Artle Playlists - Play all the games! | National Gallery of Art

Back to School

Brush up on your AP Art History with this Artle playlist! These games will challenge your art expertise, leaving you well-equipped to pass the test with flying colors.

Shown from the knees up against a dark gray background, a young woman with peachy skin stands with her body angled to our left and she looks at us with brown eyes in this vertical portrait painting. She has dark, arched brows, a straight nose, and her full, coral-pink lips are closed. Her dark brown, curly hair is covered by a mantilla, an ivory-white, lacy scarf highlighted with pale gold and subtle, russet-red highlights. She holds the two long ends of the mantilla with her right hand, farther from us, below her bust. The ends of the scarf fall to mid-thigh over her long, ink-black dress. The bust of her dress is also white and shimmers, like the mantilla. Long, tight-fitting, off-white gloves nearly reach the short, puffed, cap sleeves of the dress. The back of the glove on her left arm, closer to her, is tied at the top with a bow, and she holds a silvery-white, closed fan in that hand. A brownish-coral colored necklace is painted as a squiggle of paint around her neck. Barely visible, the painter signed the painting in the lower left: “Goya.”

Printed with tones of black, gray, and smoky gray, two oversized hands reach out of an ocean and hold up a masted ship in this horizontal etching, aquatint, and drypoint. Closer to us, the black silhouette of a woman sinks under the surface of the water, face down with her arms thrust back and her mouth gaping open. Her features are exaggeratedly rounded to reference stereotypes historically connected with Black and African people. The wave surges to our left, and the giant hands lift the boat just left of center of the composition. Small in scale, two silhouetted people stand on a flat area to the left. One wears a brimmed, flat-topped hat, a coat with tails, and holds up a tool, perhaps a hoe. The other wears a spiky headdress and skirt and holds up a stalk of sugar cane. The sky is pale gray to either side of a plume of white and a black void with jagged edges, which spreads like a seeping stain down the middle of the sky. Under the image and across the bottom of the page, the artist wrote “A.P. VI/VIII” to the left and “KW 2010” to the right lightly in graphite.

The sculpture is a bronze bust of a man with distinctive facial features, including a prominent nose and deep-set eyes. His textured hair adds to the naturalistic yet stylized appearance of the piece. The sculpture's dark patina shows subtle variations in color, including deeper shades and slight metallic highlights where light hits. The rough and expressive texture of the material conveys a sense of movement and depth. The sculpture includes hints of clothing, such as a jacket and an open collared shirt, in the same material, enhancing the rugged texture. Despite its textured and somewhat abstract form, the bust effectively conveys the likeness of an individual from the shoulders up.

The artwork is a series of sequential black and white photographs depicting the motion of a man performing a leapfrog over a boy. The sequence is arranged in two rows, each showing different stages of the jump. The man is dressed in a suit and hat, and he is captured in various phases of the leap—from approaching the boy, to jumping over him, and landing on the other side. The boy stands bent over, providing support for the leap. The background is plain.

Two pale-skinned little girls sit back-to-back on a sandy beach, almost filling the width of this vertical painting. The girls wear matching pale, ice-blue pinafores over short sleeve, ocean-blue dresses. Both sit with their legs stretched in front of them and angled to our right. The girl closest to us, to our left, looks down at the denim-blue pail and wooden shovel she holds between her ankles. She holds the long-handled shovel in her near hand with the end inside the pail. She has a chubby, flushed, round face with blond hair and rosy arms and legs. She wears black shoes and appears to have a brown sock on her near leg but a dark blue sock on the other. Her companion sits just beyond her and to our right with her body turned away from us. Her wide-brimmed straw hat is trimmed with a tomato-red ribbon tied in a bow at the front. The hat hides her face, and her outstretched legs are encased in olive-green stockings. Her near hand reaches across her lap to grab the pail sitting on the far side of her legs. The beach meets the pale blue and aquamarine ocean in the upper third of the painting. A patch of strokes and daubs of dark blue and peach near the upper left and a tan wedge in the water to our right are painted loosely along the shoreline. Two white sailboats and a horizontal white dash with three dark blue dots drift on the water. The artist signed the lower right, “Mary Cassatt.”

The artwork is a portrait of a woman shown from the shoulders up, facing forward. Her hair is dark and neatly parted in the center, covered with a delicate, sheer veil that drapes over her shoulders. She has a serene expression with subtle, refined facial features. She wears a garment with a high collar and decorative detailing around the neck. The background is softly shaded, with a light blue tint. The portrait is rendered with fine lines and shading.

The sculpture is a rectangular box filled with a three-dimensional arrangement of irregularly shaped, elongated objects with a metallic silver finish and black spots. They resemble spotted worms or maggots. In the center of these shapes is a section of silver mesh or wire in a honeycomb shape. Beyond the wire, we can see a section of purple with dots of red, yellow, green, and blue. Around the edge of this central section is a tangle of silver wires. The box on the outside of the sculpture is black with thin white geometric patterns running across it.

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”

The image features intersecting shapes and lines that form a dynamic composition. The abstract design includes swirling lines that curve and converge in the center, while finer lines extend outward. These elements collectively give an impression similar to a chaotic landscape or a tangled mass of fibers. The abstraction invites comparisons to natural phenomena such as waves or grass caught in a breeze, with occasional denser clusters of lines adding depth and texture to the scene.

This vertical portrait shows the head, shoulders, and chest of a young man with smooth, pale skin and shoulder-length, dark blond hair positioned behind a narrow gray, stone ledge. Shown against a black background, the man tilts his head to our left and his eyes cut to our right. His left eyebrow, on our right, is slightly arched over brown eyes. He has a long, straight nose, pale pink lips, and his hair falls down the sides of his face from beneath a crimson-red, flat-topped cap. He wears a brown garment with white linen peeking through at the shoulder seams. The neck and seam down the front are lined with white, perhaps fur. He holds his right hand to his chest with his middle finger overlapping his ring finger.

This is a monochromatic artwork featuring a group of people in close proximity from the waist up. The individuals appear to be looking at something below them. Some figures have their hands resting on a surface in the foreground. Their facial features are depicted with strong contrasts and expressive lines, while their hair seems short and simply styled. The people are dressed in dark robes or coats with a somber and plain style. Some have their arms crossed or hands raised near their faces. No jewelry or objects are visible, except for one person's prominent hand placement. The background is filled with more figures, creating a crowded composition, while the foreground includes a horizontal surface.

The image shows a tall building, possibly the Flatiron Building, in the distance. The view is low, with benches and snow-covered trees in the foreground. One large trunk dominates the right side of the image. The photograph is in sepia tone, giving it a vintage look. The snow-covered scene creates a serene winter ambiance.

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.

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.

The image showcases a landscape seen from an elevated viewpoint. A white, fabric-like fence winds across the hills, starting from the left and stretching into the distance on the right. The horizon is hidden by the rolling hills dominating the scene. Brushstrokes are rough and vigorous, with dark brown and ochre contrasting against the white fence. The strokes depict the texture of the hills and valleys. The color scheme is earthy, including browns, rust, and gold, with the white fence standing out. The artwork combines drawing and painting for a dynamic and raw landscape depiction.

Painted and drawn with areas of flat, vibrant colors, we look slightly down onto a bustling street market in this stylized, horizontal scene. It is created almost entirely with shades of sky and royal blue, buttercup and harvest yellow, caramel and ash brown, and spearmint green with only a few touches of brick and crimson red. The people all have black-colored skin with their features outlined in white. They sit, stand, gather, or walk along stalls lining the street that extends away from us. Some wear caps, headdresses, or are bareheaded. They wear wraps or togas that mostly leave arms bare. Some carry goods on their heads, sit and eat, hold children and babies, or reach for wares. One person holds a white chicken and another leads a couple of goats along the street. The inverted, narrow V of the street meets the shallow V of the rooflines of the buildings or awnings of the stalls just above the center of the composition. The upside-down triangular filling the distant area between the rooflines has a dark yellow ground where densely packed tables, carts, buildings, people, and several chickens are tiny in scale. A strip of blue along the top edge of the painting suggests the sky above. The artist signed and dated the work in graphite in the lower right corner, “Jacob Lawrence 64.”

The image features a composition with a large area of muted pink, two horizontal green lines near the bottom, and a narrow stripe of yellow at the bottom left corner.

A pair of arched cave openings yawn in a steep, rocky cliff face that fills this horizontal painting. The cliff face is painted with dabs and textured strokes of slate gray, peachy tan, and muted blue, and some moss grows along crevices to our left. The opening to our left of center is four times the size of the smaller opening next to it. Murky green water reflects the shadowy openings and the pier-like stone between them. The water churns white over large boulders to our right, in the lower corner of the canvas. A pale-skinned man, minuscule in scale in front of the larger opening, stands barefoot with his back to us. His pants are rolled up over his knees and the long shirt sleeves up to the elbow under a vest. One hand is raised to hold a long stick. He is on what might be a pier stretching across the water. The artist signed the work with red paint in the lower left corner, “Gustave Courbet.”

A horizontal black-and-white photograph shows eight light-skinned women standing against a plain, pale background. Most wear dark, knee- or calf-length dresses and are arranged in small groups across the image. On the left, four women stand close together, facing or leaning toward one another; one holds a round hand mirror. At center, three women form a looser group. One wears a pale mask over part of her face, while another looks downward with her arms crossed as the women beside her rest their hands on he

The image shows six people walking along a street with a green bus in the background. The individuals are an elderly woman, a woman in a black dress and hat, a woman in a blue outfit, a woman in a red and pink striped dress, a man in a blue jacket, and another woman. The bus has four passengers visible through its windows..untracked.

The image is a pencil sketch of a young child's head and part of the shoulders, seen from a three-quarter view. The child is positioned slightly angled to the viewer's left. The sketch displays delicate facial features, with softly rounded cheeks, small lips, and a gaze from lightly shaded eyes. The child's hair is depicted in soft, flowing curls that frame the face. The clothing appears to be simple, suggested by faint lines indicating a garment that covers the shoulders. The background is plain and unadorned, emphasizing the subject. The sketch is on textured paper, which shows signs of age, including some stains and creases along the edges.

The sculpture features an abstract form with a large, thick, dark gray oval sheet that appears slightly crumpled or folded, along with a smooth, round, wooden sphere attached to it. There are also rust-colored metal elements including a horizontal, curved strip and a vertical edge. The sculpture stands on a rust-like rectangular base. It is set against a blank white wall background on a carpeted floor.

A polished bronze, free-standing sculpture of an abstracted bird stands on a marble plinth set on a tall wood base. The bird form is created with an oblong, egg-shaped body. The head curves up like a hook and the end parts as if in a beak. The wings are tucked against the body. The bronze sculpture sits on a cream-white, tall marble cube. Shaped like an angular hourglass, the wood base is almost twice as high as the bronze sculpture and marble cube combined.

The image depicts the lower portion of a person's legs and feet from the calves down, slightly elevated in a horizontal position. The person is wearing a textured and patterned garment that covers their thighs just above the knees, with the intricate pattern partially visible. The calves have small dark star-shaped tattoos on them. The background is plain with a slightly textured, paper-like appearance and soft, faded patches of color. No jewelry or additional objects are visible.

Near a verdant riverbank against soaring, hazy cliffs, a nude, chubby baby sits in a golden boat on a bed of pink and white flowers in this horizontal painting. A winged angel wearing a white robe with a glowing starburst hovering overhead stands behind the child with one hand resting on the tiller of the boat. The angel and child both have pale skin and blond hair. The baby holds up handfuls of flowers and looks forward. The bow of the boat is angled to our right as it glides along the glassy surface of the river. The boat seems to be made of or carved to look like a mass of gold, winged angels clustered to make the vessel. They reach toward a single angel thrust forward from the bow, like a masthead, who holds up an hourglass. The boat has just emerged from a dark cave at the base of rocky, rose-pink cliffs that reach off the top left edge of the canvas. The jagged peaks become pale pink as they march into the distance. A spit of the lush riverbank fills the lower left corner of the composition; it and the far bank are dotted with white waterlilies and a profusion of yellow, blue, pink, purple, and red flowers. Celery and moss-green growth carpets the boulders on either side the cave mouth and the ground stretching beyond the riverbank. The growth becomes mauve-purple as it recedes to the horizon, which comes a third of the way up the composition and is lit by a golden glow. Petal-pink and gray clouds float among the cliff-tops against an otherwise pale blue sky. The artist dated and signed the lower left, “1842 T. Cole Rome.”

A densely packed crowd of men and women, all of them with pale skin and most of them wearing black, stand in a theater lobby beneath a mezzanine level that runs close to the top edge of the composition in this horizontal painting. Because the crowd spans the width of the composition, the first impression is of a mass of deep black stretching across the canvas. Slowly, individual faces and poses become evident. Five of the women wear black, oval masks that cover their eyes and noses, and one more mask has fallen onto the rust-red floor below. Two women, wearing bright white and colorful clothing, engage some of the men in conversation. A man cropped by the left edge of the painting wears the green, red, and gold costume and pointed cap of a court jester. Two gold and glass wall sconces hang on the cream-colored wall behind the crowd, one near each top corner. The space within the mezzanine level above is painted loosely so details are difficult to make out, but a pair of legs clad in black britches and white stockings seems to stand with ankles crossed at the top center. A leg wearing a red, high-heeled ankle boot dangles outside of the railing to the right. The brushstrokes are loose throughout. The artist’s signature appears on a piece of discarded paper on the floor near the lower right corner: “Manet.”

A small child stands facing us on a sun-dappled path that runs up the center of a garden dominated by towering yellow and burnt-orange sunflowers in this loosely painted, vertical scene. The light comes from our right so long, sea-green and plum-purple shadows cross the peach-colored path. The path is wide at the bottom center of the canvas and narrows as it reaches the steps of a house, beyond the garden. Close to us, four blue and white porcelain urns line the path, separating it from the grassy banks to either side. The urns are filled with tall stems with coral-pink and cardinal-red flowers. The child stands about halfway back along the path, where the garden transitions from grass to the banks of tall sunflowers. A few strokes in front of the child could be a small dog. Behind the child, a woman and another child stand on the steps. The woman wears a cornflower-blue and white dress, while both children have bare legs and wear white clothes and yellow hats. All three have indistinct facial features and peach-colored skin. The house spans with width of the composition. It has an amethyst-purple roofline with two chimneys, and the petal-pink walls have mango-yellow highlights. Windows are covered with blue latticework. Above the house, fluffy white clouds float against a vibrant blue sky. The artist signed and dated the painting at the lower right in dark blue, “Claude Monet 80.”

A new Artle every day

Each day offers a new chance for discovery.

Play today's game

Play Artle!

Uncover new artists in our daily puzzle.

Starter Pack

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

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.

#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.