Master

"Landscape After Li Tang" (ca. 1070-ca. 1150) by Yun Shouping is a significant work that reflects the artist's engagement with the Southern Song dynasty's tradition of landscape painting, particularly the influence of the earlier Northern Song painter Li Tang. This painting exemplifies Yun's mastery of brushwork and composition, contributing to the evolution of Chinese landscape art and reinforcing the cultural appreciation for nature during the period.

"Milford Still Life," created by American artist Lester Johnson in 1970, exemplifies his distinctive approach to still life through the use of bold colors and abstract forms. The painting reflects Johnson's engagement with the modernist tradition while simultaneously challenging conventional representations of everyday objects, contributing to the discourse on abstraction in contemporary art.

"Actors," painted by Max Beckmann in 1942, reflects the artist's exploration of the human condition and the complexities of identity through the lens of theatricality. The work, characterized by its bold colors and expressive forms, serves as a commentary on the tumultuous socio-political climate of the time, particularly in relation to the dislocation and alienation experienced during World War II.

"Danaë Watching the Building of the Brazen Tower," created by Edward Burne-Jones in 1887, depicts the mythological figure Danaë observing the construction of a tower intended to imprison her. This work exemplifies Burne-Jones's interest in classical themes and his mastery of color and composition, reflecting the broader Pre-Raphaelite movement's emphasis on narrative and emotional depth in art.

"Joseph Stevens Buckminster (1784-1812), after Gilbert Stuart" is a portrait created by Gilbert Stuart Newton, which reflects the influence of the renowned American portraitist Gilbert Stuart. The painting serves as a posthumous tribute to Buckminster, a prominent Unitarian minister and theologian, and exemplifies the early 19th-century American portraiture style, characterized by its emphasis on individualism and moral character.

"Plus Four - Red," created by Hannes Beckmann in 1969, exemplifies the artist's exploration of color and form within the context of post-war abstraction. The painting is significant for its vibrant use of red, which reflects the emotional intensity and dynamic composition characteristic of Beckmann's work, contributing to the discourse on color theory and its psychological implications in contemporary art.

There is no verifiable record of a painting titled "Abstraction: Background with Blue Cloudy Sky" by Pablo Picasso in established art historical sources or museum collections. It is possible that the title may be a misattribution or confusion with another work, as Picasso's oeuvre is extensively documented and well-cataloged.

"Fisherman," painted by Christian Krohg in 1881, depicts a solitary fisherman engaged in his daily labor, reflecting the artist's interest in realism and the lives of ordinary people. The work is significant within the context of Norwegian art, as it exemplifies Krohg's commitment to portraying the struggles and dignity of the working class, contributing to the broader movement of naturalism in the late 19th century.

"Lady Louisa Conolly," painted by Sir Joshua Reynolds in 1765, depicts the wife of the prominent Irish landowner and politician, Thomas Conolly, showcasing Reynolds' mastery in portraying the elegance and social status of his subjects. The painting is significant for its role in establishing Reynolds as a leading portraitist of the British aristocracy, reflecting the cultural values and aesthetics of 18th-century England.

"Portrait of a Lady," attributed to Corneille de Lyon, is a notable example of 16th-century French portraiture, reflecting the artist's skill in capturing the psychological depth and individuality of his subjects. The painting, characterized by its meticulous attention to detail and rich color palette, exemplifies the influence of Renaissance humanism on portraiture, emphasizing the sitter's status and identity within the sociocultural context of the time.

"Iris and Pinks (One of Twelve Album Leaves)" by Zhang Xiong, created during the late Ming dynasty, exemplifies the artist's mastery in the traditional Chinese genre of flower-and-bird painting. This work is part of a series that reflects the cultural significance of flora in Chinese art, symbolizing beauty and transience, while also showcasing Zhang's skillful brushwork and use of color.

"Ferryman (Watashi-mori zu)" is a notable work by Sakai Hōitsu, a prominent Japanese painter of the Edo period, known for his contributions to the Rinpa school. Created in the early 19th century, this painting exemplifies Hōitsu's mastery of color and composition, reflecting the aesthetic principles of simplicity and elegance characteristic of the Rinpa tradition, while also engaging with themes of nature and human interaction.

"Quiet Pleasure in the Mountains" (Yamabikō no tanoshimi) by Uragami Gyokudō, created in the early 20th century, exemplifies the artist's mastery of traditional Japanese ink painting (sumi-e) and his ability to evoke serene landscapes that reflect the harmony between nature and human emotion. The work is significant within the Nihonga movement, which sought to revitalize traditional Japanese art forms while incorporating modern sensibilities, thereby influencing subsequent generations of artists in Japan.

"A Courtier Viewing Autumn Maples (Momijigari)" by Kamisaka Sekka is a quintessential example of the Rinpa school, showcasing the artist's mastery in combining traditional Japanese aesthetics with modern design elements. Created in the early 20th century, this work reflects Sekka's role in the revival of Rinpa art, influencing subsequent generations and contributing to the appreciation of Japanese cultural heritage in the context of modernity.

"A Mughal and a Rajput Converse at Dusk," attributed to the artist Basawan, exemplifies the intricate interplay of Mughal and Rajput cultures during the 16th century in India, reflecting the political and social dynamics of the time. The painting, characterized by its detailed depiction of figures and the atmospheric use of color, serves as a significant representation of the artistic synthesis that occurred under Mughal patronage, highlighting themes of dialogue and diplomacy between the two prominent cultural groups.

"Untitled [Exercise in dynamic and static composition and in overlapping using the square]" by Eini Sihvonen exemplifies the artist's exploration of spatial relationships and compositional balance through the use of geometric forms. The work reflects Sihvonen's engagement with contemporary abstraction, emphasizing the interplay between movement and stillness within a structured framework.

"Road with Ox Cart and Coolies," created by Yoshida Hiroshi in 1930, exemplifies the artist's mastery of the shin-hanga (new print) movement, which sought to blend traditional Japanese woodblock techniques with Western artistic influences. The work reflects the socio-economic conditions of early 20th-century Japan, capturing the labor of coolies and the rural landscape, thereby contributing to the discourse on modernization and the preservation of cultural identity during a period of rapid change.

"The Typhoon (Nowaki), Illustration to Chapter 28 of the Tale of Genji (Genji monogatari)" is a significant work by Tosa Mitsunobu, created during the late 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 emotional depth and aesthetic sensibilities of the Heian period, while also influencing subsequent interpretations of the text in visual culture.

The painting "Henry James (1811-1882)" by Frank Duveneck, created in 1883, is a portrait of the prominent American writer's father, who was a successful businessman and a significant influence on his son's literary career. Duveneck, known for his mastery of portraiture and use of bold brushwork, captures the subject's character and presence, reflecting the artist's role in the American art movement of the late 19th century.

"Tabernacle: Coronation of the Virgin, w/the Annunciation, St John Evangelist on Patmos, St John Baptist in Wilderness and Ss. Benedict and Martial" is a significant work by Simone dei Crocefissi, an Italian painter active during the late 14th century, known for his contributions to the development of early Renaissance art in the Emilia-Romagna region. This painting exemplifies the artist's intricate use of color and composition, reflecting the theological themes of the Virgin Mary's coronation and the veneration of saints, which were central to the devotional practices of the period.

"Thomas Coke, 1st Earl of Leicester" is a portrait painted by Sir Godfrey Kneller in 1702, commissioned to commemorate Coke's status and contributions as a prominent Whig politician and landowner. The painting exemplifies Kneller's mastery in capturing the grandeur of his subjects, reflecting the cultural and political milieu of early 18th-century England, while also serving to enhance the social standing of the Earl within the aristocracy.

"Khan ‘Alam, Mughal Emperor Jahangir’s Falconer and His Ambassador to Iran, with a Sparrow Hawk" is a painting attributed to the Mughal artist Govardhan, created during the early 17th century, a period marked by the flourishing of Mughal art under Emperor Jahangir. This work exemplifies the intricate detail and vibrant color characteristic of Mughal miniatures, while also reflecting the cultural exchange and diplomatic relations between the Mughal Empire and Persia, particularly through the depiction of falconry, a favored pastime of the emperor.

"View of the Lagoon, Venice," created by Félix François Georges Philibert Ziem in the 19th century, exemplifies the artist's fascination with the interplay of light and water in the Venetian landscape. Ziem's work contributed to the Romantic movement's emphasis on atmospheric effects and the sublime, solidifying Venice's status as a subject of artistic exploration during this period.

The painting titled "“- Here, Eudoxie, take my bear skin... since from now on I will not have the pleasure any more to wear it, I give it to you to make a muff out of it... This way I have at least the satisfaction of seeing it from time to time”" by Honoré Victorin Daumier is a satirical work that reflects the artist's keen observation of social mores and human behavior. Daumier, known for his caricatures and social commentary, often used humor and irony to critique the bourgeoisie and societal norms of 19th-century France.

"Defeat of the Cimbri and the Teutons by Marius," painted by François Joseph Heim in 1843, depicts the Roman general Gaius Marius's victory over the Cimbri and Teutons, illustrating a pivotal moment in Roman history. The work, characterized by its dramatic composition and historical accuracy, reflects the 19th-century fascination with classical themes and the glorification of military triumphs, contributing to the broader Romantic movement in art.

"Morris Loeb (1863-1912)" is a portrait painted by Leo M. Mielziner, an American artist known for his contributions to portraiture and theatrical design. The painting captures the likeness of Morris Loeb, a prominent financier and philanthropist, reflecting Mielziner's skill in conveying character and social status through his meticulous attention to detail and composition.

"Suma, Illustration to Chapter 12 of the Tale of Genji (Genji monogatari)" by Tosa Mitsunobu is a significant work from the late 16th century, illustrating a pivotal moment in Murasaki Shikibu's classic narrative, where the protagonist, Genji, experiences exile and longing. This painting exemplifies the Tosa school's distinctive style, characterized by its intricate detail and vibrant colors, reflecting the cultural and artistic values of the Muromachi and early Edo periods in Japan.

"1974-21" 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 modernist techniques. This painting exemplifies Fong's innovative use of mixed media and abstract forms, reflecting the dynamic cultural exchanges between East and West during the post-war period.

Jean Morin, a French artist active in the early 17th century, is known for his engravings rather than paintings, and there is no widely recognized work titled "Anne-Sophie Herbert, Comtess de Carnarvon" attributed to him. It is possible that there is confusion or misattribution regarding this artwork, as Morin's oeuvre primarily consists of engraved portraits and religious subjects.

"Willow in Snow," created by the Edo period artist Ogata Kōrin, exemplifies the artist's mastery of the Rinpa school, characterized by its bold use of color and decorative patterns. The painting, which depicts a willow tree laden with snow, reflects Kōrin's innovative approach to nature and seasonal themes, significantly influencing Japanese aesthetics and later artists in the realm of modern art.

"City View with Moon," created by Ralph Albert Blakelock in the late 19th century, exemplifies the artist's mastery of nocturnal landscapes and atmospheric effects, reflecting his interest in the interplay of light and shadow. The painting is significant within the context of American art for its evocative portrayal of urban life, contributing to the broader narrative of American Romanticism and the exploration of nature and solitude in the industrial age.

"Madonna and Child with Two Angels" is a painting by the Italian Renaissance artist Cosimo Rosselli, created in the early 1480s. The work depicts the Virgin Mary holding the infant Jesus, accompanied by two angels. Rosselli was known for his contributions to the development of Renaissance art in Florence, and this painting reflects the influence of both the early Renaissance and the emerging High Renaissance styles. The composition is characterized by its serene expression and harmonious arrangement of figures, typical of Rosselli's work. The use of vibrant colors and detailed drapery showcases Rosselli's skill in rendering textiles and human forms. The painting is housed in the collection of the Museo di San Salvi in Florence, Italy. Specific details regarding the commission or original context of the painting remain unknown.

"Winter Scene: Mountains and Lakeside Lodge in Snow; Leaf 7 from an Album of Seven Paintings" by Yuan Yao 袁燿 exemplifies the artist's engagement with traditional Chinese landscape painting, characterized by its meticulous attention to natural detail and atmospheric effects. Created during the Qing dynasty, this work reflects the cultural appreciation for nature and the seasonal changes, serving as both a visual representation of winter's tranquility and a component of a larger thematic exploration within the album format.

"Ukiyo-e Sketches," created by Katsushika Hokusai in the early 19th century, is a significant work that exemplifies the ukiyo-e genre, which translates to "pictures of the floating world." This collection of sketches not only showcases Hokusai's mastery of line and form but also had a profound influence on Western art movements, particularly Impressionism, by introducing Japanese aesthetics and techniques to European artists.

"Portrait of a Young Man with Figures Behind Him," created by Denman Waldo Ross in 1910, exemplifies the artist's engagement with modernist techniques and his interest in the interplay between figure and background. The painting reflects Ross's broader contributions to American art as both a painter and an educator, influencing the development of art education in the United States during the early 20th century.

The painting "John Winthrop (1588-1649)" by Charles Osgood, created in 1885, depicts the prominent Puritan leader and first governor of the Massachusetts Bay Colony, emphasizing his role in early American history. Osgood's work contributes to the visual narrative of American colonial leadership and reflects the 19th-century interest in historical figures, serving as a testament to Winthrop's enduring legacy in American cultural memory.

"Reginald Heber Fitz (1843-1913)" is a portrait by Ignaz Marcel Gaugengigl, an artist known for his detailed and realistic representations of prominent figures. The painting reflects Gaugengigl's skill in capturing the likeness and character of Fitz, who was a notable American physician and professor, thereby contributing to the historical documentation of influential individuals in the early 20th century.

"Sarah Wyman Whitman (1842-1904)" is a portrait created by Helen Bigelow Merriman, an American artist known for her contributions to the Boston School of painting. The work reflects Merriman's engagement with the themes of female identity and the artistic community of her time, as Whitman was a prominent figure in the arts and crafts movement, influencing both design and decorative arts in the late 19th century.

"Seven Chinese Immortals," created by the Japanese artist Goshun (Matsumura Gekkei) in the early 19th century, exemplifies the influence of Chinese mythology on Japanese art, depicting the legendary figures known for their wisdom and longevity. This work reflects the Edo period's fascination with themes of immortality and the natural world, showcasing Goshun's mastery of ink and color in the nihonga style.

"The Virgin and Child with Saints Jerome and Francis" is a painting attributed to Raphael, created in the early 16th century, which reflects the artist's mastery of composition and the serene portrayal of religious figures. This work is a reinterpretation of an earlier composition by Raphael, housed in the Gemäldegalerie, Staatliche Museen zu Berlin, and exemplifies the influence of Renaissance ideals on devotional art, emphasizing the interconnectedness of the Virgin Mary, Christ, and the saints.

"The Apotheosis of Aeneas," painted by Giovanni Battista Tiepolo in 1725-1728, is a significant work that exemplifies the artist's mastery of color and composition, depicting the legendary hero Aeneas ascending to the heavens, surrounded by allegorical figures. Commissioned for the ceiling of the Palazzo Labia in Venice, the painting reflects the themes of glory and divine favor, characteristic of Tiepolo's contributions to the Rococo style and his influence on subsequent generations of artists.

"Samuel Francis Smith (1808-1895)" is a portrait by George da Maduro Peixotto, created to commemorate the life of the American Baptist minister and hymn writer, best known for penning the lyrics to "My Country, 'Tis of Thee." Peixotto's work reflects the artist's engagement with prominent cultural figures of his time, contributing to the historical narrative of American art and the celebration of national identity in the 19th century.

"Bracken Shoots (Sawarabi), Illustration to Chapter 48 of the Tale of Genji (Genji monogatari)" is a work by Tosa Mitsunobu, a prominent Japanese painter of the late Muromachi period, known for his contributions to the revival of traditional Yamato-e painting. This illustration, part of a series depicting scenes from Murasaki Shikibu's classic 11th-century novel, exemplifies the intricate interplay of text and image, reflecting the cultural and aesthetic values of the Heian period while influencing subsequent Japanese art.

"Virgil," painted by John La Farge in 1883, depicts the Roman poet Virgil in a contemplative pose, reflecting La Farge's interest in literary themes and the interplay of light and color. The work is significant for its innovative use of color and composition, which exemplifies La Farge's contributions to the American Aesthetic Movement and his mastery of the medium, particularly in the context of 19th-century American art.

"The Twilight Beauty (Yūgao), Illustration to Chapter 4 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 narrative of Murasaki Shikibu's classic tale. This painting exemplifies the Tosa school's distinctive style, characterized by its intricate detail and use of color, and reflects the cultural and aesthetic values of the Heian period, particularly in its portrayal of the ephemeral beauty and emotional depth of its characters.

"Landscape After Wang Meng" by Yun Shouping, created during the late Ming dynasty, reflects the artist's engagement with the classical traditions of Chinese landscape painting, particularly the influence of the Yuan dynasty master Wang Meng. This work exemplifies Yun's innovative approach to brushwork and composition, contributing to the evolution of literati painting and reinforcing the cultural significance of landscape as a genre in Chinese art.

"Landscape with Peasants and a Washerwoman," created by David Teniers II in the mid-17th century, exemplifies the artist's focus on rural life and the depiction of peasant activities, reflecting the socio-economic conditions of the time. This work is significant within the genre of Dutch and Flemish landscape painting, showcasing Teniers' skill in capturing naturalistic details and the interplay of light and shadow, which contributed to the popularity of pastoral scenes in the Baroque period.

"A Man Receives his Lover's Robe as a Farewell Gift (Episode 44) from the 'Tales of Ise' (Ise monogatari)" is a significant work by the Tosa School, illustrating a poignant moment from the classic Japanese literary text that explores themes of love and separation. This painting exemplifies the Tosa School's distinctive style, characterized by its delicate brushwork and vibrant colors, reflecting the cultural and aesthetic values of the Edo period in Japan.

"Indigenous Kalinago of St. Vincent [Aboriginal Caraibs of St. Vincents]" is a painting by Agostino Brunias, created in the late 18th century, which depicts the daily life and cultural practices of the Kalinago people in the Caribbean. This work is significant for its ethnographic representation, contributing to the understanding of indigenous cultures during the colonial period and reflecting the complex interactions between European settlers and native populations.

Henry Inman's painting "[Artowayon] (Paddy Carr), Creek Interpreter, (c. 1807 - )" is part of a series commissioned by Thomas L. McKenney to document prominent Native American figures for the McKenney-Hall Portrait Gallery of American Indians. The work captures Paddy Carr, a Creek interpreter of Irish and Creek descent, highlighting the complex cultural interactions and the role of interpreters in 19th-century Native American and United States relations.