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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.

Roses in a Vase

Roses in a Vase

Still Life

The Mower

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.

Bouquet of Chrysanthemums

Still Life with Teapot and Fruit

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.”

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.

Blumenbouquet mit rotem Tischtuch

The Siesta

Crémieu, Seen from Chaillonnette

Still Life with Apples and Pears

Still Life with Apples and a Pot of Primroses

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.”

Peahen and hibiscus

In this painting, a collection of large, ripe peaches sits on a light green plate with a white rim. The peaches are painted in shades of orange, yellow, and red, with some areas of dark red and black. They are surrounded by wide green and yellow leaves that extend off the plate to the left and right. Beneath the plate is a surface covered in a draping white cloth, its surface painted with shadows in shades of blue and purple and hints of green, and the wall behind the peaches is a tangerine orange color with sections of dark blue, red, green, and peach. The brushstrokes in the painting are thick and visible, with different colors of paint applied over one another in wide, swirling strokes.

The Windmill

Still-life with fruits on green cloth

Canal in Autumn (Gisors)

The year 1907 was a turning point for Sargent; the sought-after portraitist stepped away from his successful portraiture career to pursue plein-air landscape painting. This work, depicting his traveling companions and fellow artists Wilfrid and Jane Emmet de Glehn, captures that moment of transition. Combining landscape and portraiture, the composition speaks to friendship and painterly pursuits while also celebrating color, light, and movement.

Figures in the Woods

Allegory of Sacred Music

Männerakt

Summer Flowers

The Gardener

Nini in the Garden (Nini Lopez)

A Basket of Flowers

Still Life with Flowers and Fruit

The Forest at Pontaubert

Mount Sainte-Victoire

By the Seashore

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.

Sunflowers

Woman before an Aquarium

The Girl by the Window

Estérel Village

Seated African Woman

Sahurs Meadows in Morning Sun

Albert (René) Grenier (1858–1925)

Water Lilies (Agapanthus)

Strawberries

Insects and Flowers, Ming dynasty, 14th-15th century, color on silk, Tokyo National Museum

Portrait of Dora Wheeler

Hof

Vase of Flowers

Two Tahitian Women

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

Marshland

Birds and Flowers

A view across a wide, brightly lit field scattered with broken pieces of stone is framed to the left and right by crumbling stone temples in this horizontal painting. The sunlight is infused with a soft pink glow, which warms the cream-white stone with a pale blush. The temple on our left sits on a low rise, and a row of at least nine columns topped with an entablature faces our right. Several of the columns are broken off, and part of the entablature and the entire roof is missing, from what we can see. Fragments of pediments and wheel-like sections of columns tumble down from its front steps and back along its side, cascading into and across most of the field before us. The rocky terrain is carpeted in celery-green growth speckled with sage green and areas of rust red in the lower left and right corners. Barely visible in the center of the field, are two men, barely taller than the fragments they inspect. One man wears an apricot-orange suit and bowler hat over blond hair. He kneels with his back to us as he writes or sketches on a piece of paper. A second man stands to his right, also with his back to us, dressed in a long pleated, white tunic with a red cap, jacket, and knee-high boots. To our right and farther back than the other temple, a brick-red tower stands next to another columned arcade. A third temple there, or perhaps another part of that building complex, has columns carved into the shape of six identical, robed women, facing our left. Beyond the ruins, the field slopes down to a peach-colored plain that ends at a wide, topaz-blue body of water with mountains in the far distance along the low horizon line. A petal-pink haze rises from the water and mountains and almost fills the blue-gray sky above. The artist has signed and dated the painting in the lower left, “S.R. Gifford 1880.”

Combat for the Colors

The Sunlight

Sonniges Felsental

Mademoiselle Nys

Oleanders

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.

Amitabha Triad, Tokyo National Museum

The Burgomaster

Pink and Rose

Four flowers and greenery create a loose bouquet in a clear glass in this vertical still life, which is painted with visible brushstrokes throughout. The glass has a tall, narrow, rounded bowl on a flaring foot like a drinking glass. One fully open, light pink peony bloom bows over the edge of the glass to our left. A pink bud stands upright in the glass. Two other oblong flowers, perhaps closed tulips, angle to the left. One is smoky purple, and the other is cream-white edged with brick red. One pink petal lies on the tabletop, which is painted with broad strokes of ash and earth brown. Canvas is visible along the bottom edge and in the lower corners. The background behind the flowers is painted with dashes and long strokes.

Hebe

Procession or Pardon at Perros-Guirec

Portrait of Victor Ritter von Bauer

This painting shows a view of a calm body of water with greenery surrounding it. Across the water appears to be a hill or shore that slopes upward to the top of the painting, painted in gray and cream tones and covered in palm-like plants in shades of green, brown, and rusty red. A similar plant is visible near the bottom right corner in a dark shade of yellow. The water in the center is painted in shades of blue with some ripples across the top. The brushstrokes are fluid.

Young Woman with Ibis

The Orange Christ

This painting features two large yellow pears in the center, surrounded by clusters of purple and green grapes cascading down from a gilded teal dish on the right. Next to the pears are two pink peaches, with walnuts and green figs in front of them. In the background on the left, there is a decorative blue vase with gold filigree, filled with various colorful flowers and green leaves, including a white rose, red flowers, and small pale blue flowers. The arrangement is on a table with a red covering, and the wall behind them is dark brown.

The Apple Seller

Woman at Her Toilette

Paulownias and Chrysanthemums

Mädchen in rotem Kleid

A Farm in Brittany

Well at the Side of a Road

Adeline Ravoux

Heron on a Willow Branch

Denshin kaishu Hokusai manga nihen

Vase of Flowers with Grasshopper, Marine Life, and Garden Rock

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.

Van Gogh’s face is as well known as his art—in fact, it is inseparable from it. The artist painted more than 35 self-portraits over his lifetime. This one was created in Paris under the influence of Seurat and pointillism. The intense dabs of paint and color, anchored by his eyes, create a turbulent energy, giving the viewer a deep sense of the artist’s presence.

The Pyrenees, the Peak of the Midi de Bigorre

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

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.”

Flowers and Grasses

This painting depicts a coastal scene with a perspective from the water. There are dark, billowing gray clouds above the horizon, and the sky is pale orange. Below, large sailboats are on the dark water, as well as some smaller rowboats and a few pieces of driftwood. The water reflects the ships and the colors of the sky. On the left is a low stone building on a bit of green land, and there is a green hill in the distance on the right, covered with houses and small buildings.

Hen and Bamboo, by Luo Chuang, Tokyo National Museum, Japan

Mandala Base

Sketch for "The Oriental Dream"

Madame Roulin and Her Baby

Adolph Heinrich Joseph Sutro

Jar with wooden cover and two large flower groups

Chrysanthemums by the Water

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.”

This painting shows a bowl of red raspberries resting on a surface. The bowl is pale blue with blue details on the rim, and it is surrounded by a pile of pale peaches and pears, red plums, and green and purple grapes. In the bottom left corner, there are some pale purple-and-white carrots and a small group of red berries. On the right is a tree with yellow pears and a small vase with red and white roses. On the left is a thin brown branch with a bird perched on it. The bird has a green back and a yellow chest, and it is leaning down towards the raspberries, its wings flared and its beak partially open. The surface these items rest on is dark gray and the background is a gradient of pale yellow on the left and light blue on the right.

Tigers Chasing Deer, with Dragon

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 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.

The Flower Girl