Impressionism and Post-Impressionism

On View: West Building, Main Floor

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134 artworks on view.

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Mother's Kiss

Mary Cassatt

1890-1891

Color drypoint, softground etching, and aquatint on laid paper  Accession ID  1963.10.254

On View: West Building Main Floor, Gallery M87
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The image displays the upper half of a seated woman's body from the side. She is sitting in a profile position, facing right with short dark hair partly covered by a small hat or headpiece. She wears a dark outfit and holds an open fan in her hand. The background shows horizontal bands resembling a theater or opera house setting, with indistinct faces hinting at a crowd.

Lady in Black, in a Loge, Facing Right

Mary Cassatt

c. 1880

Softground etching on laid paper  Accession ID  1947.7.15

On View: West Building Main Floor, Gallery M88
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One person with brown skin lies on a patterned carpet and a nude woman, also with brown skin, stoops and holds a white cloth to her thighs in this loosely painted horizontal scene. A wall, painted with streaks and smudges of fog gray, white, and pale peach, spans the right two-thirds of the composition behind the people. In the leftmost third, a room bumps back in space, and an arched window there opens onto a view painted with strokes of shamrock green. We may be in a courtyard or another kind of brightly lit, enclosed space. The rug is loosely painted with visible dashes and dabs of raspberry pink, sapphire blue, mint green, pale yellow, white, and brown. The person lying on the rug is angled away from us, so the bare feet are closest, near the front left corner of the rug, and the head angles to our right, near the wall. That person is wrapped with white fabric over the head and chest, lemon-yellow fabric across the middle, and emerald green over the thighs. One ankle rests over the other, and the eye we see is closed. The nude woman stands just to our right, near the front right corner of the rug. Her black hair is short or pulled up. Dabs of gold around her neck suggest a coin-like necklace or large, round beads. Her full breasts hang as she holds the white cloth to her legs. The cloth is painted with short diagonal strokes, which cascade down her right leg, to our left, and pool on the floor. The toes of the foot we can see rest on the back of a pointed shoe painted with butter yellow and black. The other shoe sits just off the front edge of the rug, near the pooled white fabric. A side table with an octagonal top is at the back right corner of the rug, and is painted with crimson red, black, white, slate blue, and harvest gold. One orange is on the floor near the white fabric, and three more are near the back left corner of the carpet. A parrot, painted with an azure-blue body, white around the eye, a marigold-orange neck, and a pointed black beak, nibbles at an open orange on the floor nearby. A narrow white column rises from near the back left corner of the rug off the top edge of the painting. The wall behind the two people and the spaces in the room beyond, to our left, are loosely painted but with strokes that suggest geometric or lattice-like patterns. The artist signed the painting near the lower left: “Boldini.”

After the Bath

Giovanni Boldini

after 1889

Oil on wood  Accession ID  2015.19.19

On View: West Building Main Floor, Gallery M81
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This painting shows a scene with a light brown path or courtyard leading towards a small stone building on the left with a thatched roof. A person stands on the right, wearing a dark blue dress with a green apron and a white bonnet. The left side of the scene is in shadow, while the right is lit with bright yellow light. Behind the building are a few tall, thin trees with green leaves in front of a wide green field stretching towards the horizon. The sky is bright blue with one small white cloud in the upper left corner.

Farmhouse at Le Pouldu

Paul Sérusier

1890

Oil on canvas  Accession ID  2000.95.1

On View: West Building Main Floor, Gallery M83
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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 white. 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 lips are picked out with pink. 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, are blank, also the color of the paper. The panel behind the women’s legs is peanut brown, and the top of the omnibus is white as well. The artist signed the work with her initials in graphite in the bottom left, “MC.”

In the Omnibus

Mary Cassatt

1890-1891

Color drypoint, softground etching, and aquatint on laid paper  Accession ID  1943.3.2753

On View: West Building Main Floor, Gallery M87
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Printed with black lines and areas of dark gray 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 gray 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 white bonnet, a blousy garment, stockings, and shoes, and holds a gray ball in one hand. 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. The artist signed the work with her initials in graphite in the bottom right, “MC.”

In the Omnibus

Mary Cassatt

1890-1891

Drypoint and aquatint on wove paper  Accession ID  1943.3.2752

On View: West Building Main Floor, Gallery M87
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We look slightly down onto a young woman sitting in an upholstered chair and tightly hugging a nude, blond child in this vertical, colored print. Both have pale, peach-toned skin. The woman’s black hair is pulled back though a couple tendrils curl on her forehead. Her eyes are downcast and her pink lips parted. She wears a long, cream-white dress dotted with blush-pink, petal-like forms. One arm is under the baby’s chubby bottom and the other braces the child behind the shoulders. The baby wraps their arms around the woman’s neck so they are cheek to cheek. The chair sits in front of a bed with a boxy frame and a pillowy white mattress. The upholstery on the woman’s chair and the wallpaper behind her are patterned with dusky rose-pink flowers and vines against butter yellow. The floor is coral orange. The artist signed the print in graphite under the lower right corner, “Mary Cassatt.”

Maternal Caress

Mary Cassatt

1890-1891

Color drypoint, softground etching, and aquatint on wove paper  Accession ID  1942.6.33

On View: West Building Main Floor, Gallery M87
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A woman standing on a ladder propped against a wall hands fruit down to a nude child held by a second woman in this vertical, partially colored print. The scene is printed with areas of mostly flat color in shades of vivid green and pastel peach and pink. The women and child have peachy-toned skin and brown hair. Both women wear long-skirted dresses with long, loose sleeves, and their hair is pulled back in buns at the napes of their necks. The ladder, to our left, leans against the verdant green vines and yellow fruit growing up a wall, which itself is the color of the cream-white paper. The woman standing on the ladder wears a pale, frost-green dress with a white kerchief at her neck. She looks down in profile at the child to our right. The child sits facing away from us in the other woman’s arms, bare buns squished along one forearm. The child reaches for the fruit, perhaps a cluster of small grapes. The second woman wears blush pink, and her face is hidden by the child’s head. An opening in the wall to the right leads back to an open space with more greenery.

Gathering Fruit

Mary Cassatt

c. 1893

Color drypoint, softground etching, and aquatint on laid paper  Accession ID  1943.3.2756

On View: West Building Main Floor, Gallery M88
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Shown from the shoulders up and from a low vantage point, a man with dark brown skin and black hair looks up and to our left in this vertical portrait painting. His shoulders are angled to our right, but he turns his head to look off with dark eyes. His lower lip comes slightly forward from the upper, and his mustache continues in lines from the corners of his mouth down to his square jawline. His hair creates a halo around his face, and a crimson-red cloth wraps across his shoulders. He is lit from our upper right, and the background brightens from golden yellow along the right edge of the canvas to vivid, shimmering yellow to the left. The portrait is loosely painted, especially in the clothing and the background.

A Chief of Abyssinia

Henri Regnault

c. 1870

Oil on canvas  Accession ID  2014.136.74

On View: West Building Main Floor, Gallery M81
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This painting shows a man seated with one knee bent, his body turned to the right and his face turned slightly back toward us. He has brown skin, high cheekbones, a short, curly black beard, and short black hair. His facial expression is neutral, and he is gazing off into the distance, his brown eyes turned slightly upwards. The man is wearing a cream-colored shirt with short sleeves, red and white striped shorts that end above his knees, and a yellow sash around his waist. His hands are clasped together on his bent knee, the other leg hanging downwards. The background is a solid light blue color with visible brushstrokes, and the man appears to sit on a red object in the bottom left corner, with a piece of blue fabric hanging off of it or in front of it.

Pierre Louis Alexandre

Karin Bergöö Larsson

1879 - 1880

Oil on canvas, mounted on board  Accession ID  2024.6.1

On View: West Building Main Floor, Gallery M81
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Printed with black lines on cream-white paper, a woman standing on a ladder propped against a wall hands fruit down to a nude child held by a second woman in this vertical etching. The women wear long-skirted dresses with long, loose sleeves, and their hair is pulled back in buns at the napes of their necks. The ladder, to our left, leans against vines growing up a wall. The woman standing on the ladder leans and looks down in profile at the child to our right. The child sits facing away from us in the other woman’s arms, bare buns squished along one forearm. The child reaches for the fruit, perhaps a cluster of small grapes. The second woman’s face is hidden by the child’s head. An opening in the wall to the right leads back to an open space.

Gathering Fruit

Mary Cassatt

c. 1893

Drypoint and softground etching on laid paper  Accession ID  1943.3.2755

On View: West Building Main Floor, Gallery M88
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About a dozen people walk and a few ride horses across a bridge spanning river that cuts through a sandy landscape in this horizontal painting. A few wisps of clouds drift across a vivid blue sky over the horizon, which comes halfway up the composition. The waterway winds from the lower left corner into the distance parallel to the left edge of the painting. A bank of shrubs and two tall palms lean toward the water from the left bank, and brown and cream-white buildings line both sides of the water to the horizon. People sit on the low wall of the bridge in the lower left corner, and a person leads a donkey laden with sacks toward us on the far side of the deck. The bridge is shaped like a capital T laid down, so the top crossbeam spans the river. The lower branch divides the river on our side of the bridge. Some rocks and a gnarled trunk lie across this strip of land. Farther up the river and to our left, a single person walks across a second bridge made up of planks supported by rocky pilings. That bridge meets the far bank near the remains of a building with pointed arches and a tower-like minaret. Verdant green canopies of a cluster of palm trees flare over this building. People who walk and ride across the bridge create a loose line that extends to a larger gathering beyond the building. The group gathers in the dense shade of a wide-canopied tree, which grows high over a brown wall. More rooflines, including a dome and another minaret, stack along the horizon beyond the tree. The people wear robes and turbans in bright white, aquamarine blue, brick red, and black. The artist signed the painting as if he had written his name on the face of a rock in the lower right corner, “JL GEROME.”

View of Medinet El-Fayoum

Jean-Léon Gérôme

c. 1868/1870

Oil on wood  Accession ID  2013.62.1

On View: West Building Main Floor, Gallery M81
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