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Don Baltasar Carlos with a Dwarf - Diego Rodríguez de Silva y Velázquez - Google Arts & Culture

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As court painter to Philip IV, Velázquez painted countless portraits of the king and his family, images at once majestic and human. This charming, child-si...

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Saint Paul - Diego Velázquez - Google Arts & Culture

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The saint, seated, is wearing a tunic under a thick cloak. His hair is dark, his beard tinged with grey and his face deeply lined, while a halo of light ar...

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A girl carrying her shopping in a basket. Behind the figure in the foreground, there is group of young women taking a stroll. On the left, fragments of urban architecture, on the right, fragment of a street, and park greenery.

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Girl with the shopping - Wacław Szymanowski (1859-1930) - Google Arts & Culture

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A girl carrying her shopping in a basket. Behind the figure in the foreground, there is group of young women taking a stroll. On the left, fragments of urban architecture, on the right, fragment of a street, and park greenery. Recommended

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Parson Weems' Fable - Grant Wood - Google Arts & Culture

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Mason Locke Weems (1756-1825), known as Parson Weems, penned the fable of Washington chopping down his father's cherry tree. With the rise of fascism in th...

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The milkmaid - Johannes Vermeer - Google Arts & Culture

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Intent on her task, the kitchen maid pours milk from a jug. The composition radiates a quiet calm, the only movement being the flow of milk into the bowl. ...

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Portrait of a Boy in His Gymnasium Uniform - Olga Boznańska - Google Arts & Culture

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Olga Boznańska often exhibited her portraits without any information as to whom they depict. This practice was the result of her artistic conviction that it was more important to create an ideal composition than to faithfully reproduce the features of the subject.

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Veronese's majestic, full-length portrait of the countess and her eldest daughter Deidamia, born in 1545, was originally accompanied by one of her husband Count Issepo (Giuseppe) da Porto and their son Leonida (now in the Palazzo Pitti, Florence). These paintings were most likely installed in their palace in Vicenza, which had recently been built by Andrea Palladio (1508-1580). The portraits would have been placed so that it would appear as if the family were standing in niches inside the palace; however, the floor strip below is a later addition. Veronese was famous for his use of color and mastered the rendering of luxurious textures and fabrics, including the marten's fur. The head of gold and enamel is nearly identical to one in the Walters' collection (57.1982). Marten fur was thought to protect women in childbirth, and in 1552 the countess was pregnant with her daughter Emilia.

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Portrait of Countess Livia da Porto Thiene and her Daughter Deidamia - Paolo Veronese - Google Arts & Culture

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Veronese's majestic, full-length portrait of the countess and her eldest daughter Deidamia, born in 1545, was originally accompanied by one of her husband Count Issepo (Giuseppe) da Porto and their son Leonida (now in the Palazzo Pitti, Florence). These paintings were most likely installed in their palace in Vicenza, which had recently been built by Andrea Palladio (1508-1580).

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Woodville adopted the subject of newspaper reading seen in works by his Düsseldorf contemporaries Johann Peter Hasenclever and Wilhelm Kleinenbroich, placing it in a distinctly American interior, described by a contemporary critic as "one of those subterranean temples devoted to the immolation of bivalves . . . vulgarly known as oyster cellars." After their meal, the younger of the two figures, bearded and wearing his top hat indoors, leans across the table, counting arguments off on the fingers of one hand and clasping the newspaper that fuels his opinions in the other. The older man, balding, ruddy-faced, and red-nosed, warmed by the liquor in his half-empty glass, looks out with amusement at the viewer. The booth in which they are seated, with its red privacy curtain pulled aside, creates a shallow proscenium stage for this scene of intergenerational argument. The characters are engaged with the politics of their time, on which Woodville, characteristically, takes no stand. The foreground details of recognizable objects - the red spittoon, the umbrella, the penny newspaper, and the discarded "segar" stub - set this drama squarely in contemporary times.

This small-scale cabinet picture was painted for prominent Baltimore citizen John H. B. Latrobe. Latrobe might have commissioned it in person on his Grand Tour of Europe, which took him "down the Rhine" in 1847. After shipment to New York for a brief exhibition at the American Art-Union, it was delivered to Latrobe's residence in Baltimore on May 29, 1848, with a note from William Woodville V, the artist's father, saying "Caton desires me to say to you, that if you do not like it, you must not hesitate about returning it to me, and he will, with the greatest pleasure, paint another for you." Apparently, the painting pleased Latrobe a great deal; he loaned it to the first annual exhibition of paintings at the Maryland Historical Society, and it hung in the parlor of his home at Charles and Read Streets until the death of his widow in 1905.
Woodville exhibited a copy of this work with the title A New York Communist Advancing an Argument to some acclaim at the Royal Academy in London, where he was then resident, in 1852. A woodblock print of the painting illustrated the review of the exhibition in The Illustrated London News, which called it "a spirited little piece . . . of more than ordinary merit." The lithograph of the picture, produced by Fanoli, printed by Lemercier, and distributed by Goupil & Co. included a "dedication to John H. B. Latrobe, Esq." (see fig. 38 and checklist no. 21). It was offered in a full-page advertisement, along with several prints after works by William Sidney Mount, in the December 21, 1850, issue of The Literary World as "a most exquisite representation of American politicians."

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Politics in an Oyster House - Richard Caton Woodville (American, 1825-1855) - Google Arts & Culture

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Woodville adopted the subject of newspaper reading seen in works by his Düsseldorf contemporaries Johann Peter Hasenclever and Wilhelm Kleinenbroich, placing it in a distinctly American interior, described by a contemporary critic as "one of those subterranean temples devoted to the immolation of bivalves . . . vulgarly known as oyster cellars."

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Monet moved to Argenteuil, a suburban town on the right bank of the Seine River northwest of Paris, in late December 1871. Many of the types of scenes that he and the other Impressionists favored could be found in this small town, conveniently connected by rail to nearby Paris. In this painting, Monet was less interested in capturing a likeness than in studying how unblended dabs of color could suggest the effect of brilliant sunlight filtered through leaves. During the early 1870s, Monet frequently depicted views of his backyard garden that included his wife, Camille, and their son, Jean. However, when exhibited at the Second Impressionist Exhibition in 1876, this painting was titled more generically, "Woman Reading."

Title: Springtime

Date Created: 1872

Physical Dimensions: w65.5 x h50 x d13.0175 cm

Rights: Acquired by Henry Walters, 1903, http://creativecommons.org/licenses/by-nc-sa/3.0/

External Link: The Walters Art Museum

Provenance: [Problematic history prior to when Henry Walters acquired painting]; [either] Sale [by artist], Hôtel Drouot, Paris, February 4, 1873, no. 55 [as Jeune femme assise]; Paul Durand-Ruel [by purchase]; [or] Sale [by artist] November, 1872; Paul Durand-Ruel [by purchase, and resold before 1877, as La femme en rose]; Hoschedé, Paris; [either] Hoschedé Sale, Hôtel Drouot, Paris, June 5-6, 1878, no. 54 [as Jeune femme assise dans un parc]; Lussac (?); [or] Hoschedé Sale, 1881-1888 [50 francs] [as Femme assise dans l'herbe]; Paul Durand-Ruel; Mary Cassatt, 1889; Henry Walters, Baltimore, May 7, 1903, by purchase [George A. Lucas as agent]; Walters Art Museum, 1931, by bequest.

Place of Origin: Paris, France

Inscriptions: [Signature] Lower right: Claude Monet

ExhibitionHistory: 2e Exposition de Peinture. Galerie Durand-Ruel, Paris. 1876; Monet-Rodin. Galerie Georges Petit, Paris. 1889; Contrasts in Impressionism. Baltimore Museum of Art, Baltimore. 1942; Themes and Variations in Painting and Sculpture. Baltimore Museum of Art, Baltimore. 1948; Monet and the Beginnings of Impressionism. The Currier Gallery of Art, Manchester, Manchester. 1949; Paintings by the Impressionists and Post Impressionists. Virginia Museum of Fine Arts, Richmond. 1950; From Ingres to Gauguin: French Nineteenth Century Paintings Owned in Maryland. Baltimore Museum of Art, Baltimore. 1951; Inaugural Exhibition at the Fort Worth Art Center. Fort Worth Art Center, Fort Worth. 1954; The Turn of the Century: Exhibition of Masterpieces, 1880-1920. Denver Art Museum, Denver. 1956; Claude Monet. City Art Museum of Saint Louis, St. Louis; Minneapolis Institute of Arts, Minneapolis. 1957; The Image Lost and Found. Metropolitan Boston Arts Center, Boston. 1960; A Baltimorean in Paris: George A. Lucas, 1860-1909. The Walters Art Gallery, Baltimore. 1979; Hommage à Claude Monet (1840-1926). Galeries nationales du Grand Palais, Paris. 1980; Claude Monet - Auguste Rodin: Centenaire de l'Exposition de 1889. Musee Auguste Rodin, Paris. 1989-1990; Monet: A Retrospective. Bridgestone Museum of Art, Tokyo; Nagoya City Art Museum, Nagoya, Aici. 1994; Claude Monet 1840-1926. The Art Institute of Chicago, Chicago. 1995; Monet: Late Paintings of Giverny from the Musee Marmottan. The Walters Art Gallery, Baltimore; San Diego Museum Of Art, San Diego; Portland Art Museum, Portland. 1998-1999; Before Monet: Landscape Painting in France and Impressionist Masters: Highlights from The Walters Collection. The Walters Art Gallery, Baltimore. 1998; Faces of Impressionism: Portraits from American Collections. Baltimore Museum of Art, Baltimore; The Museum of Fine Arts, Houston, Houston; The Cleveland Museum of Art, Cleveland. 1999-2000; A Magnificent Age: Masterpieces from the Walters Art Museum, Baltimore. The Walters Art Museum, Baltimore; The Nelson-Atkins Museum of Art, Kansas City; Mint Museum of Art, Charlotte. 2002-2004; In Monet's Light: Theodore Robinson at Giverny. Baltimore Museum of Art, Baltimore; Phoenix Art Museum, Phoenix; Wadsworth Atheneum Museum of Art, Hartford. 2004-2005; Claude Monet (1840-1926): A Tribute to Daniel Wildenstein and Katia Granoff. Wildenstein & Company, New York. 2007; 19th Century Masterpieces from the Walters Art Museum. Santa Barbara Museum of Art, Santa Barbara; Jack S. Blanton Museum of Art, Austin. 2010-2011

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Springtime - Claude Monet - Google Arts & Culture

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Monet moved to Argenteuil, a suburban town on the right bank of the Seine River northwest of Paris, in late December 1871. Many of the types of scenes that he and the other Impressionists favored could be found in this small town, conveniently connected by rail to nearby Paris.

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It is a portrait of a Mexican boy. It was painted in a highly expressive and impressionistic manner. One can clearly see the thick texture of the paint, and traces left by the paintbrush.

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Mexican Boy - Pablito - Hanna "Kali" Weynerowska (1918-1998) - Google Arts & Culture

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It is a portrait of a Mexican boy. It was painted in a highly expressive and impressionistic manner. One can clearly see the thick texture of the paint, and traces left by the paintbrush. Recommended

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Obraz przedstawia portret młodej dziewczynki. Postać ukazana jest w popiersiu z twarzyczką i wzrokiem zwróconym na widza. Dziewczynka ma błękitne oczy oraz burzę rudych, kręconych włosów. Ubrana jest w niebieską sukienkę. Tło wokół postaci jest jasnozielone. Twarz dziewczynki znajdująca siew centrum kompozycji, namalowana jest realistycznie i bardzo szczegółowo, natomiast pozostałe elementy ujęto bardziej ekspresyjnie i szkicowo.
Podpis artysty wraz z datą znajduje się w lewym dolnym rogu obrazu.

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Portret dziewczynki - Maurycy Trębacz (1861-1941) - Google Arts & Culture

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Obraz przedstawia portret młodej dziewczynki. Postać ukazana jest w popiersiu z twarzyczką i wzrokiem zwróconym na widza. Dziewczynka ma błękitne oczy oraz burzę rudych, kręconych włosów. Ubrana jest w niebieską sukienkę. Tło wokół postaci jest jasnozielone.

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Władysław Podkowiński poznał osiągnięcia francuskiego impresjonizmu podczas wyprawy do Paryża w 1889 roku, odbytej wspólnie z Józefem Pankiewiczem. Doświadczenia tamtej podróży, a zwłaszcza zetknięcie się z twórczością klasyka gatunku, Claude'a Moneta, widoczne są w obrazie Dzieci w ogrodzie z 1892 roku.

W 1891 i 1892 roku Podkowiński spędzał wiele czasu w towarzystwie zaprzyjaźnionych malarzy Miłosza Kotarbińskiego i Stanisława Maszyńskiego. W ich rodzinnych majątkach artysta stworzył swoje najpiękniejsze kompozycje plenerowe oraz świetliste portrety. Malował ukwiecone klomby, rozległe łąki i przecinane polnymi drogami lub strumieniami pola. Zachwycony błogą atmosferą życia w podwarszawskich miejscowościach, artysta z pełnią swojego temperamentu notował wrażenia i obserwacje na temat natury. Rejestrował grę światła w plenerze w słoneczny dzień, a jako sztafaż często wprowadzał przebywających na wakacjach członków rodziny gospodarzy.

W obrazie Dzieci w ogrodzie Podkowiński uchwycił moment podlewania klombu w majątku w Chrzęsnem koło Radzymina przez dwóch synów gospodarza. Sześcioletni chłopiec z konewką to Tadeusz Kotarbiński, przyszły światowej sławy filozof, a stojący za nim dwulatek to Mieczysław Kotarbiński, malarz i projektant wnętrz. W kompozycji dzieła artysta zastosował ulubiony zabieg ukazania w bliskim planie fragmentu natury, którą umiał podpatrywać wyjątkowo wnikliwie. Zbudowany po przekątnej obraz oparł na kontraście gamy ciepłej i zimnej, z przewagą tonacji żółcieni i zieleni, dopełniając paletę szaro-fioletowym błękitem. Podkowiński zaprezentował rezultat letniego pleneru w 1892 roku na jesiennym Salonie Towarzystwa Zachęty Sztuk Pięknych. Dzieła te zostały przyjęte przez krytykę znacznie lepiej niż zaprezentowane w 1890 roku, tuż po powrocie z Paryża, niezrozumiane obrazy impresjonistyczne.

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Dzieci w ogrodzie - Władysław Podkowiński - Google Arts & Culture

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Władysław Podkowiński poznał osiągnięcia francuskiego impresjonizmu podczas wyprawy do Paryża w 1889 roku, odbytej wspólnie z Józefem Pankiewiczem. Doświadczenia tamtej podróży, a zwłaszcza zetknięcie się z twórczością klasyka gatunku, Claude'a Moneta, widoczne są w obrazie Dzieci w ogrodzie z 1892 roku. W 1891 i 1892 roku Podkowiński spędzał wiele czasu w towarzystwie zaprzyjaźnionych malarzy Miłosza Kotarbińskiego i Stanisława Maszyńskiego.

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Self-Portrait with Velvet Beret - Rembrandt Harmenszoon van Rijn - Google Arts & Culture

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Numerous paintings and drawings show that Rembrandt was more interested in himself as a subject, from the earliest times and well into old age, than any ot...

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Nini Lopez first appeared in the work of Auguste Renoir (1841-1919) in La Loge (The Theatre Box), painted in 1874. The young woman from Montmartre, cruelly nicknamed Nini-Gueule-de-Raie, or " fish face", is shown alongside the artist's brother. Although the artwork was immediately purchased by the art dealer "le Père Martin", Renoir, like many of his Impressionist friends, was experiencing serious financial difficulty at the time. In the spring of 1875, he moved into a new studio on rue Cortot in Montmartre. The painter liked the almost wild quality of the garden, where Nini posed for him regularly. Known for being serious and punctual, the young woman become the artist's favourite model between 1875 and 1879, appearing in at least fourteen paintings. The Portrait of Nini Lopez was painted in 1876, the year the artist outshone himself in breathtaking compositions such as The Swing and Dance at Le Moulin de la Galette. But at the time, Renoir was also painting numerous intimate scenes and smaller portraits for commercial purposes. The canvas purchased by collector Olivier Senn from Le Havre is very similar to a smaller work, Portrait of Nini Lopez (Blond Profile), in which the young woman is dressed in the same clothes: black and white bodice, green scarf and black ribbon tying back her hair. The model has the same soft features that give Nini her dreamy charm. The painting, which places great emphasis on the study of light behind the model, was undoubtedly executed near one of the windows that opened onto the garden of the studio on rue Cortot. Renoir was striving to convey the changing reflections of light on the human figure. A study conducted by C2RMF, the centre for the research and restoration of French museums, revealed that Renoir had taken a canvas already painted-a horizontal landscape-and turned it vertically before enlarging it with two bands. The artwork shows traces of this story-thick brushstrokes underlying the woman's face, an almost sketch-like treatment of the side edges-, and the ensuing freedom of execution lends an extraordinary modern quality to the work as a whole.In 1877, as Renoir's talent as a portrait artist earned him prestigious commissions with the bourgeoisie, Nini disappeared from his painting following her marriage to a third-rate actor in the Montmartre theatre, much to the dismay of her mother and the artist, who had become her protector, for they had both dreamed of a bourgeois marriage for her. But during the six years she posed for the artist, the young Nini incarnated Renoir's feminine ideal, filled with happiness and joy of life.

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Portrait of Nini Lopez - Pierre-Auguste Renoir - Google Arts & Culture

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Nini Lopez first appeared in the work of Auguste Renoir (1841-1919) in La Loge (The Theatre Box), painted in 1874. The young woman from Montmartre, cruelly nicknamed Nini-Gueule-de-Raie, or " fish face", is shown alongside the artist's brother.

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For more than sixty years, Jewish Woman with Oranges - one of Aleksander Gierymski's masterworks - was listed among the Polish works of art to have been lost during the Second World War. Residing today in the National Museum in Warsaw, the painting had gone missing after the failure of the Warsaw Uprising of 1944, as Nazi soldiers destroyed and looted works of art en masse.

The recovery of Gierymski's painting from a German auction house in 2010 was a momentous event. The efforts of the Polish Ministry of Culture and National Heritage to reclaim the canvas lasted nearly a year. It was no easy task - German law offered no legal recourse for a rightful owner to regain a stolen work after such a long, uninterrupted period in other hands. Consequently, Poland was forced to buy back Jewish Woman with Oranges, with the PZU Foundation bankrolling the purchase and covering the costs of the painting's restoration.

The recovered painting was in very poor condition and returning it to its former glory took many months of meticulous work. Today, Jewish Woman with Oranges once again glows with its clear colours and a sense of depth, air and light fill the landscape depicting Warsaw's Powiśle district. The poor, life-weary woman stands with baskets of oranges in her hands hoping to sell but a few. Her once-beautiful face, wrinkled by time, sadness and resignation, still reflects a human dignity that refuses to succumb to life's misfortunes.

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Jewish Woman with Oranges - Aleksander Gierymski - Google Arts & Culture

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For more than sixty years, Jewish Woman with Oranges - one of Aleksander Gierymski's masterworks - was listed among the Polish works of art to have been lost during the Second World War. Residing today in the National Museum in Warsaw, the painting had gone missing after the failure of the Warsaw Uprising of 1944, as Nazi soldiers destroyed and looted works of art en masse.

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Jean Renoir has recorded the following recollections: "When I was still very little, three, four or five years old, my father did not tell me how I was to pose but took advantage of some occupation that seemed to keep me quiet. The paintings of Jean playing with toy soldiers, eating his soup, moving his building blocks or looking at picture books were thus captured on canvas" (Jean Renoir, Pierre-Auguste Renoir, mon père, Paris, 1981). Renoir was an attentive father, and he joyfully compiled what amounts to a veritable family album recording the childhood of his sons, alone or with their mother, or, again, with one of the servants, usually the faithful Gabrielle. Gabrielle Renard (1879-1959) joined the Renoir household staff when Madame Renoir was expecting her second child, who turned out to be Jean, the future cinematog¬rapher.

The painting entitled Gabrielle and Jean belongs to a vast array of works depicting these two protagonists, works that reflect a broad range of techniques. The picture shown here doubtless dates from 1895-1896, considering the age of the child, who was born in September 1894.

The beautifully rustic maidservant in dark blue with her dark brown hair and olive skin contrasts with the Venetian-blond baby, whose white dress forms a vast, luminous expanse. Their left arms are touching closely in an affectionate pose, while the child's right hand attempts to imitate Gabrielle's by grasping one of the figurines. The latter are sparsely and unobtrusively brushed in and cause no break in continuity with the table in the foreground, which is handled not as a hard, inert object but as a soft, undulating material. The variegated surface area and the resulting horizontal plane indistinctly echo the two large vertical sections in the background, which have been given a blurred treatment. These two wall sections, with their contrasts of material, appearance, size, and color, breathe air into this painting, providing at the same time, along with the triangular surface of the table, geometrical planes that circumscribe the plastic reality of the two figures.

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Gabrielle and Jean - Auguste Renoir - Google Arts & Culture

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Jean Renoir has recorded the following recollections: "When I was still very little, three, four or five years old, my father did not tell me how I was to pose but took advantage of some occupation that seemed to keep me quiet.

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Two Sisters (On the Terrace) - Pierre-Auguste Renoir (French, 1841-1919) - Google Arts & Culture

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Pierre-Auguste Renoir painted this delightful homage to springtime, youth, and beauty on the terrace of the Fournaise family's restaurant on the Seine Rive...

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In his best-known and largest painting, Georges Seurat depicted people relaxing in a suburban park on an island in the Seine River called La Grande Jatte. The artist worked on the painting in several campaigns, beginning in 1884 with a layer of small horizontal brushstrokes of complementary colors. He later added small dots, also in complementary colors, that appear as solid and luminous forms when seen from a distance.Seurat's use of this highly systematic and "scientific" technique, subsequently called Pointillism, distinguished his art from the more intuitive approach to painting used by the Impressionists. Although Seurat embraced the subject matter of modern life preferred by artists such as Claude Monet and Pierre-Auguste Renoir, he went beyond their concern for capturing the accidental and instantaneous qualities of light in nature. Seurat sought to evoke permanence by recalling the art of the past, especially Egyptian and Greek sculpture and even Italian Renaissance frescoes. As he explained to the French poet Gustave Kahn, "The Panathenaeans of Phidias formed a procession. I want to make modern people, in their essential traits, move about as they do on those friezes, and place them on canvases organized by harmonies of color." Some contemporary critics, however, found his figures to be less a nod to earlier art history than a commentary on the posturing and artificiality of modern Parisian society.Seurat made the final changes to La Grande Jatte in 1889. He restretched the canvas in order to add a painted border of red, orange, and blue dots that provides a visual transition between the interior of the painting and his specially designed white frame.

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A Sunday on La Grande Jatte - Georges Seurat - Google Arts & Culture

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In his best-known and largest painting, Georges Seurat depicted people relaxing in a suburban park on an island in the Seine River called La Grande Jatte. The artist worked on the painting in several campaigns, beginning in 1884 with a layer of small horizontal brushstrokes of complementary colors.

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Manet drew to a close a long series of "women on a sofa" with this picture from 1873. His model is Nina de Callias (1844-1884), a capricious woman, alternately elated and depressed, with a neurotic temperament that alcohol soon led her to insanity and a premature death at the age of thirty-nine. Although her real name was Marie-Anne Gaillard, and she was also called Nina de Villard, she was known paradoxically by the name of a very transitory husband, Hector de Callias, a writer and journalist for the Figaro.

At the time of this portrait, Nina was barely thirty years old, and used to host one of the most brilliant and artistic salons in Paris. She poses in one of the "Algerian" costumes that she liked to wear to receive guests. The wall decoration in the background is recognisable one in the painter's studio; it also appears in Mallarmé (Musée d'Orsay) and in Nana ( Hamburg, Kuntshalle).

The choice of fans does not seem to have any symbolic intention. By pinning them up around Nina, Manet is merely creating a décor that had become almost commonplace: Whistler, Tissot and Renoir had already used the same technique. Besides, these objects evoke the Japanese-style bric-à-brac of the small private residence where the model lived.

Should we see in this painting an echo of Olympia painted ten years earlier? Probably not. Although both figures are lying down, leaning on one arm, with an animal at their feet (a small griffon terrier in this case), they have nothing in common, not in style, technique or mood. The face in particular is one of the most expressive that Manet produced. It conveys amusement, complicity and curiosity, with a hint of melancholy and distraction.

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Woman with Fans - Edouard Manet - Google Arts & Culture

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Manet drew to a close a long series of "women on a sofa" with this picture from 1873. His model is Nina de Callias (1844-1884), a capricious woman, alternately elated and depressed, with a neurotic temperament that alcohol soon led her to insanity and a premature death at the age of thirty-nine.

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In the Conservatory - Edouard Manet - Google Arts & Culture

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Manet preferred compositions with two figures as opposed to the straightforward portrait form because it opened up the possibility of interesting dialogue ...