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Three apples and two pears sit next to a knife and a luminous, white mug on a tan, stone surface before a muted, olive-green background in this horizontal still life painting. The objects and background are painted with blended strokes, giving the painting a soft, glowing appearance. At the center of the ledge or table, the apples are dappled with candy red and pale yellow. Two golden and moss-green pears are to our left, one upright and the other lying with its stem coming toward us. The fruit is painted with white highlights from a light source to our left. The cream-white mug sits next to the apples to our right. The mug has straight sides, a low band near the top and bottom, and the handle curves out to our right. Between the apples and mug, the black handle of a knife angles to our right, off the edge of the table. Shadows are painted in brick red on the surface of the table, which extends off both sides of the canvas. There is a vertical seam in the table under the upright pear.
Jean Siméon Chardin, Still Life with a White Mug, c. 1764, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.6

Still Life with a White Mug

Jean Siméon Chardin · c. 1764 · oil on canvas ·  Accession ID  1972.9.6

Shown from the shins up, two elegantly dressed women and two young boys, all with light skin, sit together on a bench in front of a stone balustrade with a forest landscape beyond in this horizontal portrait painting. The people are brightly lit from our left but the darkened sky suggests dusk. The boys lean onto the woman at the center of the composition, and the second woman sits to her right, our left. All of the people have pale skin, rosy cheeks, delicate noses, and their pink lips all turn up in slight smiles. The woman on our left sits with her body angled toward her friend but she turns her face to look at us with brown eyes under curving brows. Her wavy, flint-gray hair is loosely bound up so it frames the sides of her face and curls over her shoulders. Her swirling, white head covering is edged in gold and tied in a bow over her left ear, on our right. Her long-sleeved dress has a tight-fitting bodice and a low, scooped neckline lined with pleated white fabric. Her dress shimmers from sapphire blue to dusky pink, suggesting it is iridescent taffeta. Large pearls hang off the end of round, gold, hoop earrings, and a glimmering gold sash is tied around her waist. She sits with her left hand resting on her friend’s right shoulder, closer to her, and she gestures toward one of the young boys leaning on the friend’s lap with her other hand. The second woman sits with her body facing us, and she looks off to our left with gray-blue eyes. Her silvery gray, upswept hair is covered with a long piece of white fabric with pink stripes, twisted loosely into a turban-like head covering. She wears dangling gold earrings, and her dress is striped with parchment white and rust red. Her right hand, on our left, rests on her friend’s knee, and her other arm is wrapped around the older boy. He kneels on the bench and leans forward, wrapping the arm we can see around her torso. His face near hers, he looks up at her from under his lashes. A dimple marks the flushed cheek we can see. His chestnut-brown hair falls around his shoulders, and he wears a gingerbread-brown suit. The smaller and younger of the two boys rests his head on his crossed hands on her thigh, and looks out at us. He wears a white garment with a lilac-purple sash tied in a bow around his waist. There is a pale pink rosebush in the lower right corner of the painting, near the kneeling boy’s foot. The landscape beyond the balustrade is filled with dark green trees against a slate-blue sky. The painting is created with blended brushstrokes, giving it a soft look.
Élisabeth Louise Vigée Le Brun, The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien, 1787, oil on canvas, Purchased as the Gift of the Bay Foundation in memory of Josephine Bay Paul and Ambassador Charles Ulrick Bay, 1964.11.1

The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien

Élisabeth Louise Vigée Le Brun · 1787 · oil on canvas ·  Accession ID  1964.11.1

Jean-Auguste-Dominique Ingres, Henri Labrouste, 1852, graphite on wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.52

Henri Labrouste

Jean-Auguste-Dominique Ingres · 1852 · graphite on wove paper ·  Accession ID  1995.47.52

A man with tanned skin is surrounded by animals as he reclines against a grassy slope in this horizontal landscape painting. The area close to us is darkened or in shadow, so some details are difficult to make out, but the land brightens under a golden sky as it recedes into the deep, hazy distance. In the lower left corner of the canvas, the man faces our right in profile, looking toward the grazing animals. He wears a wide-brimmed hat and a caramel-brown jacket over a knee-length garment. He leans back on his near arm with one leg bent and the other extended. His far hand lies across his torso and holds a short staff. A dark brown goat, tan-colored sheep, and brown and gray cows wander and nibble on muted green, scrubby growth that carpets the hilly ground, which stretches across the center and right side of the composition. Trees with laurel-green canopies grow up beyond the man, and extend off the top edge of the painting. A slender, almost leafless tree frames the scene on the right. Two men walk on a gently arched, stone bridge beyond the spindly tree. Low hills slope down to a misty blue-gray plain, where a river winds along a jagged bank dotted with trees. In the far distance, ghostly buildings stretch along a line of slate-blue mountains. A glowing sun in the upper left corner casts diffused light across the scene. The sky is scattered with wisps of thin clouds.
Anonymous Artist, The Herdsman, 17th or 18th century, oil on canvas, Samuel H. Kress Collection, 1946.7.12

The Herdsman

Anonymous Artist · 17th or 18th century · oil on canvas ·  Accession ID  1946.7.12

Carved from cream-white marble, a woman stands next to a hip-high, three-legged table in this free-standing sculpture. Her weight rests on her left leg, her right knee bent. She wears a flower crown over a garment that covers her head and falls in sweeping, voluminous folds to her sandaled feet. An urn is tucked into her left elbow and she holds a saucer-like dish in her right hand down by her side to pour oil onto the flames on the altar below. She looks down toward the altar, which is decorated with a ram’s head and garlands.
Clodion, A Vestal, 1770, marble, Samuel H. Kress Collection, 1952.5.99

A Vestal

Clodion · 1770 · marble ·  Accession ID  1952.5.99

We look slightly down onto the surface of a river in which three narrow canoes, each paddled by a single person, are being rowed toward us in this horizontal landscape painting. The rowers wear white shirts rolled up to the elbows, light blue pants, and straw-yellow, wide-brimmed hats pulled down over the eyes. They sit in the bottom of their boats with legs extended and the handle of the double-bladed paddle straddling the boat over their laps. The canoe closest to us comes almost directly toward us, angled slightly to our right as it cuts through the surface of the river, its tip extending off the bottom edge of the canvas. The second canoe is a couple of boat lengths behind and to our left of the closest canoe. The third is small in the distance, near the horizon that comes three-quarters of the way up the composition. The back end of a fourth canoe and a single paddle extends into the scene from the right edge of the canvas. The butter-yellow paddles are reflected in the pale sage green and sky blue of the river’s surface. The river is lined on both sides with lush trees and vegetation, which fills the top quarter of the painting above the horizon.
Gustave Caillebotte, Skiffs, 1877, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.6

Skiffs

Gustave Caillebotte · 1877 · oil on canvas ·  Accession ID  1985.64.6

A young woman with light skin stands in a garden, wearing a voluminous, full-length, silvery, shimmering gown in this vertical portrait painting. Her body faces us, as she looks into the distance to our left. She has rosy cheeks, gray-green eyes under gently arched, light brown brows, and her coral-pink, thin, closed lips curve in a slight smile. Her ash-brown hair is pulled back and adorned with tiny shell-pink and azure-blue flowers along the left side top of head, to our right. A pleated lace ruffle encircles her smooth neck. Her gown is parchment white where the light glints off the stiff fabric and is silvery gray in the shadows, creating a silk-like sheen. The dress is cut low across the chest, fits tightly around her narrow waist, and has puffy sleeves tied at the elbows with topaz-blue bows. Another blue bow is tied at her chest, and the ends wrap around her back along her waist. A corsage at her left shoulder, to our right, is a profusion of white flowers around a pale pink rose. In her other hand, to our left, she holds a straw hat with a shallow crown and a wide brim, trimmed with sky-blue ribbon. The arm holding the hat is nearly engulfed in the deep folds of her full skirt. She holds a pink rose in her other hand, which rests on the lip of a shiny, copper-colored urn filled with pink flowers and delicate green leaves. On that wrist she wears a bracelet with four strands of white pearls holding a cameo. She stands on a pale, dirt ground. A teal-blue bench in the lower left corner of the painting is tucked into sage-green shrubbery. Sprigs of pink roses are strewn across the seat and on the ground. The woman is framed to either side with olive and celery-green trees and vegetation, which blend into the hazy distance beyond her head.
François Boucher, Madame Bergeret, possibly 1766, oil on canvas, Samuel H. Kress Collection, 1946.7.3

Madame Bergeret

François Boucher · possibly 1766 · oil on canvas ·  Accession ID  1946.7.3

Raoul Dufy, The Landing, 1928, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2013.164.1

The Landing

Raoul Dufy · 1928 · oil on canvas ·  Accession ID  2013.164.1

Shown from about the hips up, a woman whose pale face is deep in shadow stands with her back to us, wearing a black and gray dress and hat, in front of a colorful but loosely painted, indistinct background in this nearly square painting. She stands just to our right of center with her elbows bent, perhaps to clasp her hands in front of her. Her head is turned slightly toward us so we see the line of her forehead, nose, and chin almost in profile facing our left. Her auburn hair seems to be pulled up under a black hat that sits on the back of her head. Her high-necked, charcoal-gray vest-like bodice has a line of white at the neck, suggesting lace or an undershirt. The bodice covers a black shirt with ruffles that fall at least to her elbows, and the long dress drapes close along the contours of her legs. She looks to the far wall, which is painted with sketchy, visible brushstrokes in marigold orange, lemon-lime green, brown, black, and pale yellow to create the impression of paintings in gold frames. The artist signed the painting in dark red in the lower right corner: “Degas.”
Edgar Degas, Woman Viewed from Behind (Visit to a Museum), c. 1879-1885, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.11

Woman Viewed from Behind (Visit to a Museum)

Edgar Degas · c. 1879-1885 · oil on canvas ·  Accession ID  1985.64.11

Three women, two men, and an infant are gathered within a walled garden that extends off a building, its façade visible to the left, in this horizontal painting. The women have pale white skin and the men have olive-toned complexions. The men and women all wear voluminous, flowing robes and garments in lapis blue, ruby red, rose pink, olive or spring green. At the center a woman, Mary, supports a partially nude and squirming infant on her lap. Mary has wavy blond hair and wears a dark blue velvet robe that pools on the ground around her, with a lighter blue dress beneath. She sits on a chair with wooden spindle arms facing forward, toward us. She holds up the infant with interlaced fingers that wrap around his middle, and she inclines her head down and to our left, toward the infant. The child has blond hair, wide open blue eyes, and a chubby, pink-cheeked face. He is wrapped in a long, shimmery gold robe with brown cuffs and collar, which is open over his lower torso and legs. Facing our right, the child reaches with his left arm, palm outward. An array of shimmery, gold painted lines fan out around the heads of Mary and the infant. Just beyond the child’s reach, a woman in a red dress and shoulder-length, white head covering bends toward him and holds out a golden apple or other fruit. To our right, an elderly man has a full gray beard, and he gazes to our left. He leans, semi-stooping, on a walking stick that pins the hem of his garment. He wears a flowing cape in olive green with a black hood bunched across his shoulders, and a black skullcap. At his right foot, a small hog noses out from amid the draped garments. To the left of Mary stands a tall man in a spring-green cape with a gold lining, which hangs around his knees, exposing his lower legs and bare feet. He has bushy brown hair and a full beard. He cradles a small white lamb in his left arm while gesturing toward it with his right. His head is turned to our right, and he gazes off in that direction. Next to him, on the left side of the painting, a pale woman with flowing red hair in a pale pink cape sits on the ground directly in front of an arched doorway leading into the stone building. She sits facing our right, almost in profile. She bends her head toward a large, bound book resting on her lap that has lines of calligraphic writing in black and red. Propped beneath her right arm and projecting outward is a black metal sword that has a heart-shaped top. The sword’s tip touches a wooden wheel that lies on the grass, partially under the woman’s garments. The brick wall behind the group is covered across its width with a green and gold tapestry or cloth with a repeating floral motif. In the center, a vertical woven cloth of red and gold heraldic designs, with blue and green details, extends to the top of the painting, forming a backdrop behind Mary and the child. The ground is covered with green vegetation and a few small, pale yellow flowers blooming at the group’s feet. Over the wall, which is slightly higher than the standing man’s head, a sliver of blue sky and treetops is visible.
Anonymous Artist, Madonna and Child with Saints in the Enclosed Garden, c. 1440/1460, oil on panel, Samuel H. Kress Collection, 1959.9.3

Madonna and Child with Saints in the Enclosed Garden

Anonymous Artist · c. 1440/1460 · oil on panel ·  Accession ID  1959.9.3