Durand-Ruel et Cie

French, est. c. 1833

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A bearded man, a young man, and five monks stand in a cream-white hall hung with a map and paintings in this horizontal painting. The people all have pale, peachy skin. The scene is lit from windows lining the wall to our left, where three monks stand, presumably talking. They and the other two monks wear long white robes with marine-blue hoods and cloth panels that hang down the fronts of the cassocks. Two monks have their hoods up and the other two have their hair cut into rings around their heads. The bearded man, Christopher Columbus, stands to the right on the other side of the hall, looking at a map hanging there. He has chin-length, dark hair and wears a bronze-brown, knee-length jacket, dark blue, knee-length pantaloons, and golden yellow stockings. His right hand, closer to us, is planted palm out against his hip, and he holds a red hat in that hand. The other foot is perched on a long bench that stretches along that wall. The young man sits and leans back on the bench with one forearm along the bench’s armrest. His other hand rests on Columbus’s knee, and Columbus rests his hand on that. The boy has long brown hair and wears a red cap, a parchment-white robe over yellow sleeves, sage-green stockings, and laced, toeless boots. Two bundles and a long stick are against the wall on our side of the bench. An object on the floor next to Columbus’s standing leg is covered by a brown cloth. A gold chain and a pink hoof protrude from the blanket. One of the monks standing behind Columbus wears a tight-fitting blue cap. A rosary hangs over his cassock from his waist, and extra panels of blue fabric drape down over his shoulders. Four paintings in our view hang near the high ceiling of the hall, which has arched openings and a pink floor. Doors or oversized shutters swing into view at the far end of the hall. The artist signed and dated the painting in the lower left corner, “Eug. Delacroix. 1838.”
Eugène Delacroix, Christopher Columbus and His Son at La Rábida, 1838, oil on canvas, Chester Dale Collection, 1963.10.127

Christopher Columbus and His Son at La Rábida

Eugène Delacroix · 1838 · oil on canvas ·  Accession ID  1963.10.127

To our left, a young woman sits facing us on a low stone wall at the base of the vertical, black bars of an iron fence and a young girl stands facing away from us to our right in this horizontal painting. Both have pale skin. The woman looks directly at us with dark eyes as she holds an open book, a closed red fan, and a sleeping brown and white puppy in her lap. Her long auburn hair falls down over her shoulders. Her navy-blue dress is accented with white piping on the skirt, collar, and sleeves, and has three large, white buttons down the front and her black hat is adorned with two red poppies and a daisy. The girl wears a sleeveless white, knee-length dress belted with a marine-blue sash tied in a large bow at her back. The girl’s blond hair is pulled up and tied with a black ribbon. She raises her left hand to grasp the bar of the fence she faces. A bunch of green grapes lies on the low wall to our right. A plume of steam fills much of the space beyond the black fence, which spans the width of the painting and extends off the top edge. A few details can be made out beyond the fence, including a stone-gray building with two wooden doors to our left and a bridge along the right edge.
Edouard Manet, The Railway, 1873, oil on canvas, Gift of Horace Havemeyer in memory of his mother, Louisine W. Havemeyer, 1956.10.1

The Railway

Edouard Manet · 1873 · oil on canvas ·  Accession ID  1956.10.1

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The Watering Place

Constant Troyon · mid 19th century · oil on wood ·  Accession ID  2014.136.49

Edgar Degas, Study of a Mustang, original wax 1860s, cast by 1921, copper alloy, Gift of Mrs. Lessing J. Rosenwald, 1989.28.1

Study of a Mustang

Edgar Degas · original wax 1860s, cast by 1921 · copper alloy ·  Accession ID  1989.28.1

Eugène Boudin, Ships and Sailing Boats Leaving Le Havre, 1887, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1983.1.7

Ships and Sailing Boats Leaving Le Havre

Eugène Boudin · 1887 · oil on canvas ·  Accession ID  1983.1.7

Close to us, six people, all nude with light skin, stand or lie intertwined with snakes on a bank of rocks in this horizonal painting. Beyond them, the deep, distant landscape has a brown horse, tiny in scale, headed for a city of stone buildings beneath a vivid blue sky filled with twisting white clouds. The people’s bodies are sinewy and elongated, and their skin is painted in tones of ivory white, warmed with peach highlights and streaked with deep gray shadows. At the center, a man with a white beard and white, curly hair lies back on the charcoal-gray rock with his knees bent and his shins splayed out. With his body angled away from us to our right, he holds the body of a long, silvery-gray snake in his left fist, on our right, down by his hip. The snake curves behind the man’s body and he grips the snake behind its head. The man has high cheekbones and sunken cheeks, and rolls his eyes up and back to look at the snake, whose wide-open mouth nearly touches his hair. To our left, a cleanshaven young man stands with his body facing us but he arches back, holding an arcing snake in his hands. The young man’s right hand, on our left, bends at the elbow so he can grasp the snake’s tail and his other arm stretches straight back, holding the snake’s body as it curls around so its fangs nearly reach the young man’s side. To our right, next to the older man, a second, dark-haired young man lies on the rocks with his head toward us. His feet are on the ground, so we look onto the tops of his thighs. He lies with one hand resting on the ground, overhead. Three people seem to float, feet dangling, alongside the right edge of the painting. The person closest to us looks onto the writhing people in profile, back to us. A second person just beyond also looks to our left. A third head turns the opposite direction and looks off to our right. In the distance, the golden-brown horse is angled away from us, one front leg raised, on a path that moves from behind the rocky outcropping to the far-off town. Nestled in a shallow valley, buildings in the town are mostly painted with rose pink and red walls and smoke-gray roofs. The land dips to a deeper, green valley to our right, lining the horizon that comes two-thirds of the way up the composition. The standing people are outlined against the sapphire-blue sky and knotted, gray and white clouds.
El Greco, Laocoön, c. 1610/1614, oil on canvas, Samuel H. Kress Collection, 1946.18.1

Laocoön

El Greco · c. 1610/1614 · oil on canvas ·  Accession ID  1946.18.1

At least one rowboat occupied by two people floats on a lake, which is surrounded by lush green vegetation in this vertical landscape painting. The scene is loosely painted with short and long parallel brushstrokes, so some details are difficult to make out. The white of the four geese lining the bank near us break up a color palette almost entirely dominated by spring, mint, and sage green and royal and baby blue. Three of the geese stand in a line and the fourth bends down to peck at the grass. A bed of deep pink flowers is indicated with touches of vibrant color to our right of the geese. One person wearing a golden yellow garment and a butter-yellow hat rows the boat near the center of the lake. A smudge of cobalt blue could be another person in that boat. Other curved lines in the water could be additional boats or may be reflections in the lake’s surface. Barely discernable, a person, possibly holding a stick, stands among the tall trees lining the opposite bank. The horizon line comes about three-quarters of the way up the composition, and the sky above is painted with watery blue, pale yellow, and ivory-white brushstrokes. The artist signed the work with dark letters near the lower left corner: “B. Morisot.”
Berthe Morisot, Girl in a Boat with Geese, c. 1889, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.50

Girl in a Boat with Geese

Berthe Morisot · c. 1889 · oil on canvas ·  Accession ID  1970.17.50

Alfred Sisley, The Road in the Woods, 1879, oil on canvas, Chester Dale Collection, 1963.10.215

The Road in the Woods

Alfred Sisley · 1879 · oil on canvas ·  Accession ID  1963.10.215

A bearded man with light skin, wearing a black costume and holding a plumed hat, stands in front of mottled brown background in this vertical portrait painting. His body is angled to our left but he turns to look off to our right from the corners of his dark brown eyes. He has heavy, furrowed brows and high cheekbones. His dark mustache curls up at either end over a full beard, and his wavy chestnut-brown hair is swept back from his forehead. His black jacket has puffed sleeves with narrow ruffles of white at his collar and cuffs, and a peek of the white shirt at his chest where the row of buttons are undone. His puffy pants gather at the thigh over black stockings, and he wears black slippers. He crosses his wrists in front of him, and he wears a gold ring with a square, scarlet-red stone on his right ring finger, to our left. In that hand, he also holds a black hat with a long, feathery plume that falls to knee level. A saber lies on the floor to our left near the man’s feet, with the grip and elaborately twisting guard facing us. The background lightens from coffee brown along the top edge to light beige along the lower edge of the composition. The portrait is loosely painted with visible brushstrokes throughout, especially in the costume and background. The artist signed the painting in the lower right corner, “Manet.”
Edouard Manet, The Tragic Actor (Rouvière as Hamlet), 1866, oil on canvas, Gift of Edith Stuyvesant Gerry, 1959.3.1

The Tragic Actor (Rouvière as Hamlet)

Edouard Manet · 1866 · oil on canvas ·  Accession ID  1959.3.1

We look across a river at a long, flat bridge that runs parallel to a hazy, city skyline in the distance in this horizontal painting. The scene is painted with visible dashes and strokes of mostly pastel blue, ivory white, muted mauve purple, and navy blue. The flat bridge spans the width of the composition along the horizon, which comes a third of the way up the canvas. The sky above is filled with clouds painted in muted tones of cream white, pale blue, and a few touches of shell pink, which mirror the water below. Along the horizon, buildings with spires and towers stretch from our right about two-thirds of the way across the canvas. To our left, a cluster of several boats, tiny in scale, gather near the bridge. Closer, and to our right, three larger ferries are crowded with passengers who are represented by minuscule daubs of brightly colored paint, mostly in black, golden yellow, crimson red, sky and cobalt blue, and ivory white. These boats are painted in short, flat brushstrokes in bands of flame red and midnight blue. The artist signed and dated the work at the lower left: "C. Pissarro, 1890."
Camille Pissarro, Charing Cross Bridge, London, 1890, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.32

Charing Cross Bridge, London

Camille Pissarro · 1890 · oil on canvas ·  Accession ID  1985.64.32