Rubens is famous for his fat ladies, and these ample bodies are vibrantly expressive. What Rubens the antiquarian painted in this rapid and skillful oil sketch was his interpretation of an ancient relief.
In the center-ground of the landscape, Dürer stands as usual with the explicative tablet and his gaze fixed straight ahead. Inscription on the table before the self-portrait: ALBERTVS DVRER ALEMANVS FACIEBAT POST VIRGINIS PARTVM 1509. The background presses into the far distance, toward a lake enclosed by hills, peppered with buildings.
Degas produced many portraits between 1865 and 1870, too, the major ones of which were Thérèse de Gas, Double Portrait, The Collector, Madame Hertel, Duke and Duchess of Morbilli, Jacques Joseph (James) Tissot, Mademoiselle Dihau at the Piano, Madame Camus at the Piano, Portrait of Hortense Valpinçon as a Child.
Conventional as they may be, these portraits highlight both what is characteristic and what is casual in the personality and deportment of the sitter.
In the lunettes situated at the top of the altar wall, Michelangelo painted the first two groups of ancestors of Christ according to the sequence of the Gospel of St Matthew: Abraham-Isaac-Jacob-Judah and Perez-Hezron-Ram. The two frescoes were destroyed when the artist decided to extend the painting of the Last Judgment to the whole wall. However, they are shown in two drawings reproducing the whole vault (now in the collections of Windsor castle and the Ashmolean Museum, Oxford) and in two engravings by Adamo Ghisi.
After 1880 Degas also explored the theme of women bathing. French artists devoted a significant part of their work to the praise of woman's beauty, albeit less in the nineteenth than in the eighteenth century. Unlike to his predecessors, Degas describes intimate scenes without intimacy, bodies without sensuality. The women bathing, washing, drying themselves, combing their hair or having it combed, are mainly seen from behind. They do not seem to heed the intimacy of the boudoir or bathroom scene. Degas's matter-of-fact depictions of woman was criticized by his contemporaries.