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Portrait of Dora Wheeler

Young Woman with Ibis

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

A Woodland Fête

Albert (René) Grenier (1858–1925)

Shown from the waist up, a woman with pale skin and brown hair, wearing a dark corset and white fabric over her shoulders, looks down at needlework in her hands in this vertical painting. Her cheeks are rosy and her dark hair is pulled back, though it seems looser down the sides of her face. A small, coral-red, crescent shape at the back of her head could be covering her hair or holding it in place. White, nearly translucent fabric lies loosely across her shoulders over a dark, moss-brown, long-sleeved dress. Her breasts swell over the squared, lace-trimmed neckline. She holds white fabric and perhaps a needle in her hands, which rest on a tan cushion on her lap. The scene is loosely painted throughout so some of the details are difficult to make out. A darker spot along her right index finger could be a thimble. The background is the same olive-tan of the cushion.

Hebe

Margaret Fuller

Figures in the Woods

Selbstbildnis

Carmencita

The Siesta

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.

Familie Markl

On the River

Roses in a Vase

Die Familie des Johann Graf von Majláth

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.

Seated African Woman

Hof

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

The Sunlight

Peasant Woman Cooking by a Fireplace

Männerakt

Woman at Her Toilette

Vase of Flowers

The Windmill

Arion on a Sea Horse

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.

Marshland

Madame Case

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.

Mädchen in rotem Kleid

The Mower

Invocation to Love

Aglaida and Boniface

Portrait of a Woman in Gray

Sketch for "The Oriental Dream"

Peahen and hibiscus

Annunciation

Danaë

Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.

The Four Seasons

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

Bacchante on a Panther

Strawberries

Die Fruchtbarkeit, umgeben von den vier Elementen

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.

Das Innere der Piaristenkirche in Wien

Amitabha Triad, Tokyo National Museum

Youth Playing a Pipe for a Satyr

A woman with pale, smooth skin stands wearing a loosely draped, champagne-peach dress in this vertical portrait painting. Her body faces us but she turns her head to look down and off to our right with brown eyes. She has dark brows, an upturned nose, and her carnation-red lips are closed in a slight smile. Her ash-brown hair is loosely pulled up so it sweeps back from her face, while thick curls cascade down her neck and over her shoulders. Her long sleeved, floor-length dress is tied at her waist with a sage-green sash. Gossamer-white fabric drapes around her upper arms, and she holds the long ends in both hands. Her right elbow, to our left, rests on the high base of columns that rise behind her and off the top edge of the canvas. A rust-red curtain drapes down from the top of the painting, over the columns. To our right, beyond the columns, the landscape opens to a view of trees beneath a blue sky with white puffy clouds.

Child Asleep (The Rosebud)

Inside the Bar

Der Maler Theodor von Hörmann

The Annunciation

The Sofa

Rosso fiorentino, san giovannino, collezione privata firenze

La Femme au miroir

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 Merry Family

By the Seashore

Roses in a Vase

Seesturm

A woman wearing long robes and standing on an upturned, gold crescent moon is surrounded by twenty winged angels who lift her up, sing, or play musical instruments in this vertical painting. Below, a grassy landscape with rocky hills, a river, and buildings stretches into the distance. Along the top edge of the painting and smaller in scale, more angels surround two men sitting on a throne, holding a crown. All the people have smooth, pale skin, oval faces with small, delicate facial features, and long wavy hair. They wear fluttering, jewel-toned robes. The woman at the center, Mary, stands facing us with her eyes downcast and her hands held together in prayer. Her strawberry-blond hair lightens where her hair rests over her shoulders, and a jeweled band encircles her head. She wears a long, ruby-red dress with a jeweled neckline and navy-blue cloak trimmed with gold. Eight of the winged angels seem to lift her body, four along each side. Seven more angels float around the scene playing instruments, including a lute, a harp, recorder-like instruments, and stringed instruments, one of which resembles a violin and another a dulcimer. Along the top of the group, around Mary’s head, four angels sing, holding sheet music. In tiny letters, writing on the sheet of music to our left reads, “A ve regina celorum mr regis,” while the writing on the music to our right reads, “A Tenor ve regina.” The angels wear robes in emerald green, royal or sky blue, butter yellow, rose pink, tomato red, silver, or white, and their wings match their robes. Some of the robes are embroidered with gold and some angels wear jeweled diadems. The edges of an oval, gold halo are visible behind the angels at Mary’s head and feet. Above Mary and the angels, a scene, much smaller in scale, recedes into the distance within a ring of dark clouds. Two haloed, bearded men wearing scarlet-red robes and with shoulder-length brown hair sit on a wide throne covered with a black and gold brocade cloth. The man to our left is bareheaded and the man to our right has a tall, blue and gold crown. A white dove with wings spread hovers above a second gold crown they hold between them. More than a dozen angels surround the throne, holding up the cloth or singing. A black and red checked tile floor stretches in front of the throne. Along the bottom edge of the painting, beneath Mary and the angels, a grassy landscape with fields and trees stretches into the distance to gray castle-like structures. A river winds from the lower right between the buildings. A man rides a horse near the riverbank to our right, and the shore is lined with minuscule shells. To our left, a second man walks in the field, away from us toward the building, and another man crosses a short bridge over a second, smaller stream.

Henri-Charles Maniglier

Madame X (Virginie Amélie Avegno Gautreau)

Mrs. Nadassy

Adeline Ravoux

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”

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.”

Grapevine in the Wind

Shown from the hips up, a young man with pale skin and wearing black clothing sits with his body angled to our right as he turns to look at us in this vertical portrait painting. He looks out with green eyes under hooded lids. Light falls across his face from the upper left so his bumped nose casts a shadow on his high cheekbone. He has a wispy mustache over full, pink lips, which are slightly parted. His hair falls to his shoulders in auburn-brown curls, framing his slender face. Two silvery tassels hang on cords from a tall, wide, flat, bright white collar, which contrasts with the velvety black of his voluminous, long-sleeved jacket. His left hand, farther from us, rests on his knee and the other hand is curled so the back of his knuckles press against his right hip, closer to us. A patch of crimson red near that hand could be a pillow on his chair. His hat rests, presumably on a table, just beyond his legs. The hat has a tall, tapering, conical crown with a flat top. The shadowy wall behind him is mottled with slate gray and caramel brown, with a slightly darker panel to suggest a shallow niche.

Mademoiselle Nys

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.

Émilie

Shown from the chest up, a pale-skinned young man with dark hair and a brown mustache and goatee looks at us from the corners of his dark eyes in this vertical portrait painting. His body and face are angled to our left, and his left eyebrow, closer to us, is slightly cocked while other is low over his other eye. He has a straight nose, a square jaw, and his pink lips are closed. His short, brown hair lays flat against his head but curls around the ear we can see. He wears a pecan-brown vest over a black, long-sleeved shirt with a white, lace-edged collar at the neck. His garments blend into the peanut-brown background so the light falling from the upper left highlights his features and white collar.

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

The Girl by the Window

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Shoes

A woman, Mary, sitting on a throne made of clouds is surrounded by ten winged angels, floating above a landscape with twelve people gathered closely around a long, rectangular, stone box filled with flowers, all set against a gold background in this tall, vertical painting. Mary and the angels have pale, peachy skin and the men below have more tan complexions. Each person’s head is surrounded by a flat, gold halo. In the upper half of the composition, Mary’s blond hair is covered by a veil, and her white robe is decorated with a pattern of starburst-like, gold shapes and edged in gold. She holds her hands together in prayer and looks up. She sits on a light blue, cloud-like form, which is held up by two angels. The other eight angels look on, four to each side. Six of them each play a different musical instrument, and the top two cross hands across their chests. The angels all have blond hair and wear flowing robes in cranberry red, steel gray, cream white, or pale sky blue. In the bottom half of the painting, the people kneeling or bending over the coffin-sized, stone box wear gold-trimmed robes in azure blue, lilac purple, raspberry pink, marigold orange, sage green, or coral red. All but one is bearded, though the face of one, opposite us, is half-hidden behind the outstretched arm of his neighbor. One man, to our left, points into the box, which is filled with white and red flowers and pine-green leaves, and others look into the box, up, or at each other. The box is inlaid with teal-green panels on the side we can see. Grass and flowers grow below. Beyond the box and people, and between them and Mary above, a person kneels on an olive-green, rocky outcropping with hands raised. The angels around Mary line the inner edge of an arch at the top of the panel. The roundels at the top corners above the arch are occupied by a person wearing a mauve-pink robe over a gold garment to our left and a blue robe over a white and gold garment to our left. The entire panel is surrounded by a gold frame carved with steps and moldings.

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.

The Sacrifice of Isaac

Crémieu, Seen from Chaillonnette

Isaac and Rebecca, Known as ‘The Jewish Bride’

This painting was the central element of an altarpiece that was El Greco’s ﬁrst major Spanish commission and large public work. The Virgin ﬂoats upward on the crescent moon, a symbol of her purity, while the apostles express amazement and concern. El Greco’s broad brushstrokes and bold color made this painting a favorite of modern artists such as Pablo Picasso and Mary Cassatt.

The Adoration of the Magi

Edward Sheriff Curtis Self-Portrait

Portrait de Lisa Gherardini, épouse de Francesco del Giocondo, dit La Joconde ou Monna Lisa