Eugene and Agnes Ernst Meyer

he: 1875 - 1959; she: 1887 - 1970

Explore Selected Works

See all 12 works of art
Antoine-Louis Barye, Tiger Surprising an Antelope, model c. 1831, cast after 1855, bronze, Gift of Eugene and Agnes E. Meyer, 1967.13.2

Tiger Surprising an Antelope

Antoine-Louis Barye · model c. 1831, cast after 1855 · bronze ·  Accession ID  1967.13.2

Paul Cezanne, Vase of Flowers, 1900/1903, oil on canvas, Gift of Eugene and Agnes E. Meyer, 1958.10.2

Vase of Flowers

Paul Cezanne · 1900/1903 · oil on canvas ·  Accession ID  1958.10.2

We look across a forested ravine painted in deep greens and blues at a terracotta-orange building at the top of a hill at the center of this nearly square, loosely painted landscape. Spring and moss-green trees grow along the ravine in front of us and up the left side of the canvas. Shadows within the densely forested area are painted with slate and royal blue with touches of plum and lavender purple, and the blue continues into the sky in the upper right quadrant of the composition. The sky is visible through the pointed, arched windows on the upper level of the building, giving the impression that it might be incomplete or in ruins. The building is made up of two stories over a protruding base, which could be a fortress-like structure below or a cliff face. Loose, thick brushstrokes are visible throughout.
Paul Cezanne, Château Noir, 1900/1904, oil on canvas, Gift of Eugene and Agnes E. Meyer, 1958.10.1

Château Noir

Paul Cezanne · 1900/1904 · oil on canvas ·  Accession ID  1958.10.1

About a dozen rust-orange and golden yellow apples and peaches are arranged on a white plate next to white and floral-patterned cloths nestled around a white pitcher and bowl, all on a wood tabletop that tilts toward us in this nearly square still life painting. A curtain patterned with royal blue, olive green, and beige falls along or near the back wall of the room and rests on the table to our left. The white pitcher is painted loosely with the suggestion of harvest-gold and pale lilac-purple flowers, and it sits amid the pooling folds of the curtain to our left. The white tablecloth is bunched under and next to it to our right, at the middle of the composition. The fruit is arranged on and around a white plate next to the tablecloth. A tall bowl with fluted sides and a ruffled, scalloped rim sits behind the fruit, near the right edge of the table. The curving skirt of the table reaches nearly to the bottom edge of the canvas. All the objects in the painting are outlined with dark blue and the shadows are painted with patches of spruce and cobalt blue.
Paul Cezanne, Still Life with Apples and Peaches, c. 1905, oil on canvas, Gift of Eugene and Agnes E. Meyer, 1959.15.1

Still Life with Apples and Peaches

Paul Cezanne · c. 1905 · oil on canvas ·  Accession ID  1959.15.1

Auguste Rodin, Figure of a Woman "The Sphinx", model early 1880s, carved 1909, marble, Gift of Eugene and Agnes E. Meyer, 1967.13.6

Figure of a Woman "The Sphinx"

Auguste Rodin · model early 1880s, carved 1909 · marble ·  Accession ID  1967.13.6

Constantin Brâncuși, Agnes E. Meyer, 1929, marble, Gift of Eugene and Agnes E. Meyer, 1967.13.4

Agnes E. Meyer

Constantin Brâncuși · 1929 · marble ·  Accession ID  1967.13.4

Charles Despiau, Agnes E. Meyer, 1929, plaster, Gift of Eugene and Agnes E. Meyer, 1967.13.5

Agnes E. Meyer

Charles Despiau · 1929 · plaster ·  Accession ID  1967.13.5

The top half of this abstract sculpture is made up of a vertical, elongated form carved from white marble that swells gently at the center and tapers to a point at either end. Near the bottom point, the form flares out slightly to make a tall, conical foot. This sits atop a base made of three stacked pieces that together are about the same height as the swelling form. First, just below the elongated form, a short cylinder sits on the center of a piece that would look like a plus sign if viewed from above. Both the cylinder and plus-sign are carved from cream-colored stone, so are a little darker than the whiter, swelling form above. The tall, dark brown wooden base below is carved in a shape like an angular hourglass.
Constantin Brâncuși, Bird in Space, 1925, marble, stone, and wood, Gift of Eugene and Agnes E. Meyer, 1967.13.3

Bird in Space

Constantin Brâncuși · 1925 · marble, stone, and wood ·  Accession ID  1967.13.3

""

The Mares of Diomedes

John Gutzon de la Mothe Borglum · 1904 · bronze ·  Accession ID  2016.22.23

A white rose, grapes and other fruit, a squat gourd, a bottle, and a glass are arranged across a dark wood table partly covered by a white cloth in this horizontal still life painting. The table and its objects fill the width and most of the height of this composition, and are set against a sable-brown background. The rose, bowl, cluster of green grapes, and a peach sit on the shimmering, bright white cloth, which is draped over the left half of the table. The shallow, straw-yellow bowl holds a pile of canary-yellow pears and a few peaches nestled among green leaves. Another peach and a second piece of fruit sit in front of it, partly obscured by the grapes that lie near the front edge of the table. Continuing to the right, the pumpkin-shaped gourd, roughly the size of the bowl and its fruit, is painted with streaks and daubs of lemon yellow and light and forest green. It sits on a gleaming silver tray. A tapered, earth-brown bottle and a small glass with a long stem stand behind the gourd. On the front face of the table, near the lower right corner, a keyhole is outlined with gold, and the top of one table leg is also gold. The objects are loosely painted with some visible brushstrokes, especially in the fruit in the bowl and the gourd. The artist signed the lower right, "Manet."
Edouard Manet, Still Life with Melon and Peaches, c. 1866, oil on canvas, Gift of Eugene and Agnes E. Meyer, 1960.1.1

Still Life with Melon and Peaches

Edouard Manet · c. 1866 · oil on canvas ·  Accession ID  1960.1.1