Provenance

Galerie Jacques Dubourg

French, est. 1927/1929 - closed 1973

Explore Selected Works

Eugène Delacroix, A Horse Hitched to a Post, c. 1820, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1994.59.17

A Horse Hitched to a Post

Eugène Delacroix · c. 1820 · oil on canvas ·  Accession ID  1994.59.17

Henri Matisse, Les Gorges du Loup, 1920/1925, oil on canvas, Chester Dale Collection, 1963.10.166

Les Gorges du Loup

Henri Matisse · 1920/1925 · oil on canvas ·  Accession ID  1963.10.166

Nicolas de Staël, Ballet, 1952, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1983.1.34

Ballet

Nicolas de Staël · 1952 · oil on canvas ·  Accession ID  1983.1.34

Shown from the knees up, a young girl with pale skin, wearing a coral-peach dress, sits facing and looking at us in this loosely painted, vertical portrait. Her knees are angled slightly to our left, and her hands rest in her lap. She has a round face and smooth, lightly flushed cheeks. She has brown eyes under arched brows, a delicate, snub nose, and her rose-pink lips are closed. Her hair, which is painted with broad strokes of caramel brown and moss green, is parted on one side and pulled smoothly back, presumably tied behind her head. Tendrils fall over her shoulders. Her dress is gathered around her neck and tied with a bow at the back. The loose sleeves fall to just below her elbows, and the dress is belted around the waist. A curving swipe of canary-yellow paint could be a buckle at the front. The fabric of the dress is painted with long, visible strokes of shell and rose pink, butter yellow, and ivory white, and a few touches of sage green and periwinkle blue for shadows. She wears a ring on the middle finger of her right hand. The space around her is loosely painted with strokes of electric and cobalt blue, with unpainted canvas visible at some of the edges. To our left, over the girl's shoulder, a wooden bird cage holds an emerald-green parakeet. The bird is streaked with royal blue along its back, and the area around its hooked beak is apple red. The cage has a mint-green bow and ribbon along the top. The artist signed the painting in green on the lower right corner: “Berthe Morisot.”
Berthe Morisot, The Artist's Daughter with a Parakeet, 1890, oil on canvas, Chester Dale Collection, 1963.10.50

The Artist's Daughter with a Parakeet

Berthe Morisot · 1890 · oil on canvas ·  Accession ID  1963.10.50

Jean-Auguste-Dominique Ingres, Mademoiselle Mary de Borderieux(?), 1857, Graphite and watercolor with white highlights, Woodner Collection, Gift of Dian Woodner, 2011.42.6

Mademoiselle Mary de Borderieux(?)

Jean-Auguste-Dominique Ingres · 1857 · Graphite and watercolor with white highlights ·  Accession ID  2011.42.6

Towering, sheer cliffs loom to our left, over a sunny beach scattered with boats in this horizontal landscape painting. The chalky, rugged faces of the cliffs are dappled and streaked with olive green, dark brown, gray, rust red, and mustard yellow. The horizon comes a third of the way up the composition so the cliffs are outlined against the powder-blue sky, which is loosely veiled with wispy, cream-white clouds. The mossy tops of the cliffs are illuminated by sunlight from the upper left, and a solitary leafy tree leans into view between the two cliff-tops closest to us. Four empty, wooden boats sit on the flat, sandy beach below. We look onto the long sides of the two closest to us. One is stripped and appears dilapidated, while the one behind it has a ginger-brown sail attached to the mast in the prow. Two more wooden poles or oars jut out from the cockpit on either side of the mast. A small flag with horizontal bands of blue, white, and red flies from a short pole near the middle of the boat. A bundle the same color as the unfurled sail sits in the boat. Another sail is spread out on the sand to our right, and coiled ropes lie nearby. The two other boats are slightly further back on the right, with one angled to our left while we view the other straight on. There are two people a short distance beyond these boats. One faces our left in profile while the other sits on the sand looking toward the water. Thin trails of white delineate the low surf and a few sailboats drift by on the brilliant blue water. The artist signed the lower left, “G. Courbet.”
Gustave Courbet, Beach in Normandy, c. 1872/1875, oil on canvas, Chester Dale Collection, 1963.10.10

Beach in Normandy

Gustave Courbet · c. 1872/1875 · oil on canvas ·  Accession ID  1963.10.10

A wide river cuts through a loosely painted, sunlit landscape in this almost square painting. Short strokes of baby and sea blue with touches of white create ripples on the surface on the river, which runs from the lower right corner to the left edge of the canvas. The horizon comes about a third of the way up the composition and is lined with low hills painted in tones of cobalt blue and grass green. We are on or slightly over the left bank of the river, which is painted in strokes of pale peach, pink, and green. A white path running along the top of the bank curves away from us. People, painted with loose strokes of topaz and navy blue, walk on the path, and a few touches of gray, tan, and emerald green suggest a woman and child sitting in the grassy bank, near the water. A lavender-blue sail rises just beyond the far curve of the path, and two narrow dark blue objects jut into the water nearby, presumably long rowboats. The far bank is lined with a dense cluster of tall, spear-like, blue-green trees reaching high into a powder-blue sky, which is filled with swirling, thin puffs of white clouds. Some light blue smudges at the river’s edge in the distance suggest low buildings. The artist signed the lower left, “Sisley.”
Alfred Sisley, The Banks of the Oise, 1877/1878, oil on canvas, Chester Dale Collection, 1963.10.214

The Banks of the Oise

Alfred Sisley · 1877/1878 · oil on canvas ·  Accession ID  1963.10.214