artistic powers, this still-life painting belonged to a high-ranking official of the entourage of the Queen of France, Marie Antoinette. It was exhibited at the Salon of 1777, the year after it was painted.

Painted at the height of Anne Vallayer-Coster's artistic powers, this still-life painting belonged to a high-ranking official of the entourage of the Queen of France, Marie Antoinette. It was exhibited at the Salon of 1777, the year after it was painted.

In Nicolas Mignard’s painting, the crisp draperies, pure colors, and simple setting are perfect testimony to the Italian influence, particularly of the Bolognese school, on French art at the beginning of the 17th century. The shepherd Faustulus rescued twin babies Romulus and Remus, the future founders of Rome, after they were abandoned on the banks of the Tiber River.