In this work, the cello allows for a simple yet strongly unified composition. The opposing axes of instrument and subject intersect at the subject's hand, so that the hand is not just holding the cello but also holding the composition together. Curves of the instrument are repeated in the pearls, and in Ms. Ladines' hair and face. A subdued palette was used, appropriate for a formal portrait of this type. Ms. Ladines' eyes were carefully rendered, showing the cellist as alert, intelligent, and sympathetic.

In this portrait of a prominent eye surgeon, background elements—arranged to give depth and balance to the composition—are subordinated in soft shadow. In the lighted foreground, Dr. Bartlett's glasses, wedding ring, pen, and tie provide accents that lead the viewer's eye in a sweeping curve from the subject's right hand to the warm, engaging expression of his face.

The subject's pose and the predominant blue of the composition suggest calm and relaxation. This mood is appropriate for Mr. Stubbs, a retired educator and man of quiet dignity. The newspaper adds interest to the composition, while the angles of the leg and tie lead the viewer's eye to Mr. Stubbs' attentive face.

Mr. Sheff has striking masculine features, but this portrait captures his introspective character. The simple composition and subdued lighting allow nothing to detract from the subject's contemplative gaze. The face is surrounded by a subtle color harmony, with reds in the background and greens in the garment shadows.

Painting toddlers can be a challenge, but this work was a pleasure to create. The portrait reveals Travis' playful nature and happy disposition. The composition does not include the usual toys and teddy bears, but instead focuses attention entirely on the subject's lively, expressive face.

The softened form and muted colors of background and silk blouse complement Ms. Yang's gentle disposition. The accents of necklace and earring provide interest without unduly detracting from the main focus of the painting—the subject's modest half-smile and eyes that are both kind and keen.

"Painting a Rembrandt is a humbling experience," observes Turner. "Even after extensive scientific analysis, some of Rembrandt's methods of paint application are still not clearly understood. So instead of trying to duplicate the Dutch master's unique impasto brushwork, I have used a softer technique with some blended passages to render the overall chiaroscuro effect of Rembrandt's portrait of his sixteen-year-old son Titus." The contrast of light and shadow and the somber, restricted palette add to the intimacy of this sympathetic portrait.

It is interesting to note that the Renoir original of Romaine Lacaux was painted in the same year as the original of the Winterhalter portrait shown below. Although both portraits have a strongly unified composition, the styles are quite different. As a court painter, Winterhalter portrayed his subjects with an air of relaxed luxury and refinement. Renoir depicted feminine beauty in the Impressionist manner, using subtle nuances of color and light. Turner has adapted each work to his own more direct method of traditional realistic characterisation.

Greuze was hugely popular in his day for painting narrative scenes in the moralistic genre. Lithographs of his works were widely distributed. As a skilled draftsman, Greuze produced many portraits and character studies. The young woman in this portrait, presented in the form of a bust, engages the viewer with a lively expression. In this rendering, Turner has retained the line and form of Greuze' original, but modified the flesh tone and overall color scheme.

This life-size portrait showcases the artist's rendering of fabric and flesh. According to Turner, "This is one of my favorite works at the Musée d'Orsay. It's an arresting portrait. Winterhalter has portrayed his subject with beautiful, pearlescent flesh and a soft, sensous charm. Although the garment takes up a third of the picture space, it's the subject's head that is the focus of attention. The sweeping curves of hair, ribbons, and arm all lead the viewer's eye to Madame Rimsky-Korsakov's lovely face."

This stunning work is one of the world's most famous portraits. Hals' brisk, energetic brushwork brings spontenaity and vitality to his portraits. The embroidery detail in this work is a technical tour de force that complements the superb, lively portrait of this unnamed young man with the smiling eyes.

The greatest of all Dutch painters and one of the supreme artists of all time, Rembrandt was brilliant and versatile. His works are noted for their strong chiaroscuro contrast and heavy impasto highlights, but it's the compassionate handling of his subjects that gives Rembrandt's portraits their universal appeal.

This still life is a study in color and texture. The open, elevated style of the basket lifts the main fruit group off the counter and into center of the composition. The viewer's eye is led into the picture from the knife handle and through the wire frame of the basket to the fruit. The vertical bottles, foreground fruit, and receding diagonal of the counter provide balance and contrast.

In this landscape, the horizon and silhouetted pine trees divide the picture plane into rectangles, creating an abstract pattern that is restful and static. The dominant rectangle provides a sub-frame for the focus of interest: the dramatic, angular sweep of late-summer evening clouds. These bold diagonals contrast the vertical trees and flat horizon. A warm atmospheric glow was achieved by glazing the sky and lake colors over a canvas primed with red.

In the quiet composition of this still life, the large jar has a monumental quality as it dominates the picture space. The strong horizontals of the wooden shelf give the work a restful stillness. Leaves and shadows add depth to the picture and help balance the mass of the main forms. The blue decoration of the jar complements and accentuates the vibrant color of the oranges.