-Portrait-of-Bartolomeo-Manganoni-1696-oil-on-canvas-Mus%C3%A9e-des-Beaux-Arts-de-Narbonne.jpg) |
| Giuseppe Ghislandi (Fra Vittore Galgario) Portrait of Bartolomeo Manganoni 1696 oil on canvas Musée des Beaux-Arts de Narbonne |
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| Michele Giambono The Sudarium before 1462 tempera on panel Palazzo Malaspina, Pavia |
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| Felice Giani Personification of Justice and Peace ca. 1813-18 drawing Cooper Hewitt, Smithsonian Design Museum |
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| Corrado Giaquinto Descent from the Cross ca. 1754 oil on canvas Museo del Prado, Madrid |
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| Cornelis Norbertus Gijsbrechts Trompe l'Oeil with Studio Wall and Vanitas Still Life 1668 oil on canvas Statens Museum for Kunst, Copenhagen |
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| Eric Gill A.R.P. (Air Raid Precaution) Badge ca. 1939 molded metal British Museum |
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| Sam Gilliam T-Shirt 1973 screenprint Smithsonian American Art Museum, Washington DC |
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| Harold Gilman Norwegian Interior (compositional study for painting) 1913 drawing British Museum |
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| Luca Giordano The Finding of Moses ca. 1685-90 oil on canvas North Carolina Museum of Art, Raleigh |
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| Giovanni Antonio da Brescia Hercules and the Cretan Bull ca. 1514-15 engraving National Gallery of Art, Washington DC |
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| Anne-Louis Girodet Armin witnessing the Deaths of his Children (scene from James Macpherson's Ossian) ca. 1799 drawing (study for painting) British Museum |
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| Girolamo da Treviso the Younger Virgin of the Rosary before 1544 watercolor on paper (formerly owned by Joshua Reynolds) British Museum |
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| Hans Gjesme Life Class ca. 1920-23 drawing Sogn-og-Fjordane Kunstmuseum, Norway |
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| Milton Glaser and Cosmos Sarchiapone Reciprocal Portraits of Each Other 1976 gelatin silver print Archives of American Art, Washington DC |
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| Grigory Gluckmann Full-Blown ca. 1955 oil on panel Frye Art Museum, Seattle |
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| Hendrik Goltzius after Anthonie Blocklandt Departure of Lot from Sodom 1582 engraving Kupferstichkabinett, Kunstmuseum Basel |
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| Henry Goodwin Dr James Murray and his son at Sunnyside, Oxford (photographed while editing the Oxford English Dictionary) 1907 gelatin silver print Moderna Museet, Stockholm |
from The Father of the Family
"It seems, moreover, that nature has not only created animals for men's service but has also made some men fit to obey for the service of those men who are fit to rule. Consequently, the acquisitions made by preying upon an enemy in war are also just, provided the war is just, and I do not want to omit Thucydides' observation, in the preface to his history, that in the most ancient times the art of preying was not shameful. We see in reading the poets that asking a man whether he is a pirate is hardly an insult, and Virgil reflects this custom or way of speaking when he puts the following boast in the mouth of Numanus:
We crush grey hair with a helmet and rejoice
To gather fresh prey and live by plunder.
Today, the booty that the Knights of Malta and others have taken from the people of Barbary can be called a natural and just acquisition. Thus it seems that all these arts of natural acquisition, and especially agriculture, are suitable for the father of the family, and if he were to blend all these arts and market all the things he gets by them, he might perhaps practice an art that would not be unseemly for a father. This art is now commonly called trade, and there are many kinds of it. Most just is the kind that transports the surplus goods from one region to another where they are needed and returns with things from the second region that are lacking in the first. Discussing this subject in the Offices, Cicero says that trade is sordid when conducted on a small scale, but when carried out on a grand scale is not to be blamed overmuch."
– Torquato Tasso (ca. 1580), translated by Dain A. Trafton and Carnes Lord (1982)
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