Paintings, up close

When you zoom in you can see how Cuyp's use of colour bathes the scene in a warm, golden light – showcasing a deep understanding of natural light and shadows.

A satirical portrait of a woman, mocking the vanity of the old who dress and behave as if they are still young.

On the right side of the woman's headdress, you can see how the pattern of stripes has been made by removing the red, white and blue paint to reveal the black layer underneath. Whereas, on the left of the headdress black paint has been applied on top.

Here we see the magnificently dressed Virgin Mary, the mother of Christ, seated in a garden on a turf bench supported on planks of wood. The Christ Child is on her knee, playing with a small toy.

If you take a closer look you can see the delicate lines of gold that form the halo surrounding the Virgin Mary's head.

This lavishly dressed figure is the nobleman and humanist Fortunato Martinengo (1512–1552). The painting may have been commissioned by Fortunato or his brothers as a memento before he set out on a dangerous pilgrimage to the Holy Land in 1541.

Zoomed in you can see the brush strokes of Fortunato's lavish fur coat and the shimmering golden details on his clothes.

Part of a larger altarpiece, this panel shows Saints Christina and Ottilia. Saint Ottilia was born blind, but when she was 12 she was taken to a monastery, baptised into the Christian faith and her eyesight was restored.

When we zoom in, we can see that a pair of eyeballs rests on the book she holds, as a representation of her God-given sight.

We don‘t know exactly who this woman is, but it’s likely she is the ill-fated yet brave Carthaginian princess, Sophonisba, whose turbulent life and tragic death were recorded by several Roman writers.

This figure is also painted to resemble gilded bronze. Mantegna emphasises the rigidity of this figure by painting it as though it is lit by a light coming from the left. The sharp contrasts between light and shadow create the illusion that this figure is sculpted.