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| Antonio Gherardi St Roseline de Villeneuve and a Bishop interceding with the Virgin and Child for Plague Victim ca. 1680 oil on canvas (altarpiece) Musée Fesch, Ajaccio, Corsica |
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| Ger Gerrits Composition 1950 oil on canvas Dordrechts Museum, Netherlands |
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| Jean-Léon Gérôme Portrait of a Woman 1850 oil on canvas National Gallery of Canada, Ottawa |
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| Geertgen tot Sint Jans Tree of Jesse ca. 1500 oil on panel Rijksmuseum, Amsterdam |
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| Giovanni Battista Gaulli (il Baciccio) Angel appearing to Hagar and Ishmael ca. 1690-1700 drawing Philadelphia Museum of Art |
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| Paul Gauguin Flowers and Bird ca. 1884-86 oil on vellum Dallas Museum of Art |
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| Ignatz Marcel Gaugengigl Mrs James Henry Lancashire (Sarah Hale Wright) ca. 1910 oil on canvas Museum of Fine Arts, Boston |
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| Jakob Gauermann Hunter and Serpent ca. 1800 drawing Graphische Sammlung Albertina, Vienna |
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| Pierre Gaudard Versailles 1979 gelatin silver print National Gallery of Canada, Ottawa |
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| Étienne-Barthélemy Garnier Horatius slaying his sister Camilla after the Defeat of the Curiatii ca. 1790 drawing Art Institute of Chicago |
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| Mauro Gandolfi after Gaetano Gandolfi Adoration of the Shepherds 1829 drawing (print study) British Museum |
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| Pierre-Antoine Gallien Portrait of writer Anatole France ca. 1924 woodcut Clark Art Institute, Williamstown, Massachusetts |
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| Thomas Gainsborough Wooded Landscape before 1788 drawing National Gallery of Canada, Ottawa |
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| Thomas Gainsborough Portrait of Samuel Kilderbee ca. 1758 oil on canvas Art Gallery of New South Wales, Sydney |
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| Wanda Gág Wash Tubs 1927 lithograph Smithsonian American Art Museum, Washington DC |
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| Thomas Frye Young Man holding a Candle 1760 mezzotint and etching Art Gallery of Ontario, Toronto |
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| Alfred J. Frueh Eva Le Gallienne in The Swan ca. 1923 ink on paper National Portrait Gallery, Washington DC |
from The Father of the Family
Here I fell silent, and the good father of the family began to speak: "What you have said about wine and the days of the heroes reminds me that I have heard from certain students of Homer that he praises wine by describing it as dark and sweet. In fact, however, these qualities are not very praiseworthy in wine, and it seems to me all the more surprising that he praises it in this way because I have observed that the wines that are brought to us from the Levant are white, like the malmsey, the Rumanian wines, and the others that I have drunk in Venice. Moreover, the wines from the Kingdom of Naples that are called Greek – perhaps because the vines were brought from Greece – are white, or rather gold. In fact all the wines that we have been discussing are gold; and white wines, properly speaking, come from the Rhine, from Germany and from cold countries where the sun lacks the strength to open the grapes before the harvest – although perhaps the way in which such wines are made is the real cause of their whiteness."
Then he ceased speaking, and I answered: "Wines are called sweet by Homer metaphorically, just as all things pleasing to the senses or dear to the mind are called sweet. At the same time I will not deny that Homer may have liked his wine a bit sweet. I like it so myself, for within limits sweetness in wine is not unpleasant. The malmseys, the Greek wines, and the Rumanian wines of which we were speaking all possess a certain sweetness that they lose with age. The poet says, "Fill my cup with bitterer wine," not because he wants his wine to taste literally bitter – no one likes that – but because he wants an old wine that has lost its sweetness and acquired the kind of strength full of austerity that he calls here bitterness, and I should like to persuade you that Homer describes wine as sweet in the same way as Catullus describes it as bitter. Finally, Homer calls it dark perhaps because he is thinking of some particular wine prized at that time like the wine that is called lacrima today, which is ruby in spite of the fact that it is pressed from the same grape as Greek wine."
– Torquato Tasso (ca. 1580), translated by Dain A. Trafton and Carnes Lord (1982)