Bernheim-Jeune

French, est. 1863 - closed 2018

Explore Selected Works

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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 long-haired, small white dog with tawny-brown ears and spots sits on a garnet-red cushion in this loosely painted vertical portrait. The dog looks just to our left with large, round, black eyes under perked eyebrows. Long, floppy ears hang to either side of its short muzzle. A snub black nose glistens over its downward curving mouth. The long fur on the dog’s body is painted with visible strokes in white and silvery gray. Its thin front legs are braced near a black and white ball, which rests at the edge of the cushion near the lower right corner of the composition. The background is coffee brown, and the artist signed the lower right corner with black paint, “ed. Manet.”
Edouard Manet, A King Charles Spaniel, c. 1866, oil on linen, Ailsa Mellon Bruce Collection, 1970.17.36

A King Charles Spaniel

Edouard Manet · c. 1866 · oil on linen ·  Accession ID  1970.17.36

Two green pears lit from the upper right sit on a pale blue tabletop or ledge against a dark background in this horizontal still life painting. The left pear sits upright against the other. The left-hand pear’s laurel-green skin is flecked with dark brown, and its black stem tips to our left. The other pear lies on its side with its stem angled toward the table to our right. Its lighter green skin is tinged with peach along its top curve. The surface beneath the pears is loosely painted with ice blue flecked with gray, blush pink, and sky blue, perhaps suggesting marble. The front, right corner of the table nearly lines up with the bottom right corner of the composition. The area below the table and the wall behind the table are dark brown. Barely visible, the artist signed the painting with black paint against the dark brown skirt of the table, “Manet.”
Edouard Manet, Pears, 1880, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2014.18.28

Pears

Edouard Manet · 1880 · oil on canvas ·  Accession ID  2014.18.28

Henri Matisse, Odalisque, Half-Length--The Tattoo, 1923, oil on canvas, Chester Dale Collection, 1963.10.40

Odalisque, Half-Length--The Tattoo

Henri Matisse · 1923 · oil on canvas ·  Accession ID  1963.10.40

We look slightly down onto a wooden table or buffet with a basket of fruit, a vase of pink and white flowers, a book, and a small tray holding a teacup, saucer, and two oranges in this horizontal still life painting. The wooden surface is highly polished and has a red tint, like cherry. The oval, rust-red tray has a lip around the edge, and it sits across the front right corner of the table, close to us. One of the oranges in the tray is peeled, and a segment sits near a second, unpeeled orange. The empty white teacup, also in the tray, has a flaring lip and a delicate gold handle, and the cup and saucer are edged in gold. The thick, soft-bound, sea-blue book is placed beyond the tray, to our right. Behind the tray, a tall, goblet-like, cobalt-blue vase with a pedestal foot holds five flowers, possibly carnations, among green leaves. Two blossoms are cream white, two are ruby red, and the fifth flower is streaked with both colors. To our left, a rectangular, woven, wicker basket holds three pears, two apples, and a quince. The fruit is blush red, golden yellow, or pale green. A pale yellow quince and red and yellow apple sit on the table in front of the basket, near the tray. The background is painted a muted sage green. The artist signed and dated the work with dark green paint in the upper right corner: “Fantin. 1866.”
Henri Fantin-Latour, Still Life, 1866, oil on canvas, Chester Dale Collection, 1963.10.146

Still Life

Henri Fantin-Latour · 1866 · oil on canvas ·  Accession ID  1963.10.146

Fields of elephant gray, coral orange, and turquoise surround a fan-like, abstracted palm frond near the center of this vertical, abstract painting. The fronds of the palm radiate like a starburst against unpainted, cream-white canvas. Three black, vertical bands spaced behind the palm suggest tree trunks, with the rightmost trunk dotted with spring green, perhaps representing moss or the leaves of a vine. The fields of gray to either side of the frond, the turquoise areas below the gray, and the coral at the bottom center are painted with visible brushstrokes, creating a mottled effect. Rounded turquoise forms above the gray are silhouetted against a field of pale blue, perhaps representing the sky along the top edge. A few pointed, oval leaves painted spring green with black outlines dip into the scene from the top of the composition. The artist signed the work in dark green paint in the lower right: “Henri-Matisse.”
Henri Matisse, Palm Leaf, Tangier, 1912, oil on canvas, Chester Dale Fund, 1978.73.1

Palm Leaf, Tangier

Henri Matisse · 1912 · oil on canvas ·  Accession ID  1978.73.1

A young girl with pale skin and long brown hair looks at us as she braces a tall, wooden hoop with one hand by her hip in this vertical painting. The girl stands close to us with her body angled to our right, and she looks at us from the corners of her dark blue eyes. Her delicate nose, rosy cheeks, and closed, rose-pink lips are set in a heart-shaped face. She has wavy, chestnut-brown hair that falls loosely around her shoulders. Bangs brush across her forehead, and her hair is pulled back in half, tied in a pale blue ribbon. She wears a sky-blue dress with a ruffle around the wide collar. The long sleeves are rolled back over her wrists, and the dress is tied at the waist with an aquamarine-blue sash tied into a bow at her lower back. The knee-length skirt flares out from the waist. She wears ice-blue socks pulled halfway up her shins and black, low-heeled Mary Jane-style shoes tied with bows over the arches. One foot turns to rest on the bottom edge of the wooden hoop she braces with her left hand, farther from us. She holds a short stick by her side with the other hand. The ground around her is painted with blended areas of muted topaz blue, peach, and canary yellow. The top third of the background is a loosely painted garden, with lime and spring-green leaves, and a cluster of shell-pink flowers to our right. The artist signed and dated the painting in the lower left corner, “Renoir. 85.”
Auguste Renoir, Girl with a Hoop, 1885, oil on canvas, Chester Dale Collection, 1963.10.58

Girl with a Hoop

Auguste Renoir · 1885 · oil on canvas ·  Accession ID  1963.10.58

Two dogs stand near each other in the middle of a petal-pink street in front of two oyster-white buildings that fill the background in this vertical painting. The scene is loosely and thickly painted, with brushstrokes visible throughout, so details are indistinct. The dog closer to us is peach-colored while the other is white with dark brown patches, and they face each other. We look slightly down onto the street, and it comes almost halfway up the composition. A stone-gray wheelbarrow sits a bit above and to the left of the dogs, over a narrow, light gray horizontal stripe running the width of the road that could delineate the sidewalk. The two stories we see of the buildings have tall slate-blue windows, most covered with shutters. Each also has a band painted in patches of gray and brown running across the foundation. The building on our right has a narrow rust-red door while the other has two blue doors to match the shutters. Three small, navy-blue squares could be street numbers over the doors. The artist signed the painting near the lower right, “Bonnard.”
Pierre Bonnard, Two Dogs in a Deserted Street, c. 1894, oil on pressed board, Ailsa Mellon Bruce Collection, 1970.17.3

Two Dogs in a Deserted Street

Pierre Bonnard · c. 1894 · oil on pressed board ·  Accession ID  1970.17.3

We look up at the exterior of a church that soars the height of this vertical painting. The church is painted with visible dabs and strokes of sky blue, cream white, golden tan, and a few touches of pale, shell pink to create a blurred look, as if seeing a reflection in the rippling surface of a puddle. The church façade is angled to our left, away from us. The main door and its surround takes up the center of the composition, where a rectangular door is set within nested, pointed arches that lead up to a narrow, tall, triangular gable. The point of that gable overlaps the round rose window, which is the same width as the portal surround below. Spires flank the central section and rise steeply off the top edge of the painting. The sky above is painted as a field of pale lapis blue. A few dabs of darker blue and green suggest people, tiny in scale, standing near the lower left corner. The artist signed and dated the lower right, “Claude Monet ‘94.”
Claude Monet, Rouen Cathedral, West Façade, Sunlight, 1894, oil on canvas, Chester Dale Collection, 1963.10.179

Rouen Cathedral, West Façade, Sunlight

Claude Monet · 1894 · oil on canvas ·  Accession ID  1963.10.179

A young woman with peachy skin shaded with ice blue and pale, mint green is shown from the chest up wearing a low-cut, white garment in this vertical portrait painting. The painting is created with blended brushstrokes, giving it a soft, blurred effect. The woman’s body is angled to our left and she looks off in that direction with blue eyes, her head tipped a little toward us. She has a straight nose and full, rosy pink lips. Thick, blond bangs sweep across her forehead, and her hair is partially pulled back. She holds one long lock with her left hand, on our right, in front of her shoulder. One small gold ball earring adorns the ear we can see. Her low-cut, white garment falls off her shoulders and is belted with a blue sash at her waist. The background is made up of a field of royal and turquoise blue behind her head and shoulders, and rust brown behind her body. The artist signed and dated the work with dark paint in the lower left corner: “Renoir.76.”
Auguste Renoir, Young Woman Braiding Her Hair, 1876, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.63

Young Woman Braiding Her Hair

Auguste Renoir · 1876 · oil on canvas ·  Accession ID  1970.17.63