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Two Tahitian Women

This painting depicts two nude women standing, facing the left. The women have pale skin, and the woman on the left has red-blond hair while the woman on the right has dark brown hair. They are both reaching upward, and behind them is a tall tree with green leaves. Behind the tree is a green landscape with distant blue mountains under a cloudy blue sky.

In this painting, abstract shapes and bright colors give the impression of two tall people standing outdoors. The people are in formal attire, depicted with vibrant colors and simplified forms: a man on the right has a square head with dark orange skin and no facial features. He appears to wear a black suit jacket over a white shirt with gray pants and a bowler hat. He stands next to another person on the left who appears to be a woman with dark red skin and no facial features wearing a blue coat over a white dress, with something on her head that may be a dark, wide-brimmed hat. The woman is reaching down to the left towards an area of the painting with white, pink, and orange shapes, which may depict a small child facing away from us, with white skin and clothes, light pink hair, and an orange hat. In the background, shapes resembling twisted brown and red tree trunks add organic lines, along with areas of green, orange, and yellow. Areas of blue suggest a sky behind the trees, and the ground under the people is mostly orange with areas of yellow, green, and blue.

Wrestlers in a Circus

Tahitian Women Bathing

In the Waves (Dans les Vagues)

The Call

A nude woman with brown skin and long black hair stands to our right against a landscape swirling with jewel-toned greens, pinks, and purples while a man, also with brown skin, sits under a tree behind her in this stylized vertical painting. The woman's body is angled to our right, and she cuts her black eyes back to look off to our left. She touches her chin with the fingertips of her right hand, closer to us, while her left hand holds a white cloth over her groin. The ground beneath her is swirled with bright pink, lilac purple, and some strokes of canary yellow. To our left and behind the woman, the man wears a topaz-blue robe, and he kneels with his hands on his knees. A band of vivid orange and kelly green in front of his knees could be abstracted flowers. His oval face is rimmed with a band of black. He has a wide nose, and his pink lips are parted to reveal his teeth. His eyes are wide open as he looks down under black brows. A craggy, dark teal-blue tree trunk curves up and across the background, and a red and green faced serpent floats near the upper right corner. The artist signed, dated, and inscribed the title in the lower left corner, "P Gauguin 92 Parau na te Varua ino."

The Siesta

One of 17 canvases that Paul Gauguin completed during a brief and tumultuous visit with Vincent van Gogh in Arles, this powerful and enigmatic painting depicts the public garden directly across from Van Gogh’s house. The painting's large, ﬂat areas of color, arbitrary handling of space, and enigmatic silhouettes exemplify the deliberateness with which Gauguin sought visual harmony and symbolism in his work.

Three Tahitian Women

Männerakt

Procession or Pardon at Perros-Guirec

The Orange Christ

The Siesta

This painting is an abstract composition of irregular shapes and vibrant colors. The different sections overlap and intersect in shades of green, blue, red, purple, and pink. A blue section in the top left has black dots, and two purple sections towards the bottom have white dots with yellow centers. In the upper center of the painting, there is a section of crossing black lines in a small grid. The paint has been applied unevenly in thick, scribbled lines, and some patches of the white canvas are visible.

The Sofa

In saturated, vivid tones of mint green, marigold orange, dandelion yellow, sky blue, and rose pink, a long building stretches away from us along a walkway. The narrow end of the building facing us to the right is orange, and the long side is frosty green. The roof is painted garnet red, and the windows are created with slashes of midnight blue and dark red outlined with topaz blue. A wall enclosing the structure is lemon-lime yellow, and a fence in front of that is painted ultramarine blue. The walkway beneath the fence is pink and, to the left of that, pale blue. Two trees painted with twisting lines of ruby red, shamrock green, black, and off white edge into the scene along the left side, and the sky is lapis blue around a mint-green halo that surrounds the building’s roofline and walls. The scene is loosely painted with visible brushstrokes throughout.

Two nude women with brown skin and long black hair stand with their backs to us at a riverbank in this stylized horizontal painting. The body of the woman to our left is angled to our left with her hands raised, presumably about to plunge into the teal-colored water. The woman to our right unwraps a cloth patterned with bright yellow flowers on a deep purple background from her waist. Between the women and farther away, a bare-chested man, also with brown skin, wears a tomato-red garment across his hips as he stands hip-deep in the water holding a long spear. The top of his head is cropped by the top edge of the painting. Along the left edge of the canvas, a gnarled tree is painted as a flat field of dark, charcoal gray, and it rises off the side and top of the composition. An area of the same color, perhaps a thick root or the trunk growing nearly horizontally, spans the width of the painting, separating the women from us. The area around the trunk to our left and right is painted with fields of evergreen and cool mint. Closer to us, along the front of the root, a field of rosy pink swirls with grape purple to suggest sand. This area is dotted with harvest-yellow and pumpkin-orange vines and stylized flowers. A bunch of vivid orange flowers with pine and spring-green leaves sits on the root near the trunk, to our left. Most of the painting, especially the landscape, is painted with areas of mostly flat color. In the bottom left corner, the artist has written the title of the painting in darkred paint: “Fatata te Miki.” In the lower right corner, he signed and dated the work with periwinkle blue: “P. Gauguin 92.”

Four young women with medium brown skin sit or stand on a pumpkin-orange ground in this horizontal painting. The women are divided into pairs by a broad, gold, undulating brushstroke running down the middle of the ground they occupy. They are mostly nude, and three have long black hair while one has flame-red hair. To our left, the woman with red hair stands facing us, wearing a glittering, silver necklace as she gazes off to our right. She presses a white patch, perhaps the end of a loincloth, to her upper leg with both hands. Seated next to her is a woman with most of her body turned away from us. She leans over onto her left arm and turns her head over that shoulder to look down and off to our right. Both women to our right are seated close to each other, their shoulders overlapping. One woman wears a white cloth around the hip we can see, and the other wears knee-length breeches. They both look toward us. Beyond the women is what appears to be a stream running diagonally from the lower left to end in a small pool in the middle right. It transitions from muted oranges and green to smoky blue and gray. Opposite us, more orange ground is lined with dense groves of dark green trees that wind into the distance. A woman wearing a coral-colored hood and blue robe holds the arm of a child, and a black dog crouches at their feet. They stand near a slightly larger-than-life-sized topaz-blue statue of a standing woman with her elbows bent and arms raised. The sky beyond the trees is streaked and swirled with bright orange, yellow, and blue. The artist signed and dated the painting, along with the title, in the lower left corner, “Paul Gauguin 98 TE PAPE NAVE NAVE.”

This is a landscape painting depicting a body of water surrounded by greenery, with tall green and purple mountains in the background under a sky full of dark pink clouds and a strip of bright blue-green. To the right of center, a person stands in the water, submerged up to their thighs. The person faces away from us. Their skin is painted in shades of light orange and tan, and they have an orange cloth wrapped around their waist. They hold a long, thin spear, and look down at the water. Behind them, on the opposite shore, another indistinct person looks on, standing on the grassy green ground. At the edge of the tall mountains is a line of green trees. The wide water reflects the green and purple of the mountains, as well as the pink of the sky.

Ia Orana Maria (Hail Mary)

The Apple Seller

Two Women

Still-life with fruits on green cloth

The painting shows a landscape with a large, dark blue mountain in the background. Below the mountain are blocks of color, suggesting fields and structures. The area is filled with colors including yellows, oranges, reds, purples, and greens. The sky above the mountain is painted in a teal color with light pink clouds. The painting features thick brushstrokes, and the shapes lack specific details.

The painting depicts a rocky coastline dotted with color. The horizon is high in the scene, and a strip of pale-yellow sky is visible at the very top of the painting. Along the rocky coast in the distance, the colorful land meets vivid turquoise and green ocean waters, with white lines indicating small waves. A red-striped umbrella in the top left corner appears to shelter a person in a long white dress; the umbrella obscures their face. The rocks have been painted with thick dots of black, white, yellow, orange, red, and green. The brushstrokes are expressive and the paint has been thickly applied in dots and dashes.

A Farm in Brittany

Seated African Woman

Hilma af Klint "Svanen, nr 17, grupp IX/SUW, serie SUW/UW", 1915. Stiftelsen Hilma af Klints Verk. Photo: Moderna Museet/Albin Dahlström.

Mount Sainte-Victoire

The Dream of the Shepherd (Der Traum des Hirten)

We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

The Pigeon Tower at Bellevue

A white path and gray stone wall wind through ochre and harvest-yellow fields beneath a brilliant, turquoise sky in this stylized, horizontal landscape painting. The scene is created with long, visible brushstrokes of vivid color. Closest to us, the field is painted with vertical strokes of golden yellow and pea green. Touches of cardinal red and slashes of pine green create flowers around the end of the stone wall, which curves toward us from the background, at the center of this painting. The wall is painted with horizontal dashes of lilac and lavender purple, salmon pink, and periwinkle blue. A person wearing peach-colored trousers, a peacock-blue shirt, and a dark hat walks away from us, into the field, to our left of the wall. The white road enters the scene from the right, and meets the stone wall and a second wall on the far side of the road at a gate. Two columns rise from the walls to mark the spot of the gate, which opens into a property with three tall haystacks and a house. To our left, the house is painted with areas of warm yellow for the walls, honey brown for the roof, which is outlined in navy blue, and turquoise for the doors and windows. A few green trees, made of dots of bottle and forest green, are scattered near the house and haystacks. One sapphire-blue tree grows near the house. A band of azure blue along the horizon, which comes about two-thirds of the way up the painting, suggests a mountain range in the distance. Swirls of white suggest clouds in the turquoise sky. The paint is visibly textured throughout.

We look slightly down into a lime-green and white rowboat carrying a woman holding a baby and a man in this nearly square painting. The man wears midnight-blue shoes, pants, jacket, and soft, floppy cap. He sits with his back to us, bending forward to row the boat, which is cropped by the bottom edge of the canvas. The left side of his ruddy face is visible over his left shoulder. The woman and baby both have pale skin. The woman and baby sit across from the man, facing us to our left in the bow. The woman’s long-sleeved, sky-blue dress is crosshatched with pink lines. The baby leans back in the woman’s arms, and wears a pink dress, blue socks, and brown shoes. The wide-brimmed hats on both the woman and baby are painted pale celery green. They gaze toward or just past the man. The corner of the boat’s sail, also painted pale green, is pulled taunt by the wind to our left. Azure-blue water surrounds the boat up to the high horizon line, which brushes the top edge of the painting. The shoreline in the distance is lined with trees and dotted with white houses with red roofs.

The Gardener

The Child's Bath

Two people, perhaps a woman and man, and a baby sit at a table in a courtyard surrounded by vine-covered walls in this square painting. The scene is loosely painted with visible dabs, dashes, or smudges. The table is to the left of center. The man sits on the far side, to our left, and the woman, who appears to have her brown hair pulled up, sits facing away from us wearing a smoke-gray garment. A child wearing pink and pale blue sits to our right of the woman and seems to raise both arms. The ground is dotted with cream white and fog gray against the brown board on which this was painted. Steps lead up to a building at the back of the courtyard to the left, and the vine-covered wall stretches across the right two-thirds of the background. The artist signed the lower left corner, “E Vuilllard.”

The Bathers, Souvenir of the Banks of the Anio River at Tivoli

Improvisation No. 30 (Cannons)

"The Swan, No. 18" by Hilma Af Klint [Venice - 13 October 2013]

Madame Manet (Suzanne Leenhoff, 1829–1906) at Bellevue

The Girl by the Window

Portrait of Victor Ritter von Bauer

Adeline Ravoux

A dark-haired, disembodied head of a haloed man with pale, peach skin floats against a red and yellow background in this vertical portrait. The man’s hair seems to be flattened against his forehead, and extends beyond his head at the back in a way that suggests it may become a cap or hood. His face turns toward us, and he looks down to our left under arched eyebrows. He has a prominent hooked nose and a brushy mustache. Behind his head, the background is divided into a tomato-red zone for the top half and a golden yellow field below, separated by a thin, pine-green line. Two red and green apples hang from a branch near the upper right corner. The thin yellow halo floats over his head to the left of the branch. A pine-green, stylized, vine-like form curves up from the bottom edge of the panel and ends with flat, sunshine yellow, square shapes, perhaps abstracted flowers or fruit. A hand near the lower right holds one end of the vine like a cigarette between fingertips. The vine seems to turn into a serpent’s head beyond the man’s fingers. Numbers and letters are painted in green in the lower left: “1889” and “P Go.”

When this work was painted, millinery work (hat making) was considered a prestigious trade, elevating the women who succeeded in the business. Degas addressed this subtle shift in the class hierarchy: He gave his milliner a dress nice enough to be worn by an affluent woman, and though she does not wear the expected hat of a high-class lady, Degas playfully positioned the hat with green trimmings so it seems to sit atop the woman’s head.

The Mower

Émilie

Hilma af Klint — The Ten Largest — Number 4 Youth

Madame Roulin and Her Baby

The Cliffs at Beg-ar-Fry, Saint-Jean-du-Doigt

The Sacrifice of Isaac

By the Seashore

Still Life

In this portrait, Gauguin depicts the 13-year-old Tahitian girl Tehamana in a missionary dress holding a Samoan fan. A ripe mango alludes to fertility. In the background, Gauguin combined various non-European emblems—glyphs derived from an Easter Island tablet and a female deity inspired by Polynesian and Hindu sources—to build a generic sense of foreignness, transforming Tehamana into the embodiment of his own imagination.

L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)

Corn Fields

“There has been none of my favorite snow," George Bellows wrote to a friend in January 1914. "I must always paint the snow at least once a year.” Soon after, a blizzard hit New York City, inspiring this painting. The bright colors and broad brushstrokes convey the pleasure and movement of the skaters and onlookers who are out enjoying a New York City winter.

Mademoiselle Nys

William Merritt Chase was one of the most influential painters at the turn of the 20th century. In this painting, which probably depicts Brooklyn’s Tompkins Park, half the canvas is filled by the wide, empty walkway. Its strong diagonal borders carry the eye into the scene. This informal piece, capturing the sparkle of a summer day, affirms the fresh perspective Chase brought to painting scenes like this one.

This painting depicts a sunlit forest with densely packed trees. Sunlight filters through the leaves, casting a warm glow and illuminating shades of green with hints of yellow and gold. The forest floor is covered in dark green vegetation and gray rocks, with small visible people in the distance. One of the people is wearing a red shirt or jacket. In the background, the trees become less defined and merge into a misty blur of light and dark greens. The paint has been applied with thick, visible brushstrokes.

This painting depicts a green field of cotton plants with white blossoms. Three individuals are seen harvesting the cotton. They appear to be wearing skirts and bonnets and have dark skin, although their faces aren’t detailed. The background includes buildings on the left and green trees against a pale blue sky with hints of grey. The painting utilizes loose, visible brushstrokes. The color scheme is warm and natural, featuring shades of green, brown, and muted tones.

A partially nude woman with pale, peachy skin sits to our left looking into a mirror held up by a nearly nude, winged child to our right in this vertical painting. The woman’s body is angled to our left but she looks across her body to our right. She holds her left hand to her chest, and her right hand grips the fur-lined edge of the scarlet-red, velvet fabric that drapes over that upper arm and around her hips. Her blond hair is coiled up in rows of pearls, and she has dark eyes, a straight nose, and her pale pink lips turn up in a subtle smile. A teardrop pearl earring hangs from the ear we can see, and she wears rings and gold bracelets. The child-like figure to the right stands on a gold-striped cushion facing away from us as he holds up the rectangular, black-framed mirror. He has small silver wings and a sash of golden yellow hangs from one shoulder around the opposite hip. A second child reaches from behind the mirror to hold up a ring of laurel leaves. A forest-green curtain is gathered in the upper left corner and the beige wall beyond falls into shadow to our right.

A Calling

Figures in the Woods

A Disconsolate Lady on a Terrace with Attendants

Nini in the Garden (Nini Lopez)

Flower Garden and Bungalow, Bermuda

In 1888, Van Gogh moved into his own home in Arles, France. He dubbed it the “Studio of the South,” hoping that fellow artists would join him there to work. This is one of three versions he painted of his beloved Arles bedroom. While its vivid palette and dramatic perspective seem to burst with nervous vitality, Van Gogh intended the painting "to express utter repose."

The House with the Cracked Walls

Two Poplars in the Alpilles near Saint-Rémy

A woman pushes aside a deep golden yellow curtain that fills three-quarters of this nearly square painting. The curtain runs on a rod parallel and close to the top of the canvas, extends off the right edge, and falls behind a bed covered in the same color. The bed is cropped by the bottom and left edges of the painting, and a brown, arched wood footboard almost reaches the right side. The woman stands on the far side of the bed, facing away from us as she pulls at the curtain with her right hand. She wears a navy-blue dress and a brown braid falls down her back. She reveals an area covered in a pink, green, and white floral pattern that seems to match the size of the curtain, at least along the left edge where it is exposed. A round mirror hangs on the floral-patterned area above a red piece of furniture, perhaps a small table or stool. The wall around the patterned area and curtain is painted bone white. A line incised in the paint running from the top left corner of the floral area to the top edge of the canvas suggests a crack in the wall. The paint is loosely applied so brushstrokes are visible throughout, especially in the floral pattern. The artist’s signature is painted in red in the lower left corner: "E. Vuillard."

On the River

This painting shows four individuals - three women and one child - in an indoor setting. One woman is seated on a chair on the left, wearing a purple and blue dress under a black coat, with white gloves and a gray hat. Next to her, sitting on an arm of the chair, is another woman with blonde hair, wearing a light teal dress. To the right, in the center of the painting, a child stands, wearing a blue dress or tunic. On the far right, a third woman sits on a bench, wearing a bright red-and-white dress with a white-and-blue hat capped with a white feather, as well as long white gloves. All of the people have pale skin, and their faces are detailed. The room around them has other colorful furniture, including two armchairs in shades of red and teal, and the walls are in shades of light blue and cream. Red curtains hang over an open window or balcony, and there's a painting in a gold frame on a wall on the right. The orange floor beneath them is covered in several colorful, patterned rugs.

The painting features a collection of fruit on a plate behind two bottles. The plate with the fruit is in the center of the painting, and on it are pieces of round, green fruit with hints of pink. They may be apples. A tall bottle is in front of the plate, and it is yellow with a white cap. Another, shorter bottle is to the right of the first; it has a colorful label. An apple like those on the plate rests in front of the bottles. There are also two blue-gray shapes that could be mugs on round saucers. The surface these objects rest on is mostly green, but there are also streaks of blue and light pink. The wall behind the objects is made up of streaks of light and dark blue. The brushstrokes in the image are thick and visible, blurring the details on the objects.

Ragini Gaudi, Page from a Jaipur Ragamala Set

Three whole, green pears against a caramel-brown background fill this horizontal still life painting. The painting was created with long, parallel, visible brushstrokes throughout, and a strip of unpainted canvas lines the top edge. We look slightly down onto the fruit, which was painted with thick strokes of lemon-lime, asparagus, and spring green, and each piece of fruit is outlined with navy blue. The two pears to either side stand up and the third, between them, lies on the table with its brown stem angled to our left.

Still Life with Apples and Pears

The Pink Cloud

Krishna Fluting

A vase holding mostly white flowers sits on a floral-patterned cloth in this vertical still life painting. The ice-blue vase has a narrow foot, tall, slightly tapering sides, round shoulders, and a long neck flanked by handles. An ivory-white circle at the center could be a flower painted on the body. The flowers the vase holds are all pearl and snow white except for two golden yellow flowers and dark greenery. The cloth on which the vase sits is patterned with muted red and dark yellow flowers with green leaves against parchment white and earth brown. A few brown lines cutting across the bottom left corner of the painting could be the edge of a wooden table. Just behind the flowers, a cloth or curtain patterned with dark yellow, moss green, and spruce blue hangs against a teal-green wall, visible along each side of the composition. The objects are loosely painted and outlined with cobalt blue.

Against a deep, hilly landscape, a young woman sits facing us on a rocky ledge with a small child in her lap in this square painting. The woman and child, Mary and Jesus, both have pale skin and blond hair. Mary wears a cobalt-blue gown over a coral-pink undergarment that peeks out from under the bottom hem and at her cuffs. A paler blue mantle is draped over the back of her head and falls to cover her shoulders and body. A sheer white veil covers her hair and forehead. Jesus wears a sheer white, loose, long-sleeved tunic. Both gaze downward to the bunch of green grapes Mary holds delicately in her left hand, to our right. Jesus reaches forward with both hands to pluck some fruit as Mary supports his body with her other hand. An oval shaped, woven basket with a lid sits on the ground next to Mary’s feet. The gray, rocky outcropping on which they sit is blanketed with straw-colored moss or other growth. A small clearing behind the pair is framed by trees on either side. The trees have tall, slender trunks speckled with light gray patches and canopies of olive and celery-green leaves. To our left and beyond the outcropping, a gray donkey stands behind a tree, nibbling on some grasses at the edge of the outcropping. To our right, in the middle distance, a pale-skinned, bearded man stands and arches back with a long stick raised overhead, as if about to strike the tree in front of him. Beyond him and about two-thirds of the way up the panel, a row of dark green shrubbery separates the clearing from rolling blue hills in the distance.

The Blue Boat

A cloud of canary-yellow flowers with pumpkin-orange centers on tall stems with emerald and pine-green leaves fills the top half of this vertical still life painting. The flowers, vase, the round tabletop on which they sit, and the background are loosely painted with visible brushstrokes of vibrant color. The flowers have long, pointed petals like daisies. The bouquet is rimmed with a ring of verdant leaves near where the stems gather in the narrow neck of the cylindrical, ivory-white vase. The vase might sit on a circular cloth edged with alternating sage-green and plum-purple forms like pompoms, but the loose painting style makes these details difficult to make out. The round tabletop is cropped by left and bottom edges of the canvas. The background behind the bouquet and table is painted with long, vertical brushstrokes in salmon pink, pale turquoise, denim blue, and creamy white. The artist signed and dated the painting in red in the lower right corner: “Claude Monet 1880.”

Madonna and Child

Old Woman

Une odalisque, dite La grande odalisque

Seated Female Nude (Self-Portrait?)

Misty Sea

Shown from the knees up, a pale-skinned woman sits in front of a vast landscape and holds a nude baby boy on her lap in this horizontal painting. The woman, Mary, sits with her knees angled to our left, but she looks at us from the corners of brown eyes. She has a delicate nose, smooth cheeks, a pointed chin, and her pink lips are closed. A few strands of blond hair escape from braids that overlap across the top of her head. She wears a rose-red dress over a translucent white undergarment, which is visible along the neckline and on the forearms. A cloth striped with azure and powder blue, pale pink, lemon yellow, and teal drapes across her seated thighs and wraps back around her hips. One hand rests in her lap near one of the baby’s feet, and the other braces the child’s other hip. The baby, Jesus, has tightly curled blond hair and a flushed face. His body resembles a somewhat muscular adult. Jesus rests his shoulders back against the woman’s chest and turns to look up at her. One hand touches one of her breasts and the other holds a butterfly by its parchment-yellow wings. The foot not by the woman’s hand rests on a gold dagger near the woman’s far hip. A gnarled tree with dark green leaves winds from a rocky crag to our left. The pair are lit from our left, and Mary casts a shadow on the large, flat boulder on which she sits. The land dips steeply down beyond the boulder. A man wearing a pale pink garment that flaps in the wind stands on a rocky outcropping near a grazing animal. Tiny in scale, three more people walk or run in the distance to our right. Stone structures are tucked in among tree-dotted hills that roll gently back to a hazy blue, mountainous horizon, which comes about five-sixths of the way up this composition. The sky above is a similar icy blue.

Blumenbouquet mit rotem Tischtuch

Hilma af Klint — The Ten Largest — Number 2 Childhood

Prince and Princess Hunting Blackbuck

La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930)