Collection
Daily Life in Renaissance & Baroque painting
222 paintings exploring the theme of daily life, from artists including Abraham Blooteling, Adam Roumeau, Albrecht Dürer, Andrea di Lione and across institutions such as Cleveland Museum of Art, The Metropolitan Museum of Art, Art Institute of Chicago.
A Draped Female Figure (possibly an Amazon) and Architectural Studies (verso)
Correggio
Massacre of the Innocents; group of women and children being attacked, two angels at upper left, after Reni
Gian Battista Bolognini
Massacre of the Innocents; group of women and children being attacked, two angels at upper left, after Reni
Gian Battista Bolognini
Girl carrying a crucifix and stepping toward a pilaster, seen from behind
Guido Reni
The Penitent Magdalene (Magdalena Poenitens), from "The Large Landscapes"
Johannes van Doetecum I
Don Gaspar de Guzmán (1587–1645), Count-Duke of Olivares
Juan Bautista Martínez del Mazo
Friedrich III (1463–1525), the Wise, Elector of Saxony
Lucas Cranach the Elder and Workshop
Johann I (1468–1532), the Constant, Elector of Saxony
Lucas Cranach the Elder and Workshop
Jan (1438/41–1516), First Count of Egmond; Magdalena, Countess of Egmond (1464–1538)
North Netherlandish Painter
Avarice (Avaritia), from the series The Seven Deadly Sins
Pieter Bruegel the Elder
Euntes in Emaus (Landscape with Pilgrims at Emmaus), from "The Large Landscapes"
Pieter Bruegel the Elder
St. James and the Magician Hermogenes from The Story of the Magician Hermogenes
Pieter Bruegel the Elder
Susanna, partly naked and stepping out of a fountain with two elders at left, one of them pulling at her garment, after Reni
Theodor van Kessel
Young Woman at an Open Half-Door
Rembrandt van RijnWorkshop of Rembrandt van Rijn
Trompe-l'Oeil Still Life with a Flower Garland and a Curtain
Adriaen van der SpeltFrans van Mieris
Why daily life dominated Renaissance and Baroque art
The theme of daily life returns again and again across two centuries of European painting. Renaissance and Baroque artists were working inside a culture where this subject carried specific weight: religious, civic, moral, erotic, political. The paintings collected here are not a random group — they are a record of how that subject was handled, contested, and reinvented by the painters who shaped Western art.
Each painting page on Paintale opens with the story of the work, then drills into the symbols a contemporary viewer would have read, the techniques the painter used to make those symbols feel inevitable, and the provenance trail that brought the painting from its first patron to its current museum wall.