Intermediate

"Overpainting (Brown)" is a work created by Gerhard Richter in 1988, exemplifying his exploration of abstraction and the interplay between painting and perception. The piece is significant within Richter's oeuvre as it reflects his interest in the process of painting itself, utilizing layers of color to challenge traditional notions of representation and to engage viewers in a dialogue about the nature of art.

"Apollo and Daphne," painted by Abraham Bloemaert in the early 17th century, depicts the mythological narrative of Apollo's pursuit of the nymph Daphne, who transforms into a laurel tree to escape him. This work exemplifies the influence of classical themes in Dutch painting and reflects the Mannerist style prevalent during Bloemaert's career, characterized by its dramatic composition and intricate detail.

"Portrait of a Man Holding a Sword," created by Willem van Mieris in the early 18th century, exemplifies the artist's mastery in rendering textures and the play of light, characteristic of the Dutch Golden Age. The painting reflects the societal values of the time, emphasizing themes of nobility and virtue through the depiction of the subject in a formal pose, adorned with a sword, which signifies honor and status.

"William Brattle (1706-1776)" is a portrait painted by John Singleton Copley in 1768, depicting the prominent Bostonian and Loyalist William Brattle. The work exemplifies Copley's mastery of oil painting and his ability to convey the subject's character and social status, contributing to the artist's reputation as a leading portraitist in colonial America.

"Joan of Arc," painted by Jules Bastien-Lepage in 1879, depicts the French heroine in a moment of introspection, dressed in armor and surrounded by symbols of her divine mission. The work is notable for its naturalistic style and emotional depth, reflecting the artist's interest in realism and the historical significance of Joan of Arc in French national identity.

"John Amory Lowell (1798-1881)" is a portrait painted by George Peter Alexander Healy in 1855, capturing the prominent Bostonian and philanthropist known for his contributions to education and the arts. The painting exemplifies Healy's skill in rendering the psychological depth of his subjects, reflecting the social status and intellectual engagement of Lowell during a transformative period in American history.

"Thomas Wren Ward (1786-1858)" is a portrait painted by American artist William Page, completed in 1852. The work exemplifies Page's skill in capturing the likeness and character of his subjects, reflecting the mid-19th century American portraiture style that emphasized both realism and the psychological depth of the sitter.

"Landscape with a Watermill," created by Crescenzio Onofri in the late 17th century, exemplifies the artist's engagement with the natural landscape and rural life, reflecting the Baroque interest in atmospheric effects and detailed realism. The painting is significant for its depiction of harmonious coexistence between human structures and nature, contributing to the broader discourse on landscape painting during this period.

"Benjamin Peirce (1809-1880)" is a portrait painted by Daniel Huntington in 1881, capturing the prominent American mathematician and philosopher known for his contributions to mathematical logic and astronomy. The work reflects Huntington's skill in portraying intellectual figures of the 19th century, emphasizing Peirce's significance in the development of American science and education during that era.

"An Egyptian in a Doorway," painted by Sir Lawrence Alma-Tadema in 1865, depicts a solitary figure in an architectural setting that reflects the artist's fascination with ancient cultures and meticulous attention to detail. The work exemplifies Alma-Tadema's signature style, characterized by vibrant colors and a romanticized interpretation of historical subjects, contributing to the 19th-century trend of classical revivalism in art.

"1967-86" by Fong Chung-Ray is a significant work that reflects the artist's engagement with both traditional Chinese painting techniques and modern abstract expressionism. This painting exemplifies Fong's innovative approach during the post-war period, contributing to the New Ink Movement by integrating Western abstraction with Eastern aesthetics, thus influencing the trajectory of contemporary Chinese art.

"Still Life with Jar, Cup, and Apples" is a painting by French artist Paul Cézanne, created around 1877. This work exemplifies Cézanne's innovative approach to still life, characterized by his use of color and form to convey depth and structure. The composition features a jar, a cup, and apples arranged on a table, showcasing Cézanne's interest in the interplay of objects and their spatial relationships. The painting reflects his transition from Impressionism to a more structured, analytical style that would influence modern art. Cézanne's brushwork is notable for its distinct, visible strokes, which contribute to the overall texture and rhythm of the piece. The exact provenance of the painting is not well-documented, and it is currently housed in a private collection. Cézanne's still lifes are often regarded as pivotal in the development of still life painting, emphasizing the importance of color and form over mere representation.

"Mrs. Joseph Anthony Jr. (Henrietta Hillegas)" is a portrait painted by American artist Gilbert Stuart around 1795–1798. The subject, Henrietta Hillegas, was the wife of Joseph Anthony Jr., a prominent Philadelphia merchant. Stuart was known for his ability to capture the likeness and personality of his subjects, and this work exemplifies his skill in portraiture. The painting reflects the neoclassical style prevalent in American art during this period, characterized by its attention to detail and use of light. The composition features a seated Henrietta Hillegas, dressed in a white gown, with a dark background that enhances her figure. The work is part of the collection at the National Gallery of Art in Washington, D.C. The exact circumstances of the commission and the artist's relationship with the sitters remain unknown.

"Portrait of a Young Girl," created by Louis-Michel van Loo in the 18th century, exemplifies the artist's skill in capturing the delicate features and attire of his subjects, reflecting the Rococo style prevalent during that period. The painting is significant for its portrayal of youth and innocence, contributing to the understanding of portraiture as a means of social and cultural expression in the French aristocracy.

"Portrait of a Young Man in Uniform," created by Denman Waldo Ross in 1917, exemplifies the artist's engagement with portraiture during a period marked by the First World War. The painting reflects Ross's academic training and his interest in capturing the psychological depth of his subjects, contributing to the broader discourse on identity and service in early 20th-century American art.

"Landscape with Church and Piazza," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with the Impressionist style, characterized by its vibrant color palette and loose brushwork. The painting reflects Ross's interest in capturing the interplay of light and atmosphere in outdoor settings, contributing to the broader discourse on American landscape painting during the early 20th century.

"View of the Canal, Venice" by Denman Waldo Ross, created in 1910, exemplifies the artist's engagement with Impressionist techniques, capturing the interplay of light and color in the Venetian landscape. The painting reflects Ross's travels in Europe and his commitment to plein air painting, contributing to the broader discourse on American Impressionism during the early 20th century.

"The Holy Family with the Infant Saint John the Baptist and Saint Elizabeth," painted by Nicolas Poussin around 1650, exemplifies the artist's commitment to classical composition and the emotional depth of religious subjects. This work reflects Poussin's influence on the Baroque period, emphasizing the interplay of light and shadow while conveying a serene yet profound narrative of familial and divine connection.

"Portrait of a Young Man with Mirror and Painting," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with themes of self-reflection and identity through the interplay of the figure and the surrounding objects. The work is significant within Ross's oeuvre as it reflects his interest in the psychological depth of portraiture and his innovative use of color and composition, contributing to the broader discourse of American art in the early 20th century.

The composition is minimalist, with faint silhouettes of boats and buildings barely visible in the misty, moonlit sky. Whistler’s delicate brushwork and use of tonal harmonies reflect his interest in creating a visual equivalent to music, with the term *Nocturne* itself suggesting a connection to musical compositions that evoke night. This painting is an example of Whistler's departure from traditional landscape painting, focusing instead on the aesthetic experience and the abstract qualities of light and atmosphere.

Nocturne, Blue and Silver: Battersea Reach exemplifies Whistler’s belief in “art for art’s sake,” where the beauty of color and composition takes precedence over narrative or historical content. It also demonstrates his role in the development of tonalism and his influence on later movements such as Impressionism and Symbolism, with its emphasis on mood and abstraction over realism.

"Florence Sparks Moore (1845-1915)" is a portrait by Jane Stuart, an American artist known for her work in the early 19th century, particularly in portraiture. The painting reflects Stuart's engagement with the social and cultural milieu of her time, capturing the likeness of Moore, who was a prominent figure in her community, thereby contributing to the historical documentation of women's roles in society during that era.

"Elizabeth Greenleaf Parsons (1758-1829)" is a miniature portrait created by American artist Sarah Goodridge, who was known for her skill in the medium of watercolor on ivory. This work exemplifies Goodridge's ability to capture the likeness and character of her subjects, contributing to the development of American portraiture in the early 19th century and reflecting the social status and cultural values of her time.

"An Apostle," painted by Giovanni Francesco Romanelli in the mid-17th century, exemplifies the artist's Baroque style characterized by dramatic use of light and color. The work reflects the religious fervor of the period and Romanelli's role in the Counter-Reformation, aiming to inspire devotion through its emotive portrayal of a biblical figure.

"Ronda, Spain," painted by Denman Waldo Ross in 1910, captures the picturesque landscape and architectural features of the Spanish town of Ronda, known for its dramatic cliffs and historic bridge. The work reflects Ross's engagement with Impressionism and his interest in the interplay of light and color, contributing to the broader narrative of American artists exploring European themes during the early 20th century.

"The Message," painted by Edward Lamson Henry in 1890, depicts a young girl delivering a letter, symbolizing communication and connection in a rural setting. This work reflects Henry's interest in genre scenes and his ability to capture the nuances of everyday life, contributing to the narrative tradition in American art during the late 19th century.

"Bodhidharma (Daruma) Playing a Shamisen," created by the Edo period artist Hanabusa Itchō, exemplifies the fusion of traditional Japanese themes with the influence of popular culture during the late 17th century. This work reflects the artist's innovative approach to portraying the Zen patriarch Bodhidharma, emphasizing both his spiritual significance and the integration of contemporary musical elements, thereby contributing to the broader discourse on the intersection of art and cultural identity in Japan.

"Poet Ariwara no Motokata (d. 953), from an illustrated Competition of Poems from Different Periods (Jidai fudō uta-awase)" is a work by Fujiwara Tameie, created during the Kamakura period in Japan, which reflects the cultural significance of poetry and the aesthetic values of the time. This painting is part of a larger tradition of illustrated poetry competitions, showcasing the interplay between visual art and literary expression, and it highlights the historical context of the Heian period's poetic heritage.

"Dorothy Murray (1743-1811)" is a portrait painted by John Singleton Copley in 1763, depicting the subject in a fashionable gown, which reflects the artist's skill in capturing both likeness and the social status of his sitters. This work exemplifies Copley's mastery of oil painting and his ability to convey the character and individuality of his subjects, contributing to his reputation as a leading portraitist in colonial America.

"Clouds after Storm," painted by Charles Harold Davis in 1890, exemplifies the artist's mastery of atmospheric effects and his interest in the interplay of light and color following a tempest. The work reflects the broader American Impressionist movement, emphasizing natural landscapes and the emotional resonance of nature, and it has been recognized for its contribution to the depiction of American scenery in the late 19th century.

"Seacoast Scene," painted by Salomon van Ruysdael in the mid-17th century, exemplifies the Dutch Golden Age's fascination with maritime landscapes and the interplay of light and atmosphere. The work reflects the artist's mastery in depicting natural elements and contributes to the broader tradition of seascape painting, influencing subsequent generations of artists in their representation of coastal environments.

"Shepherds Resting," painted by Jean-François Millet in 1856, exemplifies the artist's focus on rural life and the dignity of peasant labor, reflecting the social realities of 19th-century France. The work is characterized by its naturalistic portrayal of figures and landscape, emphasizing the harmony between humanity and nature, and it has significantly influenced the Realist movement in art.

"The Vanity of the Artist's Dream," painted by Charles Bird King in 1840, reflects the artist's exploration of the relationship between artistic ambition and the ephemeral nature of fame. The work is notable for its allegorical representation of the artist's aspirations, juxtaposed with symbols of mortality and the fleeting nature of success, thereby contributing to the discourse on the role of the artist in society during the 19th century.

"Louis-Marie, Vicomte de Noailles" is a portrait painted by American artist Gilbert Stuart in 1798. The subject, Louis-Marie de Noailles, was a French nobleman and a prominent figure during the French Revolution. Stuart, known for his ability to capture the likeness and personality of his subjects, was commissioned to create this portrait during his time in Paris. The painting reflects the neoclassical style prevalent in the late 18th century, characterized by its clarity of form and emphasis on the sitter's dignified presence. The work is notable for its detailed rendering of fabric and the sitter's expression, conveying both nobility and introspection. The current location of the painting is not specified in available records. Further details about the commission or the circumstances surrounding its creation remain unknown.

"Frozen Clouds About to Snow" is a notable work by Japanese painter Oda Kaisen, created during the Edo period, which reflects the artist's mastery of capturing atmospheric effects and the transient beauty of nature. The painting exemplifies the aesthetic principles of ukiyo-e, emphasizing the interplay between light and shadow, and has had a lasting impact on the appreciation of landscape art in Japan.

"Banks of the Loing," created by William Lamb Picknell around 1894–97, depicts a serene landscape along the Loing River in France, showcasing the artist's interest in natural light and atmospheric effects. Picknell, an American painter associated with the Barbizon School, often focused on plein air techniques, capturing the essence of rural scenes in his works.

"St. George Killing the Dragon, after Carpaccio" by Robert David Gauley is a contemporary reinterpretation of the iconic subject originally depicted by Venetian painter Vittore Carpaccio in the early 16th century. Gauley's work engages with the themes of heroism and morality inherent in the legend of St. George, reflecting both a homage to the Renaissance master and a modern artistic dialogue with historical narratives.

"Sarah Morecock Boylston (Mrs. Thomas Boylston) (1696-1774)" is a portrait by John Singleton Copley, created in 1767, which exemplifies the artist's skill in capturing the individuality and social status of his subjects through meticulous detail and a rich color palette. The painting not only reflects the cultural values of 18th-century colonial America but also contributes to the understanding of portraiture as a means of asserting identity and lineage within the context of the burgeoning American society.

"Study for 'The Unveiling of Truth'" is a preparatory work created by John Singer Sargent in 1900 for a mural commissioned by the Boston Public Library. This painting exemplifies Sargent's mastery of composition and color, serving as a significant study that reflects his interest in themes of enlightenment and the role of art in public spaces.

"Study for 'The Winds'" is a preparatory work created by John Singer Sargent in 1911, intended for a mural commission at the Boston Public Library. This painting exemplifies Sargent's mastery of color and movement, capturing the dynamic interplay of drapery and form, which ultimately contributed to his reputation as a leading portrait and mural artist of the early 20th century.

"Francis Calley Gray (1790-1856)" is a portrait painted by Francis Alexander in 1856, capturing the likeness of the prominent American artist and educator. The work is significant for its representation of Gray's contributions to the arts in the United States during the 19th century, reflecting the evolving role of portraiture in American society.

"Susan Heard Oliver Dabney," painted by William Morris Hunt in 1865, is a notable example of American portraiture from the 19th century, reflecting Hunt's mastery of light and texture. The work is significant for its intimate portrayal of the subject, Susan Dabney, and exemplifies the artist's influence on the development of American realism and his role in the Boston art scene.

"Mass" (1925) by Franz Wilhelm Seiwert is a significant work within the context of the German Expressionist movement, reflecting the artist's engagement with themes of modernity and social critique. The painting exemplifies Seiwert's innovative use of color and form, which sought to convey the emotional intensity of contemporary life, and it has been influential in the discourse surrounding the intersection of art and societal issues in the early 20th century.

"Unfinished Painting" by Christopher Wilmarth, created in 1976, exemplifies the artist's exploration of the interplay between light, form, and materiality, utilizing a combination of glass and wood to evoke a sense of transparency and incompleteness. The work reflects Wilmarth's philosophical engagement with the nature of perception and the viewer's experience, contributing significantly to the discourse on minimalism and the use of industrial materials in contemporary art.

"Portrait of a Young Man with Drapery over One Shoulder," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with modernist techniques while drawing on classical portraiture traditions. The painting is notable for its exploration of form and color, reflecting Ross's broader contributions to American art and his role in the development of the Boston School of painting.

"Frederick Cheever Shattuck (1847-1929)" is a portrait painted by Joseph Rodefer DeCamp, completed in 1920, which captures the likeness of the prominent Bostonian and philanthropist known for his contributions to education and the arts. The work exemplifies DeCamp's mastery of color and light, reflecting the influence of the American Impressionist movement while also serving as a significant representation of early 20th-century portraiture in the United States.

"Benjamin Waterhouse (1754-1846)" is a portrait painted by James Frothingham in 1816, depicting the prominent physician and educator known for introducing vaccination to the United States. The work exemplifies early 19th-century American portraiture, highlighting Waterhouse's contributions to public health and education while reflecting the artistic style and cultural values of the period.

"Wedding Feast at Cana, after Tintoretto" by Robert David Gauley is a contemporary reinterpretation of the original 16th-century work by Jacopo Tintoretto, which depicts the biblical narrative of Jesus's first miracle at a wedding in Cana. Gauley's painting engages with themes of celebration and community, reflecting on the enduring significance of Tintoretto's composition while employing modern techniques and perspectives to resonate with contemporary audiences.

"A Group of Old Testament Figures," created by Corrado Giaquinto in the mid-18th century, exemplifies the artist's mastery of color and composition, reflecting the Baroque style's dramatic expressiveness. The painting, which features prominent biblical figures, was commissioned for a religious setting, highlighting the significance of Old Testament narratives in the context of Catholic devotion during the period.

"Portrait of a Seated Young Man Leaning Forward," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with modernist techniques and his exploration of psychological depth in portraiture. The painting reflects Ross's academic background and his role as a professor at Harvard University, where he influenced a generation of artists while also contributing to the American art scene through his own innovative works.

"The Nieuwmarkt, Amsterdam," painted by Job Berckheyde in 1672, depicts the bustling market square of Nieuwmarkt, showcasing the architectural features of the surrounding buildings and the daily life of its inhabitants. This work exemplifies the Dutch Golden Age's focus on urban landscapes and the significance of commerce and community in 17th-century Amsterdam, reflecting both the artist's skill in capturing detail and the socio-economic context of the period.