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

Feast on Art

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A plate of oysters, a halved lemon, an oyster fork and shells, and a dish of salt are arranged on a wooden tabletop in front of a gray wall in this horizontal still life painting. The front edge of the table seems close to us, and the objects span the width of this composition. Six oysters are crowded on the oval plate, which is white and edged with royal blue. The narrow tines of the oyster fork are angled toward the plate as the handle, which is shaped like the blade of a butter knife, angles to our right and seems to jut into our space. The two empty shells are next to the knife in front of the lemon, which has been cut in half through its girth. One cut edge faces our left and the other half rests with its cut edge down on the table. The bowl with salt mounded within is about the same size as the lemon and has a border of brown at the top and near the foot. The entire painting is loosely painted with visible brushstrokes, and some vague lines on the side of the bowl suggest a Japanese or Chinese character.

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We look down onto nine pieces of fruit, a pitcher, a goblet, and a dish arranged on a rustic wood table in front of a floral curtain in this nearly square, loosely painted still life. The table extends off the left edge of the composition and the back, right corner of the table just touches the right edge of the canvas. At the center of the composition, five pieces of marigold-orange fruit with yellow highlights and scarlet-red shading are piled in the dish. The side of the dish to our right is slightly tipped up so the fruit settles near the rim to our left. The dish is painted with loose strokes of sky blue, shell pink, pale yellow, and parchment white. Three more pieces of fruit, including a lemon, sit to our left of the dish and one more piece of fruit sits near the back corner of the table, behind the dish, to our right. Immediately behind the dish is a stemmed glass with a tall, rounded bowl. To our left, between the fruit on the table and in the platter, is a tall, angular, tapering pitcher. The pitcher is painted with emerald and moss-green leaves against a background painted with strokes of light peach, blush pink, slate blue, and one wide stroke of amber orange. The wooden table is peanut brown streaked with strokes of apricot orange and pale sage green. One drawer at the front has a round, wooden pull. There seem to be at least two panels of curtains hanging behind the table. Down the center of the background is a panel of coral peach and saffron orange with a floral pattern painted in wheat brown and denim blue. To our right, the panel is streaked with vertical strokes of teal, midnight, and navy blue. The area to our left, behind the table, could be the panel of a door, painted with pale turquoise. The fruit, dish, vessels, table, curtain, and door are all outlined with cobalt blue.

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Thirteen round cakes sit in three rows, each on a disk-like stand supported on a thin rod, in this horizontal painting. We look slightly down onto the cakes, which only barely overlap. All of the cakes are round except for one, which has been cut in half so we see the four layers of yellow cake and chocolate frosting inside. The top of that cake is white. All of the other cakes are unique except for two angel food cakes at the center, which are slightly different heights. Most of the other cakes have white or brown frosting, except for a pink cake at the front right. That cake has white swags piped on the sides and a pink rose on the top. Next to it is a cake topped with yellow, perhaps lemon curd. The other two cakes in the front row have a white swirl against dark brown frosting, and the fourth, near the left egde, is topped with a single red cherry. Half of a low, pale orange cake is cut off by the left edge of the canvas in the middle row. Each cake stand casts a pale gray shadow against the light, arctic-blue counter. The paint is thickly applied throughout, and the outlines around the cakes, plates, and rods are streaked with rainbow colors. The artist signed the work by incising his name and the date into the wet white paint in the top right corner: “Thiebaud 1963.”

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A silver butter knife rests across a slice of white bread so its rounded blade is covered with a layer of the vivid yellow spread, presumably butter, that covers the bread in this nearly square painting. The handle of the knife angles from near the bottom center of the composition up toward the top right corner. The handle is cropped by the bottom edge of the painting just below where it meets the blade. The bread on which it rests is also angled toward the upper right corner, so its curved top is cropped. Three more unbuttered slices of bread splay out like a fan beneath it, to our left and into the upper left corner. The bread is eggshell white with soft gray pockmarks to capture the air pockets in the crumb, and each slice has a deep, honey-brown crust. The glossy yellow butter glistens where the light catches it. The area around the slices of bread is the same vibrant yellow of the butter, along the bottom of the canvas.

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The painting features a large slice of yellow cake, a halved lemon, a glass of pale yellow liquid with a slice of lemon and a straw, and a white plate filled with red raspberries. The objects are placed on a white tablecloth with the raspberries to the left, the lemon and cake in the center, and the glass to the right. The wall behind the objects is a dark blue which fades to black towards the left edge.

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About two dozen round, pale green plums tumble out of an upended square wooden box onto a reflective, dark brown surface in this horizontal still life painting. Many of the plums have a frosty sheen and about half of them lie in a pile within the basket. The other dozen spill out of the box onto the wood tabletop. Most have stubby stems, and one, closest to us, has a longer stem with two browning leaves. The leaves and round fruit create reflections on the polished wood surface. The box was made by weaving broad sheets of light wood into a square. The layers are visible along the upper edge, which faces us. There are a few dark spots and imperfections in the wood. An ice-blue cloth hangs behind the box and crinkles in folds along the table. The artist signed the work in the lower right, “J.Decker.”

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Pumpkin Spice Artle

Need some seasonal inspiration? Enjoy this batch of Autumnal Artle. 

We look out onto a sweeping, panoramic view with trees, their leaves fiery orange and red, framing a view of a distant body of water under a sun-streaked sky in this long, horizontal landscape painting. The horizon comes about halfway up the composition, and is lined with hazy mountains and clouds in the deep distance. Close examination slowly reveals minuscule birds tucked into the crimson-red, golden yellow, and deep, sage-green leaves of the trees to either side of the painting. Closest to us, vine-covered, fallen tree trunks and mossy gray boulders line the bottom edge of the canvas. Beyond a trickling waterfall and small pool near the lower left corner, and tiny within the scale of the landscape, a group of three men and their dogs sit and recline around a blanket and a picnic basket, their rifles leaning against a tree nearby. The land sweeps down to a grassy meadow crossed by a meandering stream that winds into the distance, at the center of the painting. Touches of white and gray represent a flock of grazing sheep in the meadow. A low wooden bridge spans the stream to our right, and a few cows drink from the riverbank. Smoke rises from chimneys in a town lining the riverbank and shoreline beyond, and tiny white sails and steamboats dot the waterway. Light pours onto the scene with rays like a starburst from behind a lavender-gray cloud covering the sun, low in the sky. The artist signed the painting as if he had inscribed the flat top of a rock at the lower center of the landscape with his name, the title of the painting, and date: “Autumn – on the Hudson River, J.F Cropsey, London 1860.”

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A woman with smooth, pale skin and wearing a hat, long dress, and gloves, stands holding a bunch of pumpkin-orange leaves against a background of trees painted with touches of rust orange and pine green in this vertical painting. The woman tips her head back slightly to look at us with dark eyes under arched eyebrows. Her cheeks are flushed and her coral-pink lips closed. Her round black hat perches on the back of her head and she has an inky black, long-sleeved, hip-length jacket with bronze trim at the shoulders, cuffs, and down the front. A gauzy bow is tied at her neck. Her left elbow, on our right, is bent and she holds up her tan-colored, ruffled skirt with a white-gloved hand. The raised skirt exposes sky-blue lining and white, ruffled flounces at her feet. Her right arm, on our left, hangs at her side and holds the handle of a basket. Deep marigold-orange leaves cascade out of the basket. One black shoe peeks out from under her long skirt. She stands on a hill carpeted with crimson-red, tawny-brown, golden yellow, and forest-green leaves. The space behind her is filled with touches and dabs of red, orange, brown, black, and tan.

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The image is a landscape painting portraying a rural scene. The viewpoint is slightly elevated, offering a wide view of the landscape. There are rolling hills, trees, and sailboats on the water beyond. In the foreground, there is a grassy area with figures and a dog. Various colors are present in the foliage, including greens, reds, and oranges, suggesting autumn.

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Thickly painted, rectangular vertical and horizontal slabs in intense buttercup and mango yellow, shamrock and lime green, burnt orange, raspberry pink, and charcoal gray are layered in this nearly square, abstract composition. In the top half, shapes are smaller, closer together, and separated by strokes of moss green. In the bottom half, the shapes are larger and seem to float against a vivid orange background. Smaller swipes and dabs of cotton candy pink, plum purple, indigo blue, sea glass green, scarlet red, rust brown, and bright white are interspersed around the slabs. The artist signed and dated the painting in green paint in the lower right corner, “hans hofmann 57.”

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Starter Pack

New player? Start here! Guess the featured artist to win.

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.

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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.”

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.”

Artle in Love

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A man and a woman stand side by side looking to our left.

There are two women in extravegant dress. One sits in the lap of the other. They are outdoors and surrounded by sheep.

A couple embraces in this small bronze statue. We can not see their faces from this angle.

A young boy lovingly holds a chicken in this black and white photograph. Two women sit on the porch in the background.

A young child sits on her mother's lap in this painting. She can see her face in a handheld mirror.

Two men stand side by side by a river. Text along a panel reads "I call you my love though you are not my love and it breaks my hear to tell you"

We see three women with pale skin standing in gowns.

This is a black and white wedding photo of a young Black couple. The bride is holding roses.

This is a painting of two Black people looking at each other.

A man and woman with pail skin hold each other.

A woman is seated and a younger man stands to her right side.

A unclothed woman holds on to a man. Her back is to us. A child figure is behind them to our left.

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

Missed yesterday's game? Catch up here, and keep the streak going!

November 26, 2025

November 26, 2025

November 25, 2025

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November 22, 2025

A woman carved from cream-white marble stands holding an open book to which she points in this free-standing sculpture. In this photograph, her body faces us but her head turns to our right. She has a long nose, small mouth, and rounded chin. Her wavy, upswept hair is topped by a semi-circular headdress. Her voluminous gown clings to her torso, leaving one breast exposed. The fabric falls in deep folds around her legs and sandalled feet. Her left shoulder, on our right, is bare. A band crosses her chest from that shoulder to her waist. She holds the tall book in her right hand, on our left, braced against that hip. Her other hand points to the words inscribed in Latin on its pages. It reads, “CALLIOPE REGI NA,HOMINVM, DIVVMQVE VO LVPTAS CARMINIS HE ROI NVMERIS FVLGENTIA SIGNIS AGMINA, BEL LANTVMQVE ANIMOS, ET P RAELIA CAN TO, INCLYTAQVE AETERNAE COMMI TO. NOMINA FAMAE.” She stands on a square base supported on a fawn-brown, veined marble plinth. The background behind her is nickel gray.

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