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Hills around the Bay of Moulin Huet, Guernsey

Figures on the Beach

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.

By the Seashore

Nini in the Garden (Nini Lopez)

The Mower

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

Mount Sainte-Victoire

Two Poplars in the Alpilles near Saint-Rémy

The House with the Cracked Walls

The Apple Seller

Still Life with Peaches

Still Life with Peaches and Grapes

The Fishermen (Fantastic Scene)

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.

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

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 Siesta

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

The Pink Cloud

Wheat Field with Cypresses

A Farm in Brittany

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.”

Sunflowers

The Orange Christ

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

Crémieu, Seen from Chaillonnette

Cypresses

In the Waves (Dans les Vagues)

Canal in Autumn (Gisors)

The Gardener

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.”

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

Bouquet of Chrysanthemums

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.

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.”

Émilie

Sonniges Felsental

Natural Bridge, Bermuda

A Basket of Clams

The Pigeon Tower at Bellevue

Boy with Anchor

Roses in a Vase

Sahurs Meadows in Morning Sun

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.”

Evening, Melancholy I

Procession or Pardon at Perros-Guirec

After the Bath

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.

Café Wepler

The Sofa

After the Hurricane, Bahamas

Tahitian Women Bathing

Three Tahitian Women

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.

Männerakt

A Fisherman's Daughter

Shore and Surf, Nassau

Apples

Oleanders

Improvisation No. 30 (Cannons)

Boys in a Dory

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.”

Wrestlers in a Circus

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

Flower Garden and Bungalow, Bermuda

The Bay of Marseille, Seen from L'Estaque

Roses in a Vase

The Banks of the Marne at Charenton

Adeline Ravoux

Shoes

Water Lilies

The Basket of Apples

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.”

Marshland

Orpheus

Poplars, Eragny

Combat for the Colors

Woman at Her Toilette

From a low vantage point, we look up a steep, rocky mountainside at a towering mountain peak in the distance in this nearly square landscape painting. Painted with tones of cobalt and topaz blue, caramel and clay brown, mauve pink, lavender purple, ivory, and cream white, the rocks and mountain nearly fill this composition against a deep, crystal-blue sky dotted with a few white puffy clouds. Water trickles along the rocky ground into a white waterfall near the lower left corner. Vibrant green moss grows on some of the smaller rocks that form a diagonal line down to the lower right corner. Larger boulders are painted with denim blue and harvest yellow beyond the smaller rocks. The rocky landscape slopes dramatically up into the distance, where it meets the sheer cliff face of a back-lit monolith that nearly touches the top edge of the canvas. Brushstrokes are visible throughout, especially along the center for the middle distance. Light pours over the scene from the left, but some of the middle ground is cast into shadow, perhaps by unseen ridges.

Still Life

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.

Sunset at Gloucester

Misty Sea

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

At the Milliner's

We look slightly down at a woman with pale skin and two men with ruddy complexions sitting at a table near a railing overlooking a boat-clogged waterway in this horizontal painting. Only the corner of the table is visible in the lower right corner of the canvas. The woman sits next to one man on the far side of the table, and the third person leans onto the table from our right, along the edge of the composition. The table is covered with a dark, ruby-red, floral cloth. The red-haired woman wears a dark green dress and leans back, extending her right arm along the railing. Her back is to the river below, and she gazes directly ahead, to our right. The dark-haired, bearded man sitting to her left, our right, leans toward the cleanshaven, dark-haired man sitting across from him. That second man wears a cap, and he has a prominent nose and square jaw. Sailboats, rowboats, a steamship, and vessels of every size occupy much of the waterway. Rows of buildings extend along the river to our left and right, and trees line the distant horizon at the center of the painting. The river is a tan color and the pale blue sky is hazy.

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.

Water Lilies (Agapanthus)

Corn Fields

We look beyond a cluster of flags hanging from the side of one tall building onto a wide street at a row of buildings across from us in this vertical painting. The scene is loosely painted with visible brushstrokes, so some details are difficult to make out. We seem to lean out a window to look along the street, so the building to our right only skims the edge of the composition and continues off the top. The three flags closest to us fly from nearly horizontal flagstaffs along the bottom edge of the painting. All the flags are in shades of scarlet red, white, and royal blue. The flag closest to us is red with the red, white, and blue Union Jack in the upper corner. Beyond it is an American flag with 49 stars, and then the French flag with the vertical bands of blue, white, and red. Those three flags are repeated about a dozen times along the building that stretches away from us, along the right edge of the painting. More of those flags are hung from the cream-white and tan buildings across the street, to our left. Some of those buildings reach off the top edge of the canvas and others come close. The shadows along moldings and the windows are painted with pale and lapis blue. Through narrow gaps left between the fluttering flags, vertical strokes of navy blue and violet purple suggest crowds of people in the street below. The sky between the buildings is ice blue. The artist signed and dated the painting in the center left, “Childe Hassam May 17 1917.”

“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.

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.

Market Scene, Nassau

Two Tahitian Women

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.

Ia Orana Maria (Hail Mary)