Master

Adolphe Monticelli's "Landscape," created in the late 19th century, exemplifies the artist's distinctive use of vibrant color and expressive brushwork, which contributed to the development of Post-Impressionism. The painting reflects Monticelli's fascination with nature and his ability to evoke emotional resonance through a dynamic interplay of light and texture, influencing subsequent generations of artists in their exploration of color and form.

"Study, Reduced to One-Quarter Size, of the Angel in Veronese's Annunciation, in the Uffizi Gallery at Florence" is a work by American artist Charles Herbert Moore, created in 1895. This painting exemplifies Moore's interest in the study of classical compositions and his engagement with the Renaissance, specifically referencing Paolo Veronese's depiction of the Annunciation, while also reflecting the broader trend of academic art in the late 19th century.

"Virgin and Child Enthroned with Eight Angels," created by Niccolò di Pietro in the late 14th century, exemplifies the Sienese Gothic style, characterized by its intricate detailing and vibrant color palette. The painting, which reflects the theological significance of the Virgin Mary and her role as intercessor, has been influential in the study of medieval devotional art and the representation of divine figures in Italian painting.

"Wang Ziyou in Boat on a Snowy Night," created by Kano Yasunobu in the 17th century, depicts the legendary figure Wang Ziyou, a scholar and poet, navigating a serene, snow-covered landscape, reflecting the themes of solitude and contemplation prevalent in East Asian art. This work exemplifies the Kano school's synthesis of traditional Chinese aesthetics with Japanese painting techniques, contributing to the cultural dialogue between the two regions during the Edo period.

"A Thousand Mountains in Deep Verdure" (深緑千山) is a notable work by Uragami Gyokudō (1850–1916), a prominent Japanese painter associated with the Nihonga style, which emphasizes traditional Japanese techniques and materials. The painting exemplifies Gyokudō's mastery of landscape representation, reflecting the influence of both Chinese ink painting and the natural beauty of Japan, and it has been recognized for its serene composition and rich use of color, contributing to the appreciation of Nihonga in the early 20th century.

"Loammi Baldwin, Jr. (1780-1838); verso: Study for Female Head" is a portrait by Washington Allston, an American Romantic painter known for his contributions to early American art and his exploration of light and color. The painting reflects Allston's engagement with both portraiture and allegorical themes, showcasing his skill in capturing the likeness and character of his subjects while also serving as a study for his broader artistic endeavors.

"The Agony in the Garden," painted by Paul Troger in the early 18th century, depicts the biblical scene of Christ's prayer in the Garden of Gethsemane, emphasizing the emotional turmoil and divine foreknowledge of his impending crucifixion. Troger's work is notable for its dynamic composition and use of chiaroscuro, which enhance the dramatic intensity of the moment, reflecting the Baroque style prevalent in Central European art during this period.

"At the Pass (Sekiya), Illustration to Chapter 16 of the Tale of Genji (Genji monogatari)" is a significant work by Tosa Mitsunobu, created during the Muromachi period in Japan, which illustrates a pivotal moment in the classic literary narrative of the Tale of Genji, authored by Murasaki Shikibu in the early 11th century. This 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 Heian period, emphasizing the interplay between literature and visual art in Japanese history.

"Giovanni Bertoja," painted by Denman Waldo Ross in 1910, is a portrait that reflects the artist's engagement with the themes of identity and cultural representation during the early 20th century. The work is notable for its use of color and form, showcasing Ross's interest in integrating modernist techniques with traditional portraiture, thereby contributing to the discourse on American art's evolution during this period.

"Woman in Profile," created by Carl von Marr in 1893, exemplifies the artist's interest in the female form and his mastery of portraiture, reflecting the aesthetic values of the late 19th century. The painting is notable for its delicate rendering and psychological depth, contributing to Marr's reputation as a prominent figure in the American art scene during this period.

"Study for 'Belshazzar's Feast'; verso: Studies for 'Angel Releasing Saint Peter from Prison'" is a preparatory work by American artist Washington Allston, created in the early 19th century, which reflects his interest in biblical themes and dramatic lighting. The painting serves as a significant example of Allston's innovative approach to composition and color, influencing the Romantic movement in American art and showcasing his mastery in conveying narrative through visual means.

"McKean Buchanan (1798-1872)" is a portrait painted by American artist Rembrandt Peale in 1825, depicting the prominent Philadelphia merchant and philanthropist. This work exemplifies Peale's mastery in capturing the likeness and character of his subjects, contributing to the tradition of American portraiture in the early 19th century.

"Waterfall with a Half-Timbered House and Castle," painted by Jacob van Ruisdael in the mid-17th century, exemplifies the Dutch Golden Age's fascination with landscape and the interplay of nature and architecture. The work reflects Ruisdael's mastery in capturing the dramatic effects of water and light, while also serving as a commentary on the relationship between human structures and the natural environment.

"The Whole Soul Summed Up" is a notable work by American artist Christopher Wilmarth, created in 1977, which exemplifies his exploration of light, transparency, and the interplay between sculpture and painting. The piece reflects Wilmarth's interest in the metaphysical aspects of art, utilizing materials such as glass and wood to evoke a sense of ethereality and introspection, contributing significantly to the discourse on minimalism and the nature of perception in contemporary art.

Bernardo Daddi's painting, created circa 1330-1335, is a polyptych that exemplifies the early Italian Gothic style, showcasing a central crucifixion scene flanked by the Virgin Mary and Saints Mary Magdalene and John the Evangelist, with additional panels depicting the Agony in the Garden and various saints. This work reflects the devotional practices of the period and highlights Daddi's skill in integrating narrative elements with a rich color palette and intricate detailing, contributing significantly to the development of religious art in 14th-century Florence.

"Snowy Ravines and Mountains: Landscape Painting after Li Cheng" by Huang Ding (circa 1744-1816) exemplifies the Qing dynasty's revival of classical Chinese landscape painting, drawing inspiration from the renowned Song dynasty artist Li Cheng. This work reflects Huang Ding's mastery of traditional techniques and his contribution to the genre, emphasizing the interplay of nature and human emotion within the context of 18th-century Chinese art.

"The Parthenon" is a painting by American artist Frederic Edwin Church, created in 1871. The artwork depicts the Parthenon, an ancient temple on the Acropolis of Athens, Greece, symbolizing classical ideals of beauty and democracy. Church was a prominent figure in the Hudson River School, known for his large-scale landscapes and attention to detail. The painting reflects Church's interest in classical architecture and his travels to Europe, particularly Greece. It showcases his mastery of light and atmospheric effects, emphasizing the interplay between nature and human achievement. The work is characterized by its vibrant colors and meticulous rendering of the Parthenon's structure. "The Parthenon" is part of the collection at the Dallas Museum of Art. The specific circumstances of its commission or exhibition history are not well-documented.

"Virginia Dalrymple (1850-1922)" is a portrait by the British artist George Frederic Watts, completed in 1886, which exemplifies Watts' interest in capturing the psychological depth and character of his subjects. The painting reflects the influence of the Pre-Raphaelite movement, characterized by its attention to detail and emotive expression, and it has been noted for its role in elevating portraiture as a significant artistic genre during the late 19th century.

"George Packer Berry (1898-1986)" is a portrait created by the artist Pietro (Peter) Pezzati, who was known for his contributions to American portraiture in the mid-20th century. The painting reflects Pezzati's skill in capturing the essence of his subjects, contributing to the legacy of portrait painting during a period marked by a growing interest in individual identity and representation.

"The Buddha" by Qi Baishi, created in the early 20th century, exemplifies the artist's mastery of traditional Chinese ink painting while integrating elements of modernity. The work reflects Qi's deep engagement with Buddhist themes and his ability to convey spiritual tranquility through expressive brushwork and a harmonious composition, contributing significantly to the discourse on contemporary Chinese art.

Camillo Procaccini's "Saint Sebastian," created in the early 17th century, exemplifies the Baroque style through its dramatic use of light and shadow, as well as its emotive portrayal of the martyrdom of Saint Sebastian. The painting reflects the Counter-Reformation's emphasis on religious fervor and the visual engagement of the viewer, contributing to the broader discourse on martyrdom and sanctity in early modern art.

"Mirza Zayn al-`Abidin," created by Abu al-Hasan Ghaffari Kashani Naqqash-Bashi in the 17th century, is a significant example of Persian miniature painting that reflects the artistic traditions of the Safavid period. The work is notable for its intricate detail and vibrant color palette, illustrating the cultural and political milieu of its time, as well as the patronage of the arts under Shah Abbas I.

"Three Sages Examining a Painted Scroll," created by Kano Tsunenobu in the late 17th century, exemplifies the Kano school's integration of traditional Chinese themes with Japanese aesthetics, reflecting the cultural exchange between the two regions during the Edo period. The painting depicts three revered figures from Chinese history, emphasizing the importance of scholarly pursuits and the appreciation of art, which resonated with the intellectual elite of Japan at the time.

"Mary Crowninshield Silsbee Sparks (Mrs. Jared Sparks) (1809-1887)" is a portrait painted by Francis Alexander, an American artist known for his contributions to 19th-century portraiture. The work reflects the artist's skill in capturing the likeness and character of his subjects, while also serving as a testament to the social prominence of Mrs. Sparks, who was the wife of historian and Unitarian minister Jared Sparks.

"Carleton Eldredge Noyes (1872-1950)" is a portrait painted by Robert Henri, an influential American painter and a leading figure in the Ashcan School, known for his focus on realism and everyday life. The work exemplifies Henri's commitment to capturing the individuality of his subjects, reflecting both the character of Noyes and the broader social context of early 20th-century America.

"Plum Tree, Camellias, and Pheasants" is a notable work by Kano Sanraku, a prominent Japanese painter of the late 16th to early 17th century, known for his contributions to the Kano school of painting. This piece exemplifies the artist's mastery of ink and color on paper, reflecting the aesthetic values of the time and the integration of natural motifs, which were significant in Japanese art, particularly in the context of the Momoyama period's emphasis on decorative and symbolic themes.

"White and Pink Hibiscus and Peony," created by Kano Tanshin (also known as Kano Tanshin, 1804-1876), exemplifies the Edo period's integration of traditional Japanese painting techniques with a focus on naturalistic floral representation. This work reflects the Kano school's influence, characterized by its meticulous attention to detail and vibrant color palette, contributing to the broader appreciation of botanical subjects in Japanese art during the 19th century.

"Plum Blossoms and Bamboo (One of Twelve Album Leaves)" is a work by Zhang Xiong, a prominent Chinese painter of the Ming dynasty, known for his mastery in traditional brush techniques and his ability to convey the essence of nature. This painting is part of a series that reflects the cultural significance of plum blossoms and bamboo in Chinese art, symbolizing resilience and integrity, and showcases Zhang's skill in integrating poetic themes with visual representation.

"William Amory (1804-1888)" is a portrait painted by American artist Daniel Huntington in 1860, capturing the likeness of the prominent Boston merchant and philanthropist. The work exemplifies Huntington's skill in rendering character and detail, contributing to the tradition of American portraiture in the 19th century and reflecting the social status and influence of its subject within the context of the period.

"Saint Verdiana Healing a Child," painted by Giovanni Camillo Sagrestani in the 17th century, depicts the miraculous healing attributed to Saint Verdiana, a revered figure in the Catholic tradition. This work exemplifies the Baroque style's emphasis on emotional expression and dramatic narrative, reflecting the period's religious fervor and the artist's skill in rendering figures and light.

"Landscape with Fisherman and Waterfall," created by the Ming dynasty artist Lan Ying (1585–1664), exemplifies the artist's mastery of the shan shui (mountain-water) genre, characterized by its intricate brushwork and harmonious composition. This painting reflects the cultural significance of nature in Chinese art, emphasizing the relationship between humanity and the natural world, while also showcasing Lan Ying's innovative approach to traditional landscape painting.

"Path Among Pines in the Mountains of the Immortals (Senzan shōkei)" is a notable work by Ikeno Taiga, a prominent Japanese painter of the Edo period, known for his contributions to the literati painting style (bunjinga). The painting reflects Taiga's engagement with themes of nature and spirituality, drawing inspiration from Chinese landscape traditions, and exemplifies the aesthetic ideals of harmony and tranquility prevalent in his oeuvre.

"Wisps of Cloud (Usugumo), Illustration to Chapter 19 of the Tale of Genji" is a significant work by Tosa Mitsunobu, created in the late 16th century, which exemplifies the classical Japanese painting style known as Yamato-e. This painting illustrates a pivotal moment in the narrative of "The Tale of Genji," reflecting the intricate relationship between text and image in Edo-period art, while also showcasing Mitsunobu's mastery of color and composition within the context of Japanese literary tradition.

"Madonna and Child with Saints," created by Fra Angelico in the early 15th century, exemplifies the artist's integration of religious themes with a serene and harmonious composition, characteristic of the Early Renaissance. The painting, housed in the Museo di San Marco in Florence, reflects the influence of the Dominican Order, to which Fra Angelico belonged, emphasizing the spiritual connection between the divine and the faithful through its use of color and light.

"Rabbit, Wave and Full Moon" is a work by Kano Tsunenobu, a prominent Japanese painter of the Edo period, known for his contributions to the Kano school of painting. The artwork reflects the traditional themes of nature and mythology in Japanese art, utilizing a harmonious composition that emphasizes the interplay between the rabbit, waves, and the full moon, symbolizing the cyclical nature of life and the changing seasons.

Isshi Bunshu's painting "One-Finger Zen" of Monk Chü-chih depicts the Zen Buddhist monk known for his teaching method of raising a single finger to convey profound spiritual truths, a gesture symbolizing the essence of Zen enlightenment. This artwork reflects the Zen tradition's emphasis on direct transmission of insight beyond verbal explanation, and it has been influential in illustrating the simplicity and depth of Zen teachings in visual form.

"Portrait of a Young Man; verso: Portrait of a Young Man with Fur Hat" is a work by American artist Denman Waldo Ross, created in the early 20th century, which reflects his interest in portraiture and the exploration of identity. The painting is notable for its dual composition, featuring a young man on both the front and reverse sides, showcasing Ross's skill in capturing the nuances of character and expression.

"Inger in a Red Dress," painted by Edvard Munch in 1894, depicts a young woman in a striking red dress, embodying themes of desire and emotional intensity characteristic of Munch's work. The painting is notable for its exploration of color and form, contributing to the broader Symbolist movement and reflecting Munch's interest in the psychological dimensions of human experience.

"John Singer Sargent's Dining Room, 31 Tite Street, Chelsea" is a painting by Anne Susan Zileri that captures the intimate domestic space of the renowned American artist John Singer Sargent, reflecting the aesthetic and social milieu of early 20th-century London. The work not only documents Sargent's personal environment but also serves as a commentary on the intersection of art and domesticity, highlighting the significance of the artist's home as a site of creative and social engagement.

"Christ Bearing the Cross," attributed to Jacopo Marieschi, reflects the artist's engagement with religious themes prevalent in 18th-century Venetian art. The painting exemplifies Marieschi's ability to convey emotional depth and dramatic tension, contributing to the broader discourse on the representation of Christ's Passion during this period.

"Profile Portrait of an Asian Man," created by Denman Waldo Ross in 1910, exemplifies the artist's interest in cross-cultural representation and portraiture. The painting reflects Ross's engagement with Asian aesthetics and his broader exploration of identity, contributing to the discourse on cultural exchange in early 20th-century American art.

"Sage Riding Ox by a Stream" is a notable work by Kano Tanshin (also known as Kano Tanshin, 1804-1876), a prominent figure in the Kano school of Japanese painting, which emphasized traditional themes and techniques. This painting exemplifies the harmonious relationship between nature and humanity, reflecting the influence of Zen philosophy and the artist's mastery of ink and color, contributing to the broader discourse on Japanese landscape painting during the Edo period.

"Bamboo in Rain," created by the Chinese artist Yao Shou (姚綬) during the Ming Dynasty, exemplifies the traditional literati painting style that emphasizes the harmony between nature and the artist's emotional expression. The work reflects the cultural significance of bamboo in Chinese art as a symbol of resilience and integrity, while also showcasing Yao's mastery of brushwork and ink techniques that capture the dynamic interplay of rain and foliage.

"Infante Don Carlo, after Velazquez" is a painting created by Denman Waldo Ross in 1910, which serves as a reinterpretation of Diego Velázquez's original portrait of the Spanish Infante. Ross's work reflects the influence of the Spanish master while also showcasing his own stylistic approach, contributing to the dialogue between American art and European traditions during the early 20th century.

"Landscape with Two Houses and Towering Trees," attributed to Huang Gongwang (1269–1354), exemplifies the Southern Song dynasty's literati painting tradition, emphasizing the harmony between nature and human habitation. This work reflects Huang's mastery of brushwork and composition, contributing significantly to the development of Chinese landscape painting and influencing subsequent generations of artists.

"Frederic Saltonstall Gould (1853-1920)" is a portrait painted by Albert Herter, an American artist known for his contributions to the genre of portraiture in the early 20th century. The work reflects Herter's skill in capturing the likeness and character of his subjects, contributing to the broader narrative of American portrait painting during this period.

"Heart-to-Heart (Aoi), Illustration to Chapter 9 of the Tale of Genji (Genji monogatari)" by Tosa Mitsunobu is a significant work from the late 16th century, illustrating a pivotal moment in the classic Japanese literary text, which explores themes of love and emotional connection. 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, as well as the enduring influence of the Tale of Genji in Japanese art and literature.

"Grapevine 'Dragon'" is a contemporary work by South Korean artist Cho Kwang-kuk, known for his exploration of traditional motifs through modern techniques. The painting reflects the artist's engagement with cultural symbolism, utilizing the dragon as a representation of power and auspiciousness in East Asian art, while the grapevine motif signifies abundance and fertility.

"Spring Shoots I (Wakana: jō), Illustration to Chapter 34 of the Tale of Genji (Genji monogatari)" is a significant work by Tosa Mitsunobu, created in the late 16th century, which exemplifies the Tosa school’s revival of traditional Japanese painting techniques and themes. This painting illustrates a pivotal moment in the narrative of the "Tale of Genji," reflecting the cultural and aesthetic values of the Heian period while also influencing subsequent generations of Japanese art through its intricate detail and emotive expression.

"Portrait of a Young Man Wearing a Hat," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with modernist techniques and his interest in portraiture as a means of psychological exploration. The painting is notable for its vibrant color palette and expressive brushwork, reflecting Ross's influence from both American Impressionism and European avant-garde movements of the early 20th century.