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By the Seashore

Sea and Cliffs

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.”

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

The Apple Seller

Low Tide at Pourville, near Dieppe, 1882

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.

Figures on the Beach

Mount Sainte-Victoire

Nini in the Garden (Nini Lopez)

Poplars, Eragny

In the Waves (Dans les Vagues)

Crémieu, Seen from Chaillonnette

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

Still Life with Peaches

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

Sonniges Felsental

The Siesta

Canal in Autumn (Gisors)

The Banks of the Marne at Charenton

Roses in a Vase

Still Life with Peaches and Grapes

Cypresses

The Mower

Sahurs Meadows in Morning Sun

Two Poplars in the Alpilles near Saint-Rémy

The Gardener

Water Lilies (Agapanthus)

Wheat Field with Cypresses

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.

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 House with the Cracked Walls

Bouquet of Chrysanthemums

Water Lilies

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.”

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.

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.

The Pyrenees, the Peak of the Midi de Bigorre

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.

Three Tahitian Women

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.

The Fishermen (Fantastic Scene)

This painting shows a green landscape from an elevated viewpoint. In the distance, light blue water meets a pale-yellow sky, and the sun casts a golden glow over the landscape. Closest to us is a shore covered in overlapping greenery and several round trees. There is a small hill on the right, with a small gray structure sitting atop it. At the bottom, two indistinct brown animals graze on a dirt mound. Behind them, another gray building is tucked away behind bushes and trees. Golden clouds drift across the sky.

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.

Nine oranges and lemons sit in a shallow basket with dark green, spiky branches behind and a pair of cobalt-blue gloves in front in this horizontal still life painting. The scene is painted with long, loose brushstrokes, which are visible throughout. The muted orange and golden yellow fruit are outlined with blue, as is the woven basket in which they sit. The two cypress branches behind and to either side of the basket are painted with sky blue along the stems and long, bristly needles. The gloves sit one atop the other near the lower right corner, and the top glove has three brown stripes down the back. The surface beneath the still life is sand brown, and the pale turquoise background takes up the top third of the composition. The artist signed and dated this with the location in the lower right corner, “Vincent Arles 89.”

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.

A Farm in Brittany

Oleanders

The Pink Cloud

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.

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.”

Strawberries

Blumenbouquet mit rotem Tischtuch

Sunflowers

Estérel Village

The Pond at the Entrance of the Woods

The Blue Boat

Vase of Flowers

Adeline Ravoux

The Pigeon Tower at Bellevue

Leaving the Forest, Fontainebleau: Setting Sun

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

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.”

lovers' embrace

The Forest at Pontaubert

Procession or Pardon at Perros-Guirec

“There has been none of my favorite snow," George Bellows wrote to a friend in January 1914. "I must always paint the snow at least once a year.” Soon after, a blizzard hit New York City, inspiring this painting. The bright colors and broad brushstrokes convey the pleasure and movement of the skaters and onlookers who are out enjoying a New York City winter.

The Bay of Marseille, Seen from L'Estaque

Männerakt

Improvisation No. 30 (Cannons)

Enclosed Valley

Flower Garden and Bungalow, Bermuda

Well at the Side of a Road

Tahitian Women Bathing

Shore and Surf, Nassau

The Girl by the Window

This painting shows two women walking towards the left on a gray-brown shore, dressed in white blouses and blue skirts, one wearing red stockings. They both have pale skin, and their faces are turned away from us. Their skirts are blowing in the wind, and strands of dark hair have come out of their low buns. The sea behind them is turbulent with crashing white and blue waves, under a dark gray overcast sky. The shore is dotted with small areas of green, white, and rusty red. The scene is painted in soft and fluid strokes.

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.

A pale-skinned woman wearing a long, rose-pink gown sits amid a lush landscape in this vertical portrait painting. The woman’s body is angled to our left, but she turns her head to look at us with green eyes under dark brows. She has a long, straight nose, smooth, flushed cheeks, and her carnation-pink lips are closed. Her long, curly, ash-brown hair is loosely pulled back in an emerald-green ribbon, but tendrils floating around her face seem to lift as in a breeze. A ponytail or thick tendril drapes over her far shoulder, almost reaching her waist. The low neckline of her gown is wrapped with translucent, gold cloth, and the elbow-length sleeves are gauzy white. The gown has a pale pink bodice and long, full skirt. Ribbons the same green as the one in her hair wrap around her waist and around the elbow we can see. She crosses her ankles so delicate, high-heeled, charcoal-gray slippers peek out from the bottom hem of her skirt. She sits on a gray boulder, her hands folded in her lap as she holds the ends of her translucent scarf. A tall tree grows along the right edge of the composition to arc up and over with olive-green and harvest-gold leaves. Beyond the woman, the land dips down to our left back into a tree-filled valley. Swipes of slate blue in the distance could be mountains. A short distance from us, to our left, one tree with a narrow, pale green canopy grows up against the sky. Behind that tree, yellow sunlight breaks through light blue, lavender-purple, and silver clouds that fill the rest of the sky. Parts of the scene are loosely painted with swirling, fluttering strokes, especially in the woman’s costume and the trees around her.

The Basket of Apples

Evening, Melancholy I

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.

The Orange Christ

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.

Émilie

Autumn Evening with Full Moon on Musashino Plain

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.

Charcoal-gray clouds fill most of the sky over a turquoise-blue body of water in this horizontal watercolor painting. The gray clouds on the left become more blue as they move to the right. The water is framed by low hills sloping down from both sides, which are painted in cinnamon and dark brown with touches of forest green and topped with a few slender, windblown trees. Several black rocks form a curve along the lower right side of a cove directly in front of us. Loose strokes of brown, tan, and pale blue fill the lower right corner below them. On the horizon, at the center of the composition, is a dark gray finger of land with a tiny steamship drifting by, smoke rising from its two smokestacks. The artist signed and dated the lower left, “Homer 1901.”

Natural Bridge, Bermuda

Combat for the Colors

Roses in a Vase

The Windmill

Still Life

The Large Plane Trees (Road Menders at Saint-Rémy)

Still Life with Teapot and Fruit

A Calling

Woman at Her Toilette

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