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In the Waves (Dans les Vagues)

The Gardener

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 Siesta

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

The Forest at Pontaubert

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.

Émilie

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.

The Mower

The Sofa

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 Child's Bath

Portrait of Victor Ritter von Bauer

The Girl by the Window

Three Tahitian Women

By the Seashore

Poplars, Eragny

Young Woman Knitting

Allegory of Sacred Music

On the River

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.

Figures in the Woods

Woman at Her Toilette

Sonniges Felsental

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.

After the Bath

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 Dream of the Shepherd (Der Traum des Hirten)

Vase of Flowers

Canal in Autumn (Gisors)

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.

Madame Roulin and Her Baby

Two Tahitian Women

Seated African Woman

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.

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.”

Adeline Ravoux

Procession or Pardon at Perros-Guirec

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 Farm in Brittany

The Sunlight

Une odalisque, dite La grande odalisque

The Siesta

Mädchen in rotem Kleid

The Apple Seller

Nini in the Garden (Nini Lopez)

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

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.

Saint Sebastian

This painting shows a person fishing in a small blue-gray boat, situated to the left of center. The individual's back is to us, and they hold a fishing rod that extends from the center of the painting into the water on the far right. The person is wearing a tan shirt, tan pants with a brown belt, and a wide-brimmed tan hat. There are thick, dark green and blue trees in the background; the water reflects dark greens and blues, as well as shades of tan and white from the boat and person. The brushstrokes are loose, and different colors of paint blend softly with one another.

Combat for the Colors

Crémieu, Seen from Chaillonnette

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.”

Mount Sainte-Victoire

A Calling

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.

The Orange Christ

Roses in a Vase

Albert (René) Grenier (1858–1925)

Seated Female Nude (Self-Portrait?)

Corn Fields

Hills around the Bay of Moulin Huet, Guernsey

Child Asleep (The Rosebud)

The Fishermen (Fantastic Scene)

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.

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

Tahitian Women Bathing

Still-life with fruits on green cloth

Resurrection of Jesus

This painting shows a village nestled in hills and trees with a cloudy blue sky at the top. Closest to us are simple white buildings, some with white spires and others with red and brown roofs, surrounded by tall trees. In the distance there are hills, smaller trees, and sailboats on a body of water on the right. The artwork has visible brushstrokes, and the buildings are simple and flat. The color palette is earthy, with soft greens, warm tans, and light whites and yellows.

Denshin kaishu Hokusai manga nihen

Roses in a Vase

Ia Orana Maria (Hail Mary)

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.

The Blue Boat

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

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.”

Young Woman with Ibis

Study for the Nude Youth over the Prophet Daniel (recto); Figure Studies for the Sistine Ceiling (verso)

Twigs of a magnolia tree with light green, glossy leaves and three cream-white blossoms lie on a sapphire-blue cloth in this horizontal still life painting. Brightly lit from our left, the blossoms and leaves nearly fill the composition, and the cut ends lie on the fabric to our right. The blue fabric cascades from the upper left and across the table or ledge. The three flowers are in various stages of bloom. The tightest bud is to our left, overlapped by a stem and the tender, unfurling leaves of a branch. The blossom next to it, at the center, is starting to open. The petals of the third blossom, to our right, splay open around the flower’s oval-shaped stamen. Light glints off the waxy leaves surrounding the flowers. The tawny-brown underside of one leaf is visible where it turns over, near the cut ends of the branches. Light shimmering on the fabric darkens from bright blue to our right, to deep royal blue in the shadows to the upper left, suggesting the fabric is velvet. The background is streaked with tan and pine green behind the fabric, and becomes nearly black in the shadows of the upper right corner and along the bottom edge. The artist signed the lower right corner, "MJ. Heade."

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

Sahurs Meadows in Morning Sun

Two Poplars in the Alpilles near Saint-Rémy

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.

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.

Peahen and hibiscus

The Windmill

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.

Figure of a reclining woman

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 with Apples and Pears

Portrait of a Woman in Gray