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| Franz Eybl Berry-picker against Mountain Landscape 1844 oil on panel Liechtenstein Museum, Vienna |
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| Equipo Crónica (art collective) The Pamphlet 1973 acrylic on canvas Institut Valencià d'Art Modern |
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| George Engleheart Miniature Portrait of a Man 1804 watercolor on ivory Fitzwilliam Museum, Cambridge |
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| William Etty Académie ca. 1820-30 oil on board National Gallery of Canada, Ottawa |
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| Christoffer Wilhelm Eckersberg Archer sharpening Arrow 1812 oil on canvas Ny Carlsberg Glyptotek, Copenhagen |
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| Frank Samuel Eastman Half-Length Study of Model ca. 1910 drawing Harvard Art Museums |
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| Otto Eckmann Solitude 1894 photogravure by Eckmann of a painting by Eckmann Kunstbibliothek, Staatliche Museen zu Berlin |
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| Rudolf Eickemeyer Portrait Study 1902 platinum print Kunstbibliothek, Staatliche Museen zu Berlin |
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| Richard Ernst Eurich Lyme Regis 1930 oil on canvas Manchester Art Gallery |
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| Allart van Everdingen View of Dordrecht ca. 1660 oil on canvas Dordrechts Museum, Netherlands |
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| Cornelis Engebrechtsz Christ taking Leave of his Mother ca. 1515-20 oil on panel Rijksmuseum, Amsterdam |
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| Elisabeth von Eicken Spring ca. 1895 oil on canvas Kunstmuseum, Ahrenshoop, Germany |
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| Hans Rudi Erdt With our Heroes on the Somme 1917 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Bonaventura Emler Dante's Purgatory 1859 drawing Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden |
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| Bonaventura Emler Dante's Purgatory ca. 1859 watercolor on paper Graphische Sammlung Albertina, Vienna |
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| James Ensor Bourgeois Salon ca. 1910 oil on canvas Clemens-Sels Museum, Neuss, Germany |
The reformed St. Denis as realized by Suger thus differed very considerably from the reformed St. Denis as imagined by St. Bernard, and in one essential respect there was not only a difference but an irreconcilable contrast between the one and the other. [In St. Bernard's vision] no figural painting or sculpture, except for wooden crucifixes, was tolerated; gems, pearls, gold and silk were forbidden; the vestments had to be of linen or fustian, the candlesticks and censers of iron; only the chalices were permitted to be of silver or silver-gilt. Suger, however was frankly in love with splendor and beauty in every conceivable form; it might be said that his response to ecclesiastical ceremonial was largely aesthetic. For him the benediction of the holy water is a wonderful dance, with countless dignitaries of the Church, "decorous in white vestments, splendidly arrayed in pontifical miters and precious ophreys embellished by circular ornaments," walking "round and round the vessel" as a "chorus celestial rather than terrestrial." The simultaneous performance of the first twenty masses of the new chevet is a "symphony angelic rather than human." Thus, if the spiritual pre-eminence of St. Denis was Suger's conviction, its material embellishment was his passion: the Holy Martyrs, whose "sacred ashes" could be carried only by the king and took precedence over all other relics however much revered, had to have the most beautiful church in France.
From the earliest years of his abbacy Suger had begun to raise funds for the reconstruction and redecoration of the basilica, and when he died he left it "renewed from its very foundations" and filled with treasures second only – perhaps even superior – to those in Hagia Sophia. . . . In short, by making concessions to the zeal of St. Bernard in matters of morals and major ecclesiastical policy, Suger gained freedom and peace in all other respects. Unmolested by the Abbot of Clairvaux, he made his Church the most resplendent in the Western world and raised pomp and circumstance to the level of fine art.
– Erwin Panofsky, from Abbot Suger on the Abbey Church of St. Denis and its Art Treasures (1946)