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The Mower

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.

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.”

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 Orange Christ

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

At the Milliner's

Émilie

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.

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

Seated African Woman

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.

Café Wepler

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 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.

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.

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.

Two Tahitian Women

Still Life with Teapot and Fruit

Evening, Melancholy I

Woman before an Aquarium

The Sofa

Procession or Pardon at Perros-Guirec

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.”

The Gardener

On the River

Portrait of Victor Ritter von Bauer

Canal in Autumn (Gisors)

The Siesta

The Girl by the Window

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.

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.”

Portrait of Dora Wheeler

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.”

Wrestlers in a Circus

By the Seashore

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.”

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.

Vase of Flowers

The Call

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.

Sunflowers

Sea and Cliffs

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

The painting features a collection of fruit on a plate behind two bottles. The plate with the fruit is in the center of the painting, and on it are pieces of round, green fruit with hints of pink. They may be apples. A tall bottle is in front of the plate, and it is yellow with a white cap. Another, shorter bottle is to the right of the first; it has a colorful label. An apple like those on the plate rests in front of the bottles. There are also two blue-gray shapes that could be mugs on round saucers. The surface these objects rest on is mostly green, but there are also streaks of blue and light pink. The wall behind the objects is made up of streaks of light and dark blue. The brushstrokes in the image are thick and visible, blurring the details on the objects.

Tahitian Women Bathing

Portrait of a Woman in Gray

Hebe

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.

The Milkmaid

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.

Männerakt

In the Waves (Dans les Vagues)

Shoes

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.

『新三十六歌仙図帖』より

Old Woman

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

An October Day

The Basket of Apples

Denshin kaishu Hokusai manga nihen

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.”

Mädchen in rotem Kleid

Ia Orana Maria (Hail Mary)

Three Tahitian Women

Nini in the Garden (Nini Lopez)

Funerary Portrait of a Young Girl

A Farm in Brittany

Figures on the Beach

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.”

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.

Still Life

Two Women

Woman Reading a Letter

Misty Sea

Sketch for "The Oriental Dream"

Still-life with fruits on green cloth

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.

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.

A Maid Asleep

lovers' embrace

The Child's Bath

La Dentellière

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."

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.

Woman at Her Toilette

Combat for the Colors

Young Woman with Ibis

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

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.”

Low Tide at Pourville, near Dieppe, 1882

Fragment van een muurschildering

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