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The Forest at Pontaubert

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.

A Farm in Brittany

Poplars, Eragny

The Gardener

Two people, perhaps a woman and man, and a baby sit at a table in a courtyard surrounded by vine-covered walls in this square painting. The scene is loosely painted with visible dabs, dashes, or smudges. The table is to the left of center. The man sits on the far side, to our left, and the woman, who appears to have her brown hair pulled up, sits facing away from us wearing a smoke-gray garment. A child wearing pink and pale blue sits to our right of the woman and seems to raise both arms. The ground is dotted with cream white and fog gray against the brown board on which this was painted. Steps lead up to a building at the back of the courtyard to the left, and the vine-covered wall stretches across the right two-thirds of the background. The artist signed the lower left corner, “E Vuilllard.”

The Mower

Crémieu, Seen from Chaillonnette

The Pink Cloud

Nini in the Garden (Nini Lopez)

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.

Sonniges Felsental

Vase of Flowers

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.

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

Figures in the Woods

Painted almost entirely in tones of topaz, lapis, and sky blue, the façade of a building abutting a waterway fills this horizontal painting. Brushstrokes are visible throughout and they blend to make the scene appear hazy. The top two-thirds of this painting shows the front of a building with two stories of rows of pointed, arched windows. Two long, low boats, gondolas, are pulled up side-by-side to one of the arched openings at the water level of the canal, to our right. A few touches of amethyst purple and mauve pink delineate some of the architectural features and shadows amid a field of denim and pale blue. The water below is painted with short, horizontal strokes to create a shimmering effect. The building’s reflection is captured with touches of emerald and cool green against the blue water. The artist signed and dated the work with cobalt-blue paint in the lower left: “Claude Monet 1908.”

The Siesta

Procession or Pardon at Perros-Guirec

Männerakt

Two Poplars in the Alpilles near Saint-Rémy

On the River

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 Pigeon Tower at Bellevue

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 Apple Seller

Estérel Village

Misty Sea

Water Lilies

By the Seashore

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 Orange Christ

Low Tide at Pourville, near Dieppe, 1882

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.”

In the Waves (Dans les Vagues)

Three Tahitian Women

The Banks of the Marne at Charenton

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.

Water Lilies (Agapanthus)

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

The Pond at the Entrance of the Woods

Roses in a Vase

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.”

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

The House with the Cracked Walls

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.

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 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.

The Burning of the Houses of Lords and Commons, 16 October 1834

Mount Sainte-Victoire

The Blue Boat

Cypresses

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."

Leaving the Forest, Fontainebleau: Setting Sun

Hof

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.

The Windmill

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.

Wheat Field with Cypresses

Sea and Cliffs

Hills around the Bay of Moulin Huet, Guernsey

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

Sahurs Meadows in Morning Sun

Sunflowers

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.

Bouquet of Chrysanthemums

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.

Blumenbouquet mit rotem Tischtuch

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 Woodland Fête

A woman pushes aside a deep golden yellow curtain that fills three-quarters of this nearly square painting. The curtain runs on a rod parallel and close to the top of the canvas, extends off the right edge, and falls behind a bed covered in the same color. The bed is cropped by the bottom and left edges of the painting, and a brown, arched wood footboard almost reaches the right side. The woman stands on the far side of the bed, facing away from us as she pulls at the curtain with her right hand. She wears a navy-blue dress and a brown braid falls down her back. She reveals an area covered in a pink, green, and white floral pattern that seems to match the size of the curtain, at least along the left edge where it is exposed. A round mirror hangs on the floral-patterned area above a red piece of furniture, perhaps a small table or stool. The wall around the patterned area and curtain is painted bone white. A line incised in the paint running from the top left corner of the floral area to the top edge of the canvas suggests a crack in the wall. The paint is loosely applied so brushstrokes are visible throughout, especially in the floral pattern. The artist’s signature is painted in red in the lower left corner: "E. Vuillard."

Still Life with Apples and Pears

Portrait of Victor Ritter von Bauer

Well at the Side of a Road

Two Tahitian Women

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.

The Sunlight

In saturated, vivid tones of mint green, marigold orange, dandelion yellow, sky blue, and rose pink, a long building stretches away from us along a walkway. The narrow end of the building facing us to the right is orange, and the long side is frosty green. The roof is painted garnet red, and the windows are created with slashes of midnight blue and dark red outlined with topaz blue. A wall enclosing the structure is lemon-lime yellow, and a fence in front of that is painted ultramarine blue. The walkway beneath the fence is pink and, to the left of that, pale blue. Two trees painted with twisting lines of ruby red, shamrock green, black, and off white edge into the scene along the left side, and the sky is lapis blue around a mint-green halo that surrounds the building’s roofline and walls. The scene is loosely painted with visible brushstrokes throughout.

The Call

An October Day

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.

We look across a stream and through a loose screen of shadowy trees at a sunlit farm under a powder-blue sky with towering, puffy clouds in this vertical landscape painting. The ground and stream closest to us are painted in tones of olive green, sepia and earth brown, black, and slate gray. Nearly lost in shadow, a group of six people gathers at the water’s edge in the lower left. Small in scale within the composition, they wear brick-red, gray, or caramel-brown garments. Beyond them, a low picket fence winds through and between a loose band of shadowy trees, which are painted with gnarled, dark gray trunks and camel-brown, sage, and pine-green leaves. The trees to our left are closer and taller, while those to our right are a little farther away. The sun pours from the upper left into the field beyond. The farm buildings there have tan walls and sloping, peach-colored roofs. A few animals and people, smaller than the group in front, stand among the buildings, and more cottages can be glimpsed through a stand of trees on our right. The horizon line comes about a third of the way up the composition, and a church and steeple are silhouetted against the sky in the deep distance. A few birds fly in front of gray and white clouds that rise from the right side and spread across the top of the canvas.

Ia Orana Maria (Hail Mary)

Adeline Ravoux

Combat for the Colors

Hinds House Window

Émilie

Roses in a Vase

Still Life

Hebe

Oleanders

The Flood of Noah (Genesis 7:11-24)

Paulownias and Chrysanthemums

View of Schroon Mountain, Essex County, New York, After a Storm

We look across a wide, low clearing at a mountain rising beyond rocky hills, which are mostly covered in pines and blazing red and orange autumn trees, in this horizontal landscape painting. The green grass of the clearing is littered with dead trees and stumps. Beyond a narrow opening between the hills, almost at the center of the composition, a massive mountain towers against the powder-blue sky, nearly reaching the top edge of the painting. The mountain’s jagged face is mottled with warm tones of cinnamon, rust, and caramel brown. The scene is bathed in warm light coming from our right but pewter-gray storm clouds move in from the upper left to encircle the mountain peak. Closest to us, a line of broken tree trunks spans the width of the painting, mixed with scarlet-red, marigold-orange, and green vegetation and reeds. A silvery pond lies just beyond them to our left. Tiny in scale within the landscape, a horse and rider gallop along a wide dirt road emerging from the lower right toward a white house nestled at the foot of the hill to our left. The rider wears a knee-length, denim-blue tunic and red leggings. Upon closer inspection, two children and a white dog become visible, walking toward the rider. A straw-yellow structure sits against the hill to our right. A horse-drawn carriage moves away from the house in the far distance, where the road curves toward the notch. The artist signed and dated the painting as if he wrote directly onto a broken trunk in the lower left corner of the painting: “T. Cole 1839.”

Winter Trees Reflected in a Pond

Tahitian Women Bathing

Italienische Landschaft