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The Marina Piccola, Capri — Albert Bierstadt

The Marina Piccola, Capri , 1859

A corpulent older man wearing a long white apron over his scarlet cardinal’s robes stands with a copper sauce pan in his left hand and a spoon held aloft in triumph in his right while, to the left, a younger man in chef’s hat and coat with an apron partially covering his bright blue, knee-length trousers looks at the spoon held in his right hand with skepticism. A large stove with a massive stone hood appears behind the cardinal, and a table laden with produce and meat appears behind the chef. — Jehan Georges Vibert

The Marvelous Sauce , ca. 1890

The Coming Storm — George Inness, Sr.

The Coming Storm , 1878

A woman in an elaborately ruffled pink dress with a large feathered fan enters an ornately decorated ballroom filled with party-goers on the arm of a much older gentleman. She looks left and outward beyond the viewer, while the attention of nearly all other male figures in the scene is directed at her. The textures of various surfaces and fabrics are painted with rich detail and texture, especially the pink dress ruffles gathered on a plush red ottoman at the bottom of the frame. — James Tissot

L'Ambitieuse (Political Woman) , 1883-1885

A standing woman approaches two seated women stringing beads over a shallow wooden bowl in the center right of this painting, which is set in a large, mostly empty room. An open doorway and windows at the back of the room provide limited light. At right, a bench is positioned against a wall. The two seated women wear dark dresses while their standing companion wears a white dress mostly covered with a dark shawl. — John Singer Sargent

Venetian Bead Stringers , 1880 or 1882

Beneath a looming mass of clouds that fills the top third of this painting, rocky cliffs extend into a calm sea painted in tones of grayish blue and green. A cluster of large gray rocks fills the foreground, and the remainder of the cliffs, dotted with additional clusters of boulders amid pale green grass, extend to fill much of the left half of the canvas. A thin line of white traces where the sea meets irregular, meandering path of the coast. — Jean-François Millet

Les falaises de Gréville (The Cliffs of Gréville) , 1871-1872

This wintery landscape features a path that follows a still gray river as it curves from the bottom right corner of the canvas and recede into the distance under an overcast sky. On the right side of the painting, smokestacks on a distant are reflected in the water. Four small figures summarily rendered in dark tones walk on the path, with one appearing to move toward the viewer. To the left is a patch of trees and grass that peeks out beneath melting snow. — Claude Monet

Chemin de halage à Argenteuil (Towpath at Argenteuil, Winter) , 1875-1876

Elinor, Jean and Anna — George Wesley Bellows

Elinor, Jean and Anna , 1920

Berthe Morisot

Femme cousant (Woman Sewing) , ca. 1879

La toilette — Pablo Picasso

La toilette , 1906

Similarly short, distinct brushstrokes coalesce into the trees and shallow, walled pool that fill this landscape. A thin-trunked tree with light-dappled yellow-green foliage fills much of the left side of the canvas. Behind the tree, a low sandy colored wall contains a shallow, rectangular pool of water. Additional trees with darker green leaves line the right edge of the pool, extending to the upper edge of the canvas. — Paul Cézanne

Le bassin du Jas de Bouffan (The Pool at Jas de Bouffan) , ca. 1878-1879

Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon) — Henri Matisse

Notre-Dame, une fin d'après-midi (A Glimpse of Notre Dame in the Late Afternoon) , 1902

This horizontally oriented painting captures a snowy street scene. A dirt road, lined on both sides by primarily two-story houses, curves downhill from the bottom left corner of the canvas, leading toward a view of snow-covered mountains in the distance. A man wearing a hat and jacket slouches in the entrance to a glass-fronted store on the left edge of the image. In the right foreground, two large brown poles stretch toward the sky. — Charles Ephraim Burchfield

Winter, East Liverpool , 1927

Similarly short, distinct brushstrokes primarily in cool shades of green and blue coalesce into a sketchily painted landscape; portions of the canvas are visible. A light green field fills much of the bottom third of the canvas, and the sky above, while largely blue, also includes some green areas. A slender, leafless tree rises from the left edge of the field and curves at its top toward the right and downward. A small, light brown house sits on the right edge of the field. — Paul Cézanne

Le matin en Provence (Morning in Provence) , ca. 1900-1906

A number of animals congregate in the bottom right foreground of this horizontally oriented painting. A bull stands next to a lion beneath a mass of trees that extend from the right edge of the image, and at their feet rests a wolf accompanied by two lambs. Small children interact with additional beasts at the lower edge of the painting. At the left side of the painting, the trees give way to a view of a body of water and verdant hills beneath a pink-tinged sky. — Edward Hicks

Peaceable Kingdom , ca. 1848

A landscape of recently cleared fields and grass covered hills beneath a sunny blue sky filled with white clouds fills this horizontally oriented painting. In the bottom left foreground, a woman holding a basket in her right hand watches as a man thrusts a shovel into the ground. A horse-drawn wagon approaches in the distance, and a child sits in the field toward the right edge of the painting. The entire scene is rendered in individual dots of paint in deep blue, violet, green, orange, and other shades. — Camille Pissarro

Paysans dans les champs, Éragny (Peasants in the Fields, Éragny) , 1890

Music and Literature — William Michael Harnett

Music and Literature , 1878

Several figures are gathered on a lush green field flanked by tall trees. Toward the left edge of the painting, a woman in a brown dress and a man in a brown suit face each other, as if in conversation. Another man in a black suit and top hat watches three women in white, blue, and red Victorian-style dresses playing croquet in the foreground. The woman in white appears poised to hit a blue ball through a wicket with her mallet. — Winslow Homer

Croquet Players , 1865

A young white-skinned woman, nude to the waist, sits on the grassy bank of a body of water in the center of this vertically oriented painting. A blue cloth or portion of a garment with white edges loosely covers her lap. She grasps her left ankle, which rests on her right knee, with both hands, and she gazes toward the bottom left of the canvas. The paint was applied quickly and loosely with visible brushstrokes. — Pierre-Auguste Renoir

Petit nu bleu (Little Blue Nude) , ca. 1878-1879

A young boy wearing a brimmed hat, green jacket, long black pants, and brown leather boots sits on a wooden crate at the side of a red brick road. He holds an apple in his left hand, and there are a couple newspapers at his feet. The brick wall behind the boy is covered in layers of printed posters. — Thomas Le Clear

Buffalo Newsboy , 1853

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