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Challenge your art expertise! Each game presents four artworks—can you identify the artist? Try our favorites below.

America’s 250th

Celebrating American art and artists

This painting shows a landscape with tall, blue, snow-capped mountains in the distance. There are blue and purple clouds in the yellow sky. Closest to us is a tree-lined field covered in autumnal colors, including reds, oranges, yellows, and light greens in the trees and grass. Small white sheep graze on rolling hills leading to the mountains in the distance.

This painting contains thick angular and jagged shapes in dark blue, white, and orange, intersected with thin vertical black lines. The shapes and colors are layered over each other, and the paint has been applied unevenly, creating some variations in tone. Most of the painting is dark blue, with the orange sections on the right and some white sections tinged with peach near the top left.

We look slightly down onto a young woman sitting in an upholstered chair and tightly hugging a nude, blond child in this vertical, colored print. Both have pale, peach-toned skin. The woman’s black hair is pulled back though a couple tendrils curl on her forehead. Her eyes are downcast and her pink lips parted. She wears a long, cream-white dress dotted with blush-pink, petal-like forms. One arm is under the baby’s chubby bottom and the other braces the child behind the shoulders. The baby wraps their arms around the woman’s neck so they are cheek to cheek. The chair sits in front of a bed with a boxy frame and a pillowy pale blue mattress. The upholstery on the woman’s chair and the wallpaper behind her are patterned with dusky rose-pink flowers and vines against very pale yellow. The floor is also dark rose pink.

This painting is a portrait of a seated woman shown from the knees upwards. She is seated in a woven yellow armchair, with her right arm resting on one arm of the chair, while her left hand rests on her lap. The chair is slightly turned to the left, but she looks directly at us. She has pale skin with slightly pink cheeks, round blue-green eyes, thin brown eyebrows, and pink lips set in a neutral expression. Her hair is dark brown and styled in soft waves, visible beneath a wide-brimmed cream hat adorned with a striped green-and-white band. The woman wears a white dress with a green belt or sash around the waist and a pearl necklace. A green cloth appears to be draped on the chair beneath her, and the background is a deep blend of green, dark blue, and black shades, similar to a heavy draped curtain. The brushstrokes in the painting are thick and visible.

This print shows a woman sitting at a window, her upper body visible, as she rests one hand on a sewing machine. Her head is turned to the right, gazing out of the window. Her facial features are highlighted by the lighting, showing high cheekbones and an upturned nose. Her hair is styled in a loose, wavy manner, falling around her shoulders. She wears a simple, light-colored dress with short sleeves and is seating behind the sewing machine. The scene is part of an interior, with dim lighting casting shadows on the wall and the furniture. Above her hangs a decorative light fixture, and a picture frame is visible on the wall behind her. The window next to her shows part of an external architectural feature, possibly a pillar.

From an elevated perspective, we look slightly down on a tan tepee and two shed-like structures on sandy ground overlooking a glistening sea in this almost square, loosely painted landscape. In the left third of the composition, the tall, pyramidal tepee has thin, dark brown horizontal stripes that divide the sides facing us into sections with blended bands of sage green, pale blue, pink, and mustard yellow. A window in the side of the tepee opens onto unidentifiable brown and cream-white shapes, perhaps objects on a table. One shed is near the tepee and the other is near the right edge of the canvas. Openings and awnings in both face each other. Two people inside the left-hand shed have brown skin, black hair, and wear pink or blue. Beyond the structures, the sandy ground gives way to grassy dunes painted with visible strokes of emerald and avocado green. A sailboat floats on the sparkling, topaz-blue water, which reaches back to the horizon. In the top fifth of the painting, the sun lights a bank of clouds to cream white and pale peach. The artist signed and dated the lower right corner, “Lois M. Jones '40.”

Spring Inspiration

The flowers are blooming, the weather is warming . . . spring is upon us!

A cloud of canary-yellow flowers with pumpkin-orange centers on tall stems with emerald and pine-green leaves fills the top half of this vertical still life painting. The flowers, vase, the round tabletop on which they sit, and the background are loosely painted with visible brushstrokes of vibrant color. The flowers have long, pointed petals like daisies. The bouquet is rimmed with a ring of verdant leaves near where the stems gather in the narrow neck of the cylindrical, ivory-white vase. The vase might sit on a circular cloth edged with alternating sage-green and plum-purple forms like pompoms, but the loose painting style makes these details difficult to make out. The round tabletop is cropped by left and bottom edges of the canvas. The background behind the bouquet and table is painted with long, vertical brushstrokes in salmon pink, pale turquoise, denim blue, and creamy white. The artist signed and dated the painting in red in the lower right corner: “Claude Monet 1880.”

The image features a sunflower in a light pink vase against a plain off-white background. The sunflower has orange and yellow petals and a dark brown center, and the vase has elongated curved handles. Greenish-blue branches extend from the flower. The scene uses soft pastel hues with tones of pink, greenish-blue, and orange. The sunflower and vase are centered in the image, while the branches extend horizontally.

This painting is a portrait of a woman from the chest upwards. The woman is facing us. Her facial features are abstract and stylized, with red lips, thin dark eyebrows, and small eyes. Her skin is painted in bold, expressive brush strokes in shades of cream, peach, and light pink. The woman has dark hair that is mostly obscured by an elaborate hat adorned with abstract floral patterns in dark blue, green, and white, with accents of orange around the edges. She wears a high-collared garment depicted in thick strokes of yellow, dark blue, and black. The background consists of dynamic strokes of different shades of greens and blues, adding a sense of movement to the painting.

Three women stand on or next to a ladder picking olives in an orchard in this horizontal landscape painting. The women, trees, ground, and sky are all painted with long, parallel brushstrokes that curve and swirl over the canvas. The palette is dominated by sage and laurel green, tan and chocolate brown, spruce blue, and eggshell white. The women are outlined with dark brown lines. All three wear long skirts and long-sleeved shirts, and all reach for olives on the trees or into baskets. One woman, to our left, stands on the ladder and faces us; the second woman leans or sits against the right side of the ladder and faces away, her hair covered in a cloth; and the third woman stands at the foot of the ladder to our right, turning away from us. The tan and pale green of their clothing is echoed in trees around them. Short, distinct brushstrokes in pine and light green, with a few touches of silvery blue, create leaves on trees whose gnarled trunks are outlined with dark brown. The horizon line comes about a third of the way up the composition, and the sky above is painted with distinct strokes of ivory, pale mint green, and a few touches of shell pink. The ground around the women and trees is painted with sage and celery green, slate blue, and brown. The brushstrokes are spaced far enough apart in places that bare canvas is visible underneath, especially in the ground.

This painting contains thick angular and jagged shapes in dark blue, white, and orange, intersected with thin vertical black lines. The shapes and colors are layered over each other, and the paint has been applied unevenly, creating some variations in tone. Most of the painting is dark blue, with the orange sections on the right and some white sections tinged with peach near the top left.

The image features a large circle filled with abstract lines and shapes, including a prominent tree trunk that divides the composition. The tree extends into various sections that appear to depict different landscapes. Surrounding the tree are colorful, bird-like forms in vibrant shades of red, white, yellow, green, blue, purple, and orange. The upper portion of the circle contains areas of contrasting hues, including bright yellow and deep blue. The entire scene blends elements of nature with an abstract style, connecting familiar forms with an imaginative and colorful realm.

The image shows an array of splattered shapes and lines creating an abstract composition. At the center is a large green splatter with radiating lines. Surrounding this are various other splashes and irregular circular forms in green and gray tones. The overall appearance suggests natural elements like moss or lichen.

This print shows a river scene with a green hill on the left. Trees with pink blossoms, light blue banners, and crowds of indistinct people dressed in white, pink, and blue are visible on top of the hill in the distance. Closer to us, different types of boats drift along the blue river with people sitting or standing on them. The people wear robes or tunics in shades of gray, green, red, or blue, and they appear to have skin in shades of white and peach. On the right, more vessels with white sails are seen in the distance as the river extends into the horizon. The sky is mostly white, although around the horizon it is a peachy-orange color. On the right side of the print are vertical lines of characters.

#5WomenArtists

Can you name five women artists? Test your knowledge and play the #5WomenArtists Artle challenge in collaboration with the National Museum of Women in the Arts.

A detailed engraving portrays a large, black and tan lizard in precise detail. Facing right and positioned in front of a gray rock, the reptile extends its red, forked tongue. The reptile curls its lengthy tail into an O-shape suspended decoratively above its scaly torso.

The image shows a person from the knees up in a crouched position, with their head down and facing forward. Their clothing has floral patterns that blend into the background. The person is holding a rifle with red and black colors. The background is ornately decorated with floral motifs, creating a unified visual composition.

The image shows a carved wooden figure of a person's upper half. The figure has a defined face with a beard and hair in a textured pattern, wearing a dark brown suit jacket and a blue tie with circular patterns. Rectangular blocks at the bottom represent hands, framed with text "The Grandfather" and the year 1995.

Amid varied motifs that appear collaged or painted on an orange, coral, and peach background, a pair of large black, white, and tan birds perch on a flowering branch, which scatters petals. To the right, a seated, light-skinned woman with Asian features wears an elegant tunic.

This is a drawing of a hand. The drawing depicts an outlined image of a hand with fingers spread, made up of short, squiggly and seemingly random black lines. These lines create an abstract sketch of a hand with emphasis on the fingers, particularly through the thicker, denser lines at the fingertips. The background is blank. The overall style adds a sense of simplicity and abstraction to the drawing.

This is a drawing of a ceremonial procession or gathering. The image depicts a group of figures engaged in a ceremonial role, with some holding or gesturing around an ornate object. The figures are dressed in flowing robes or garments, and there is a sense of motion and interaction between them. The central figure appears to be holding or lifting an item. The gathering is framed under a canopy, suggesting formality.

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A black bird in flight

This artist lived in New Mexico and found inspiration in its environment. She collected rocks and bones from the desert floor and abstracted them in her paintings.

A young person with pale skin looking out at the viewer

This artist was known for their blunt personality and fierce feminism. Degas invited this artist to join the Impressionist movement.

A young woman with pink skin looking to the side and raising her right hand

This artist was a prolific collector of African and non-Western art, amassing over 3,000 pieces that influenced their Cubist style.

A person ironing with windows in the background

This artist revived pastels and became known for innovative pastel drawings of dancers and modern life.

There are two people sitting at a table and one person standing. They are lit by a single hanging light.They

This artist was a prolific collector of Japanese prints that influenced his Impressionist style and use of color.

A young woman with pale skin and pink cheeks holds a cat.

This artist was a founder of the Impressionists, but after 1877 stopped exhibiting with them.

An abstract painting with color fields on a brown canvas.

This artist painted canvases with regions of pure color, which he abstracted into rectangular color forms.

Eight different faces looking to the right and left that are repeated to form a pattern.

This artist created mathematical, conceptual images and explorations of infinity.

This is a bronze sculpture of a man's upper body and head. He is looking to our right and he has a mustache.

This French artist is generally considered the founder of modern sculpture.

This is a black and white image of a crowd. A police officer in the foreground holds a baton and another constrains a leashed dog.

This artist grew up in Pittsburgh and went on to international fame.

Sculpture Scavenger

All the answers can be found on a stroll through the Sculpture Garden.

This image is of an opening in a wooden gate. There is a dirt path and brown clowds

There are ten vertical rectangles. Each are made up of colorful stripes.

This is an abstract metal sculpture on a white base.

This drawing uses many lines to render peaks and waves.

This abstracted illustration is of six characters with square shaped heads.

Multiple overlapping wavy lines run up and down this abstract image. They alternate colors including red, yellow, green, and blue.

This is a small sculpture of an American flag

This is a small painting with a white background and a black rectangle in the lower right.

This is a painting with a red circular shape with a white outline on a blue background. There is a small white mark in the upper right.

There are multiple rectangles, some black and some brown. They are stacked on top of each other but at angles that make them appear as blocks that have been knocked over.

This is a cube with a mirrored exterior. It is the East Building Atrium. It's large enough to walk inside and it has a door.

There are black, irregular shapes on a white background.

Modern Scavenger

All the answers can be found in the East Building.

Six black, wedgelike shapes, one dark blue arrowhead shape, and six red triangular shapes with rounded corners are connected with thin rods to form this abstract sculpture. In this photograph, we look up at the piece to where it hangs from the glass ceiling of a light-filled interior space with marble walls. The paddle-like shapes are attached to the end of the curved rods, which are linked together like branches. In our view, the black arm curves up across the top of the picture and the red arm curves down into the lower right corner, and to our left. Each red paddle is smaller as they move from the central armature to the end of the branch.

Three rows of six horizontal, rectangular canvases, each painted a single, saturated color, hang in a widely spaced grid against a three-story gray stone wall in this photograph. Moving from our left to right, the canvases in the top row are carrot orange, pine green, royal blue, canary yellow, marigold orange, and azure blue. The middle row has panels in marine blue, amethyst purple, shamrock green, soot black, vivid red, and rust brown. The bottom row canvases are banana yellow, black, coral red, midnight blue, emerald green, and orchid purple. The smaller, rectangular stones in the wall behind the panels are also laid horizontally, and they vary from silvery white to smoke gray.

Abstracted forms are painted in grass green, black, pepper red, butter yellow, tawny beige, rose pink, and a few touches of ocean blue in this horizontal composition. The paint is applied thinly, almost like watercolor wash. Translucent layers of paint drip down the canvas and knit the colors and shapes together. Most of the forms create a roughly pyramidal shape at the center. Some are vaguely square-shaped while others are oval, circular, or triangular. Many of the forms are outlined in black, and some have spots of color at their centers. For instance, a cluster of shapes near the lower right includes two canted parallelograms outlined with black. One has an emerald-green oval at its center and the other a black oval. Other shapes in that area include a rust-red triangle, a solid black anvil-shaped form, and a butternut-orange circle surrounded by vibrant yellow. A caramel-brown area spans the bottom edge of the canvas. The artist signed and dated the lower left corner, “A. Gorky 44.”

This painting shows thin, vertical, white lines against a dark background. The lines are denser at the top of the image but become more spread out towards the bottom. At the bottom of the painting there are also some horizontal spatters of white paint, resembling waves or frothy surf.

In saturated, vivid tones of mint green, marigold orange, dandelion yellow, sky blue, and rose pink, a long building stretches away from us along a walkway. The narrow end of the building facing us to the right is orange, and the long side is frosty green. The roof is painted garnet red, and the windows are created with slashes of midnight blue and dark red outlined with topaz blue. A wall enclosing the structure is lemon-lime yellow, and a fence in front of that is painted ultramarine blue. The walkway beneath the fence is pink and, to the left of that, pale blue. Two trees painted with twisting lines of ruby red, shamrock green, black, and off white edge into the scene along the left side, and the sky is lapis blue around a mint-green halo that surrounds the building’s roofline and walls. The scene is loosely painted with visible brushstrokes throughout.

Two people stand close together, one behind the other and hold hands.

This set of colorful illustrations has a title Sweet Sexy Clarice at the top and smaller illustrations with captions like “you look so pretty in a bathing suit” and “Clarice is a tree’

This is a sphere shaped sculpture. There are translucent gold panels of the sphere which reflect light.

Orange-red and battleship-gray geometric forms are arranged in a loose grid in this vertical, abstract painting. Made entirely of vertical and horizontal lines, the forms are reminiscent of letters or hieroglyphs. Sometimes the red forms seem to float in front of a gray background, but then the contrast will flip so the gray comes forward, creating a subtle optical illusion.

Two black bands span the height of this vertical canvas against a field of white mottled with shades of ivory, bone, and parchment in this abstract painting. A narrow, solid black stripe lines the left edge of the canvas, like the spine of a book. About a quarter of the way in from the right edge, black paint swirls and wafts like smoke on either side of a narrow white stripe the same color as the background. The artist signed and dated the painting in black paint in the lower right corner of the canvas: “Barnett Newman 1958.”

It's 1874 and you are in Paris

How well do you know your Impressionists?

We see a man who is looking to our right. He has a mustache.

An untimely death cut short this artist's promising career.

A man with pinkish orange skin looks down and to our right. He is wearing a hat and smoking a pipe.

This artist paved the bridge between Impressionism and Cubism.

A woman is ironing fabric in front of windows.

This artist fostered a rich friendship and artistic exchange with Mary Cassatt.

A woman with pink skin and a pink dress sits at a cafe table. She looks up and to our right.

This artist preferred to exhibit works at the official Paris Salon, and declined to join the Impressionists' exhibitions.

Pieces of meat hang in a butchers shop. One of the pieces is the head of a cow.

This artist supported the group financially, enabling their exhibitions.

A young person with pale skin looks directly at the veiwer. They are wearing red clothing with a white frilly coller

This artist was the only American in the French Impressionist group.

Two people sit at a table while one stands. There is a hanging light over the table.

This artist's painting of a sunrise gave its name to the Impressionist movement.

We see a young woman from the shoulders up. She has long hair flowing over her shoulder. She is looking down and to our left.

This artist was the only woman in the first Impressionist exhibition, and participated in seven of eight shows. 

Two people are on a dirt road by the sea. There are hills in the distance behind them.

This artist served as a mentor to many others, including Cézanne, Gauguin, and Seurat.

A man and a woman stand in a field of flowers.

This artist celebrated Parisian life in works like Luncheon of the Boating Party.

This sepia toned print shows a boat in a river. Two groups of two people each stand in the shallow water.

This artist, born to British parents, was dedicated to painting directly from nature.

Daily Games

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June 10, 2026

June 10, 2026

June 9, 2026

June 9, 2026

The image features a series of horizontal lines and a rectangle filled with star shapes at the top left corner. The flag consists of green and black stripes with a red rectangle in the upper left containing a pattern of blue stars. Below, a more subdued version mirrors the form with tones of gray and white. The composition is set against a textured gray background.

June 8, 2026

We look across a glittering waterway lined with long, low boats and sailboats at an ivory-white church in the distance to our right in this horizontal landscape painting. The horizon line comes about a third of the way up the composition, and wispy white clouds sweep across the brilliant azure-blue sky above. A row of buildings comes into view lining the canal to our right, with a terracotta-orange building followed by a cream-white building beyond, both angled toward the church. The church has a high dome rising over the temple-like front, which has columns supporting a triangular pediment. A tall bell tower rises to the left of the church. The low boats, gondolas, to our left are packed with people while a few gondolas floating in the center of the canal appear occupied only by their gondoliers who stand holding their poles. Painted in tones of ivory and peach, the sails of boats behind the gondolas to our left billow in the breeze while the sails of vessels docked to our right are furled. The structures, boats, and people cast shimmering reflections on the gently rippling surface of the water in the canal. Rows of boats and buildings lining the canal extend into the deep, hazy distance to our left.

June 7, 2026

The image shows vertical striped shapes alternating in black and blue with faint white grid-like lines running horizontally across them. This composition resembles tall, slender columns or abstracted piano keys standing side by side. The verticality and uniformity of the shapes can be compared to elongated skyscrapers, while the textured patterns within each stripe suggest digital or woven fabric surfaces.

June 6, 2026

June 5, 2026

June 5, 2026

June 4, 2026

June 4, 2026

June 3, 2026

June 3, 2026

June 2, 2026

June 2, 2026

A patchwork of earth-toned rectangles, cubes, and prism-like shapes surrounded by pools of cool aquamarine and silvery gray fill this square, nearly abstract painting. Brushstrokes, which are mostly horizontal, and dashes are visible throughout. A curving, pointed form at the lower center could be a boat with a tall, fawn-brown mast. It is surrounded by forms suggestive of rocks, other boats, or structures against a watery horizon. Most of the shapes around the boat are leather brown, tan, apricot orange, muted violet, or steel gray. Another pole, also suggestive of a mast, angles up from near the lower left corner, about a third of the way into the composition. Many of the shapes are outlined with charcoal-gray lines. Horizontal and blended strokes in pewter gray and icy blue at the upper corners suggest the sky.

June 1, 2026

This is a drawing of a winged figure beside an easel and a pot of varnish. The image features a skeletal figure with wings seated at an easel, engaged with a painting or canvas. To the side is a large urn labeled "VARNISH" and at the figure's feet rests a severed head and a torso. The painting on the easel depicts a cloud or smoke with amorphous shapes. Above the assembly, a ladder is seen. An inscription reads "As Statues moulder into Worth." The style of the drawing is illustrative and detailed, using a clear line technique reminiscent of etchings.

May 31, 2026

The image shows four individuals in an open field with dramatic cloudy skies. All four are captured in full-body views. The man in the center stands with hands on hips. He is shirtless, wearing a garment resembling a traditional kilt, with long hair extending past his shoulders. To his left, two women stand. One woman leans against a tilted television set, while the other sits with one leg folded. Both women have long, dark hair. On the right, another woman stands with a baby wrapped in a colorful blanket in her arms. She wears a long, dark dress and suede boots, with her hair down and a necklace around her neck. Behind them, a stack of retro television sets displays various images and static.

May 30, 2026

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