Impressionism and Post-Impressionism

On View: West Building, Main Floor

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138 artworks on view.

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We look slightly down onto a young woman sitting at a writing desk as she licks an envelope in this vertical, color print. A table folds down or extends from a tall secretary desk to our right. The blotter on the table and the woman’s long dress are both royal blue. The dress has a vaguely floral pattern in tan, and the jacket is open to reveal a vertically pleated, beige-pink shirt beneath. The woman’s skin is faintly tinted almost yellow. Her black hair is pulled back over dark brows and a delicate nose. She holds the open flap of the envelope to her mouth with both hands. A piece of white paper lies on the desktop in front of her. She sits in a brown chair, and the wallpaper of the room is patterned with green and muted brown flowers against a white background. The sheet is inscribed with graphite across the right half of the bottom margin, “Edition de 25 épreuves Imprimée par l'artiste et M. Leroy Mary Cassatt.”

The Letter

Mary Cassatt

1890-1891

Color softground etching, drypoint and aquatint on laid paper  Accession ID  1963.10.251

On View: West Building Main Floor, Gallery M87
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From high up, we look down and out at a river with seven ferries and barges, the waterway lined with buildings on the bank to our right, in this loosely painted, horizontal landscape. Dashes of muted blue, fern green, and tan create the rippling surface of the river, which fills most of the bottom half of the painting. A dark tugboat chugs out of the scene near the bottom center of the composition, and the other vessels create diagonals along the river, angled down toward the bottom right corner. Closer to us in the lower left corner of the painting, a platform edge with a railing juts out to or over the water. At least six people stand on the platform alone or in pairs. They are loosely painted with touches of black, gray, yellow, plum purple, and peach. The platform itself is painted with swipes of sky blue, oatmeal brown, butter yellow, and rose pink. Each person creates a reflection in the surface of the platform, suggesting it is wet, perhaps with rain. The spiky branches of a row of trees along the far side of the platform are sharp against the landscape beyond. The buildings on the far bank are several stories high and lined with windows. Buildings farther in the distance have triangular rooflines or domes, which become slate blue along the hazy horizon. An arched bridge with a flat deck spans the river about halfway back along the river as we see it. In the top half of the picture, fog-gray and cream-white clouds fill the sky with patches of hazy powder blue showing through. The artist signed and dated the painting in sable brown in the lower left corner, “C. Pissarro. 1900.”

The Louvre, Afternoon, Rainy Weather

Camille Pissarro

1900

Oil on canvas  Accession ID  2014.136.59

On View: West Building Main Floor, Gallery M89
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About two dozen men and women sit in straight-backed, wooden chairs gathered along a sandy expanse around pockets of water under a slate-blue sky that fills the top two-thirds of this horizontal landscape painting. Most of the people sit with their backs to us but the faces we can see suggest they all have light skin. The people gather in a loose crowd that crosses the left two-thirds of the composition. The women wear dark hats and long dresses with full skirts, their shoulders wrapped in shawls in black, red, dark yellow, or cream white. The men also wear hats, most of them black bowler hats, and suits in black or pecan brown. A few women hold up blue parasols in harvest gold, slate blue, teal, or gray. Two women and a man sit on the sand to the right. Three changing huts stand behind the group across the left half, and two brown horses stand at the water’s edge nearby. Three poles march into the distance to the right near where more people gather across a pocket of water. The artist signed and dated the lower right corner, “E. Boudin – 65.”

Bathing Time at Deauville

Eugène Boudin

1865

Oil on wood  Accession ID  1983.1.8

On View: West Building Main Floor, Gallery M82
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The image shows an adult and an infant in a relaxed, intimate pose. The adult on the left holds the infant, with their heads close together. The adult appears to be kissing or nuzzling the child's face. The adult has styled hair in an updo and wears a floral-patterned garment. The unclothed infant is nestled against the adult's chest, with short dark hair. There are no visible accessories or jewelry. The background is plain.

Mother's Kiss

Mary Cassatt

1890-1891

Color drypoint, softground etching, and aquatint on japanese paper  Accession ID  1943.3.2759

On View: West Building Main Floor, Gallery M87
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The image depicts a woman from the waist up. She is positioned slightly to the side as if she is seated and looking over her shoulder. Her hair is styled in a short, neatly combed manner that frames her face. She is dressed in a formal garment, possibly a dress, with her shoulders exposed. In her hands, she holds a large, ornate fan that partially covers the lower half of her face and chest. The background features a curved railing, indicative of an interior setting, possibly a theater or an opera house, with indistinct hints of people or decorations in the upper section.

In the Opera Box (No. 3)

Mary Cassatt

c. 1880

Softground etching and aquatint on japanese paper  Accession ID  1946.21.80

On View: West Building Main Floor, Gallery M88
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We look across a river at a bridge that spans the center of this horizontal landscape, which is painted entirely with broad, visible brushstrokes in muted blue, pink, and brown. The straight deck of the bridge crosses the center of the composition but angles slightly away from us as it moves to our right. The four low arches of the bridge are ash brown on their face, and their curved undersides are cobalt blue. Marigold-orange and teal-blue marks on the deck above suggest traffic, and shell-pink smoke or steam billows over our side of the bridge. Three long, narrow forms in the water between and in front of the bridge pilings suggest boats. The sky above is painted loosely with icy blue and pale peach around the slate-blue silhouettes of buildings and smokestacks lining the far bank. The artist signed and dated the painting in the lower left corner: “Claude Monet 1903.”

Waterloo Bridge, Gray Day

Claude Monet

1903

Oil on canvas  Accession ID  1963.10.183

On View: West Building Main Floor, Gallery M80
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The painting contains two full-body depictions of a man with dark skin in different postures and clothing, placed next to each other against a dark background. On the left, the man stands upright, holding a cane. He has a dark mustache and a red hat over his dark hair, and he is wearing a white tunic with a red detail on the chest, brown trousers, a sash, and red-and-gold footwear. On the right, the man is seated on a chair with his arm on the armrest, with his dark hair visible and a gold scarf over the same white tunic. The background is dark brown.

Two Studies of an Indian from Calcutta, Seated and Standing

Eugène Delacroix

c. 1823/1824

Oil on canvas  Accession ID  2006.128.19

On View: West Building Main Floor, Gallery M81
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Six men on horseback and wearing jockeys’ uniforms line up on a grassy field in front of us in this loosely painted horizontal scene. The jockeys and horses’ features are especially freely painted so much of the detail is indistinct. The horses are all chestnut brown except for two at the middle, which are dark brown. One horse, second from our right, rears up on its hind legs, and one to our left nuzzles its neighbor. The riders all wear brimmed caps or helmets, white pants, and knee-high black boots. Their caps and high-necked shirts are painted in shades of goldenrod yellow, aquamarine blue, white, red, or peach. Their faces and hands are peach-colored or light brown. Some of the horses and the rider’s clothing are outlined in black. One of the riders is set a little farther back than the others. A black silhouette in the near distance to our right suggests a man wearing a suit and tall top hat. Swipes of black, brown, sky blue, and white create the impression of a crowd across from us, gathered on the far side of the grassy area. Light green fields continue back to a line of shamrock-green trees at the foot of gently sloping hills. White clouds screen the ice-blue sky above, which takes up the top quarter of the painting. The paint seems thinly applied in many areas, especially the horses and the grassy fields, so the weave of the canvas is visible under strokes of green and brown. The artist signed the lower right corner, “Degas.”

The Riders

Edgar Degas

c. 1885

Oil on canvas  Accession ID  2014.18.7

On View: West Building Main Floor, Gallery M83
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A cleanshaven man wearing a black and red diamond-patterned costume and holding a white wooden sword tucked under one arm stands in a room with a blue background in this vertical painting. The scene is loosely painted with visible brushstrokes that make patches of mottled color. The man stands with his body angled to our right and seems to look down in that direction, though the dark eyes are loosely painted. His right eyebrow, closer to us, is a dark, curving arch. Touches of pink suggest rosy cheeks, and only a subtle swipe of pink suggests a mouth, which appears to be missing when seeing this work from afar. An arctic-blue cap curves widely down over the ears like an upside-down crescent moon. Some transparent swipes of black could be a lace or feather collar around the costume’s neckline. The hand we see, near the end of the sword, is oversized and painted in tones of fog blue and beige. The right foot steps in front of the left. He wears black shoes, and the toes are turned out. The wall behind the man is dappled with spruce blue, laurel green, and some touches of pinkish tan. A darker baseboard separates the wall from the floor below, which is made with patches of sky blue, rust red, pale pink, and olive green. The swag of a curtain, in shades of goldenrod yellow and muted teal blue, hangs on the wall behind the person’s head.

Harlequin

Paul Cezanne

1888-1890

Oil on canvas  Accession ID  1985.64.7

On View: West Building Main Floor, Gallery M84
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A pale-skinned young woman with copper-orange hair, wearing a turquoise-blue robe, stands in a pastel-infused landscape in this stylized, vertical painting. The woman fills most of the left half of the composition. She faces our right in profile with her head bowed as she looks down at the silver and brown box she holds in her right hand, closer to us. Her body angles away from us so we see her back. Her hair is held back under a gold-colored headand, and her blue robe falls over a white skirt. Beyond her, rocky mountains in ice blue and pale lilac purple span the horizon, which comes about three-quarters of the way up the painting, beneath a pale, rose-pink sky. An area of mottled parchment-white to our right of the person could be a field. Along the bottom edge of the canvas, rounded and organic shapes in scarlet red, turquoise, lapis blue, golden and lemon yellow, and pumpkin orange could be abstracted earth or flowers at the woman’s feet.

Pandora

Odilon Redon

1910/1912

Oil on canvas  Accession ID  1963.10.56

On View: West Building Main Floor, Gallery M80
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We look across a river at a bridge that spans the center of this horizontal landscape, which is painted entirely with broad, visible brushstrokes in pastel colors. The straight deck of the bridge crosses the center of the composition but angles slightly away from us as it moves to our right. The four low arches of the bridge are painted with cotton candy pink and pale apricot. The sky above is painted loosely with light aquamarine blue and watery turquoise. A few vertical strokes of paint over the bridge suggests buildings along the riverbank beyond. The bridge is reflected in the water below so the blue, green, orange, and pink swirl together. The artist signed the painting in violet-purple letters in the lower right corner: “Claude Monet.”

Waterloo Bridge, London, at Sunset

Claude Monet

1904

Oil on canvas  Accession ID  1983.1.28

On View: West Building Main Floor, Gallery M80
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This painting depicts a sandy beach under a vast, light blue sky. The horizon is in the center of the painting where the blue sky blends into the blue water. In the center of the painting, a group of women are on the beach, some standing and some seated. The women have light skin and wear clothing in shades of brown, dark blue, and red. They all wear headscarves covering their hair, mostly white except for one that is dark blue. Some of the women carry baskets, while others set them on the sandy ground. In the background, there are faint shapes near the shoreline created by small daubs of paint that suggest other people. The brushstrokes in the painting are thick and visible, especially those that create the shapes of the women. Small details are suggested with dashes and dots of paint instead of being shown clearly.

Women on the Beach at Berck

Eugène Boudin

1881

Oil on wood  Accession ID  1970.17.15

On View: West Building Main Floor, Gallery M82
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