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Wifredo Lam, L'Esprit veillant (The Watchful Spirit), 1944, oil on canvas, Patrons' Permanent Fund and Gift of Funds from Leonard A. Lauder, 2026.23.1

L'Esprit veillant (The Watchful Spirit)

Wifredo Lam · 1944 · oil on canvas ·  Accession ID  2026.23.1

Marie Bracquemond, Marguerite, c. 1874, oil on canvas, Chester Dale Fund, 2026.9.1

Marguerite

Marie Bracquemond · c. 1874 · oil on canvas ·  Accession ID  2026.9.1

This painting shows a young woman lying on her stomach on a brown, rocky surface near the water's edge, looking towards the sea. The woman's bare feet are towards the bottom left corner of the painting, while her head is in the center, resting on her hand. She faces the right, and we see her back and side. She wears a pale green shirt with blue sleeves, a brown skirt, and a white cloth on her head. There is a red cloth on the ground next to her, as well as a pointed wooden stick that appears to be covered in white strips of cloth or feathers. The ground below her on the right is a tan, sandy color, and behind her is the sea, which is painted in vibrant turquoise and green shades, with white lines capping small waves. The sky is light blue with puffy white clouds, and distant landforms are visible in light gray across the water.
Jules Breton, The Cliff (La Falaise), 1874, oil on canvas, Gift of Eric, Nicole, Elijah, Elodie and Luke Weider, 2024.146.1

The Cliff (La Falaise)

Jules Breton · 1874 · oil on canvas ·  Accession ID  2024.146.1

A band of several galloping horses and riders move across the center of this vertical painting. The color palette is dominated by blended earthy brown, green, and pale pink. The horses, which have reddish-brown coats and tails, nearly span the width of the painting. They move to our left with their legs fully extended. Underneath the horses’ flying legs lies the body of a man. The felled rider faces upward, his eyes closed and his legs splayed. He has a light brown beard, mustache, and hair, and pale tan skin. He wears brown riding boots with black tops, white breeches, and a pink jersey with black sleeves. His riding helmet, with a matching pink cover, lies behind his head on the ground. At least three additional horses are in the band, and the two foremost have empty saddles. The two horses beyond them, farther into the picture, have male riders, who wear riding outfits and helmets in colors of smudged and blended orange, lavender purple, and green. They also have brown mustaches and beards. The band races through a field painted with a muddy green interspersed with strokes of orange and white. The horizon line is high, just above the level of the horses’ backs, about four-fifths of the way up the painting. Blue sky peeks out amid a mixture of pale pink and yellow clouds above. There are trees in the background indicated by a few strokes and dashes of paint. The painting style is loose and brushy throughout, without sharp detail or lines, except for the sketched-in black lines that delineate the bodies and tack of the horses.
Edgar Degas, Scene from the Steeplechase: The Fallen Jockey, 1866, reworked 1880-1881 and c. 1897, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1999.79.10

Scene from the Steeplechase: The Fallen Jockey

Edgar Degas · 1866, reworked 1880-1881 and c. 1897 · oil on canvas ·  Accession ID  1999.79.10

The sculpture features a small rabbit in a calm posture with perked ears, resting partially on its haunches on a textured base. The rabbit is sculpted from dark material with a green patina, resembling aged bronze. It has a smooth yet detailed surface, with visible contours defining its form. The rectangular base has tiered edges matching the rabbit's color and material. The sculpture is compact in size, suitable for display on a table or shelf.
Antoine-Louis Barye, Crouching Rabbit, model c. 1820s, bronze, Collection of Mr. and Mrs. Paul Mellon, 1999.79.1

Crouching Rabbit

Antoine-Louis Barye · model c. 1820s · bronze ·  Accession ID  1999.79.1

This painted canvas hangs on the wall loosely from four gathered peaks—one peak on each end to the left and right, and two peaks evenly spaced in between. The fabric is tightly wrapped with a leather cord into a fist-like form to create each peak, except for the right-most peak, where the fabric is knotted. The canvas is stained with large areas of soft color that largely meld together, with mostly pink, peach, and yellow to the left that transitions to violet, turquoise, and sky blue to the right. Hard-edged, vivid orange streaks break through the blues and greens to the right.
Sam Gilliam, Relative, 1968, acrylic on canvas, Anonymous Gift, 1994.39.1

Relative

Sam Gilliam · 1968 · acrylic on canvas ·  Accession ID  1994.39.1

Set in an outdoor garden, a sculpture with two tall metal arms curve up like stylized tree branches to hold a sign between them, which reads, “METROPOLITAIN.” In this photograph, the sign faces us and fence-like rows of panels extend back from the posts, and across the back to enclose three sides. The panels, posts, and the framework holding the sign are all painted sage green. Each panel has a rounded top with a two-lobed, medallion-like center. The arms of the posts reach above the sign, and each curves up and over a burgundy-red light that hangs down like a flower bud. Three wooden benches sit within the enclosure. The sculpture is set within a garden with tall trees, a grassy lawn, and umbrella-covered café tables and chairs. A silver, metal tree rises in the near distance to our left.
Hector Guimard, An Entrance to the Paris Métropolitain, model 1902, fabricated 1902/1913, painted cast iron and bronze, Gift of Robert P. and Arlene R. Kogod, 2000.2.1

An Entrance to the Paris Métropolitain

Hector Guimard · model 1902, fabricated 1902/1913 · painted cast iron and bronze ·  Accession ID  2000.2.1

The relief depicts the profile of a man wearing a hard helmet. He is holding an object close to his chest and looking to the right. The sculpture is made of metal with a greenish patina finish, mounted within a wooden frame. At the bottom, there is a plaque with the word "MINUER" engraved. The details of the sculpture include the miner's facial features and helmet texture.
Constantin Meunier, Henri Baudoux, The Miner, 1904, glazed stoneware in period wood frame, Gift of Mary L. Levkoff, 2013.161.1

The Miner

Constantin Meunier, Henri Baudoux · 1904 · glazed stoneware in period wood frame ·  Accession ID  2013.161.1

The painting depicts a landscape viewed from an elevated position, offering a wide perspective of a rural village extending into the distance. The sky above is dominated by dramatic, scattered clouds with subtle shades of grey and pale yellow among the light blue. Dark blue silhouettes of buildings and a few chimneys are visible on the horizon, which is in the top third of the painting. Closest to us, small houses with steep roofs are nestled among leafless trees, and plumes of smoke rise gently from several chimneys. Beyond, the landscape gently slopes away, revealing more clustered buildings, square fields, and winding paths leading toward the distant skyline. The houses and landscape are in shades of green and gray, with some pops of rusty orange on some chimneys and patches of grass.
Lamar Dodd, Winter Valley, 1944, oil on canvas, Anonymous Gift, 1971.3.1

Winter Valley

Lamar Dodd · 1944 · oil on canvas ·  Accession ID  1971.3.1

A woman stands on a sun-dappled path, which runs past a bank of blooming flowers and back to a cottage in this vertical painting. Close to us, the bush fills the lower right quadrant of the composition, where coral-pink and golden yellow dahlia blossoms flare like fireworks from among deep, spruce-green foliage. Sunlight from our left casts long violet-purple and steel-blue shadows across the white path, which runs parallel to the left edge of the canvas alongside a strip of trimmed lawn. In the near distance, the woman looks down at something in her hands at her chest so the brim of her hat angles down. She wears a pale blue jacket or blouse and a long, azure-blue skirt. A small black dog with wiry fur stands near the woman and looks at us. A greenhouse with a rounded, mint-green roof sits lengthwise on our right. Several windows are tipped open on the bottom half of the structure. Hedges of white, laurel-green, and peacock-blue flowers and bushes grow between the woman and the greenhouse. The house at the end of the path has a terracotta-orange roof, pale peach stucco walls, and dark orange shutters. Dense canopies of trees nestle each side of the house, and above, puffs of white clouds float against a watery, turquoise-blue sky. The artist signed and dated the painting in green in the lower left, “G. Caillebotte, 1893.”
Gustave Caillebotte, Dahlias, Garden at Petit Gennevilliers, 1893, oil on canvas, Gift of the Scharffenberger Family, 2016.48.1

Dahlias, Garden at Petit Gennevilliers

Gustave Caillebotte · 1893 · oil on canvas ·  Accession ID  2016.48.1