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Arnold & Tripp

Arnold, Tripp et Cie

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We look across a lush landscape of olive-green forests lining a glimmering, silvery-blue lake with hills in the deep distance under a pale blue sky in this horizontal landscape painting. The scene is painted with some visible and some blended brushstrokes to give it a hazy, soft appearance. A man wearing a red cap and a white shirt sits in a long, low, narrow boat with a pointed bow in the grasses along the shore, near the bottom center of the composition. Gnarled tree trunks, one to each side, frame the view beyond. Towering, leafy trees nearly fill the right half of the painting. To our left, the still surface of the lake leads back to a city painted almost in silhouette with flint blue, which is reflected in the surface of the water. Hills and mountains are painted in bands of lightening blue as they recede into the deep distance to our left. The horizon comes about a third of the way up the composition, and the pale sky above is veiled with soft white clouds. The painting is signed in orange letters in the lower left corner, “COROT,” and dated in the lower right, “JANVIER 1866.”
Jean-Baptiste-Camille Corot, The Moored Boatman: Souvenir of an Italian Lake, 1861, oil on canvas, Corcoran Collection (William A. Clark Collection, 1926), 2015.19.25

The Moored Boatman: Souvenir of an Italian Lake

Jean-Baptiste-Camille Corot · 1861 · oil on canvas ·  Accession ID  2015.19.25

Three pale-skinned ballet dancers wearing orange and dark turquoise costumes stand together on a stage in this square composition, which is painted with gouache and drawn with pastel over a monotype print. The dancers are close together near the center of the drawing, between two scrims representing trees, bushes, and grass on the theater set. A backdrop beyond suggests bushes and a tan-colored mountain under a blue sky. Two ballerinas face away from us. The dancer to the left has long, copper-red hair, and the one to the right has long brown hair. That second dancer leans onto one pointed toe. The third dancer, also with brown hair, is closer to and faces us, but she bends forward to adjust one shoe, and her face is hidden behind the stage setting. All three have peach-colored flowers in their hair, and their costumes have knee-length tutus with alternating layers of orange and turquoise. Swag sleeves lie across the dancers' upper arms from their low-cut bodices, and all three wear pale pink ballet slippers. The scene is drawn and painted with loose, visible strokes of paint and pastel, making many details indistinct. The artist signed the lower left corner, “Degas.”
Edgar Degas, Ballet Dancers, c. 1877, pastel and gouache over monotype, Ailsa Mellon Bruce Collection, 1970.17.27

Ballet Dancers

Edgar Degas · c. 1877 · pastel and gouache over monotype ·  Accession ID  1970.17.27

The painting shows a scene from a slightly elevated angle. At the bottom are three people; two women are tending to a man who appears to have long spears or arrows in him. The three people have yellow-toned skin, and the man is mostly nude except for a red cloth draped around his waist. The women wear blue and white cloths draped around their heads and shoulders over dark dresses. One of them holds a silver bowl, and the other pulls an arrow out of the man, who sits on a white cloth. They are at the edge of a dense forest. Trees tower above them on both sides. Beyond the trees is a distant hill, and distant people on horseback are walking along the ridge, facing away from us. The sky above is pale blue. At the top of the painting, surrounded by green leaves, are two flying cherubs gilded with yellow light. They point down to the three figures below. The brushwork in the painting is loose and expressive.
Jean-Baptiste-Camille Corot, Saint Sebastian Succored by the Holy Women, 1874, oil on canvas, Timken Collection, 1960.6.4

Saint Sebastian Succored by the Holy Women

Jean-Baptiste-Camille Corot · 1874 · oil on canvas ·  Accession ID  1960.6.4

We look across a grassy expanse leading to a lake, with several women, tiny in scale, dancing under a grove of trees to our right in this horizontal landscape painting. Painted with soft, almost feathery brushstrokes of fern and moss green to suggest leaves, two massive trees nearly fill the right half of the composition. Three light-skinned women wearing voluminous togas over one shoulder link hands in a circle beneath the tree, near the lower center of the painting. Lit by the low sun, the woman to our left wears rose pink, the center woman shimmering yellow, and the third woman emerald green. Another women to our left, wearing sapphire blue, runs toward the trio with arms outstretched. A fifth woman wearing a scarlet-red skirt reclines near the tree trunks to our right. A low, rectangular box about the length of a dining room table sits on the grass between the trio and the reclining woman. A few brushstrokes suggest flowers or plants on the box. The lake beyond is painted with smooth strokes of pale apricot and shell pink. A bank of bushes or tall vegetation close to us to our left is painted with touches of forest and olive green, with pale yellow to capture light glinting off the uppermost leaves. Beyond it, and hazy in the distance to our left, a large white building is nestled high on a hill painted in tones of muted plum purple and flaxen gold. Pale, fawn-brown hills lead down to the water in the distance, farther back along the lake. A few thin clouds float in the ice-blue sky above. The scene is loosely painted with visible brushstrokes and touches, so some details are difficult to make out. The artist signed the work in the lower left corner: “COROT.”
Jean-Baptiste-Camille Corot, Dance under the Trees at the Edge of the Lake, 1865/1870, oil on canvas, Corcoran Collection (William A. Clark Collection, 1926), 2014.136.25

Dance under the Trees at the Edge of the Lake

Jean-Baptiste-Camille Corot · 1865/1870 · oil on canvas ·  Accession ID  2014.136.25

The painting depicts a rural scene with a wide, cloudy blue sky over a riverbank. On the right there are tall, dark green trees that stretch up to the top of the painting. On the left, we see the river stretching into the distance, with a section of grassy ground closer to us. On the left, a woman with a white cloth over her head and a dark pink skirt stands facing us, next to a dirt path framed with tall grass and pale flowers. The woman is painted with loose, visible brushstrokes. To the left and right of her are two shapes that could be cows with their backs to us, both facing the water. The cow on the left is dark brown, while the one on the right is light brown with patches of white, and appears to stand in or right next to the shallow water. The color palette includes earthy tones such as greens, browns, and soft blues. The brushstrokes are visible, giving the scene a hazy look.
Jean-Baptiste-Camille Corot, River View, 1868/1872, oil on wood, Gift of R. Horace Gallatin, 1949.1.2

River View

Jean-Baptiste-Camille Corot · 1868/1872 · oil on wood ·  Accession ID  1949.1.2

The image depicts a landscape from a slightly elevated point of view. Trees line the horizon, blending into the surroundings. The drawing features expressive strokes creating texture, likely in charcoal or ink. The monochromatic color palette is dominated by black and gray. A body of water is visible, reflecting trees and vegetation. Trees continue into the distance, creating depth. The landscape softens in the distance.
Henri-Joseph Harpignies, Landscape, 1911, charcoal on laid paper, Gift of Ruth B. Benedict, 1994.60.32

Landscape

Henri-Joseph Harpignies · 1911 · charcoal on laid paper ·  Accession ID  1994.60.32

The image shows a landscape with sparse trees and rolling terrain viewed from a slightly elevated point. The horizon is low in the composition, with a light sky in the background. Slim trees with slender trunks are irregularly dispersed across the land. The brushstrokes are impressionistic, creating texture on the ground and leaves. The color palette is primarily monochromatic, with shades of gray creating a subdued atmosphere. The texture and style suggest an overcast day with a play of light and shadow.
Henri-Joseph Harpignies, Road at Hérisson, 1911, brush with black and gray inks over charcoal on wove paper, Gift of William B. O'Neal, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.150.34

Road at Hérisson

Henri-Joseph Harpignies · 1911 · brush with black and gray inks over charcoal on wove paper ·  Accession ID  1991.150.34

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

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The Willows

Charles-François Daubigny · 1864 · oil on wood ·  Accession ID  2015.143.10