Related

By the Seashore

The Apple Seller

The two girls in this painting by Pierre-Auguste Renoir are Francisca and Angelina Wartenberg, acrobats who performed in the famed Cirque Fernando in Paris. They are depicted clutching oranges tossed to them from the crowd as gifts. Although they are painted standing in the center of a circus ring, Renoir actually painted them in his studio, where he could take full advantage of natural sunlight.

Hills around the Bay of Moulin Huet, Guernsey

Nini in the Garden (Nini Lopez)

Figures on the Beach

Eugène Murer (Hyacinthe-Eugène Meunier, 1841–1906)

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

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.

Émilie

A small brown dog and a pale-skinned little girl wearing a white dress sit in matching celestial-blue armchairs in this horizontal painting. To our right, the girl sits with her legs angled to our left. She slumps back with her legs spread, and her left elbow, on our right, is bent so that hand rests behind her head. Her other elbow is draped over the armrest. Her dark brown hair appears to be pulled back, and tawny brown eyes under faint brows gaze down and to our left. She has a small nose set in a round face and a coral-pink mouth closed in a straight line. Her white dress has touches of gray, soft pink, and powder blue with a wide plaid sash around her waist. The pine-green, black, and sapphire-blue sash is accented with overlapping vertical and horizontal lines of burnt orange, light blue, and mustard yellow. Her socks match her sash and come up to mid-calf, over black shoes with silver buckles. The small dog has scruffy black fur and a russet-brown face. It lies curled in the chair opposite the girl, to our left, with its eyes closed and ears pricked up. The rounded backs of the upholstered chairs curve down to become the low arms. The vivid and light blue fabric of the chairs is scattered with loosely painted strokes of avocado and forest green, peach pink, cherry red, plum purple, and white. Beyond the chairs closest to us is another armchair and an armless loveseat, both covered with the same fabric. They sit at the back of the room, in a corner flooded with silvery light coming through four windows on the right side. The furniture is arranged on a peanut-brown floor. The artist signed in the lower left, “Mary Cassatt.”

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.”

A Calling

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.

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.

Young Woman Knitting

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.

Still Life with Peaches and Grapes

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.”

Roses in a Vase

Adeline Ravoux

Still Life with Peaches

Three Tahitian Women

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.

Männerakt

In the Waves (Dans les Vagues)

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.

A boy leads a girl by her hand across three wooden steps that allow for passage over a fence in this horizontal watercolor. The fence spans the width of the paper, but angles slightly away from us as it moves off to our left. The fence is made up of four widely spaced horizontal rails across vertical posts. The boy and girl face away from us but have pale or tanned skin and brown hair. The girl is on our side of the fence, her front foot on the top step. She wears a long white dress edged with ruffles and shaded with slate blue. Her hair is tied with a blue ribbon, and another ribbon flies from the back of her straw-colored hat. The boy begins to step down on the far side of the fence. He wears tan overalls, a gray shirt, and a wide-brimmed straw hat. The ankle we can see is bare. A tree branch with dark green leaves dips down into the scene from the upper right corner. A wash of dark green on the far side of the fence suggests a shrub in an otherwise flat field of fresh, celery green. The top rail of the fence overlaps the horizon, where a light blue hill rises to fill much of the upper half of the composition. A narrow wedge of cream-white sky angles into our view at the top left. The artist signed the lower right corner, “HOMER.”

Strawberries

Poplars, Eragny

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 Gardener

Canal in Autumn (Gisors)

Water Lilies

Vase of Flowers

Sea and Cliffs

Woman at Her Toilette

Portrait of a Woman in Gray

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

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.”

The Siesta

Painted almost entirely in tones of topaz, lapis, and sky blue, the façade of a building abutting a waterway fills this horizontal painting. Brushstrokes are visible throughout and they blend to make the scene appear hazy. The top two-thirds of this painting shows the front of a building with two stories of rows of pointed, arched windows. Two long, low boats, gondolas, are pulled up side-by-side to one of the arched openings at the water level of the canal, to our right. A few touches of amethyst purple and mauve pink delineate some of the architectural features and shadows amid a field of denim and pale blue. The water below is painted with short, horizontal strokes to create a shimmering effect. The building’s reflection is captured with touches of emerald and cool green against the blue water. The artist signed and dated the work with cobalt-blue paint in the lower left: “Claude Monet 1908.”

The Milkmaid

Two Tahitian Women

The Child's Bath

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.”

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

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

Oleanders

The Call

The Forest at Pontaubert

Portrait of Dora Wheeler

Still Life with Flowers and Fruit

The Mower

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."

Still Life with Teapot and Fruit

The Fishermen (Fantastic Scene)

The Pink Cloud

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 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.

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.

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.

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.

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

Bouquet of Chrysanthemums

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.

Sahurs Meadows in Morning Sun

Roses in a Vase

The Girl by the Window

Ia Orana Maria (Hail Mary)

Young Woman with Ibis

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.

After the Bath

A Fisherman's Daughter

Two Women

Water Lilies (Agapanthus)

This painting depicts a white house in a lush green setting. The house has dark windows and a red chimney, partially obscured by trees that cast dappled shadows on the house's facade. The front door appears to be open. A light brown path runs parallel to the house at the bottom of the image, and small gray steps lead up the grass towards the house. The color palette includes vibrant greens for the foliage and a light blue for the sky behind the house. The brushstrokes are loose and impressionistic, creating a soft and textured appearance in the trees, grass, and building.

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.

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.

Figures in the Woods

Tahitian Women Bathing

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.

Charles and Lavinia Stratton

Rectangular plots of flowers, each in a single color, stretch toward us below a sky nearly filled with cream-white clouds in this horizontal landscape painting. Together, the monochromatic plots create the impression of a patchwork quilt, with large areas of pale pink, butter yellow, bright white, and baby blue. A person walks across the plots to our right. The horizon line comes almost halfway up the painting and is lined with dark brown houses with tall, pitched roofs. Two barren trees twist into the cloudy sky. The loose, short, parallel brushstrokes and touches of paint create a soft, hazy effect.

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.

As painter to the king of Spain, Francisco de Goya also designed tapestries for the royal residences. To work out his designs, he first made small oil sketches and followed them with full-scale painted cartoons that served as guides for the king's weavers. This cartoon was produced for a tapestry in a series decorating the dining room in the Royal Palace of El Pardo, outside Madrid.

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.

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.

Selbstbildnis

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."

Spearing Eels

The Garden Gate, Bahamas

La Dentellière

Jessie Benton Frémont