Paul P. Rosenberg & Co.

est. 1878

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To our right in this vibrantly colored, stylized, nearly square painting, a woman with light, peach-colored skin and chestnut-brown hair sits slumped along a table as she sleeps, her head resting on one extended arm. The lilac-purple tabletop has round forms representing fruit scattered around a potted plant. Many of the forms are outlined with gray and filled in with mostly flat areas of color in mint and sage green, icy blue, coral red, orange, and lemon yellow. The tabletop curves around its edges and the surface is vivid purple, while the skirt and legs of the table are pale ginger brown. The woman’s head rests facing us on her bent right arm, that hand dangling over the front edge of the table. She rests her other hand, closer to us, near the crook of her elbow. She wears a white, blousy top with rows of navy-blue zigzags on the shoulder and elongated dots on the sleeves, and a light, mint-green skirt. Her brown hair seems to be pulled back and gathered into bunches of curving waves. Her stylized eyes, nose, and mouth are drawn simply with gray lines. The round orange, peach, and yellow fruit on the table are scattered near her arm and across the table to the other side, close to a plant in a brown clay pot. The plant has shoots of long, curving stems with vibrant spruce-green leaves. Two more plants are behind the woman near the back wall, in front a rectangular opening over the woman that could be a window or mirror. The glass is painted with streaks of baby blue and pale magenta pink around a field of white, and is outlined with a band of sunshine yellow and then scarlet red. The wall around it is also painted with watercolor-like, soft fields of pale blue and pink. The floor under the table and to our left is a flat field of caramel brown. Behind the table and to our left, forms suggest a wooden chair and a blue and white ceramic pot on a tall, spindly stand. In the lower left corner of the canvas, the artist signed and dated the work with dark red paint: “40 Henri Matisse.”
Henri Matisse, Still Life with Sleeping Woman, 1940, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.26

Still Life with Sleeping Woman

Henri Matisse · 1940 · oil on canvas ·  Accession ID  1985.64.26

Georges Seurat, The Watering Can - Garden at Le Raincy, c. 1883, oil on wood, Collection of Mr. and Mrs. Paul Mellon, 2014.18.51

The Watering Can - Garden at Le Raincy

Georges Seurat · c. 1883 · oil on wood ·  Accession ID  2014.18.51

We look across a river at a long, flat bridge that runs parallel to a hazy, city skyline in the distance in this horizontal painting. The scene is painted with visible dashes and strokes of mostly pastel blue, ivory white, muted mauve purple, and navy blue. The flat bridge spans the width of the composition along the horizon, which comes a third of the way up the canvas. The sky above is filled with clouds painted in muted tones of cream white, pale blue, and a few touches of shell pink, which mirror the water below. Along the horizon, buildings with spires and towers stretch from our right about two-thirds of the way across the canvas. To our left, a cluster of several boats, tiny in scale, gather near the bridge. Closer, and to our right, three larger ferries are crowded with passengers who are represented by minuscule daubs of brightly colored paint, mostly in black, golden yellow, crimson red, sky and cobalt blue, and ivory white. These boats are painted in short, flat brushstrokes in bands of flame red and midnight blue. The artist signed and dated the work at the lower left: "C. Pissarro, 1890."
Camille Pissarro, Charing Cross Bridge, London, 1890, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.32

Charing Cross Bridge, London

Camille Pissarro · 1890 · oil on canvas ·  Accession ID  1985.64.32

Giacomo Manzù, Turtle Seizing a Snake, 1962, bronze, Gift of Alexandre P. Rosenberg, 1983.21.1

Turtle Seizing a Snake

Giacomo Manzù · 1962 · bronze ·  Accession ID  1983.21.1

Georges Braque, Large Nude, 1927, brown chalk and stumping on wove paper laid down on canvas, Woodner Collection, 2000.25.1

Large Nude

Georges Braque · 1927 · brown chalk and stumping on wove paper laid down on canvas ·  Accession ID  2000.25.1

Shown from the chest up, a young woman with peach-colored skin standing angled to our left takes up right two-thirds of this vertical portrait painting. Her blond hair is accentuated with strokes of tawny brown and gathered at the back of her head. A long tendril cascades down her back. She is lit from the upper left, which casts the back of her head in shadow. Her eyes are downcast, and her long nose and small mouth are set in a round face. She wears an almost sheer white, sleeveless dress with a low scooped neckline. A background painted with long streaks of fawn brown and tan fills the space behind her. The artist signed and dated in the upper right, “Picasso 22.”
Pablo Picasso, Classical Head, 1922, oil on canvas, Chester Dale Collection, 1963.10.189

Classical Head

Pablo Picasso · 1922 · oil on canvas ·  Accession ID  1963.10.189

A nude woman sitting with bent knees is carved from white marble in this freestanding sculpture. In this view, the woman’s body faces us. Her right knee, to our left, is bent so that leg lies along the ground. Her feet are together, and the other bent leg is upright. She holds her left hand, to our right, to that cheek so the elbow is close to the raised knee. She leans onto her other hand, which is placed just behind her with the fingers facing in. Her round face tips toward her raised hand, and she has delicate features and wide cheeks. Her hair is parted down the middle, rolled along her hairline, and is pulled back. The square base on which she sits is carved from the same piece of marble. The sculpture is photographed against a gray background.
Aristide Maillol, La Méditerranée, c. 1906, Carrara marble, Collection of Mr. and Mrs. Paul Mellon, 1995.47.17

La Méditerranée

Aristide Maillol · c. 1906 · Carrara marble ·  Accession ID  1995.47.17

Jean-Baptiste-Camille Corot, Madame Stumpf and Her Daughter, 1872, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.23

Madame Stumpf and Her Daughter

Jean-Baptiste-Camille Corot · 1872 · oil on canvas ·  Accession ID  1970.17.23

Shown from the hips up, a pale-skinned young woman wearing a white dress sits smiling gently at us in this vertical portrait painting. Blended strokes of pearl white, cool green, and muted blue create an overall soft, almost blurred look. The woman’s body is angled to our left, but she turns her face to look at us with brown eyes under dark, curved brows. She has a heart-shaped face with rosy cheeks, a thin, short nose, and full, pink lips, which are closed in a smile. Her honey-blond hair is swept up and back, but a few tendrils curl on her forehead and the nape of her neck. The neckline of her sleeveless white dress is cut low. The bodice fits tightly to a narrow waist, and a sprig of flowers is suggested by a few strokes of fern green and bright white at the center of the chest. A pale blue collar or ruffled band encircles her neck like a choker. Her hands rest together in her lap, and a white cloth loops over her forearms. The background is painted with loose strokes of powder blue and sage green against the off-white of the canvas, which is visible in some areas, especially along the left edge. The artist signed the painting near the woman’s elbow to our left, “Renoir.”
Auguste Renoir, Madame Henriot, c. 1876, oil on canvas, Gift of the Adele R. Levy Fund, Inc., 1961.3.1

Madame Henriot

Auguste Renoir · c. 1876 · oil on canvas ·  Accession ID  1961.3.1

A woman with light skin sits facing us across a marble-topped table in a café in this vertical painting. Her body is angled slightly to our right, and she rests her right elbow, on our left, on the table. She leans her right cheek onto the back of her right hand as she gazes into the distance. She holds a cigarette in her other hand, which rests on the tabletop. Her pale pink dress has long sleeves with ruffles at the cuffs, and buttons down the front of the skirt can be seen under the table. A lace bow or ruffles cascade down at her neck. Straw-colored hair peeks out under a black hat encircled with a wide band of lace. A short, stemmed glass sitting on the table in front of her holds a small, round piece of fruit surrounded by caramel-colored liquid. The white marble tabletop is streaked with gray. The burgundy, patterned banquette she sits on takes up the bottom half of the composition, and wood paneling around a slate-gray metal grate fills the top half. Loose brushstrokes are visible throughout. The artist signed the work as if he had written his name on the surface of the table, near the front edge to our left, "Manet."
Edouard Manet, Plum Brandy, c. 1877, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1971.85.1

Plum Brandy

Edouard Manet · c. 1877 · oil on canvas ·  Accession ID  1971.85.1