Intermediate

"Portrait of a Red-Haired Child," created by Denman Waldo Ross in 1910, exemplifies the artist's interest in capturing the individuality and emotional depth of his subjects through vibrant color and expressive brushwork. The painting reflects Ross's broader contributions to American art as a member of the Boston School, where he emphasized the importance of light and color in portraiture, influencing subsequent generations of artists.

"The Height of Her Ambition," created by Charles Caleb Ward in 1895, depicts a young woman poised on a rocky cliff, symbolizing the pursuit of personal and professional aspirations. The painting reflects the late 19th-century American artistic movement that emphasized individualism and the exploration of psychological themes, contributing to discussions on gender roles and ambition in contemporary society.

"Grazing Horses IV," created in 1910 by German painter Franz Marc, exemplifies his interest in color theory and the emotional resonance of animals, reflecting his belief in the spiritual connection between nature and humanity. The painting is part of Marc's broader exploration of abstraction and symbolism within the context of the Expressionist movement, contributing significantly to the development of modern art in the early 20th century.

"Soap Works, Mystic River," painted by Denman Waldo Ross in 1900, depicts the industrial landscape of the Mystic River in Massachusetts, showcasing the intersection of nature and industry. The work is significant for its representation of early 20th-century American industrialization and reflects Ross's interest in capturing the effects of modernity on the environment.

"Rural Landscape," created by Charles Harold Davis in 1880, exemplifies the artist's engagement with the American Impressionist movement, characterized by its emphasis on light and color in natural settings. The painting reflects the influence of the Hudson River School and the broader context of late 19th-century American art, capturing the serene beauty of rural life and contributing to the growing appreciation for landscape painting in the United States.

"The Gooseherd," painted by Constant Troyon in 1855, exemplifies the artist's mastery in depicting rural life and the natural landscape, characteristic of the Barbizon School. The work reflects Troyon's commitment to realism and his ability to convey the harmony between humans and nature, contributing significantly to the 19th-century movement that emphasized the importance of plein air painting.

"Ships Unloading, New York," painted by Samuel Colman in 1866, captures the bustling maritime activity of New York City during the mid-19th century, reflecting the economic vitality and industrial growth of the era. Colman's work is notable for its use of light and color, which enhances the dynamic interplay between the ships and the urban landscape, contributing to the broader narrative of American Impressionism.

The painting "William Ponsonby, 2nd Earl of Bessborough (1704-1793)" by John Singleton Copley, created in 1766, serves as a significant example of Copley's portraiture, reflecting the social status and political influence of the Earl during the 18th century. This work not only highlights Copley's mastery in capturing the likeness and character of his subjects but also contributes to the understanding of British aristocracy and identity in the context of the period.

"Full Length Portrait of Seated Young Man," created by Denman Waldo Ross in 1900, exemplifies the artist's engagement with portraiture and his interest in capturing the individuality of his subjects. The painting reflects Ross's academic training and his role as a prominent figure in the Boston art community, influencing both his contemporaries and future generations of artists.

"Landscape with Village and Bell Tower," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with Impressionist techniques and his interest in capturing the interplay of light and color in natural settings. The painting reflects Ross's broader contributions to American art as a professor at Harvard University, where he influenced a generation of artists and emphasized the importance of direct observation in landscape painting.

"Set of 3 scrolls: Wagtail on a Rock (ptg) and 2 One-line Calligraphies" by Tachihara Kyōsho is a notable example of modern Japanese ink painting, reflecting the artist's mastery of both visual and textual elements. Created in the early 20th century, this work exemplifies the integration of traditional Japanese aesthetics with contemporary artistic practices, highlighting Kyōsho's influence on the evolution of modern calligraphy and painting in Japan.

"View from the Augustus-Brücke in Moonlight," painted by Johannes Christian Clausen Dahl in 1840, exemplifies the Romantic movement's fascination with nature and atmospheric effects. The work captures a serene nocturnal scene over the Elbe River in Dresden, reflecting Dahl's mastery of light and shadow, which significantly influenced the development of landscape painting in the 19th century.

"Still Life with Vase of Flowers," created by Denman Waldo Ross in 1900, exemplifies the artist's engagement with color and form, reflecting the influence of both Impressionism and Post-Impressionism. The painting is significant for its innovative composition and use of light, contributing to the development of American modernist aesthetics in the early 20th century.

"Beach Scene with Two Figures," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with Impressionist techniques and his interest in capturing the interplay of light and color in natural settings. The painting reflects Ross's broader contributions to American art as both a painter and an educator, influencing subsequent generations of artists through his teaching at Harvard University and his involvement in the Boston art community.

"Young Girl in a Rocky Field," painted by William Hart in 1865, exemplifies the artist's engagement with the American landscape and his focus on the interplay between human figures and nature. The work reflects the influence of the Hudson River School, emphasizing natural beauty and the innocence of youth, while also contributing to the broader narrative of 19th-century American genre painting.

"Hugh Scott of Arden," painted by George Romney in 1765, depicts the Scottish landowner and politician Hugh Scott, showcasing Romney's mastery in portraiture and his ability to convey character through expression and posture. The painting is significant within the context of 18th-century British portraiture, reflecting the social status and cultural values of the time, and is part of the collection at the National Gallery of Scotland.

"Anne Dashwood (1743–1830), Later Countess of Galloway" is a portrait painted by Sir Joshua Reynolds in 1764. The subject, Anne Dashwood, was the daughter of Sir Francis Dashwood and later became the Countess of Galloway through her marriage to George Gordon, 4th Earl of Galloway. Reynolds was a prominent British portrait painter and a founding member of the Royal Academy. This work exemplifies his mastery of capturing the elegance and social status of his subjects, utilizing a soft color palette and a refined composition. The painting is characterized by its attention to detail in the depiction of fabrics and the sitter's expression, reflecting the ideals of beauty and virtue of the time. The exact circumstances surrounding the commission of the portrait are unknown. The painting is part of the collection at the National Gallery of Scotland.

"Margaret Morton Quincy Greene (Mrs. Benjamin Daniel Greene) (1806-1882)" is a portrait painted by American artist Chester Harding in 1835, reflecting the artist's prominence in the early 19th-century American portraiture movement. The work exemplifies Harding's skill in capturing the likeness and character of his subjects, contributing to the cultural narrative of American identity during this period.

"George Washington (1732-1799), after Gilbert Stuart (1755-1828)" by Jane Stuart is a posthumous copy of Gilbert Stuart's iconic portrait of George Washington, which was originally painted in 1796. Jane Stuart, the daughter of Gilbert Stuart, created this work in the early 19th century, contributing to the enduring legacy of her father's portrayal of the first President of the United States and reflecting the continued reverence for Washington in American culture.

"Portrait of a Boy in Suit and Tie," created by Denman Waldo Ross in 1903, exemplifies the artist's focus on capturing the individuality and psychological depth of his subjects. Ross, an influential figure in American art and education, utilized a blend of Impressionist techniques and formal portraiture to convey both the innocence and sophistication of youth, reflecting broader trends in early 20th-century American portraiture.

"Free or Slave," created by Jack Butler Yeats in 1920, reflects the artist's engagement with themes of freedom and oppression, likely influenced by the socio-political climate of post-World War I Ireland and the Irish War of Independence. The painting is notable for its expressive use of color and dynamic composition, characteristic of Yeats's later works, which often explore the human condition and the struggle for identity.

"The Death of Orpheus," created by Odilon Redon in 1893, depicts the mythological figure Orpheus in a moment of tragic demise, reflecting themes of loss and the interplay between life and death. This work exemplifies Redon's Symbolist style, characterized by its dreamlike quality and use of color, which significantly influenced the development of modern art and the exploration of psychological depth in visual representation.

"Assouan, Egypt," painted by Denman Waldo Ross in 1910, reflects the artist's engagement with the landscape and culture of Egypt during his travels. The work is notable for its vibrant color palette and impressionistic style, which exemplifies Ross's broader contributions to American art and his role in the Boston School of painting.

"Portrait of an Old Woman," created by Christian Seybold in the late 17th century, exemplifies the artist's skill in capturing the nuances of age and character through meticulous detail and expressive brushwork. The painting is significant within the context of German portraiture, reflecting the societal values of the time regarding the representation of individuals and the exploration of human emotion.

"Detail: Siva on Elephant's Howdah, after stone relief at Angkor Wat" is a work by American artist Joseph Lindon Smith, created in the early 20th century as part of his broader engagement with Asian art and culture. This painting reflects Smith's meticulous study of the stone reliefs at Angkor Wat, showcasing his ability to translate the intricate details of Khmer art into a vibrant, painted medium, thereby contributing to the appreciation of Southeast Asian heritage in Western art discourse.

"Landscape with Travelers," created by Ferdinand Kobell in the 18th century, exemplifies the artist's engagement with the picturesque landscape genre, characterized by its harmonious composition and naturalistic detail. The painting reflects the influence of the Dutch Golden Age and the Romantic movement, showcasing the interplay between human figures and the surrounding environment, which underscores the era's appreciation for nature and the sublime.

"Portrait of a Young Boy with Red Hair," created by Denman Waldo Ross in 1903, exemplifies the artist's interest in capturing the innocence and vitality of childhood through expressive brushwork and vibrant color. The painting is significant within Ross's oeuvre as it reflects his engagement with Impressionism and his role as an educator in the American art community, influencing subsequent generations of artists.

"Harmony in Yellow and Gold: The Gold Girl—Connie Gilchrist" is a painting by American artist James McNeill Whistler, created around 1876–77. The work features Connie Gilchrist, a model and actress, who was known for her striking appearance and presence. Whistler's use of color emphasizes the harmony of yellow and gold tones, reflecting his interest in aestheticism and the relationship between color and form. The painting is notable for its loose brushwork and the atmospheric quality of the background, which enhances the figure's prominence. Whistler's approach in this work aligns with his broader artistic philosophy, focusing on the beauty of visual experience rather than narrative content. The painting is part of the collection at the Tate, London. The exact circumstances of its commission or the details of its exhibition history are not extensively documented.

"Girls at a Window," painted by Raimundo de Madrazo y Garreta in 1875, depicts two young girls gazing out from a window, showcasing the artist's mastery of light and texture. The work reflects the influence of Spanish Romanticism and is characterized by its intimate portrayal of childhood and domestic life.

"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.

"Mr. and Mrs. Herbert A. Jacobs House, Middleton, Wisconsin, Perspective" is a drawing created by Frank Lloyd Wright, an influential American architect known for his contributions to modern architecture. The work depicts the design of the Jacobs House, which was completed in 1937 and is considered one of Wright's early examples of Usonian architecture. Usonian homes were characterized by their single-story layouts, open floor plans, and integration with the surrounding landscape. The Jacobs House was designed for Herbert Jacobs, a businessman, and his wife, and it exemplifies Wright's philosophy of organic architecture, emphasizing harmony between human habitation and the natural environment. The perspective drawing serves as a visual representation of Wright's architectural vision, showcasing his innovative use of space and materials. The house itself is notable for its use of brick and wood, as well as its cantilevered roof, which reflects Wright's signature style. The Jacobs House remains a significant example of mid-20th-century American residential architecture and is recognized as a National Historic Landmark.

"Tournelle, called Dublin" (1761-1820) is a notable work by Adélaïde Labille-Guiard, a prominent French portraitist known for her contributions to the representation of women in art and her role in the Académie Royale de Peinture et de Sculpture. The painting exemplifies Labille-Guiard's mastery of color and light, as well as her ability to convey the individuality and character of her subjects, reflecting the broader cultural shifts in France during the late 18th and early 19th centuries.

"Hagar and the Angel in the Wilderness," painted by Jan Coxie in the 17th century, depicts the biblical narrative of Hagar, the handmaid of Sarah, who, after being cast out into the wilderness, receives divine comfort from an angel. This work exemplifies the Baroque style through its dramatic use of light and shadow, as well as its emotional intensity, reflecting the broader themes of struggle and divine intervention prevalent in religious art of the period.

"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.

"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.

"Seated Uhlan," painted by Franz Skarbina in 1895, depicts a soldier of the Uhlan cavalry, reflecting the artist's interest in military themes and the romanticized portrayal of the German military identity during the late 19th century. The work is significant for its detailed representation of the Uhlan's uniform and the psychological depth conveyed through the soldier's contemplative posture, contributing to the broader discourse on nationalism and identity in German art of the period.

"Mountain Brook" is a painting by Albert Bierstadt, an American artist of German origin, known for his large-scale landscapes that depict the American West. The work exemplifies Bierstadt's characteristic style, which combines meticulous detail with dramatic lighting and expansive vistas. The painting likely reflects Bierstadt's experiences during his travels in the western United States, particularly in the Rocky Mountains, where he sought to capture the sublime beauty of nature. Bierstadt was associated with the Hudson River School, a movement that emphasized the romantic portrayal of American landscapes. The exact date of creation for "Mountain Brook" remains unspecified, but it is representative of his oeuvre from the mid to late 19th century. The painting contributes to the broader narrative of American landscape painting, highlighting themes of exploration and the natural environment during a period of westward expansion. Bierstadt's works were instrumental in shaping the American public's perception of the West, often idealizing its grandeur and untouched beauty. "Mountain Brook" is part of a larger body of work that reflects the artist's commitment to portraying the American landscape as a source of national pride and identity.

"Portrait of a Seated Man with Hands Clasped," created by Denman Waldo Ross in 1910, exemplifies the artist's interest in capturing the psychological depth and individuality of his subjects through a modernist lens. The painting reflects Ross's broader contributions to American art as both a painter and an educator, influencing the development of modernist practices in the early 20th century.

"Landscape with Boats and Figures," created by Salomon van Ruysdael in the mid-17th century, exemplifies the Dutch Golden Age's emphasis on naturalism and the interplay between human activity and the landscape. The painting reflects the artist's mastery in depicting atmospheric effects and water, contributing to the genre of marine and river landscapes that became prominent in Dutch art during this period.

"Grapes, Rome" is a still life painting created by American artist George Henry Hall in 1875, notable for its realistic depiction of grapes and the interplay of light and shadow. The work exemplifies Hall's mastery of color and texture, reflecting the influence of the American Realism movement and contributing to the genre's popularity in the late 19th century.

"Nicholas Boylston (1716-1771)" is a portrait painted by John Singleton Copley in 1767, depicting the prominent Boston merchant and philanthropist in a formal pose that reflects his social status and wealth. The painting is significant for its detailed representation of Boylston's attire and the use of light and shadow, showcasing Copley's mastery in portraiture and contributing to the development of American art in the 18th century.

"Jean-Baptiste Faure (1830–1914)" is a portrait painted by Édouard Manet between 1882 and 1883. The subject, Jean-Baptiste Faure, was a prominent French baritone and a close friend of Manet. The painting reflects Manet's interest in capturing the character and personality of his sitters. Faure was known for his performances at the Paris Opera and was a significant figure in the music scene of the time. Manet's style in this work showcases his mastery of light and texture, particularly in the rendering of Faure's clothing and facial features. The painting is characterized by its loose brushwork and a focus on the sitter's expression. It is currently housed in the collection of the Musée d'Orsay in Paris. The exact circumstances of the commission and the relationship between Manet and Faure remain largely undocumented.

"Josiah Quincy (1772-1864)" is a portrait painted by American artist William Page in 1857, capturing the likeness of the prominent politician and educator who served as the mayor of Boston and president of Harvard University. The painting exemplifies Page's skill in rendering the character and dignity of his subjects, contributing to the 19th-century American portraiture tradition and reflecting the cultural and political milieu of the period.

"Charing Cross Bridge: Fog on the Thames," painted by Claude Monet in 1903, is part of a series that captures the atmospheric effects of fog on the River Thames, showcasing the artist's interest in light and color. This work exemplifies Monet's innovative approach to Impressionism, emphasizing the transient qualities of nature and the urban landscape, and reflects the broader context of industrialization in early 20th-century London.

"Gloucester Harbor at Sunset," painted by Fitz Henry Lane in 1868, exemplifies the artist's mastery of luminism, a style characterized by the depiction of light and atmosphere. The work captures the serene beauty of Gloucester, Massachusetts, reflecting the region's maritime culture and Lane's deep connection to the coastal landscape, which significantly influenced American art in the 19th century.

"Seven-Peaks, Guadarrama" is a landscape painting created by Spanish artist Joaquín Sorolla y Bastida in 1911, depicting the Sierra de Guadarrama mountain range near Madrid. The work exemplifies Sorolla's mastery of light and color, reflecting his Impressionist influences and his deep appreciation for the natural beauty of Spain, contributing significantly to the recognition of Spanish landscape painting in the early 20th century.

"Eliphalet Pearson (1752-1826), after Samuel F.B. Morse" is a portrait created by James Frothingham, reflecting the artistic style and techniques of early 19th-century American portraiture. The painting serves as a significant representation of Pearson, a prominent educator and the first president of Harvard's Lawrence Scientific School, highlighting the cultural and intellectual milieu of the period.

"Landscape with Tree," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with the American Impressionist movement, characterized by its vibrant color palette and loose brushwork. The painting reflects Ross's interest in capturing the interplay of light and nature, contributing to the broader discourse on landscape representation in early 20th-century American art.

"The Laundress," painted by Jean-Baptiste Greuze in 1761, exemplifies the artist's focus on domestic life and the moral virtues associated with the working class. The painting's impact lies in its ability to elevate the everyday subject of a laundress to a status of dignity and emotional depth, reflecting the Enlightenment ideals of virtue and the importance of labor in society.

"Sarah Cabot Parkman Atkinson (1818-1892)" is a portrait painted by Charles Robert Leslie in 1848, capturing the likeness of the prominent Bostonian and philanthropist. The work exemplifies Leslie's skill in rendering the psychological depth of his subjects, contributing to the 19th-century American portraiture movement and reflecting the social status and cultural values of the period.