Related

We look down onto a pile with a newspaper, theater program, pipe, a black and white checkerboard, and other objects painted as abstracted, geometric forms on a tabletop in this nearly square still life painting. Near the center, a rectangular form like a newspaper is painted with the headline “LE JOURNAL.” Next to it, to our left, a playbill has the name “FANTOMAS” written in black against a parakeet-green background, above black mask and a “65” in a circle below. There are blocks of stylized, painted wood grain and other areas of color that do not line up with the objects represented. For instance, this conflicting pattern means that the lettering of the newspaper changes from white against the brown woodgrain to green against white. Moreover, seemingly unconnected to the objects, colors, and spaces below, yet more objects like a goblet and bowl of fruit are painted with white outlines that overlay the wood and objects below. A checkerboard pattern is layered under the woodgrain and papers, near the lower right corner, and another pattern like architectural molding carved with stylized leaves runs along the back, above the papers. The papers and a few other objects seem to cast shadows on the blocks of color behind them, so areas of lilac purple at the top left and burgundy red along the right edge read visually as a background behind everything. The artist signed the work in black on the lower left corner: “Juan Gris 8-1915.”

Church Street El

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.

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 Orange Christ

Still Life

Woman before an Aquarium

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

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.

Still Life with Apples and Pears

The Basket of Apples

Procession or Pardon at Perros-Guirec

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.

Titel: Svanen, nr 13, grupp IX, serie SUW. Konstnär: Hilma af Klint (1862-1944, svenska). Olja på duk utförd 1915. Stiftelsen Hilma af Klints verk.

The Burgomaster

Still Life with Apples and a Pot of Primroses

Mount Sainte-Victoire

Still Life with Teapot and Fruit

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.

Hilma Af Klint - The Swan, No. 12, Group IX/SUW, 1915

Improvisation No. 30 (Cannons)

Unidentified Woman

The Mower

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

Émilie

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.

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

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

Old Woman

Portrait of Victor Ritter von Bauer

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.

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.

Peasant Woman Cooking by a Fireplace

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.

Three Tahitian Women

Church Bells Ringing, Rainy Winter Night

Still Life

Tree of Knowledge, No. 1

Still-life with fruits on green cloth

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.”

Sketch for "The Oriental Dream"

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.

Hilma af Klint — The Ten Largest — Number 4 Youth

A Farm in Brittany

Shower Below the Summit (Sanka hakuu), from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei)"

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.

A woman with pale white skin and her blond hair covered by a wide veil is shown from the waist up in this vertical portrait painting. Her folded hands rest on the lower edge of the panel, suggesting that she sits just on the other side, close to us. The transparent white veil covers her blond hair and falls in stiff, wide panes down in front of her shoulders. Her hair is pulled back behind a black ribbon over a high forehead. Her light brown eyes are downcast and she has a straight nose and full, pale pink lips. Her chest is covered by another veil and is tucked into the deep V-neck of her long-sleeved, black dress. A wide scarlet-red belt adorned with an ornately filigreed gold belt buckle encircles her narrow waist. Her skin, white veils, and red belt contrast sharply with her velvety black dress and the dark pine green of the background.

Shoes

Sand Dunes, Carson Desert, Nevada

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.

Unidentified Woman

Tree of Knowledge, No. 2

Mr. Coombs

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

Unidentified Woman

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 Gardener

Tahitian Women Bathing

Hilma af Klint - Group IX/SUW, The Swan, No. 9, 1915

M for Milkmaid

Adeline Ravoux

Unidentified Woman

Unidentified Man

In the Waves (Dans les Vagues)

Unidentified Man

The Siesta

Hilma af Klint — The Ten Largest — Number 2 Childhood

The House with the Cracked Walls

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Part of the series "Portraits of actors at three theaters in Edo". This print depicts the actor Sawamura Sojuro III as Ogishi Kurando. This is a first period print and designated collectively together with 26 other prints from the series as Important Cultural Property of Japan.

Unidentified Man

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.”

Hilma af Klint - Group IX/SUW, The Swan, No. 7, 1915

Unidentified Man

The Pigeon Tower at Bellevue

Girl Arranging Flowers

The Merry Family

Bowl with Inscription, "Sovereignty is God's"

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."

At the Milliner's

Tomb with Sphinxes and an Owl

Roses in a Vase

Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.

Charles Esteve Latil

The Fishermen (Fantastic Scene)

Man of the Djard Family

The Siesta

Hilma af Klint, Buddha’s Standpoint in the Earthly Life, No. 3a, (1920), courtesy Hamburger Bahnhof

Still Life with a Glass and Oysters

Two Tahitian Women

『新三十六歌仙図帖』より

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

Denshin kaishu Hokusai manga nihen

Apples

[The Oriel Window, South Gallery, Lacock Abbey]

Natural Bridge, Bermuda