Rose Van Lear

Between 1895 and 1899, Cézanne painted numerous landscapes of the abandoned and overgrown quarry, known as Bibémus, located east of Aix-en-Provence, France. The area's vibrant colors and rough, partially man-made topography suited the increasingly geometric style of the artist's later works. The frenetic brushstrokes and dynamic tonality create both the shimmering surface pattern and the striking illusion of depth, as the vista's stony terrain and lush vegetation give way to the cooler hues of a distant mountain range and the sky above. Areas of unpainted canvas call attention to the flatness of the painting's support, yet also give the impression of volume, as they articulate bare areas of ground and rock. The painting's nuanced optical effect captures the elusive spontaneity of vision while presaging the imminent emergence of abstract painting. #art #painting

Bibémus, ca. 1895-99
Paul Cézanne
Oil on canvas
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As part of his extensive gardening plans at Giverny, Monet had a pond dug and planted with lilies in 1893. From 1899 on, he repeatedly turned to the subject, attempting to capture every observation, impression, and reflection of the flowers and water. By the time he began this work in the late teens, Monet had achieved a completely new, fluid, and somewhat audacious style of painting in which the water-lily pond became the point of departure for an almost abstract art. #art #painting

Water Lilies, 1916-19
Claude Monet
Oil on canvas
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Modigliani devoted his short and troubled life to painting. He primarily made portraits of acquaintances in a flat style marked by linear contours and broad patches of subtly modulated colors. Along with his contemporaries Henri Matisse, Pablo Picasso, Georges Braque, and André Derain, Modigliani greatly admired African masks. The influence of works like the Je face mask (in a case nearby) can be seen here in the stylized treatment of the boy's face. With the sitter's elongated features and blank almond-shaped eyes, Boy in Short Pants conveys the iconic elegance and air of detachment that Modigliani often bestowed upon his bohemian friends. #art #painting

Boy in Short Pants, about 1918
Amedeo Modigliani
Oil on canvas
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Picasso made this painting of a simplified female figure at a crucial crossroads in his early career. It reflects the artist's experiments with flattening space and fragmenting forms into abstract geometric structures. This conceptual and stylistic exploration would eventually lead him and his friend Georges Braque to develop Cubism, a groundbreaking aesthetic in which objects are depicted from multiple viewpoints rather than from one. Here, the violet contours and arching forms interlock to define the simplified anatomy of the figure. Rough areas of modeling in rust and ochre on the face, arms, and chest help define the body and also create an abstract play of space, line, and surface. #art #painting

Bust, 1907-1908
Pablo Picasso
Oil on canvas
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Jean-Auguste-Dominique Ingres, the Neoclassical French artist par excellence, painted this masterpiece toward the end of his life, when his reputation as a portraitist to prominent citizens had long been established. Pauline de Broglie sat for the artist's final commission. Ingres captured her shy reserve while illuminating the material quality of her many fine attributes: her rich blue satin and lace ball gown, her gold embroidered shawl, and the silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter's husband, Albert de Broglie, a few years after their marriage. Pauline was stricken with tuberculosis soon after completion of the portrait, leaving five sons and a grieving husband. The painting remained in the de Broglie family until shortly before Robert Lehman acquired it. #art #painting

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825-1860), Princesse de Broglie, 1851-53
Jean-Auguste-Dominique Ingres
Oil on canvas
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Sea and Cliffs, ca. 1885 Auguste Renoir Oil on canvas #art #painting

Sea and Cliffs, ca. 1885
Auguste Renoir
Oil on canvas
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Priests, 1932 Caroline Durieux Cliché verre #art #photography

Priests, 1932
Caroline Durieux
Cliché verre
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At the age of twenty, Vernet traveled to Rome where he studied the work of Claude Lorrain (also represented in this gallery) and marine painters. His interest in spectacular atmospheric conditions (moonlight, dawn, fog, etc.) resulted in compelling works that combined natural observation of landscapes with the rules of classical composition which demanded that framing devices, like the rocky bluff and the tower in this work, direct the viewer's eye towards the center of the painting. In 1753, Vernet was called back to Paris, where he received a royal commission to produce a series of paintings of France's ports. Here, the sun threatens to break through the thick, wet morning air while fisherman set about their work. On the left, the low tide causes a ship to tilt in its dry dock, and a work fire burns nearby. This painting was commissioned by Jean Girardot de Marigny, a French banker who entertained important foreign dignitaries, including Benjamin Franklin. In 17/8, Vernet had his portrait (pictured here painted by Elisabeth Louise Vigée Le Brun, who would paint the portrait of Marie Antoinette on display to the left a decade later. #art #painting

The Morning, Port Scene, 1780
Claude-Joseph Vernet
Oil on canvas
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Michalopoulos does not seek strict architectural accuracy; instead, he strives to convey the "spirit or soul" of each building. Unconstrained by the physical reality of the structures he paints, he sometimes introduces imaginative details-such as the dormer windows added to this Creole cottage in the Marigny. #art #painting

Trim and Tidy, 2016
James Michalopoulos
Oil on canvas
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Tea in the Grass, 1915 Dawson Dawson-Watson Oil on canvas #art #painting

Tea in the Grass, 1915
Dawson Dawson-Watson
Oil on canvas
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Born in Crete of Greek parents (hence his nickname), El Greco first studied art in the post-Byzantine style. He moved to Venice for four years, then to Rome for seven, finally settling in Toledo, Spain, in 1577. El Greco developed a dramatic and expressionistic style uniquely his own, with elongated forms, unusual light effects, and vivid coloring. El Greco produced many depictions of St. Francis, here showing the saint after receiving the stigmata. #art #painting

St. Francis, circa 1570
El Greco (Dominikos Theotokopoulos) and Studio
Oil on canvas
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The current title of this painting reflects the two names it was given during Ensor's lifetime. Scholars have interpreted the enigmatic scene as a critique of the German occupation of Belgium during World War I, which the artist experienced firsthand. The grouping around the table evokes the Last Supper, but Christ and the Apostles are replaced by ill-behaved, grotesque, and masked figuressome of Ensor's favorite motifs. Their meager meal, including insects and a raw onion, may evoke the near-famine that Belgians endured. Ensor underscored the theme of mortality by quoting three of his works depicting rowdy skeletons in the background. #art #painting

Comical Repast (Banquet of the Starved), ca. I917-18
James Ensor
Oil on canvas
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A pioneer of plein-air painting, Daubigny was among the first artists to complete landscapes entirely outdoors. To capture the fleeting effects of light and atmosphere, he developed a naturalistic style based on loose, rapidly applied brushstrokes. Daubigny was particularly fascinated with light reflecting off water, converting a flat-bottomed barge into a floating studio from which he painted the rivers of the lle de France. Here, he depicts his studio boat against a small island on the banks of the Oise at sunset. The luminous palette, sensitive rendering of light, and innovative composition, in which two-thirds of the landscape is sky and water, were wildly popular with Daubigny's critics and collectors. Daubigny's sketch-like aesthetic and emphasis on plein-air painting laid the groundwork for Impressionism. In the 1860s and 1870s, Claude Monet, Camille Pissarro, Alfred Sisley, and Berthe Morisot each emulated his work. #art #painting

The Painter's Barge at the Ile de Vaux on the Oise River, 1877
Charles François Daubigny
Oil on canvas
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In this portrait, Delacroix uses the familiar conventions of Renaissance portraiture to lend a solemn dignity to the model. The solid pyramid formed by her body, set at a slight angle to the viewer, and the low horizon of the landscape behind her remind us of Leonardo da Vinci's Mona Lisa (about 1503-1507, Louvre Museum). The sitter's blue turban and paisley shawl seem to allude to her status as a foreigner, but these accessories were probably studio props, much like the elaborate jeweled brooch, which appears in another portrait Delacroix painted at around the same time. Although we do not know the name of the sitter, she was certainly one of the non-European models that Delacroix employed during the 1820s, while working on his monumental paintings of subjects drawn from Middle Eastern history and Orientalist literature. #art #painting

Portrait of a Woman in a Blue Turban, about 1827
Eugène Delacroix
Oil on canvas
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Of the five versions of Van Gogh's portrait of Augustine Roulin, wife of his friend the postmaster of Arles, the present canvas is the one the sitter chose for herself. Van Gogh remarked that "she had a good eye and took the best." He began the portraits just before his breakdown in Arles, in December 1888, and completed them in early 1889, calling them "La Berceuse," meaning "lullaby, or woman who rocks the cradle," indicated by the rope held in the sitter's hand, which is attached to the unseen cradle. #art #painting

La Berceuse (Woman Rocking a Cradle;
Augustine-Alix Pellicot Roulin, (1851-1930), 1889
Vincent Van Gogh
Oil on canvas
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Untitled (Circus scene; polo match), c. 1926 Alexander Calder Tempera and ink on paperboard #art #painting

Untitled (Circus scene; polo match), c. 1926
Alexander Calder
Tempera and ink on paperboard
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The Flying Trapeze, 1925 Alexander Calder Oil on canvas #art #painting

The Flying Trapeze, 1925
Alexander Calder
Oil on canvas
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Outfitted in a splendid red costume, the son of the count and countess of Altamira is shown between a cage of finches and three wide-eyed cats who appear captivated by the boy's pet magpie. In its beak the magpie holds Goya's calling card and signature. Goya may have intended this cast of animals as a reminder of the frail boundaries that separate the child's world from the forces of evil, or as a commentary on the fleeting nature of innocence and youth. Manuel died only a few years after his portrait was painted, at the age of eight. #art #painting

Manuel Osorio Manrique de Zuñiga (1784-1792), 1787-88
Goya (Francisco de Goya y Lucientes)
Oil on canvas
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Love Is Love, 2022 Robert Peterson Oil on canvas #art #painting

Love Is Love, 2022
Robert Peterson
Oil on canvas
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These angels were once part of the fresco decoration of a chapel in the Torre della Gabbia in Mantua, probably executed about 1328 when Luigi Gonzaga became lord of the city. Detached from their original context in 1870, they had flanked a frescoed composition that included at its center a Madonna and Child with Saints Lawrence and Catherine of Alexandria. The matte surface is typical of fresco, in which the pigments sink into the support; the powerful, broadly conceived forms would have read clearly from below. #art #fresco

These angels were once part of the fresco decoration of a chapel in the Torre della Gabbia in Mantua, probably executed about 1328 when Luigi Gonzaga became lord of the city. Detached from their original context in 1870, they had flanked a frescoed composition that included at its center a Madonna and Child with Saints Lawrence and Catherine of Alexandria. The matte surface is typical of fresco, in which the pigments sink into the support; the powerful, broadly conceived forms would have read clearly from below. #art #fresco

Two Angels, ca. 1330
North Italian Painter
Fresco
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Miss Whiting, 1923 George Copeland Ault Oil on canvas #art #painting

Miss Whiting, 1923
George Copeland Ault
Oil on canvas
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Girl Meditating, 1916 Adolphe Borie Oil on canvas #art #painting

Girl Meditating, 1916
Adolphe Borie
Oil on canvas
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Roses, 1890 Vincent Van Gogh Oil on canvas #art #painting

Roses, 1890
Vincent Van Gogh
Oil on canvas
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Odalisque, 1870 Auguste Renoir Oil on canvas #art #painting

Odalisque, 1870
Auguste Renoir
Oil on canvas
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Marcelle Lender Dancing the Bolero in "Chilpéric" 1895-1896 Henri de Toulouse-Lautrec Oil on canvas #art #painting

Marcelle Lender Dancing the Bolero in "Chilpéric" 1895-1896
Henri de Toulouse-Lautrec
Oil on canvas
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Valley with Fir (Shade on the Mountain), 1909 Henri-Edmond Cross (Henri-Edmond Delacroix) Oil on canvas #art #painting

Valley with Fir (Shade on the Mountain), 1909
Henri-Edmond Cross (Henri-Edmond Delacroix)
Oil on canvas
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Evening Calm, Concarneau, Opus 220 (Allegro Maestoso), 1891 Paul Signac Oil on canvas #art #painting

Evening Calm, Concarneau, Opus 220
(Allegro Maestoso), 1891
Paul Signac
Oil on canvas
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Bellini spent his entire long career in Venice and was the city's greatest painter in the fifteenth century. He produced a range of paintings that included altarpieces, works for private devotion, portraits, and secular scenes. For small devotional works such as the Pietà, he built upon a long tradition of Byzantine icon painting that was well known in Venice, but he also incorporated a sculptural realism and an interest in the forms of ancient Roman art that he had learned from his brother-in-law Andrea Mantegna. To this Bellini added his own poetic painterly touches. The Pietà shows young angels contemplating the savior's body. To fifteenth-century viewers, these putti, or spiritelli, represented youthful innocence and served as a foil to the inevitability of death, in this case through violence inflicted upon a good man. Unlike other versions of the subject, the angels here do not wail uncontrollably; instead there is something more poignant in their sad, contemplative preparation of Christ's body for veneration. The angel at left struggles to hold the lifeless torso upright, while that at right draws attention to the wounds of the Crucifixion. Infusing human emotion and introspection into a long-standing icon-based tradition of painting the Dead Christ, Bellini created a masterpiece of the early Renaissance. The painting had long been obscured by damages but recently underwent a comprehensive conservation treatment sponsored by Venetian Heritage. This exhibition celebrates that restoration, the details of which are outlined in a publication on sale in the Morgan's bookshop. #art #painting

Pietà, ca. 1470
Giovanni Bellini
Tempera and oil on panel, transferred to fiberglass panel
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In Nicolas Party's portraits, mysterious, unidentified, genderless figures are depicted partially concealed by animals—here, a donkey. Party derives the animals in his work from the Realist paintings of nineteenth-century French artist Rosa Bonheur, who placed the living world at the heart of her life and work. Using techniques long established in the Western canon of art, Party creates figures that connect to the contemporary usage of selfies, filters, and Al applications to generate real and imagined individuals. #art #painting

Portrait with a Donkey, 2023
Nicolas Party
Soft pastel on linen
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Demuth dynamically combines two ways of seeing: the shifting planes of Cubism, represented by the diagonal lines incising the surface of the canvas, and the recognizable world of the silos, water towers, and smokestacks of his hometown, Lancaster, Pennsylvania. The painting's tactile, textured surface also contrasts vividly with Demuth's precise draftsmanship. This is one of the later examples in a series of tempera paintings of buildings in Lancaster that the artist began in 1919. #art #painting

Buildings, 1930-1931
Charles Demuth
Tempera and plumbago on composition board
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