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Two Tahitian Women

The Call

Two Women

Ia Orana Maria (Hail Mary)

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."

Three Tahitian Women

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.”

Still Life with Teapot and Fruit

Tahitian Women Bathing

The Siesta

Still Life

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.”

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.

A pale-skinned young girl with blond hair, wearing a blue dress, stands in a garden in this vertical painting. The girl and background are painted with blended strokes, giving the scene and especially the girl a soft look. She faces our right and stands in the middle of the composition. Her shoulder-length cloud of hair is topped with a red bow, and long bangs frame her round face. Under faint brows, her sapphire-blue eyes look to our right. She has a petite nose, and her coral-pink mouth turns up in a slight smile. Her cobalt-blue dress is trimmed with wide, blue-white lace on the neckline, across the bottom hem, and down the front to either side of a row of white buttons. The white edges her petticoats come down to just below her knees, peeking out from under the flaring skirt. She wears white socks over blue ankle boots, which also have a row of white buttons down the side we can see. Her near hand is raised with her index finger hooked in the handle of a green watering can, and she holds two daisies by her side in her other hand. She stands on a path flecked with ivory white, pale purples, greens, and pink that curves up and to her left. A bush with emerald and pine-green leaves dotted with pink blooms fills the lower left corner. Behind her, green grass runs back to meet a profusion of pink, purple, and poppy-red plants and flowers that run along the top edge of the composition. The artist signed and dated the lower right, “Renoir. 76.”

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.”

In the Waves (Dans les Vagues)

Portrait of Victor Ritter von Bauer

Young Woman with Ibis

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 Child's Bath

At the Milliner's

Still Life with Apples and Pears

Portrait of a Woman in Gray

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

This painting shows a woman sitting at a round table. She has fair skin, sharp cheekbones, thick eyebrows, and pale lips with one side of her mouth raised in a partial smile. She has short brown hair with bangs across her forehead. She is wearing a black dress with a high collar, a pale yellow bow around her neck, and a white apron over her lap. In her hand, she holds a small, translucent glass that rests on the table. The background is a blurred blend of earthy tones, including brown, gray, and dark green, which suggest a wall behind her. The brushstrokes in the painting are thick and visible.

Procession or Pardon at Perros-Guirec

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.

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

Vase of Flowers

Two pale-skinned girls stand hand in hand in a grassy field in this vertical painting. To our left, the younger girl is about two heads shorter than her companion and holds a doll clutched in the crook of her right arm. She has short, light blond hair, and she stares at us or just above our heads with wide, blue eyes. She has round cheeks, and her rosebud-shaped mouth is parted. She wears a moss-green skirt patterned with lilac-purple flowers, a tan sash around her waist, and a shirt with violet-purple and navy-blue, vertical stripes on the torso and elbow-length white sleeves. One calf-high boot slouches down and the other brushes the bottom of her flaring skirts. Her doll wears a grayish-blue dress with a brown hem and fog-gray stockings. The taller girl on our right holds the smaller girl’s hand and turns to look down at her. Her cheeks are rosy, and her flaxen yellow hair falls nearly to her shoulders. She wears a vivid, apricot-orange dress with elbow-length sleeves, a light blue kerchief tied in a bow around her neck, and dark brown stockings and shoes. The girls stand close to each other and us in front of a grassy field dotted with blue, yellow, and white flowers. Two white goats graze in the distance behind the smaller girl. Reddish brown roofs suggest that houses nestle into a dip beyond the meadow. Smoke curls from a couple chimneys. The horizon nearly reaches the top edge of the painting so only a sliver of silvery gray sky lines the top of the composition. The artist signed the bottom right corner: “Gari Melchers.”

Portrait of Dora Wheeler

Seated African Woman

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.

About a dozen rust-orange and golden yellow apples and peaches are arranged on a white plate next to white and floral-patterned cloths nestled around a white pitcher and bowl, all on a wood tabletop that tilts toward us in this nearly square still life painting. A curtain patterned with royal blue, olive green, and beige falls along or near the back wall of the room and rests on the table to our left. The white pitcher is painted loosely with the suggestion of harvest-gold and pale lilac-purple flowers, and it sits amid the pooling folds of the curtain to our left. The white tablecloth is bunched under and next to it to our right, at the middle of the composition. The fruit is arranged on and around a white plate next to the tablecloth. A tall bowl with fluted sides and a ruffled, scalloped rim sits behind the fruit, near the right edge of the table. The curving skirt of the table reaches nearly to the bottom edge of the canvas. All the objects in the painting are outlined with dark blue and the shadows are painted with patches of spruce and cobalt blue.

The Burgomaster

The Basket of Apples

Souvenir of an "International Ball" (Portrait of Miss Kathleen Bruce)

Reiko Smiling, by Kishida Ryusei, Tokyo National Museum, Japan

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.”

A woman wearing a sheer white blouse, short red and gold vest, and full-legged, patterned pants cinched below the knee lies back and looks at us with hooded eyes in this horizontal painting. Her shoulders lean back against an oversized white pillow, up along the right edge of the composition. Her body tips toward us, and her knees are bent so her feet are together in the lower left corner. Her right arm rests along the side of her body, and she props herself up with her other arm. That hand has a gold band on the ring finger. Her light skin is tinged with green on her face. Her head rolls slightly away from us so she looks down her cheeks at us with slitted, dark eyes through heavily lined lids. She has dark brows, and her rose-red lips are parted. The angle of her head creates a slight double chin. Gold hoops with dangling fringe or chains hang from her ears, and she wears three strands of dark beads around her neck. Her black hair is plaited in a thick braid that comes down over her left shoulder, closer to us. A cap made of gold-colored disks and red fringe sits on the far side of her head. The woman’s clothing is more loosely painted. We may see her breasts and pink nipples through her sheer, silver-gray tunic, which has long, voluminous sleeves. The short, bolero-style vest is strawberry red and gold, with narrow cap sleeves. A sea-blue sash around her waist is striped with overlapping burnt-orange and black lines. Her pants have flaring legs gathered with a button just below her knees. The pattern is of sage-green circles with swipes of rust-red in the center, suggesting flowers and vines against a black background. Her knees are spread open so her feet can barely be contained within the composition. Her teal-green slip-on shoes have the suggestion of flowers painted with dabs of yellow, black, and red, and a pompom atop each toe box. A red and gold cushion sits just beyond her feet. On it is a tray of oranges and an emerald-green jug. The pillow the woman leans on is propped against a short section of wall or piece of furniture painted with a border of roses. The room opens up beyond this, and has a turquoise and brown rug leading back to a cranberry-red sofa, on which a gray piece of fabric has been draped. The wall above is patterned with yellow and green diamonds and pink flowers against a laurel-green background. The artist signed the lower left, “A. Renoir. 70.”

Peasant Woman Cooking by a Fireplace

Woman before an Aquarium

A Maid Asleep

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 Sofa

Hof

The Mower

Hebe

By the Seashore

Sketch for "The Oriental Dream"

Adeline Ravoux

Mademoiselle Nys

The Englishman (William Tom Warrener, 1861–1934) at the Moulin Rouge

Madame Cézanne (Hortense Fiquet, 1850–1922) in the Conservatory

Oleanders

The image shows a young child standing next to a rocking horse. The child is standing upright with one hand resting on the rocking horse's head and the other hand holding a whip. The child has fair skin, blue eyes, and short blonde hair with a small curl at the top. The child wears an orange dress with floral patterns, white lace-trimmed pantaloons, white stockings, and black shoes. The background includes red drapery on the left side and a bright landscape visible through a window, as well as a deep green hue on the right side.

Portrait de l'artiste tenant un chardon

Nini in the Garden (Nini Lopez)

The Devil Speaks (Mahna No Varua Ino) (recto); Women Washing Clothes (verso)

Une odalisque, dite La grande odalisque

Amitabha Triad, Tokyo National Museum

The Milkmaid

Self-Portrait with a Straw Hat (obverse: The Potato Peeler)

Strawberries

Ōtsu-e of a Youth Holding Irises (Yarō)

Sun Bird

Madame Roulin and Her Baby

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."

Boating

A Calling

The Apple Seller

The Sunlight

Figures on the Beach

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

Old Woman

Still Life with Apples and a Pot of Primroses

Émilie

Toulouse-Lautrec made a career depicting colorful personalities from Parisian cabarets and dance halls like the Moulin Rouge. He populated this painting with that nightclub's regulars, including himself—the diminutive figure in the center background. Dancer La Goulue arranges her hair behind the table where Jane Avril, another performer, socializes. Singer May Milton peers out from the painting's right edge, her face harshly lit and acid green.

Shown from the waist up in front of a black background, a young woman with pale white skin and curly brown hair looks directly out at us over her shoulder with her body angled to our left in this vertical portrait. She has dark brown eyes, a straight nose, smooth skin, and her pink lips are closed. Curls fall across her forehead but the rest of her hair is pulled up under a white lace scarf, called a mantilla. The mantilla is tucked under the wide orange and black shawl wrapped around her shoulders. She clasps her hands at her waist, and her hands and forearms are covered with long white gloves that disappear under the shawl.

Allegory of Sacred Music

Danaë

The Girl by the Window

Carmencita

This is a painting of a pastoral scene near the water with a ship and buildings in the background. The artwork is in the style of American folk art, presented in an oval frame. The image depicts a serene landscape by the water, with figures engaged in activities such as gathering flowers in the center. The foliage is in shades of green and brown, spreading above under a lightly clouded, blue sky. On the left side, a ship is anchored near the shore, with buildings visible in the distance. The water has soft waves, contrasting with the rocky ground in the foreground. The pastel colors create a calm and reflective mood, evoking tranquility and connection with nature.

Woman Reading a Letter

Shown from the lap up against a dark background, a pale-skinned woman wearing a black dress looks out at us in this vertical portrait. Soft light coming from our left highlights her oval face, the peach blush on her cheeks, and her crisp white collar, cap, and cuffs. Her brown hair is pulled back under the cap that flares slightly over her ears and the wide, lace-trimmed collar covers her shoulders. She has dark eyes, a straight nose, and her pink lips are slightly parted. Her left arm, on our right, rests on a table covered with a rose-red patterned carpet next to two pieces of fruit, perhaps apples, and a book fastened with metal clasps. She rests her other arm on the arm of the wooden chair and holds a deep pink carnation the same color as the carpet. She wears a ring on the third finger of each hand. The artist signed the work with black paint against the dark background near the upper right corner: “Rembrandt. f.1656.”

The painting depicts a wintry scene from an elevated point of view, showing people skating and playing games on a frozen river. On the left, leafless trees line the frozen bank. On the right, there are brown buildings with snow on their roofs and smoke rising from their chimneys. A woman stands on one of the porches, holding a small child. On the snowy ground outside the buildings, a sled is being pulled by two horses. In the center of the painting is the wide frozen river. The people on it wear colorful clothes in shades of red, yellow, green, blue, and brown. Some of them slip and fall on the ice, and others lace skates on their feet. Four men in the center hold long curved sticks and look towards a small round ball on the surface of the ice. In the distance, the horizon is marked by blue-tinged mountains under a cloudy gray sky.

On the River

A pale-skinned young woman wearing a kimono stands facing our left in a dim interior in this vertical painting. Her black hair is upswept, and her head tilts slightly down with eyes closed. The seat of a wooden, ladderback chair rests against the back of her knees. With her left hand, closer to us, she reaches back to grasp the top rail chair behind her. She holds a folded white and brown fan in her other hand, by her side. Her voluminous robe is fawn brown and trimmed with brilliant scarlet red down the collar and around the hem. The kimono has wide, long brown sleeves that come down past her hips. The red collar extends nearly to her knees, and another slash of red lines the deep sleeve on her extended arm. The robe pools on the floor at her feet. Above the red band along the bottom hem, the robe is painted loosely in patches and dabs of black, cobalt blue, turquoise, ruby red, and pale pink. Light from the upper right gives her peachy skin a golden tinge and highlights the furniture near her, while casting the rest of the room in shadow. She stands in front of a round table draped with a fabric mottled in earth brown and gray, and bordered with a dark brown band filled with smudges of orange and green. A book and a black carrying case or bag are barely visible on the table's shadowy surface. An image framed in light blue hangs on the olive-green wall over the table. The wall to our right, behind the woman, is mostly forest green. The artist signed the lower right in black paint, “Alfred H. Maurer.”

Roses in a Vase

Familie Markl

Margaret Fuller