Results

Lithographs by Toulouse-Lautrec
Closed August 3, 1952
The image shows a painting of figures at a bar or café table. Various figures, likely patrons and a bartender, are gathered around a bar counter. On the left, a stout figure with a mustache pours a drink from a bottle into a glass. To the right, there are figures in top hats having a conversation. A yellow pitcher and a pot of flowers are also visible. The background is deep blue, suggesting an interior setting. The color palette is mainly yellow, blue, and soft pink, typical of late 19th to early 20th-century styles and in the style of Henri de Toulouse-Lautrec.
Demonstration of Techniques
Closed October 7, 1952
This is a painting of a figure with wings playing a horn. The image shows a stylized silhouette of a winged figure blowing a long trumpet. The figure is depicted with rich tones of rust, green, and blue, resembling the patina of weathered metal, particularly on the upper torso and wings, with intricate detailing that mimics the appearance of sheet metal or copper alloy. The rest of the figure, the lower body and parts of the wings, is outlined but remains uncolored. The background is a plain off-white, emphasizing the figure in the foreground. The painting is in style of an abstract or contemporary expression, using mixed media or collage techniques.
French Paintings from the Molyneux Collection
Closed May 11, 1952
A woman pushes aside a deep golden yellow curtain that fills three-quarters of this nearly square painting. The curtain runs on a rod parallel and close to the top of the canvas, extends off the right edge, and falls behind a bed covered in the same color. The bed is cropped by the bottom and left edges of the painting, and a brown, arched wood footboard almost reaches the right side. The woman stands on the far side of the bed, facing away from us as she pulls at the curtain with her right hand. She wears a navy-blue dress and a brown braid falls down her back. She reveals an area covered in a pink, green, and white floral pattern that seems to match the size of the curtain, at least along the left edge where it is exposed. A round mirror hangs on the floral-patterned area above a red piece of furniture, perhaps a small table or stool. The wall around the patterned area and curtain is painted bone white. A line incised in the paint running from the top left corner of the floral area to the top edge of the canvas suggests a crack in the wall. The paint is loosely applied so brushstrokes are visible throughout, especially in the floral pattern. The artist’s signature is painted in red in the lower left corner: "E. Vuillard."
Etchings and Drypoints by Alphonse Legros
Closed September 21, 1952
The image shows a man seated at a desk. He is hunched slightly forward, absorbed in his activities. His facial features include a prominent nose and a beard, and he has a bald head. He is wearing a long-sleeved garment. On the desk in front of him are various papers, a quill, a large open book, and a globe beside a stack of books. The wall behind is dark, and there is a window with a lattice design, through which light appears to be coming in.
French Eighteenth-Century Aquatints
Closed October 26, 1952
This is a painting of a chaotic domestic scene in a rustic interior setting. The image shows a moment of turmoil with scattered items and two figures tumbling in the foreground. A third figure stands in the doorway, adding to the sense of movement and drama. The setting includes wooden structures and tools, with a warm sepia tone giving it a vintage quality. Detailed elements like beams, a partially open door, and foliage are also depicted. The style is reminiscent of Jean-Honoré Fragonard's lively compositions.
Twentieth-Century French Paintings from the Chester Dale Collection
Closed October 31, 1959
Four yellow apples, a lime, and a ceramic pitcher are loosely arranged across a tabletop covered with a carnation-pink cloth patterned with white flowers in this almost square, stylized still life painting. The scene is loosely painted with visible brushstrokes in saturated colors throughout. We look slightly down onto the front corner of the table, where the canary-yellow apples sit in the folds of the tablecloth. The apple closest to us at the corner of the table has a scarlet-red patch on the side facing us. Between the two rightmost apples, the lime is painted in shamrock and fern green. The cloth is bunched up just behind the apples to partially obscure the pitcher sitting near the back of the table. The pitcher is painted with swipes and patches of white, aquamarine blue, and silver gray with gold highlights along its spout. Daubs of pine green, rose pink, and flame red suggest a floral decoration on its side. The wall beyond the table fills the height of the composition, and is scattered with white flowers layered over an aquamarine-blue background. The blossoms seem oversized, each the size of a blown-up balloon. Other leafy forms painted with sapphire blue and plum purple could be more flowers or leaves. Two vertical stripes to the left and right behind the table are made up of strokes and daubs of caramel brown over honey yellow. The artist signed the lower right, “Henri-Matisse.”
Etchings by Jacques Callot
Closed April 19, 1952
This is a drawing of a cavalry battle scene. It displays a chaotic skirmish among horsemen, with soldiers brandishing weapons as they engage in combat on horseback. The scene is filled with dynamic movement as horses rear up and soldiers appear to be in active confrontation. The drawing captures the intensity of the battle with swirling lines suggesting the dust and smoke of the conflict. One horse lies prone on the ground, adding to the sense of tumult and disorder. The background is filled with combative figures, illustrating the scale of the engagement, and the etching employs fine lines and shading to convey texture and depth. The overall composition presents a vivid portrayal of martial action.
Etchings by Whistler
Closed June 10, 1951
This print presents a waterscape. Closest to us, the watery surface gently ripples, depicted by sparse lines. A boat occupies the central part of the print, floating on top of the water. The boat features a canopy of densely drawn lines that appear to be an abstract depiction of hanging fabric, or perhaps fishing lines or dry goods. At least one person is discernible, seated low on the boat. In the distance, other boats and buildings are visible. The horizon is halfway up the print, and the sky above the water is clear.
Paintings and Sculpture Acquired by the Samuel H. Kress Foundation, 1945-1951
Closed October 31, 1951
An elderly man kneels and leans back with his arms spread wide as he gazes up at another older man sitting in a chariot made of flames and pulled by white horses, which are held aloft by fawn-brown, puffy clouds, in this horizontal painting. Both men have pale skin and are partially bald with full beards. To our left, the kneeling man is mostly turned away from us, so we see the back of his ash-blond hair, a deeply furrowed brow, and a hooked nose. His head tips back and his mouth hangs open. He wears a long, mahogany-brown robe with a flax-yellow mantle draped over his left shoulder. One bare foot emerges from under the hem of the robe so we see the bottom of his foot, and his toes dig into the rock on which he kneels. The rock is painted with strokes of amber brown and sage, olive, and pine green, and it slopes down to a blue-green sea in the lower right corner of the painting. The man in the chariot, Elijah, is positioned across from the first man, to our right. With his body facing the kneeling man, Elijah turns his head to look up to the light streaming in from the upper left corner. Elijah’s right hand, on our left, grasps the white mantle wrapped around his tan robe, while the other hand extends to our right with fingers spread wide. A gold, spoked chariot wheel sits below that hand, facing us. Pale coral-peach flames curl around the wheel and flicker around Elijah’s legs. The flames continue to our left, blending into the bodies of the two muscular, white horses who climb the bank of sand-colored clouds that support the entire chariot. Each corner of the canvas has an inward curving, burnt-orange form, like mounting corners holding a photograph in an album.
Fifteenth-Century Graphic Art
Closed February 3, 1952
This is a drawing of a group of figures standing in a row. The artwork features five figures, each adorned with distinct garments and accessories. The style is reminiscent of medieval or early Renaissance woodcuts, with simple color filling and outlines. The figures are positioned against a backdrop decorated with floral motifs at their feet.
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