Master

"Peacocks and Peony," created by Kano Yasunobu in the 17th century, exemplifies the Kano school's distinctive style, characterized by its bold use of color and intricate detail, reflecting the influence of both Chinese and Japanese artistic traditions. The painting serves as a symbol of prosperity and beauty, with the peony representing wealth and the peacock embodying grace, thus reinforcing the cultural significance of these motifs in Edo-period Japan.

"Skull Wearing a Wreath of Flowers," created by Thomas Satterwhite Noble in 1876, is a significant example of 19th-century American still life that juxtaposes the themes of mortality and beauty. The painting reflects the influence of the memento mori tradition, serving as a poignant reminder of the transience of life through the contrast of the skull and the vibrant floral arrangement.

"Evening Mist (Yūgiri), Illustration to Chapter 39 of the Tale of Genji (Genji monogatari)" is a significant work by Tosa Mitsunobu, created during the Muromachi period in Japan, which reflects the artist's mastery of traditional Japanese painting techniques and his engagement with classical literature. This painting illustrates a pivotal moment in the narrative of the Tale of Genji, showcasing the intricate interplay of nature and emotion, and exemplifying the cultural importance of the text in Japanese art history.

"William J. Vincent," painted by Denman Waldo Ross in 1910, is a portrait that reflects the artist's engagement with the American Impressionist movement and his interest in capturing the individuality of his subjects. The work is significant for its use of color and light, showcasing Ross's skill in blending traditional portraiture with modernist techniques, thereby contributing to the evolution of American art in the early 20th century.

"Bust of a Young Boy in a Red Fez," created by Denman Waldo Ross in 1910, exemplifies the artist's interest in portraiture and the exploration of color and form. The painting reflects Ross's engagement with modernist techniques and his role in the American art scene, contributing to the broader discourse on identity and representation during the early 20th century.

"Growth of the Crystals II," created by Willi Baumeister in 1953, exemplifies the artist's exploration of abstraction and the interplay between organic forms and geometric structures. This work reflects Baumeister's engagement with the principles of modernism and his interest in the relationship between art and nature, contributing to the discourse on abstraction in post-war European art.

Eugene Larkin, an American artist known for his printmaking and graphic design, created "Lady in Red," though specific details about the painting's creation date and context remain largely undocumented. The work reflects Larkin's interest in bold color and form, characteristic of his broader artistic oeuvre.

"First Study for 'Christ Healing the Sick'" is an early 19th-century work by American artist Washington Allston, created around 1816. This painting serves as a preparatory study for a larger composition that reflects Allston's interest in themes of spirituality and human suffering, showcasing his mastery of light and color while drawing on biblical narratives to convey a sense of compassion and healing.

"River Landscape with Fishermen," created by Aert van der Neer in the 17th century, exemplifies the artist's mastery in depicting atmospheric effects and the interplay of light and water, characteristic of Dutch landscape painting. The work reflects the socio-economic context of the time, highlighting the significance of fishing as both a livelihood and a leisure activity in the Netherlands, while also contributing to the broader tradition of landscape art that emphasizes harmony between nature and human activity.

"Portrait of a Young Man with Hand on Head," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with modernist techniques and his exploration of psychological depth through portraiture. The painting is notable for its use of color and form, reflecting Ross's influence from both American and European art movements of the early 20th century, and it contributes to the understanding of portraiture's evolution during this period.

Eugenio Dittborn's "2nd History of the Human Face (Socket of the Eyes), Airmail Painting No. 66" is part of his innovative series of airmail paintings, which he began in the 1980s as a response to the political repression in Chile. These works, characterized by their portability and use of mixed media on lightweight materials, challenged traditional notions of art distribution and accessibility, allowing Dittborn to circumvent censorship and engage with a global audience.

"The Schoolmaster," painted by Gerhard Dou in 1665, exemplifies the Dutch Golden Age's focus on genre scenes, depicting a scholarly figure engaged in teaching, surrounded by students. Dou's meticulous attention to detail and use of chiaroscuro not only highlight his technical prowess but also reflect the era's values surrounding education and intellectual pursuit.

"Beata Beatrix" is a painting by Dante Gabriel Rossetti, created between 1864 and 1870. The work depicts Beatrice Portinari, the muse of Dante Alighieri, and is inspired by Rossetti's interest in the themes of love and death. The painting features a serene Beatrice, surrounded by symbolic elements such as a white dove and a red poppy, which represent spiritual love and death, respectively. Rossetti's use of vibrant colors and intricate details reflects the Pre-Raphaelite aesthetic, emphasizing emotional depth and symbolism. The composition is notable for its ethereal quality, with Beatrice's gaze directed upward, suggesting transcendence. The painting is housed in the Tate Britain collection, where it continues to be a significant example of Rossetti's work and the Pre-Raphaelite movement.

"Paul Jean Louis Azan (1874-1951)" is a portrait created by American artist Mary Brewster Hazelton, known for her contributions to early 20th-century portraiture. The painting reflects Hazelton's skill in capturing the likeness and character of her subjects, contributing to the broader narrative of American art during this period, particularly in the context of portraiture that emphasizes individuality and psychological depth.

"One of Eight Landscape Sketches" by Dong Bangda (c. 1699–1769) exemplifies the artist's mastery in capturing the essence of nature through a blend of traditional Chinese ink techniques and a personal interpretation of landscape. Created during the Qing Dynasty, this work reflects the cultural and artistic shifts of the period, emphasizing the importance of individual expression within the established conventions of Chinese landscape painting.

"The Tendril Wreath (Tamakazura), Illustration to Chapter 22 of the Tale of Genji (Genji monogatari)" is a significant work by Tosa Mitsunobu, created during the Muromachi period in Japan, which reflects the intricate narrative and aesthetic qualities of the Heian-era classic literature. This painting exemplifies the Tosa school’s distinctive style, characterized by its delicate brushwork and vibrant colors, and serves to enhance the reader's understanding of the emotional and thematic depth of the Tale of Genji.

"The Handsome Pillar (Makibashira), Illustration to Chapter 31 of the Tale of Genji (Genji monogatari)" is a significant work by Tosa Mitsunobu, created during the Muromachi period in Japan, which reflects the cultural and aesthetic values of the time. This painting illustrates a pivotal moment in the classic narrative of the "Tale of Genji," showcasing Mitsunobu's mastery of color and composition, as well as his ability to convey the emotional depth of the characters within the context of Heian-era court life.

"Roses and Wisteria by a Garden Rock" is a notable work by the Chinese painter Li Shan (c. 1664–1745), who was active during the Qing Dynasty. This painting exemplifies the artist's mastery of traditional Chinese brush techniques and his ability to convey the beauty of nature, reflecting the cultural appreciation for flora in Chinese art and contributing to the genre of flower-and-bird painting.

The painting titled "Crispin" by Gérard Edelinck, after Theodorus Netscher, is an engraving that reflects the collaborative practices of the 17th and 18th centuries, where engravers reproduced works of painters to reach a broader audience. Edelinck, a prominent engraver of his time, translated Netscher's work into print, showcasing the interplay between French and Dutch artistic traditions during this period.

"Profile Portrait of a Woman," created by Denman Waldo Ross in 1910, exemplifies the artist's interest in the interplay of color and form, reflecting the influence of both Impressionism and early Modernism. The painting is notable for its exploration of psychological depth and the representation of femininity, contributing to Ross's reputation as a significant figure in American art during the early 20th century.

"Saint Joseph," painted by Philippe de Champaigne in the mid-17th century, exemplifies the artist's mastery of chiaroscuro and his ability to convey spiritual depth through the portrayal of the titular saint, who is depicted with a contemplative expression and traditional attributes. This work reflects the Counter-Reformation's emphasis on piety and the veneration of saints, contributing to the broader discourse on religious art in 17th-century France.

"Portrait of a Lady as the Goddess Diana," created by Godfried Schalcken in the late 17th century, exemplifies the artist's mastery of chiaroscuro and his ability to blend portraiture with mythological themes. The painting reflects the cultural context of the Dutch Golden Age, where the representation of women in art often intertwined with classical allegories, thereby enhancing the subject's status and virtue.

"Twenty Scenes of Birds, Animals, Flowers and Fruiting Branches" is a notable work by the Edo period artist Hanabusa Itchō, who was active in the late 17th to early 18th centuries. This painting exemplifies Itchō's mastery of the ukiyo-e style, showcasing a harmonious integration of natural elements that reflects the aesthetic values of the time and his influence on subsequent generations of Japanese artists.

"Dragon and Tiger," created by Yokoyama Kazan in 1888, exemplifies the artist's mastery of traditional Japanese ink painting techniques while integrating Western influences. The work reflects the symbolic duality of strength and power, as the dragon represents the heavens and the tiger symbolizes the earth, showcasing Kazan's ability to convey complex themes through dynamic composition and meticulous detail.

"Two Java Sparrows Amid White and Pink Bell Flowers" is a work by Kano Tanshin, a prominent Japanese painter of the Edo period, known for his mastery in depicting natural subjects with a focus on realism and detail. The painting exemplifies the traditional Japanese aesthetic of integrating flora and fauna, reflecting the cultural appreciation for nature and the symbolic significance of the Java sparrow as a representation of happiness and good fortune.

"Nude Women in a Landscape," created by Hans von Marées in 1890, exemplifies the artist's interest in the interplay between the human form and natural surroundings, reflecting the influence of both Romanticism and Symbolism. The painting is notable for its harmonious composition and the use of color, which contribute to its exploration of themes related to beauty, nature, and the human experience.

"Tiger in a Bamboo Grove," created by Kano Yasunobu in the 17th century, exemplifies the Kano school's mastery of ink painting and reflects the influence of Chinese artistic traditions. The work is notable for its dynamic composition and the symbolic representation of the tiger, which conveys themes of strength and protection within the context of Japanese aesthetics.

"Landscape After Mi Fei" by Yun Shouping, created during the late Ming dynasty, reflects the artist's engagement with the Southern Song landscape tradition, particularly the style of Mi Fei, known for its expressive brushwork and atmospheric depth. This work exemplifies Yun's mastery of ink and color, contributing to the revival of classical Chinese landscape painting and influencing subsequent generations of artists in their interpretation of nature.

"The Nativity and the Adoration of the Shepherds" by Nicoletto da Modena is a work that reflects the artist's engagement with the religious themes prevalent during the Italian Renaissance, depicting the birth of Christ and the subsequent adoration by shepherds. Nicoletto da Modena, active around 1500 to 1520, is known for his engravings and prints, and this piece exemplifies his detailed approach to composition and narrative within the context of early 16th-century Italian art.

"The Virgin and Child, with Christ Blessing," created by Bernardo Daddi around 1330, exemplifies the early Italian Renaissance's transition towards naturalism and emotional expression in religious art. The painting, characterized by its delicate use of color and intricate detailing, reflects Daddi's engagement with Byzantine traditions while also incorporating emerging Gothic influences, thereby impacting the development of devotional imagery in Florence.

"Michele Bonelli, called 'Cardinal Alessandrino'," is a portrait painted by Scipione Pulzone, known as Il Gaetano, in the late 16th century, specifically around 1595. This work exemplifies the Mannerist style and reflects the artist's skill in capturing the psychological depth and character of his subjects, contributing to the tradition of portraiture in the Counter-Reformation period.

"Nathaniel Shepherd Prentiss (1776-1853)" is a portrait painted by Robert Street, an American artist known for his work in the early 19th century. The painting serves as a significant representation of Prentiss, a prominent figure in the political and social landscape of his time, reflecting the artistic conventions of portraiture that emphasized individual identity and status.

The painting "James Bryant Conant (1893-1978)" by Charles Sydney Hopkinson is a portrait of the prominent American chemist and educator, who served as the president of Harvard University from 1933 to 1953. Completed in 1947, the work reflects Hopkinson's skill in capturing the intellectual gravitas of his subjects, contributing to the tradition of academic portraiture in the mid-20th century.

"A Waste of Weeds (Yomogiu), Illustration to Chapter 15 of the Tale of Genji (Genji monogatari)" is a significant work by Tosa Mitsunobu, created in the late 15th century, which visually interprets a pivotal moment in Murasaki Shikibu's classic narrative. The painting exemplifies the Tosa school's distinctive style, characterized by its intricate detail and vibrant colors, and reflects the cultural and aesthetic values of the Muromachi period in Japan.

"Samuel Cooper Thacher (1785-1818)" is a portrait painted by Gilbert Stuart Newton, an American artist known for his contributions to portraiture in the early 19th century. The work reflects Newton's skill in capturing the likeness and character of his subjects, contributing to the cultural and artistic landscape of the period, particularly in the context of American identity and representation.

"James-Jacques-Joseph Tissot (1836–1902)" is a portrait painted by Edgar Degas around 1867–68. The work depicts the French painter James Tissot, who was a contemporary of Degas and known for his depictions of fashionable society. Degas's choice to portray Tissot reflects the camaraderie and mutual respect among artists of the period. The painting showcases Degas's interest in capturing the character and personality of his subjects. The composition is characterized by a focus on Tissot's contemplative expression and the use of rich colors. The exact circumstances surrounding the creation of this portrait are not well-documented. The painting is part of the collection at the Musée d'Orsay in Paris.

"Lakeside Pavilion in a Bamboo Grove," created by Li Rihua during the Ming Dynasty, exemplifies the artist's mastery in blending natural landscapes with architectural elements, reflecting the cultural appreciation for harmony between humanity and nature. The painting is significant for its intricate detailing and use of color, which contribute to the broader discourse on landscape painting in Chinese art history, particularly in the context of literati aesthetics.

"Edmund C. S. Bigelow," painted by Denman Waldo Ross in 1900, is a portrait that exemplifies the artist's engagement with the American Impressionist movement and his focus on capturing the individuality of his subjects. The work reflects Ross's academic background and his role as a professor at Harvard University, where he influenced a generation of artists and contributed to the development of American art in the early 20th century.

"The Sacrifice of Cain and Abel," painted by Mariotto Albertinelli around 1503, depicts the biblical narrative of the first sons of Adam and Eve presenting their offerings to God, highlighting themes of sacrifice and divine favor. This work is significant for its demonstration of early Renaissance compositional techniques and the influence of Florentine art, reflecting Albertinelli's engagement with both classical ideals and contemporary religious themes.

"Blossoming Plum Tree," created by the Korean artist Cho Hŭi-ryong in 1980, exemplifies the integration of traditional East Asian ink painting techniques with contemporary artistic expression. The work reflects the cultural significance of the plum tree in Korean art, symbolizing resilience and the arrival of spring, while also contributing to the discourse on modern interpretations of traditional themes in the context of 20th-century Korean art.

"A Bacchanalian Procession" by Nicolas-François Chifflart, a 19th-century French artist, exemplifies the Romantic fascination with classical themes, depicting a lively scene inspired by Bacchic revelry. The painting reflects Chifflart's skill in dynamic composition and his ability to capture the exuberance of mythological subjects, contributing to the broader Romantic movement's engagement with antiquity and emotional expression.

"Charles Burnham Porter (1840-1909)" is a portrait painted by Frederic Porter Vinton, an American artist known for his contributions to portraiture in the late 19th and early 20th centuries. The painting reflects Vinton'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.

"Twenty-Four Sea Shells on a Leaf" is a work by Kano Tanshin (also known as Kano Tanshin, 1804-1876), a prominent Japanese painter of the Edo period, known for his detailed and naturalistic depictions of flora and fauna. This painting exemplifies the artist's mastery of the traditional Japanese style, showcasing the intricate beauty of shells arranged on a leaf, reflecting both the aesthetic values of the time and the influence of Western naturalism in Japanese art.

"Four Future Ministers Pinning Peonies," created by Wang Yiting in 1900, exemplifies the artist's mastery of traditional Chinese painting techniques while incorporating modern themes. The work reflects the socio-political context of late Qing Dynasty China, highlighting the aspirations of the educated elite and their connection to cultural heritage through the symbolism of peonies, which represent wealth and prosperity.

"William James (1771-1832)" is a portrait painted by American artist Ezra Ames, completed in 1825. The work is significant for its representation of the prominent American physician and philanthropist William James, reflecting the early 19th-century American portraiture style that emphasized both individual character and social status.

"Begonia in Bloom by a Garden Stream" is a work by Kano Tsunenobu, a prominent Japanese painter of the Edo period, known for his contributions to the Kano school of painting. This piece exemplifies Tsunenobu's mastery in depicting natural subjects, reflecting the aesthetic values of the time and the integration of flora within serene landscapes, which were significant in Japanese art for their symbolic associations with beauty and transience.

"The Safflower (Suetsumuhana), Illustration to Chapter 6 of the Tale of Genji (Genji monogatari)" is a significant work by Tosa Mitsunobu, created during the Muromachi period in Japan, which reflects the intricate relationship between literature and visual art in the context of the Heian court. This painting illustrates a pivotal moment in the narrative of "The Tale of Genji," showcasing the artist's mastery of color and composition while emphasizing the themes of love and nature inherent in Murasaki Shikibu's classic text.

"John Feeney," painted by Denman Waldo Ross in 1910, is a portrait that exemplifies Ross's interest in capturing the psychological depth of his subjects through a modernist lens. The work reflects Ross's broader contributions to American art as both an artist and educator, emphasizing the importance of color and form in the portrayal of individual identity.

"Bright Angel Trail" by Gustave Baumann is a woodcut print that captures the scenic beauty of the Grand Canyon's Bright Angel Trail, reflecting Baumann's mastery in color and composition. Baumann, known for his work in the American Southwest, utilized his printmaking skills to depict the natural landscape with vibrant colors and intricate details, contributing to the appreciation of American regionalism in art.