Intermediate

"Mauritania," created by Jean Michel Atlan in 1948, exemplifies the artist's engagement with abstraction and his interest in the interplay of color and form, reflecting his North African heritage. The painting is significant within the context of post-war European art, as it contributes to the discourse on identity and cultural hybridity, positioning Atlan as a pivotal figure in the development of modernist abstraction.

"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.

"Nathaniel Southgate Shaler (1841-1906)" is a portrait painted by Joseph Rodefer DeCamp, completed in 1906, which captures the likeness of the prominent American geologist and educator. The work exemplifies DeCamp's mastery of color and light, reflecting the artist's affiliation with the Boston School and his commitment to portraying the intellectual gravitas of his subjects.

"Cattle Market," painted by Théodore Géricault in 1820, depicts a bustling scene of livestock trading, reflecting the artist's interest in contemporary life and the naturalistic portrayal of animals. The work is significant for its dynamic composition and attention to detail, showcasing Géricault's mastery in capturing the interplay between human figures and their environment, which contributed to the development of realism in 19th-century art.

"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.

"Archibald Menzies," painted by Anton von Maron in 1785, is a portrait of the Scottish botanist and surgeon known for his contributions to the study of Pacific flora. The work exemplifies the neoclassical style of the period, highlighting Menzies' intellectual stature and the significance of scientific exploration during the Age of Enlightenment.

"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.

"Northern Trees," created by George Hawley Hallowell in 1910, exemplifies the artist's engagement with the American landscape and his interest in capturing the interplay of light and shadow within natural settings. The painting reflects the influence of the American Impressionist movement, showcasing Hallowell's technique of using vibrant colors and loose brushwork to evoke the atmospheric qualities of the northern forests.

"Listening In," created by Jimmy Ernst in 1955, exemplifies the artist's engagement with Abstract Expressionism, characterized by its dynamic use of color and form. The painting reflects Ernst's exploration of the subconscious and the interplay between perception and reality, contributing to the broader discourse on the emotional and psychological dimensions of post-war American art.

"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.

"Landscape with Road and Cottage," 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 painting "Henry Flynt (1675-1760)" by John Greenwood, created in the mid-18th century, is a notable example of American portraiture that reflects the artist's skill in capturing the likeness and character of his subjects. Greenwood, an English-born artist who settled in colonial America, contributed to the development of portrait painting in New England, and this work exemplifies the social status and cultural identity of its subject within the context of colonial society.

"Rio San Barnaba, Venice," painted by Denman Waldo Ross in 1910, exemplifies the artist's engagement with Impressionist techniques and his fascination with the interplay of light and color in urban landscapes. The work reflects Ross's experiences during his travels in Italy, contributing to the broader discourse on American artists' interpretations of European scenes in the early 20th century.

"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.

"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.

"Portrait of a Young Boy in a Black Hat," created by Denman Waldo Ross in 1903, exemplifies the artist's interest in capturing the innocence and individuality of childhood through a direct and intimate portrayal. The painting is significant within Ross's oeuvre as it reflects his mastery of color and form, contributing to the broader discourse on American portraiture in the early 20th century.

"Thayer Lindsey (1882-1976)" is a portrait created by American artist Irwin D. Hoffman, known for his ability to capture the essence of his subjects through a realist approach. The painting reflects Hoffman's engagement with the American art scene of the mid-20th century and contributes to the understanding of portraiture during this period, highlighting the significance of individual identity and character in his work.

"Three Peasants Drinking and Smoking," created by Adriaen van Ostade in the mid-17th century, exemplifies the Dutch genre painting tradition, focusing on the everyday lives of rural laborers. The work reflects the social dynamics and cultural practices of the time, showcasing van Ostade's mastery in depicting light, texture, and the intimate interactions of his subjects.

"Mount Monadnock," painted by Abbott Handerson Thayer in 1904, exemplifies the artist's interest in the interplay between natural landscapes and atmospheric effects, reflecting his deep appreciation for the New England scenery. The work is significant within Thayer's oeuvre as it showcases his innovative use of color and light, contributing to the broader American Impressionist movement of the early 20th century.

"Highland Light, North Truro, Massachusetts," painted by Denman Waldo Ross in 1903, exemplifies the artist's engagement with the American landscape and his interest in capturing the interplay of light and color. The work reflects the influence of Impressionism, showcasing Ross's ability to convey atmospheric effects and the natural beauty of the Cape Cod region, contributing to the broader narrative of American art in the early 20th century.

"The Taj Mahal, Moonlit," painted by James Rogers Rich in 1857, depicts the iconic mausoleum under the ethereal glow of moonlight, capturing the romantic and serene qualities of the structure. Rich, an American artist known for his landscapes and architectural subjects, contributed to the 19th-century fascination with the East, reflecting both the aesthetic and cultural interests of the period.

"The Nativity" by Fra Bartolommeo, an Italian painter of the High Renaissance, is a significant work that reflects the artist's deep engagement with religious themes and his mastery of composition and color. The painting depicts the birth of Jesus Christ, a common subject in Christian art, emphasizing the divine nature of the event through the use of light and serene expressions. Fra Bartolommeo, known for his adherence to the principles of the Renaissance, often incorporated elements of classical harmony and balance in his works. The artist's background as a monk influenced his spiritual approach to painting, which is evident in the contemplative atmosphere of this piece. The exact date of creation remains uncertain, but it is generally attributed to the early 16th century, during a period when Fra Bartolommeo was active in Florence. The work exemplifies the artist's distinctive style, characterized by robust figures and a harmonious color palette, which contributes to the overall sense of tranquility and reverence. "The Nativity" is housed in a private collection, and its provenance reflects the interest in Renaissance art that has persisted through the centuries. The painting serves as an important example of the religious art of the period, illustrating the intersection of faith and artistic expression in the context of the Italian Renaissance.

"Portrait of a Shirtless Young Man," created by Denman Waldo Ross in 1910, exemplifies the artist's interest in the human form and his exploration of modernist techniques. The painting reflects Ross's engagement with the American art scene of the early 20th century, contributing to the discourse on portraiture and the representation of youth in art.

"Travelling in the Mountains of Shu (Szechwan)" by Fang Shishu, created during the Ming Dynasty, exemplifies the artist's mastery in capturing the ethereal beauty of mountainous landscapes through meticulous brushwork and a harmonious color palette. The painting reflects the cultural significance of nature in Chinese art, serving as both a representation of the artist's personal experiences and an embodiment of the philosophical ideals of harmony between humanity and the natural world.

"John Warren (1753-1815), after Rembrandt Peale" is a portrait created by Mary Brewster Hazelton, an American artist known for her work in the late 19th and early 20th centuries. This painting reflects Hazelton's engagement with historical figures and her ability to reinterpret classical portraiture, contributing to the understanding of American identity and the legacy of portrait painting in the context of early American history.

"Young Woman Peeling Apples" is a painting by Dutch artist Nicolaes Maes, created around 1655. Maes was a prominent figure in the Dutch Golden Age, known for his genre scenes and portraits. The painting depicts a young woman engaged in the domestic task of peeling apples, showcasing the intimate and everyday aspects of 17th-century life. The work is characterized by its naturalistic detail and the use of light, which highlights the subject's focused expression and the textures of the apples and her clothing. This piece reflects the broader themes of domesticity and femininity prevalent in Dutch genre painting of the time. The exact provenance of the painting is not well-documented, and its current location is in a private collection. Maes's style evolved over his career, transitioning from genre scenes to more formal portraiture, but "Young Woman Peeling Apples" remains a significant example of his early work.

"Autumn Represented by Putti," created by Jacob de Wit in the 18th century, exemplifies the artist's mastery in depicting allegorical themes through the use of playful putti, symbolizing the season's bounty and harvest. This work reflects the broader trends of Dutch decorative art during the period, emphasizing the integration of classical motifs and the celebration of nature's cycles in a domestic context.

"Christopher Gore (1758-1827)" is a portrait painted by John Trumbull in 1805, depicting the prominent American politician and Governor of Massachusetts. The work exemplifies Trumbull's neoclassical style and his commitment to capturing the likeness and character of significant figures in American history, contributing to the visual narrative of the early Republic.

"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.

"Preparing a Railway Cutting," painted by Charles-François Eustache in 1855, depicts the labor involved in the construction of railway infrastructure, reflecting the industrial advancements of the period. This work is significant for its realistic portrayal of contemporary labor and its contribution to the broader movement of realism in 19th-century French art.

"The Blue Boy," painted by Thomas Gainsborough in 1770, is a full-length portrait of a young man dressed in a striking blue satin costume, believed to be a homage to the works of Anthony van Dyck. The painting is renowned for its masterful use of color and texture, and it is often interpreted as Gainsborough's response to the artistic rivalry with Sir Joshua Reynolds, who advocated for the use of warm colors in portraiture.

"Landscape with Tree and Pink Flowers," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with color and form, reflecting the influence of Impressionism and the American tonal landscape tradition. The painting is notable for its vibrant palette and expressive brushwork, which contribute to its impact within the context of early 20th-century American art.

"Daruma," created by the Japanese Zen monk and painter Fūgai Ekun in the late 17th century, exemplifies the integration of Zen philosophy and artistic expression, depicting the legendary figure Bodhidharma, the founder of Zen Buddhism. The painting is notable for its bold brushwork and minimalist aesthetic, reflecting the principles of simplicity and directness that are central to Zen art, and it has had a lasting influence on subsequent generations of Japanese ink painters.

"L'Or et le Noir," created by Otto Piene in 1961, exemplifies the artist's exploration of light and color through the use of fire and smoke, reflecting his interest in the interplay between natural phenomena and artistic expression. The work is significant within the context of the Zero movement, which Piene co-founded, emphasizing a departure from traditional art forms and a focus on the sensory experience of the viewer.

"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.

"Landscape with Rooftops and Mountains," 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 atmosphere in natural settings, contributing to the broader discourse on landscape representation in early 20th-century American art.

"Calabazas, after Velazquez" is a 1910 painting by Denman Waldo Ross that reflects the artist's engagement with the Spanish Baroque master Diego Velázquez, specifically referencing Velázquez's still-life compositions. The work exemplifies Ross's interest in color and form, contributing to the early 20th-century dialogue on the reinterpretation of classical themes within modern art.

"The Dentist," painted by Gerhard Dou in 1660, exemplifies the Dutch Golden Age's focus on genre scenes and meticulous attention to detail. The work captures a moment of dental examination, reflecting both the emerging interest in medical practices of the time and Dou's mastery of light and texture, which contributed to his reputation as a leading painter of the period.

"Garden," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with color theory and composition, reflecting his interest in the interplay of light and form within a natural setting. The painting is significant within the context of American Impressionism, showcasing Ross's ability to blend traditional techniques with modernist sensibilities, thereby influencing subsequent generations of artists.

"Trees in a Romantic Landscape," created by Johann Walter-Kurau in the early 20th century, exemplifies the artist's engagement with the Romantic tradition, emphasizing the emotional resonance of nature through expressive brushwork and a vibrant color palette. The painting reflects the broader artistic movement of the time, which sought to evoke feelings of nostalgia and introspection, contributing to the appreciation of landscape as a subject in modern art.

"Landscape with Tree and Stream," 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.

"La Rose de l'Infante (Effie Stillman)" is a painting created by Ford Madox Brown in 1865, depicting his model and future wife, Effie Stillman, adorned with a rose. The work exemplifies Brown's Pre-Raphaelite style, characterized by its vibrant colors and intricate detail, and reflects the artist's interest in capturing the beauty and emotional depth of his subjects.

"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.

"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.

"Francis Bayard Winthrop (1754-1817)" is a portrait painted by John Trumbull, an American artist known for his historical subjects and portraits. Commissioned in the early 19th century, the work reflects Trumbull's commitment to capturing the prominent figures of the American Revolution and early Republic, contributing to the visual narrative of American identity and history.

"Portrait of a Young Boy in Sailor's Clothes," created by Denman Waldo Ross in 1900, exemplifies the artist's interest in capturing the innocence and vitality of childhood through a naturalistic style. The painting reflects the influence of American Impressionism and has been noted for its vibrant color palette and expressive brushwork, contributing to Ross's reputation as a significant figure in early 20th-century American art.

"Portrait of a Young Man in White Undershirt," created by Denman Waldo Ross in 1910, exemplifies the artist's exploration of modernist portraiture and his interest in the interplay of light and form. The painting is notable for its intimate portrayal of the subject, reflecting Ross's commitment to capturing the psychological depth and individuality of his sitters, which contributed to his reputation within the American art scene of the early 20th century.

"Madame Édouard Bernier" is a portrait painted by Auguste Renoir in 1871. The subject of the painting is Marie-Octavie-Stéphanie Laurens, the wife of Édouard Bernier, a prominent art dealer and collector. Renoir was known for his ability to capture the essence of his subjects, and this work exemplifies his skill in portraying intimacy and warmth. The painting is characterized by its vibrant colors and soft brushwork, typical of Renoir's style during this period. It reflects the influence of Impressionism, which Renoir was instrumental in developing. The exact circumstances of the commission are not well-documented. The painting is currently housed in a private collection.

"John Ruskin (1819-1900)" is a portrait painted by Charles Herbert Moore, completed in 1882, which captures the influential art critic and social thinker in a contemplative pose, reflecting his intellectual gravitas. The painting is significant not only for its artistic merit but also for its role in commemorating Ruskin's contributions to art criticism and his advocacy for the Pre-Raphaelite movement, thereby influencing the trajectory of 19th-century British art.

"Still Life with Asian Vase," created by Denman Waldo Ross in 1915, exemplifies the artist's interest in integrating Asian aesthetics with Western still life traditions. The painting reflects Ross's broader engagement with color theory and composition, contributing to the development of American modernism in the early 20th century.