Galerie Charpentier

French

Explore Selected Works

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Jean-Baptiste Greuze, The Angry Mother, black and gray wash over graphite on laid paper, Gift of Arthur L. Liebman, 1992.87.29

The Angry Mother

Jean-Baptiste Greuze · · black and gray wash over graphite on laid paper ·  Accession ID  1992.87.29

We look across the water at two sailing ships with cream-white sails and dark rigging floating in a shimmering, ice-blue river against a distant shore lined with trees, hills, and buildings in this nearly square landscape painting. The horizon comes about halfway up the painting, and the ships’ masts and sails are silhouetted against a topaz-blue sky with wispy white clouds. The scene is loosely painted with visible brushstrokes throughout so many of the details are indistinct. One boat floats near the left edge of the painting and the second is situated a little father back, to our right of center. Both have rust-orange anchors painted near the pointed bows, which face us. Tall, narrow, asparagus-green trees line the far riverbank between the boats. Tall spires and towers of buildings rise in a cluster to our left near that edge of the canvas, and boats cluster near the distant shore to our right. Oatmeal-brown hills rise beyond the trees and town. The trees and boats are reflected in the water, which is painted with horizontal dashes and squiggles. The artist signed the painting in the lower left, “Claude Monet.”
Claude Monet, Ships Riding on the Seine at Rouen, 1872/1873, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.43

Ships Riding on the Seine at Rouen

Claude Monet · 1872/1873 · oil on canvas ·  Accession ID  1970.17.43

Sailboats line a grassy riverbank in this loosely painted horizontal landscape. Vivid blue water stretches before us to meet a verdant bank along the left third of the horizon, which comes less than halfway up the composition. About a dozen people standing in the grass are painted with a few strokes each of white or dark blue. One sailboat dominates the scene just right of center, and about half a dozen more sailboats are spaced farther back in the landscape beyond it. A flagpole rises along the left edge of the painting. The water and sky are thinly painted, and areas of the tan-colored, textured canvas are visible, especially in the sky.
Auguste Renoir, Regatta at Argenteuil, 1874, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.59

Regatta at Argenteuil

Auguste Renoir · 1874 · oil on canvas ·  Accession ID  1970.17.59

A young man with tanned, peachy skin sits at a table pulling his mouth wide with both hands in this vertical painting. On the far side of a wooden table, he faces us with elbows splayed wide. He has hooked the first finger of each hand into the corners of his mouth to stretch his open lips into a long, goofy line. He has wide-set eyes and a wide nose. His brown hair sticks out from under a tall, fuzzy brown hat, which has a knife secured by the blade in a loop to our left. The man’s iron-gray jacket has coffee-brown sleeves with the white of his shirt showing at the cuffs. A putty-gray jug accented with washes of rust-red and a glass filled with an amber liquid sit on the table before him. Soft light from the upper left gleams white on these smooth surfaces. A dark mass visible under the table is presumably the tops of his legs. The top right corner of his wooden chair is visible over his right shoulder, on our left, and he is set against a dove-gray background. The scene is loosely painted so brushstrokes are especially visible in the man’s face and hands.
Adriaen Brouwer, Youth Making a Face, c. 1632/1635, oil on panel, New Century Fund, 1994.46.1

Youth Making a Face

Adriaen Brouwer · c. 1632/1635 · oil on panel ·  Accession ID  1994.46.1

Louis Gabriel Moreau the Elder, Mill with Bridge and Figures, watercolor over graphite on laid paper, Samuel H. Kress Collection, 1963.15.21

Mill with Bridge and Figures

Louis Gabriel Moreau the Elder · · watercolor over graphite on laid paper ·  Accession ID  1963.15.21

A bouquet of cut flowers in a clear glass vase nearly fills this vertical painting. The vase has straight sides and the rounded bottom is supported by short, round feet. Some of the flowers can be identified as white roses and carnations but other less defined flowers are executed in quick touches of delphinium blue, marigold orange, brick red, and butter yellow. Green stalks and leaves are interspersed throughout, and green stems fill the vase. Some of the flowers and vegetation are thickly painted, and these contrast with other areas where the paint is more thinly applied. The bouquet is set against a pale gray background, and the vase casts a subtle blue shadow to our right. The artist signed the painting in gray letters at the lower right: “Manet.”
Edouard Manet, Flowers in a Crystal Vase, c. 1882, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.37

Flowers in a Crystal Vase

Edouard Manet · c. 1882 · oil on canvas ·  Accession ID  1970.17.37

Seven pale-skinned people crowd around a wooden table to our right in this horizontal painting, as several more gather around a fire in a deeply shadowed room beyond, to our left. The room we are in has high ceilings and peanut-brown walls and floor. At the center of the composition, a man dressed in mustard yellow with a yellow and burnt-orange jester’s cap stands facing us. His smiling mouth is agape, and he lifts his left arm, to our right, to gesture toward the group at the table there. His feet are widely planted, and a ceramic jug dangles from his other hand. At the table to our right, one man sits at the front, left corner of the table, leaning back in his chair as he raises his black hat high in his right hand, closer to us. His face is tipped up and his mouth is wide open. Across from him is another young man in a blue-gray jacket who wears a paper crown. With the back of the wrist closer to us planted on his hip, he tilts back his head to drink from a tall tankard held in his other hand. One young and one older woman women sit smiling among the men. The younger woman wears a navy-blue dress with a white cap covering the back of her blond hair, and the older woman is in ocean blue with a white head covering. Two more men at the table also have their mouths open and wear earth-toned clothes. A man has poked his head through a small, squared opening high on the wall above the table to our right, to look down at the group. Over the the man in the jester's hat, a gray owl sits chained to a perch driven into the wood stud that frames the wall behind the group. Bits of paper are scattered on the floor and two terracotta jugs sit gleaming in the lower right corner. A tawny cat peers out from behind the drinker’s seat. A dog with sable-brown fur lies near a low table in the lower left corner of the painting. A shallow, terracotta dish with short feet sits on the table and a brown ceramic jug, oyster shells, and a few stalks of straw sit near the dog and table. In the dimly lit room beyond this one, a man, woman, and four children gather around a fireplace. The woman holds a long-handled griddle over the flame, and she turns to look back over her shoulder. The artist signed and dated the work as if he had written on the front edge of the low table to our left: “D. TENIERS F 1635.”
David Teniers the Younger, Peasants Celebrating Twelfth Night, 1635, oil on panel, Ailsa Mellon Bruce Fund, 1972.10.1

Peasants Celebrating Twelfth Night

David Teniers the Younger · 1635 · oil on panel ·  Accession ID  1972.10.1

A nude, muscular, pale-skinned man sits on a rock in front of a deep, shadowy landscape in this vertical painting. Most of the man’s body is silhouetted against the sky, and he nearly fills the picture. His body faces our right almost in profile, and he turns his head to look away. He has short black hair and a moustache and beard. The rest of his face is in shadow. He rests his left arm, farther from us, along a spear that spans the composition from the lower right corner to the upper left. He grips the spear with the other hand. One knee is bent so his foot is propped on the stone just below his seat. The other leg, closer to us, stretches long. He sits on a pine-green cloth draped over the rock. Bands of brown and then blue rocky hills line the horizon, which comes a quarter of the way up this composition. Steel-gray and white clouds fill the sky above.
Théodore Gericault, Nude Warrior with a Spear, c. 1816, oil on canvas, Chester Dale Collection, 1963.10.29

Nude Warrior with a Spear

Théodore Gericault · c. 1816 · oil on canvas ·  Accession ID  1963.10.29

Hubert Robert, The Peasant Dance, c. 1770/1775, pen and black ink with gray and brown wash and black chalk over a black chalk counterproof, on laid paper, Samuel H. Kress Collection, 1963.15.26

The Peasant Dance

Hubert Robert · c. 1770/1775 · pen and black ink with gray and brown wash and black chalk over a black chalk counterproof, on laid paper ·  Accession ID  1963.15.26

We look slightly down onto a group of people gathered along the bank of a river that winds around a copse of tall trees to our left, past a hill to our right, and into the deep distance in this horizontal landscape painting. The horizon line comes about a third of the way up the painting. More than a dozen people gather to converse in pairs or trios, or work loading a ship in the lower right corner of the composition. Most of the people seem to be men, except for two women who stand near a man who gestures to our left at the lower center of the painting. The people we can see have light or tanned skin. The men loading the boat to our right wear pants and shirts in navy blue, gray, tan, or crimson red. Men wearing hats and capes over suits near the lower center, and the women wear clothing in olive green, butter yellow, petal pink, coral red, or gray. Goods are strewn along the riverbank closest to us, including potted flowering plants to our left, a jumble of chairs, tables, and musical instruments nearby, and collections of wooden barrels to our right and in the lower left corner. Two more boats are moored at the shore in front of the grove of tall, dark green, leafy trees that take up the left third of the composition. The sage-green surface of the river curves to our right, to a tree-covered hill with a watermill at its base. A stone structure with a large, central, round tower sits along the top of that hill. The river continues to wind into the deep distance, where towns nestle along the bases of rolling, slate-blue mountains along the horizon. The sky above is pale yellow along the horizon and deepens to pale blue above. Smoke-gray clouds sweeping in from the right are lit bright cream-white where the sun catches the edges. The artist signed and dated the painting as if he had written his name on the side of the boat in the lower left corner, though the inscription appears to be incomplete: “CLAVDIO o I Vo 16 9 OM.”
Claude Lorrain, Landscape with Merchants, c. 1629, oil on canvas, Samuel H. Kress Collection, 1952.5.44

Landscape with Merchants

Claude Lorrain · c. 1629 · oil on canvas ·  Accession ID  1952.5.44