Impressionism and Post-Impressionism

On View: West Building, Main Floor

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134 artworks on view.

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The image shows two women depicted in a monochromatic etching style. One woman is standing and one is seated. The standing woman is shown from head to toe, slightly angled towards the seated woman, and resting one hand on the back of a chair. She has her hair styled in a bun or short crop, with her facial features appearing soft and somewhat indistinct due to shading. She wears a long dress that falls to the floor. The seated woman is shown from the waist up, turned towards the standing woman. Her hands are possibly resting in her lap or on a table. Her hair is styled up, and her facial features are also undefined due to shading. The seated woman wears clothing with long sleeves. The setting appears to be indoors, with textured walls or drapery in the background, possibly curtains. Light seems to be coming from behind the standing woman.

The Visitor

Mary Cassatt

c. 1880

Softground etching, aquatint, and drypoint on laid paper  Accession ID  1946.21.94

On View: West Building Main Floor, Gallery M88
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A screen made up of five tall, rectangular panels, set side by side and each surrounded by a gold frame, is painted as a single scene showing a tree-lined sidewalk curving around a park in a city. The scene is loosely painted with short, rounded brushstrokes. The top two-thirds to three-quarters of most of the panels are filled with the lime and olive-green leaves of the trees that line the sidewalk and park. In the leftmost panel, the sidewalk and road lead back to a row of caramel-brown building façades. The sidewalk is pale taupe, and the street is painted with dashes of the same taupe against terracotta brown, suggesting cobblestones. Spindly trees are spaced in a row along the sidewalk in round holes covered with smoke-gray metal grates. A black fence, painted with thin, sometimes broken black lines encloses the park beyond, which has a path around plantings and the vivid green lawn. Touches of pink on a sage-green tree to our left in the park suggest flowers. A gray statue on a high plinth is partially lost in the break between the two rightmost panels. Men, women, and children, painted with a few strokes of black, gray, or marine or periwinkle blue, walk along the sidewalk and the garden path, or sit at the base of the fence or on benches spaced along the sidewalk. The women seem to wear long dresses and the men dark clothing and hats. Two carriages are pulled up on the street near a lamp post alongside the sidewalk near the lower left. In the leftmost panel, horse-drawn carriages move along the road leading back to the buildings, and more people seem to be gathered on the sidewalk near the left edge of the panel in the distance. The artist signed the work with brown paint in the lower right corner: “E. Vuillard.” The panels of the screen have been set up so the panels rest on a platform or on the floor in a shallow zig-zag pattern, in a room with an off white wall and bisque-brown molding along the floor.

Place Vintimille

Edouard Vuillard

1911

Five-panel screen, distemper on paper laid down on canvas  Accession ID  1998.47.1-5

On View: West Building Main Floor, Gallery M80
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Clouds hunker over a water-logged street that separates us from the end of a row of buildings in this horizontal painting. The scene is loosely painted, especially in the sky and water. The lowest level of the building across from us is apricot orange. The second story is pale peach, and dormered windows cut into the gray and then brown rooflines above. The words “AS’ NICOLAS” are painted in gray near the top of the second level, and more letters on the level below are illegible. The roofline drops down a level where it meets the structure next to it, along the left edge of the canvas. Two women in long skirts stand at a darkened, open doorway near the front corner of the structure. A sign on the side of the building hangs from a horizontal arm over three men in and near a shallow boat, which is being propelled by a man who stands in the stern with a long stick. The street is so wet that it first appears to be a canal or river. It is only when we notice dashes of mauve, pale pink, and gray to our left that we realize the cobblestone road is flooded. A band of buildings with tan walls and black or red roofs spans the right two-thirds of the horizon, which comes about a quarter of the way up this composition. A grove of cinnamon-brown trees and some open structures could be a submerged park in the near distance. Two poles and some spindly trees to our right are reflected in the water. Dark forms around these areas could be more people. Pale blue and very pale pink whip together in the sky, suggesting churning clouds veiling the blue sky. The artist signed and dated the work in the lower left corner, “Sisley 72.”

Flood at Port-Marly

Alfred Sisley

1872

Oil on canvas  Accession ID  1985.64.38

On View: West Building Main Floor, Gallery M82
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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.”

Dahlias, Garden at Petit Gennevilliers

Gustave Caillebotte

1893

Oil on canvas  Accession ID  2016.48.1

On View: West Building Main Floor, Gallery M85
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Shown from the waist up, a young girl wearing a slate-gray dress and straw hat stands with her hands clasped in front of her in this vertical portrait painting. The girl has light, peachy skin, and her cheeks are lightly flushed. Her body faces us but she tips her head slightly to her right, our left, and looks off into the distance with dark brown eyes. Her faint eyebrows drawn together, and her cherry-red, full lips slightly turn down at the corners. She has a button nose and a rounded chin line. She has dark blond, straight, shoulder-length hair under a wide, flat-brimmed straw hat. The hat is wrapped around the crown with a checkered white and black bow. Her shoulders slope down as she holds one wrist with the other hand down in front of her. She wears a jumper over a shirt with short white sleeves. At first glance the jumper appears pale gray but closer inspection reveals strokes of pale lilac, ivory white, and cobalt blue. The girl’s features and clothing are painted with loose, visible brushstrokes, and the background behind her is painted with vertical strokes of tan blended with faint green. Short dabs of brighter gold and butter yellow give the impression of sunshine on the brim of the hat and in the girl’s hair. The artist signed the work with loose letters in the lower right corner, “Mary Cassatt.”

Child in a Straw Hat

Mary Cassatt

c. 1886

Oil on canvas  Accession ID  1983.1.17

On View: West Building Main Floor, Gallery M86
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A young boy with pale skin, wearing a burgundy-red suit and floppy hat, stands facing and looking at us with a gray terrier dog at his side in this vertical portrait painting. The boy has large, slate-blue eyes, rounded smooth cheeks, a small nose, and his pink bow lips are closed. His thick blond hair falls in waves across his forehead and down to his shoulders. His body is angled slightly to our right and he holds a riding crop with both hands in front of his body. The sheen on his burgundy-red jacket, and knee-length pants suggests they are velvet. A wide, lace collar comes to points on his chest. Lace cuffs peek out at his wrists, and the lower hem of his pants, around his knees, is edged with wide lace. A broad, slightly brighter ruby-red sash wraps around his waist and hangs by his left hip, on our right. His calves are covered in stockings of the same brighter red. His black shoes seem to be tied with a ribbon, but this area is loosely painted. His right hand, to our left, might brush the head of the dog sitting next to the boy’s leg. The dog has shiny, charcoal-gray fur and a black nose, ears, and eyes. The dog sits angled and looking off to our right. They are on a brick-red carpet with dashes of black that suggest a pattern, and an olive-green drape hangs behind them. The portrait is loosely painted throughout, but the brushstrokes are especially visible in the rug, background, and dog. The painting is inscribed near the lower right corner: “Eddy from Aunt Mary.”

Eddy Cassatt (Edward Buchanan Cassatt)

Mary Cassatt

1875

Oil on canvas  Accession ID  2015.41.1

On View: West Building Main Floor, Gallery M86
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Printed with black lines on cream-white paper, two women, one holding a baby on her lap, sit on the long bench seat of an omnibus in this vertical composition. The women and their full skirts take up almost the width of the composition against the bench, which extends off both sides. The woman to our left wears a high-collared dress, gloves, and hat. She looks off to our right, almost in profile. She has a round face and the hint of a double chin. One gloved hand rests on a cane. The other woman holds the baby and tips her head down toward the child. Both women’s black hair is pulled up under their hats. The baby wears a ruffled bonnet, a blousy garment, stockings, and shoes. A row of windows behind them, parallel to the top of the bench, open onto an arched bridge spanning a river with boats. To our left, the water’s edge is lined with puffy forms reminiscent of trees and bushes.

In the Omnibus

Mary Cassatt

1890-1891

Drypoint with graphite on wove paper  Accession ID  1946.21.93

On View: West Building Main Floor, Gallery M87
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This is a painting of a dim street with several people carrying sacks. The people wear long skirts and aprons in dark colors, and their large sacks are filled with white cloth. The people are bent over under the weight of the sacks. They walk across a cobblestone street in front of a building with a lit interior and blue wallpaper. On the right side of the painting is another street with more buildings and a carriage where people appear to pass up their sacks to a person on top.

The Laundresses

Théophile Alexandre Steinlen

1899

Oil on canvas  Accession ID  1954.4.4

On View: West Building Main Floor, Gallery M80
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The rounded, feathery canopies of trees are mirrored in the placid surface of a river in this horizontal landscape painting. The scene is loosely painted with visible dashes and strokes. The largest tree is to our right of center. Touches of cucumber and emerald green, eggplant purple, indigo blue, and smoke gray create the cloud-like canopy. More bushes and trees to either side are created with dashes of cool sky and lapis blue, mint and sage green, and muted rust red. The horizon runs across the middle of the canvas. The sky above and the reflection of it below are painted with longer, curving strokes of parchment white and pale shell pink. The artist signed the painting in the lower left corner, “Claude Monet.”

The Seine at Giverny

Claude Monet

1897

Oil on canvas  Accession ID  1963.10.180

On View: West Building Main Floor, Gallery M80
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Two women, one holding a baby on her lap, sit on the long bench seat of an omnibus in this vertical, colored print. The women and their full skirts take up almost the width of the composition against the peacock-blue bench, which extends off both sides. The women and baby’s skin are the color of the cream-white paper. The woman to our left wears a tan-colored, high-collared dress, gloves, and hat. She looks off to our right, almost in profile. She has a round face and the hint of a double chin. One gloved hand rests on a cane. The other woman holds the baby and tips her head down toward the child. That second woman wears a tea rose-pink dress and a hat with areas of darker pink, fern green, and straw yellow. Both women’s black hair is pulled up under their hats. The baby’s ruffled white bonnet, blousy garment, stockings, and shoes are also the white of the paper, though the hair is picked out with yellow, the lips with pink, and the ball held in one hand with brown. The structure of the women’s bodices, puffy long sleeves, and long skirts as well as the baby’s clothing are outlined in black. A row of windows behind them, parallel to the top of the bench, open onto an arched bridge spanning a river with boats. To our left, the sandy water’s edge is lined with spruce green trees. Back inside, the panel behind the women’s legs is peanut brown, and the top of the omnibus is muted mauve purple. A mark with an oval, or a mirrored C, over an uppercase M, is stamped in royal blue at the bottom center of the print. The sheet is inscribed with graphite across the right half of the bottom margin. Text reads, “Edition de 25 épreuves Imprimée par l’artiste et M. Leroy Mary Cassatt."

In the Omnibus

Mary Cassatt

1890-1891

Color drypoint, softground etching, and aquatint on laid paper  Accession ID  1963.10.250

On View: West Building Main Floor, Gallery M87
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The image depicts a woman seated, with her upper body turned slightly away from the viewer. She has short brown hair, a prominent nose, and slightly pursed lips. She is wearing a pale yellow sleeveless dress and holding a fan in her left hand. A dark green table in front of her holds a pink decorative container, papers, a cup, and a saucer. In the background, there is a large blue lamp with a pink shade, and the wall behind her has a horizontal line detail design.

The Lamp

Mary Cassatt

1890-1891

Color drypoint, softground etching, and aquatint on laid paper  Accession ID  1943.3.2762

On View: West Building Main Floor, Gallery M87
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A pale-skinned woman bends over a basin of water on a washstand in this vertical, colored print. The woman is angled away from us so only her ear and the curve of her forehead are visible beyond her hunched shoulder. Her upper body is bare, her dress having been unfastened so it hangs around her waist. The dress is striped with grass green, rose pink, and the cream white of the paper. Light gleams on her auburn hair, which is tied up and back. She cups her hands in the light blue water of the faintly yellow basin. Two bottles sit at the back corner of the washstand, and a mirror reflects the top of her head. The fawn-brown washstand is boxy, and a handled white pitcher painted with muted pink flowers is at the front left corner, which is closest to us. The wall beyond the washstand is sapphire blue, as is the carpet, which is also patterned with celery-green leaves. A mark with an oval, or a mirrored C, over an uppercase M, is stamped in royal blue at the bottom center of the print. The sheet is inscribed with graphite across the right half of the bottom margin, “Imprimée par l'artiste et M. Leroy Mary Cassatt.”

Woman Bathing

Mary Cassatt

1890-1891

Color drypoint, softground etching, and aquatint on laid paper  Accession ID  1963.10.253

On View: West Building Main Floor, Gallery M87
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