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A woman wearing a low-cut pink evening dress and elbow-length gloves sits at the center of this horizontally oriented painting. What appears to be a multicolored furred or feathered garment rests on the back of her red chair. Her face, oriented left, is largely obscured by shadow. She clutches a folded fan in her right hand and adjusts the top of her left hand. The entire scene is loosely painted in a palette dominated by dark greens and yellows. — Edgar Degas

Portrait de Mlle Rose Caron (Portrait of Rose Caron) , ca. 1892

Étude pour "Le Chahut" (Study for "Le Chahut") — Georges Seurat

Étude pour "Le Chahut" (Study for "Le Chahut") , 1889

A ruddy-complexioned, jowly man wearing a powdered white wig and a red fur-lined coat with elaborate gold fastenings over gold vest embroidered with small floral patterns sits at the center of this vertically oriented portrait. He sits at a table, staring straight out at the viewer and turning the rest of his body away slightly. He rests his left elbow on the table, which is littered with books, architectural drawings, a compass, and a ruler. — Jacques-Louis David

Portrait of Jacques-François Desmaisons , 1782

The Lady's Last Stake — William Hogarth

The Lady's Last Stake , 1759

Cupid as Link Boy — Joshua Reynolds

Cupid as Link Boy , 1774

Portrait of Miss Rosamond Croker — Sir Thomas Lawrence

Portrait of Miss Rosamond Croker , 1827

Le Christ jaune (The Yellow Christ) — Paul Gauguin

Le Christ jaune (The Yellow Christ) , 1889

Four barefoot figures populate this scene of a Moroccan street at midday. On the left, a woman and a young adult stand outside a darkened doorway; an older man sleeps hidden in its shadows. The woman wears a knee-length garment belted with a decorative sash and a scarf covers her hair. The young adult wears a knee-length tunic and a voluminous shawl. A white robed man holding a knife sits on the other side of the doorway. — Eugène Delacroix

Street in Meknes , 1832

Die Wölfe (Balkankrieg) [The Wolves (Balkan War)] — Franz Marc

Die Wölfe (Balkankrieg) [The Wolves (Balkan War)] , 1913

In this tall, narrow portrait, painted with loose, energetic brush strokes, a young man wearing a deep red uniform with matching cap stands in front of a dark burgundy, gray, green, and blue background. A row of gold buttons extends down the front of the boy’s jacket. His right hand is by his side, palm facing out, and his left hand is clenched in front of his waist. The figure’s dark eyes, hair, and moustache stand out again his pale skin. — Chaïm Soutine

Page Boy at Maxim's , ca. 1927

Pablo Picasso

Nude Figure , late spring 1910

Thomas Eakins

Music , 1904

This horizontally oriented canvas features a loosely painted rural scene of several old stone houses and a dirt road running between them. Tall trees rise above behind the roofs. The grey and somber light that pervades the scene overall streams from a cloudy sky in the top quarter of the canvas. In the painting’s middle ground, a human figure wearing a blue shirt and light-colored trousers raises an axe above his head in order to chop a large branch at his feet. — Alfred Sisley

Rue de village à Marlotte (Village Street in Marlotte) , 1866

Diverse abstract patterns layer atop one another and a black background to fill much of this painting. Slightly below the center of the painting is a circle with a red center with white and black rings. Above this curves a red arc with two parallel, irregular white lines that spans nearly the entire width of the painting. Behind these elements are smaller sections of checked and ribbon-like patterns. — Marsden Hartley

Painting No. 46 , 1914-1915

Femme retroussant sa chemise (Woman Lifting Her Chemise) — Henri de Toulouse-Lautrec

Femme retroussant sa chemise (Woman Lifting Her Chemise) , 1901

Abstract geometric shapes largely in dappled shades of gray and brown coalesce to form patrons seated around a café table at left and the dancer who appears to be moving toward the right edge of the canvas. The dancer and the seated patron closest to the foreground are the most clearly defined. The dancer wears a long dress with a striking cerulean skirt and carries a bouquet of flowers in her right hand; the patron’s dress is trimmed with delicate passages of lace at the sleeves and around the bust. — Jean Metzinger

Danseuse au café (Dancer in a Café) , 1912

L'Homme au hamac (Man in a Hammock) — Albert Gleizes

L'Homme au hamac (Man in a Hammock) , 1913

A black woman in a blue hat and coat of matching color over a brown skirt and white, high-necked blouse stands at the center of this painting. She appears to be standing up from a red-back chair, her left arm extended against an almost neon green form in the background. The bottom portion of a painting depicting nude figures in a landscape is visible behind her head, and the corner of a table covered with a light blue tablecloth fills the bottom right corner of the canvas. — Ernst Ludwig Kirchner

Frauenbildnis (Portrait of a Woman) , 1911

The dark mouth of a cave fills the center of this image. It is framed in the upper portion of the canvas by an arch of highly textured rocks in shades of light brown flecked with touches of cool red, pink, and blue. Dark water that becomes white foam as it flows over boulders at the bottom edge of the painting flows forth from the cave entrance. — Gustave Courbet

La source de la Loue (The Source of the Loue) , ca. 1864

Figure Study — Max Weber

Figure Study , 1911

A life-sized bronze abstract female nude holds her hands placed in front of her chest, as if cradling an invisible sphere. She appears to be perched on a tall chair, which supports and frames the figure from behind. The facial features on her flat, round head are angular. Her long, skinny body terminates in long legs bent at the knee. The figure’s feet rest on a narrow rectangular shaped stool at the sculpture’s base. — Alberto Giacometti

L'objet invisible (Mains tenant le vide) [Invisible Object (Hands Holding the Void)] , 1934 (cast executed 1935)

Softly delineated shapes in a rainbow of vivid colors cover the surface of this painting. Near the top right corner, a series of boxes reminiscent of the contours of an early biplane float above a tower of intersecting green lines that extends to the bottom of the canvas. At left, hazy segments of blue, green, red, yellow, and orange intersect with and blend into one another. — Robert Delaunay

Soleil, tour, aéroplane (Sun, Tower, Airplane) , 1913

Dinamismo di un cane al guinzaglio (Dynamism of a Dog on a Leash) — Giacomo Balla

Dinamismo di un cane al guinzaglio (Dynamism of a Dog on a Leash) , 1912

At center, a woman holds the hand of a small child, helping her up a set of stairs. The woman carries a bundle of laundry under her left arm, and both figures are dressed in what appears to be clothing typical of the mid-nineteenth century working class, although the dark, muted colors and sketchy brushwork make it difficult to make out detail. The brightly lit outlines of a city landscape cast the shadowy figures in strong relief. — Honoré Daumier

Une laveuse au Quai d'Anjou (Laundress on the Quai d'Anjou) , ca. 1860

Époque des forêts (Age of Forests) — Max Ernst

Époque des forêts (Age of Forests) , 1926