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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.

This painting shows a body of water in between wooded mountains. On top of the water there are several long wooden logs with people on them. One of the people stands atop a large log, while the other appears to sit or recline. The people both wear hats, and one of them holds a long stick with a pointed end. The water is a vibrant blue, and the logs are in shades of brown, tan, and yellow. The forest behind the water has trees in shades of dark and light green. The sky has clouds in white and gray against a blue background. The brushstrokes in the artwork are loose, and some of the colors bleed into one another.

The Light House, Nassau

This painting shows a person in a small boat on a body of water. The person is all the way on one end of the boat, leaning towards the right and reaching out over the side of the boat, holding a rope that appears to be tied to the white antlers of a large brown deer that is almost completely submerged in the water. A black-and-white dog swims in the water behind the deer. The person has pale skin and short brown hair, and they are wearing a black hat and a gray coat. The boat is gray-brown, and the water below is painted with lines of blue, white, green, and teal. The background is a mix of dark gray and olive green.

An October Day

Boys in a Dory

Spearing Eels

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.”

Sloop, Nassau

This painting shows a person in a rowboat on calm water, fishing. The boat is positioned horizontally across the painting, and the person in it faces the left, looking forward. Their left hand holds the side of the boat while the right holds a long fishing pole that is placed over their shoulder. They wear long-sleeved brown garment and a tan hat with cloth panels that cover their neck and chin. Their skin is a light red color, and they appear to have a gray mustache. In the background there are dense dark green trees, and in the upper left corner a sliver of glowing sky in shades of orange and yellow is visible. Around the boat is dark blue water, with a hint of the yellow sky reflected in the bottom left corner.

The Pioneer

Inside the Bar

Mink Lake, Adirondacks

After the Hurricane, Bahamas

The Bather

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.

A Fisherman's Daughter

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.”

This painting shows a landscape with tall palm trees and bright green ferns by a body of water. In the background is a dense, dark forest in shades of black and dark blue. Closest to us, light blue water flows horizontally across the painting. In the bottom left corner, there is a long gray canoe that appears to have a person sitting in it, wearing red and holding a long white fishing line. The color palette includes shades of green for the trees and soft blue, white, and grey for the sky. The brushstrokes in the painting are loose and expressive, allowing colors to overlap and blend together.

Leaping Trout

Palm Tree, Nassau

Shore and Surf, Nassau

We look across a coral-pink beach that curves around a royal-blue bay, under a glimmering, pale blue sky in this horizontal watercolor landscape. The area of the beach closest to us is cast under a pale, plum-purple shadow. The beach curves away from us and to the right, like a backward C. At the curve, a short distance from us, a bank of emerald-green vegetation and a scrubby, dark green tree leads back to a low, grassy hill. A pair of two-story buildings with oyster-white walls and bright white roofs perch on the spit of land opposite us, across the water. Pale pink boats are pulled up onto the beach in front of and to our left of the buildings. The buildings and the green hill reflect in the water, which laps against the sand closest to us with bands of azure blue. More loosely painted buildings line the horizon, which comes about a third of the way up the composition. Two brick-red smudges to our left could be people standing at the water’s edge in the distance. The sky above has puffy white clouds against a brilliant blue sky. The artist signed the painting in the lower left, “HOMER.” In the lower right, the location and date are written in dark gray, “Salt Kettle Dec 1899.”

Sunset at Gloucester

Nassau

Fishing Boats, Key West

Storm, Bahamas

A buck jerks to the right as it leaps toward us, over a boulder and away from a rolling river in this horizontal watercolor painting. The buck is just right of center, and his body scissors, presumably as a gunshot lands. His curling horns nearly meet in an oval overhead, and one front leg is pulled up. The river is painted with tones of spruce green and sapphire, topaz, and celestial blue. The black silhouettes of two animals, either more deer or dogs, are in the distance to the right, and a white puff is along the far bank to the left. The forested background is painted broadly with tones of earthy green, tan, and smoky blue. The artist signed and dated the watercolor in the lower left corner, “Oct 12 1892 Homer.”

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 painting shows a white thatched-roof house on open, sandy ground. The brown thatched roof of the house has some yellow grass poking through. People can be seen in the open doorway of the house, identifiable by spots of red, blue, and light-yellow clothing. Behind the house is lush green tropical foliage with a few tall palm trees. A rooster is visible on the sandy ground in front of the house next to a long, white object that may be a downed tree trunk. The sky is filled with large white cumulus clouds and patches of bright blue.

Natural Bridge, Bermuda

A Clam-Bake

Market Scene, Nassau

Hurricane, Bahamas

Boy with Anchor

The Conch Divers

Flower Garden and Bungalow, Bermuda

A Basket of Clams

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 Siesta

Indian Camp, Roberval, P.Q.

Boating

A white boat with sails lowered floats in an aquamarine-blue ocean under a pale, sapphire-blue sky in this horizontal watercolor painting. To our right of center, the boat floats with its right, starboard side facing us and the bow angled slightly away. The white sails bunch up under the lowered, horizontal booms just above the top of the boat. The masts and rigging extend off the top of the composition. A group of a few people are gathered in the bow, on the far side of the sails. They are painted loosely but appear to have brown skin and red or black clothing. Waves lap against the side of the boat. To our left, an island or sliver of land with three palm trees deep in the distance lines the horizon, which comes about a third of the way up the composition. The water and sky are painted with layers of pale washes. The artist signed and dated the work in the lower left corner with dark paint: “HOMER KEY WEST 1903.”

Taking on Wet Provisions (Schooner Marked Newport, K. W.)

On the Sands

The Gardener

The Buccaneers

The Fishermen (Fantastic Scene)

Banana Tree, Nassau

The Garden Gate, Bahamas

The Mower

Two Ladies

Mount Sainte-Victoire

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

Émilie

The Pyrenees, the Peak of the Midi de Bigorre

The painting depicts a wintry scene from an elevated point of view, showing people skating and playing games on a frozen river. On the left, leafless trees line the frozen bank. On the right, there are brown buildings with snow on their roofs and smoke rising from their chimneys. A woman stands on one of the porches, holding a small child. On the snowy ground outside the buildings, a sled is being pulled by two horses. In the center of the painting is the wide frozen river. The people on it wear colorful clothes in shades of red, yellow, green, blue, and brown. Some of them slip and fall on the ice, and others lace skates on their feet. Four men in the center hold long curved sticks and look towards a small round ball on the surface of the ice. In the distance, the horizon is marked by blue-tinged mountains under a cloudy gray sky.

Bridge at Poissy (Pêcheurs à ligne)

Evening, Melancholy I

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.

This painting shows a landscape with a village seen from above. The view includes red rooftops and a white church with dome-shaped structures. In the background, there are distant mountains in shades of purple, blue, and red. There are dark green trees on the left, in front of what looks like a pale body of water. Closest to us is a strip of green that suggests a hilltop. The sky above is cloudy, with shades of gray and cream. The brushstrokes in the painting are thick and fluid.

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 Wall, Nassau

Approximately two dozen people gather around a man standing with his mouth wide open and holding up two objects in a scarlet-red structure on a horse-drawn cart in this horizontal painting. The people appear to all have pale skin and most are men. Near the center of the composition, the man in the cart wears a white robe over a black, high-collared garment and a tall charcoal-gray hat. A hatch on the red structure appears to be open, and he holds up what might be books or pamphlets. A ginger-brown horse stands behind him with its head bowed. In the crowd, the men wear black, brown, gray, dark blue, or olive-green clothing and hats. Two women are to the left. One wears a green gown with a pumpkin-orange shawl and a wide-brimmed bonnet. She faces away from us. She and two men talk near a stand where another man and woman sell food and drink. More people gather around a second stand or structure beyond this, and, in the lower left corner of the painting, a man with white hair and a hooked nose and chin sits by an open cart with a sign reading, “Bear O! Pi Aiggs.” A few men dance and others mill about to the right of the cart. Closer to us, one boy runs toward another as a soldier lies belly-down on the ground, holding a bayoneted rifle out toward a brown dog. The dog crouches with its mouth open. Beyond the dancers and onlookers, a field stretches back to wooded hills. In the field, more than a hundred people stand or march in lines. Lavender-tinged clouds pile up in the blue sky over the horizon, which comes about halfway up this composition.

Gezicht op bolwerk Westerbeer

Große Praterlandschaft

A flatboat with eight light-skinned men floats toward us down a wide river in this horizontal painting. The boat nearly spans the width of the composition and has low sides and a shallowly arched, low cabin upon which the men gather. At the center, a man with dark hair and wearing light blue trousers and a pink shirt dances with one foot and both arms raised. To our right a seated musician plays a fiddle, and to our left a smiling man holds up a metal pot and strikes the flat bottom with the back of his fingers. The remaining men sit or recline around the musicians and dancing man, some looking toward the dancer and two looking out at us. Bedrolls and animal skins are stored in the cabin below. The olive-green surface of the river is streaked with pale blue. The horizon line comes about a third of the way up the composition. The trees and riverbanks in the distance are hazy beneath a watery blue sky.

Path Near the Pond of Vipers, Fontainebleau Forest

Washington Crossing the Delaware

Crémieu, Seen from Chaillonnette

Prince and Princess Hunting Blackbuck

Two Poplars in the Alpilles near Saint-Rémy

The Apple Seller

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.

Poplars, Eragny

Canal in Autumn (Gisors)

Channel Bass

The Power of Music

Viewing Sunset over the Ryogoku Bridge from the Onmaya Embankment (Onmayagashi yori Ryogokubashi sekiyo o miru), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

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.”

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.

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.

The Pigeon Tower at Bellevue

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.

Low Tide at Pourville, near Dieppe, 1882

Stag at Sharkey's

Two Tahitian Women

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

Sonniges Felsental

The Call

Corn Fields

Konstnär: Hilma af Klint (1862-1944, svenska). Titel: Vallmo. Utförd på 1890-talet med akvarell och bläck på papper. Hilma af Klints stiftelse.

By the 19th century, Niagara Falls was already an iconic American landscape, nearly verging on mythical. Thomas Cole visited the landmark in May 1829 and composed this romanticized, autumnal scene the following year. In amplifying the natural grandeur of the American landscape, the artist wilfully ommitted the factories, scenic overlooks, and hotels that populated the area in the early 19th century.

Fishing by Torch in Kai Province (Koshu hiburi) from the series "One Thousand Pictures of the Ocean (Chie no umi)"

Well at the Side of a Road

By the Seashore

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.

Water Lilies