Intermediate

"A Sea-Spell," painted by Dante Gabriel Rossetti in 1877, depicts a mystical encounter between a mermaid and a sailor, embodying themes of desire and the supernatural prevalent in Pre-Raphaelite art. The work reflects Rossetti's interest in medievalism and romanticism, showcasing his characteristic use of vibrant color and intricate detail, which contributed to the broader impact of the Pre-Raphaelite Brotherhood on 19th-century British art.

"Portrait of a Boy," created by Denman Waldo Ross in 1900, exemplifies the artist's interest in capturing the innocence and vitality of youth through a naturalistic approach. The painting is significant within Ross's oeuvre as it reflects his engagement with color and form, contributing to the broader discourse of American portraiture in the early 20th century.

"John Albion Andrew (1818-1867)" is a portrait painted by Darius Cobb in 1866, depicting the prominent abolitionist and Governor of Massachusetts during the Civil War. The work reflects Cobb's skill in capturing the likeness and character of his subjects, contributing to the historical narrative of Andrew's leadership and advocacy for emancipation during a pivotal period in American history.

"Study of a Young Woman" is a painting attributed to Johannes Vermeer, created circa 1665–67. The artwork depicts a young woman in a contemplative pose, dressed in a blue and yellow garment, with a soft light illuminating her face. The painting is notable for its intimate portrayal and the use of light and shadow, characteristic of Vermeer's style. The identity of the model is unknown, and the painting is considered a study rather than a finished work. It is housed in the collection of the Metropolitan Museum of Art in New York. The painting's composition and color palette reflect Vermeer's interest in domestic scenes and the inner lives of women during the Dutch Golden Age. The exact circumstances of its creation and its provenance prior to its acquisition by the museum remain unclear.

"Portrait of Professor Kuno Francke," created by Ignaz Marcel Gaugengigl in 1910, depicts the influential Harvard University professor and scholar of German literature, capturing his intellectual presence and character. The painting is notable for its detailed representation and has contributed to the understanding of academic portraiture in the early 20th century, reflecting the cultural and educational values of the time.

"The Allegory of Painting," also known as "The Art of Painting," is a work by Johannes Vermeer, completed around 1666-1668, depicting an artist in his studio painting a model who is dressed as Clio, the muse of history. This painting is notable for its intricate use of light, perspective, and symbolism, reflecting Vermeer's mastery of the genre and his exploration of the relationship between art and reality.

"Figures on the Beach," created by Denman Waldo Ross in 1910, exemplifies the artist's interest in the interplay of light and color, characteristic of American Impressionism. The painting reflects Ross's engagement with modernist themes and his influence on the Boston art scene, where he was a prominent educator and advocate for contemporary art practices.

"Landscape with Garden," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with color and form, reflecting the influence of both Impressionism and Post-Impressionism. The painting is significant for its exploration of light and atmosphere, contributing to the broader discourse on American landscape painting during the early 20th century.

"Ginger," painted by Denman Waldo Ross in 1910, exemplifies the artist's interest in color theory and the interplay of light and form, reflecting the influence of both Impressionism and Post-Impressionism. The work is notable for its vibrant palette and dynamic composition, contributing to Ross's reputation as a significant figure in American art during the early 20th century.

"The Banks of the Oise," painted by Henri Rousseau in 1901, exemplifies the artist's distinctive style characterized by vivid colors and a dreamlike quality, reflecting his fascination with nature and the landscape of the Oise River in France. This work, along with Rousseau's other paintings, contributed to the development of modern art by influencing later movements such as Surrealism and Naïve art, despite his initial lack of recognition during his lifetime.

"Primavera," painted by Sandro Botticelli around 1482, is a masterful example of early Renaissance art, depicting a mythological scene with figures such as Venus, Mercury, and the Three Graces, set in a lush garden. The painting is widely interpreted as an allegory of spring and fertility, commissioned by the Medici family, reflecting their interest in Neoplatonic philosophy and classical antiquity.

"The Watermill," painted by Frits Thaulow in 1895, exemplifies the artist's mastery of light and reflection, capturing the serene interplay between nature and human architecture. Thaulow, a prominent figure in the Norwegian Impressionist movement, was influenced by his surroundings in Norway and France, which is evident in the painting's vibrant palette and dynamic brushwork that evoke a sense of tranquility and harmony.

"Landscape with Road and Buildings," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with the American landscape and his interest in the interplay of light and form. The painting reflects Ross's broader contributions to the Boston School of painting, emphasizing a harmonious integration of natural and architectural elements within a cohesive composition.

"Arequipa, Peru," painted by Denman Waldo Ross in 1910, reflects the artist's engagement with the landscapes of South America during his travels. The work is notable for its vibrant color palette and impressionistic style, which captures the unique geographical and cultural essence of the Peruvian city, contributing to the broader discourse on American artists' exploration of foreign locales in the early 20th century.

"Mirza Abu'l Hassan Khan," painted by Thomas Lawrence in 1815, depicts the Persian ambassador to the United Kingdom, showcasing Lawrence's mastery in portraiture and his ability to convey the subject's cultural significance. The painting not only highlights the diplomatic relations between Britain and Persia during the early 19th century but also reflects Lawrence's interest in exoticism and the representation of non-Western figures in European art.

"Joseph Sherburne" is a portrait painted by John Singleton Copley around 1767–70. The subject, Joseph Sherburne, was a prominent Boston merchant and a member of the local elite. Copley, an American painter known for his realistic and detailed portraits, captures Sherburne in a formal pose, reflecting his social status. The painting is characterized by its meticulous attention to texture and light, particularly in the rendering of Sherburne's clothing and the background. Copley's work often emphasized the individuality and character of his subjects, and this portrait is no exception. The exact circumstances of the commission are unknown. The painting is part of the collection at the Museum of Fine Arts, Boston.

"Arthur Gilman (1837-1909)" is a portrait painted by Harold C. Dunbar, capturing the likeness of the prominent American architect and educator known for his contributions to the field of architecture in the late 19th century. The painting reflects Dunbar's skill in portraiture and serves as a historical document, illustrating the significance of Gilman's influence on architectural education and practice during his lifetime.

"Plains Pony," created by Frederic Remington in 1900, exemplifies the artist's fascination with the American West and its equestrian culture, capturing the dynamic relationship between Native Americans and their horses. The painting reflects Remington's commitment to portraying the rugged beauty and spirit of frontier life, contributing significantly to the visual narrative of American identity during the late 19th and early 20th centuries.

"Copenhagen Harbor by Moonlight" is an oil painting created by the Norwegian artist Johan Christian Dahl in 1846. Dahl is recognized as a key figure in the Romantic movement in Scandinavia and is known for his landscapes and depictions of nature. The painting captures a serene night scene of Copenhagen's harbor illuminated by moonlight, showcasing Dahl's mastery of light and atmosphere. It reflects the influence of the Romantic ideal of nature and the sublime, emphasizing the emotional response to the natural world. Dahl's work often combines realism with a poetic interpretation of landscapes, and this painting exemplifies his ability to evoke mood through color and composition. The exact circumstances of the painting's creation are unknown, as are its initial reception and exhibition history. Today, "Copenhagen Harbor by Moonlight" is part of the collection at the National Gallery of Denmark.

"Jesus Raises the Widow's Son at Nain," painted by Johann Zick in the 18th century, depicts the biblical miracle from the Gospel of Luke, illustrating the moment when Jesus restores life to the widow's son, emphasizing themes of compassion and divine intervention. The work is notable for its dynamic composition and dramatic use of light, characteristic of Zick's style, which reflects the influence of the Baroque tradition in religious art during that period.

"A Tea Garden," painted by George Morland in the late 18th century, exemplifies the artist's interest in pastoral scenes and the depiction of rural leisure. The work reflects the cultural significance of tea drinking in British society during this period, highlighting Morland's ability to capture the interplay between nature and social activity.

"Summer Scene (Bathers)" was painted by Jean Frédéric Bazille in 1869, during a period when he was influenced by the Impressionist movement and sought to capture the effects of light and color in outdoor settings. The work reflects Bazille's innovative approach to composition and his focus on the human figure in natural environments, contributing to the development of modern painting and the Impressionist aesthetic.

"Madame Grand" is a portrait of Noël Catherine Vorlée, a prominent figure in Parisian society, painted by Elisabeth Louise Vigée Le Brun in 1783. The work exemplifies Vigée Le Brun's mastery of color and light, as well as her ability to convey the elegance and sophistication of her subjects. Noël Catherine Vorlée was known for her beauty and social connections, which made her a popular subject among artists of the time. The painting is characterized by its soft brushwork and the use of a light palette, which enhances the sitter's delicate features and luxurious attire. Vigée Le Brun was a leading female artist of the 18th century and served as the official portraitist for Queen Marie Antoinette. "Madame Grand" is part of the collection at the Musée des Beaux-Arts de Lyon. The exact circumstances of the commission and the relationship between the artist and the sitter remain unknown.

"Harlow Shapley (1885-1972)" is a portrait painted by Charles Sydney Hopkinson, completed in 1948, which captures the prominent American astronomer known for his work on the structure of the Milky Way and his advocacy for the importance of astronomy in public life. The painting is significant not only for its artistic merit but also for its role in commemorating Shapley's contributions to science, reflecting the intersection of art and scientific achievement in mid-20th century America.

"1970-19" by Fong Chung-Ray is a significant work within the context of the Fifth Moon Group, an influential collective of Chinese artists who sought to integrate traditional Chinese aesthetics with modern abstract expressionism. This painting exemplifies Fong's innovative use of mixed media and calligraphic elements, reflecting the dynamic cultural exchanges between Eastern and Western art practices during the mid-20th century.

"Epes Sargent (1813-1880)" is a portrait painted by Samuel Stillman Osgood, an American artist known for his contributions to 19th-century portraiture. The work reflects Osgood's skill in capturing the likeness and character of his subjects, contributing to the historical documentation of prominent figures in American society during that era.

"Reuben Hull Booth (1771-1814)" is a portrait painted by American artist Ralph Earl, completed in 1791. The work exemplifies Earl's neoclassical style and reflects the social status of Booth, a prominent figure in early American society, highlighting the artist's role in shaping American portraiture during the late 18th century.

"Woman Reading" is a painting by Édouard Manet, created in 1879. The work depicts a woman seated in a relaxed posture, engrossed in a book, which reflects the theme of leisure and the private sphere in modern life. Manet's use of light and color emphasizes the figure's contemplative nature, while the loose brushwork is characteristic of his later style. The painting is notable for its composition, which balances the figure against a dark background, drawing attention to the subject's engagement with literature. This work exemplifies Manet's interest in capturing contemporary life and the role of women in society during the late 19th century. "Woman Reading" is part of the collection at the Musée d'Orsay in Paris, France.

"Child from the Old Town," created by Ernst Thoms in 1925, is a notable example of German Expressionism, reflecting the artist's focus on the emotional and psychological aspects of childhood. The painting captures the essence of urban life in post-World War I Germany, illustrating the juxtaposition of innocence and the harsh realities of the environment in which the child exists.

"Thomas Hubbard (1702-1773)" is a portrait painted by John Singleton Copley in 1771, depicting the prominent Boston merchant and public figure Thomas Hubbard. This work exemplifies Copley's mastery in capturing the individuality and social status of his subjects, contributing significantly to the development of American portraiture in the 18th century.

"A Woman Seated at a Window" is a painting by Dutch artist Gabriël Metsu, created in the early 1660s. The work exemplifies the genre of Dutch Golden Age painting, characterized by its attention to detail and intimate domestic scenes. The painting depicts a young woman seated at a window, engaged in an activity that remains unspecified, which invites viewers to contemplate her thoughts and surroundings. Metsu's use of light and shadow enhances the sense of depth and realism in the composition. The artist is known for his ability to capture the nuances of everyday life, often featuring women in domestic settings. The exact provenance of this painting is not well-documented, and its current location is in a private collection. Metsu's works are celebrated for their technical skill and psychological depth, contributing to his reputation as a significant figure in 17th-century Dutch art.

"Camden Harbor, Maine," painted by William Formby Halsall in 1890, exemplifies the American Impressionist movement, capturing the serene coastal landscape and maritime activity of Camden, Maine. The work reflects Halsall's mastery of light and color, contributing to the broader appreciation of regional American scenes during the late 19th century.

"SUMI ALBUM LEAF OF THREE LOTUS FLOWERS," created by Bada Shanren (Zhu Da) in the late 17th century, exemplifies the artist's mastery of ink wash techniques and his deep engagement with traditional Chinese themes. The work reflects the artist's personal expression of spirituality and nature, as well as the broader cultural context of the Ming-Qing transition, highlighting the significance of lotus flowers as symbols of purity and resilience in Chinese art.

"Violin and Glass," created by Juan Gris in 1915, exemplifies the artist's innovative approach to synthetic cubism, characterized by the integration of color and form to depict still life. The painting reflects Gris's exploration of the interplay between objects and space, contributing significantly to the development of modernist art in the early 20th century.

"Thomas Hancock (1703-1764)" is a portrait painted by John Singleton Copley in 1765, depicting the prominent Boston merchant and benefactor. The work exemplifies Copley's mastery of realism and detail, reflecting Hancock's status and influence in colonial America, as well as the burgeoning American identity during the pre-Revolutionary period.

"William Parker Cooke (1859-1931)" is a portrait painted by Pietro (Peter) Pezzati, an artist known for his contributions to American portraiture in the early 20th century. The work reflects Pezzati's skill in capturing the likeness and character of his subjects, contributing to the historical documentation of prominent figures in American society during that period.

"Egyptian Sunk Relief Depicting a King" by Joseph Lindon Smith, created in 1920, exemplifies the artist's fascination with ancient Egyptian art and culture, reflecting his extensive travels and studies in Egypt. The painting is notable for its meticulous attention to detail and adherence to the stylistic conventions of ancient Egyptian reliefs, contributing to the early 20th-century revival of interest in Egyptology within the art community.

"Man with a White Turban," painted by John Singer Sargent in 1904, is a portrait that exemplifies the artist's mastery of light and texture, capturing the sitter's dignified presence and the intricate details of the turban. The work reflects Sargent's interest in diverse cultures and his ability to convey character through expressive brushwork, contributing to his reputation as a leading portraitist of the early 20th century.

The "Processional Cross" by Domenico di Michelino, created in the mid-15th century, exemplifies the artist's skill in combining religious iconography with a narrative structure, featuring the Suffering Christ alongside the Virgin and Saint John on the recto, while the verso presents a triumphant Christ with Saint Francis and other saints. This work reflects the devotional practices of the time, serving both liturgical purposes and as a visual representation of the theological themes of suffering and redemption central to the Christian faith.

"After the Hunt" is a painting by French artist Gustave Courbet, created around 1859. The work depicts a group of hunters with their game, showcasing Courbet's interest in realism and the depiction of everyday life. The composition features a stark contrast between the hunters and the dead animals, emphasizing themes of nature and mortality. Courbet's use of rich, earthy tones and textured brushwork reflects his commitment to capturing the physicality of the subjects. The painting is considered a significant example of Courbet's approach to realism, moving away from idealized representations common in academic art of the time. The exact provenance of the painting prior to its acquisition by the Musée d'Orsay in Paris is not well-documented. "After the Hunt" remains an important work in understanding Courbet's influence on the development of modern art.

"Self Portrait or Portrait of a Man," created by Thomas Couture in 1856, exemplifies the artist's mastery of realism and his exploration of identity through self-representation. The painting reflects Couture's significant role in the 19th-century French art scene, influencing subsequent generations of artists with its psychological depth and technical precision.

"Landscape with Tobias and the Angel," created by Giovanni Battista Viola in the early 17th century, depicts the biblical narrative of Tobias, accompanied by the angel Raphael, as they journey to retrieve Tobias's father's money. This work exemplifies Viola's mastery in landscape painting and his ability to integrate narrative elements within a naturalistic setting, reflecting the broader Baroque interest in the interplay between human figures and their environment.

The portrait "Henry Lee Higginson (1834-1919)" by John Singer Sargent, completed in 1903, depicts the prominent American philanthropist and founder of the Boston Symphony Orchestra, capturing his dignified presence and character through Sargent's masterful use of light and texture. This work exemplifies Sargent's ability to convey the social status and personality of his subjects, contributing to the artist's reputation as a leading portraitist of his time.

"Study for 'Prometheus'" is a preparatory work created by John Singer Sargent in 1917, intended for a mural commission for the Boston Public Library. The painting reflects Sargent's interest in mythological themes and showcases his mastery of color and form, contributing to the broader discourse on American muralism in the early 20th century.

"Hannah Davis Dudley (Mrs. David Dudley) (1792-1886)" is a portrait created by American artist Chester Harding in 1830, exemplifying the early 19th-century American portraiture style characterized by its focus on individualism and realism. The painting reflects Harding's prominence in the art world of his time, as he was known for capturing the likeness and personality of his subjects, contributing to the cultural narrative of American identity during the period.

"End of a River" by Chen Chi-kwan (Chen Qikuan) is a significant work that reflects the artist's engagement with traditional Chinese landscape painting techniques while incorporating modernist elements. Created in the mid-20th century, the painting exemplifies the synthesis of Eastern and Western artistic influences, contributing to the discourse on identity and cultural heritage in contemporary Chinese art.

"Mountain and Lake (Lake George)" is a significant work by John Frederick Kensett, created in 1869, which exemplifies the artist's mastery of the luminist style, characterized by its emphasis on light and atmosphere. The painting reflects Kensett's deep engagement with the American landscape, particularly the serene beauty of Lake George in New York, and it played a crucial role in the promotion of the Hudson River School's ideals of nature's sublime qualities.

"Thomas Boylston II (1721-1798)" is a portrait painted by John Singleton Copley in 1767, depicting the prominent Boston merchant and member of the Boylston family. This work exemplifies Copley's mastery in capturing the individuality and social status of his subjects, contributing significantly to the development of American portraiture in the 18th century.

"Old Man with a White Turban," painted by John Singer Sargent in 1904, is a notable example of the artist's skill in portraiture, showcasing his ability to capture the character and presence of his subjects through expressive brushwork and rich color. The painting reflects Sargent's interest in diverse cultures and his travels, as it depicts an elderly man adorned with a white turban, emphasizing the interplay of light and texture that characterizes much of Sargent's oeuvre.

"Villa Medici, Grotto-Loggia Façade, after Velazquez" by Denman Waldo Ross is a work that reflects the artist's engagement with the legacy of Diego Velázquez, particularly in the context of 19th-century American art. Created in 1910, this painting exemplifies Ross's interest in the interplay of light and architecture, showcasing his ability to synthesize classical influences with modern techniques.