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0081f8a0-feea-4145-a1d2-4ed411660188
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The head and pale face of a bearded man with a ring of interwoven branches of thorns over his chin-length, wavy, reddish-brown hair floats against a white cloth that has been hung over a wooden rod in this vertical painting. The cloth fills the composition. At its center, the man’s head faces us and he looks down with heavy-lidded, brown eyes. His lips are parted, and his cheeks are slightly sunken and shaded with pale lilac purple under high cheekbones. Blood drips down the man’s pallid forehead from the thorns. A brown spot high on his right cheek, on our left, might be a bruise or injury. A soft brown glow surrounds the head. The white cloth is frayed along its front edge, where it rests facing us on a wooden surface along the bottom edge of the painting. The cloth is bunched a little to each side where it drapes over the wooden rod above. The white cloth is painted with tones of pale coral pink, icy blue, silvery white, and dove gray. The background behind the cloth is black.
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009e5284-cbd1-4034-8495-4428c83ace67
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A mostly nude young woman with pale skin leans, half-sitting, back on one hand while she reaches for a silver vessel held by a second woman in this vertical painting. The woman who offers the vessel also has light skin, and both have auburn-brown hair bound up and interwoven with strands of pearls. The body of the woman at the center of the painting, Susanna, faces us and she turns her head to our left, to look at the vessel with shaded, dark eyes. She has a straight nose, and her ruby-red, full lips are closed. A glint on one earlobe suggests a jeweled earring behind curls that frame her face and brush her shoulders. She has small, firm breasts and wears a bronze-colored bracelet on each wrist. Crimson-red cloth hangs from the backs of her shoulders and drapes over her seat. Sheer white fabric covers her lap across her upper thighs. The toes of one foot rest on the ground while the other foot dips into the water of a pool. The other woman, holding the round vessel, faces away from us as she leans into the painting so only her head, shoulders, and arms are visible. Her dark pink sleeve wraps around the upper arm we can see, and she wears a gold-colored bracelet on that wrist. A swath of brick-red fabric hangs between the two women. A dark, shadowy bush dotted with deep pink roses fills the space behind Susanna and, in the distance to our left, two people stand under an arched trellis covered with vines. Wearing light-colored robes and hoods, the people in the distance are painted with silvery gray and cream white, and are translucent against the sky.
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013020c5-f6fe-42e8-a92d-61306b553cd3
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A woman sitting on a throne with a child on her lap and two angels are carved from white marble and decorated with a few areas of gold in this freestanding sculpture. All four people face us in this photograph, and they have round cheeks, square jawlines, and closed lips. Black dots are painted for pupils but without irises or other paint on their faces, they all look startled or intense. The woman wears a gold crown over a cloth that drapes over her head, shoulders, and across her lap. Her knees are apart, and pointed shoes peek out under the rippling hem of her dress. She braces the child’s torso with her left hand, to our right, and touches his upper leg with the other hand. The child’s adult-like face is framed by gold hair. He holds up one hand, though the fingers have been broken off, and holds an open book facing out propped on his leg with his other hand. Writing on the pages has been painted. Two child-like, wingless angels stand on the arms of the throne behind the woman’s shoulders and hold a cloth up behind her head. On all four people, their hair and the necklines, hems, and cuffs of their garments have been painted with gold geometric designs. The Latin text on the book reads, "CONTINET IN GERMIO CELV TERRA Q REGENTE VIRGO DEI GENETRIX MCCCXXI.”
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0191f5a7-69f5-4e95-a9cf-11fa232f6db2
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A light-skinned man and woman stand looking at each other, surrounded by blooming flowers and lush green trees in this square landscape painting. The palette is dominated by shades of vibrant green and blue, and is loosely painted with daubs and short strokes, making details indistinct. The people stand to our left of center and both are dressed in navy blue. The man stands facing our right, almost in profile, and bends forward slightly with one hand gesturing toward the flowers. He wears a vest and trousers, a white shirt, and a butterscotch-gold hat. The woman stands near him to our right, and faces us with her head turned to look at the man. She wears a long gown, a cherry-red hat, andwhat appears to be a denim-blue and cherry-red scarf around her neck. The trees fill right half of the painting, and the profusion of flowering bushes closest to us almost spans the width of the scene. Their blooms are suggested with touches of rose and petal pink, cream white, mustard yellow, and azure blue. More flowering bushes behind the man and woman are suggested by loosely painted areas of parchment white and laurel green, with scattered dots of poppy red. Pale pink clouds swirl through the topaz-blue sky in the upper left corner. The artist signed the painting in the lower right, “Renoir.”
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01c5e407-6e59-4ae8-a47e-dd51c5d619a7
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A young woman with light skin stands in a garden, wearing a voluminous, full-length, silvery, shimmering gown in this vertical portrait painting. Her body faces us, as she looks into the distance to our left. She has rosy cheeks, gray-green eyes under gently arched, light brown brows, and her coral-pink, thin, closed lips curve in a slight smile. Her ash-brown hair is pulled back and adorned with tiny shell-pink and azure-blue flowers along the left side top of head, to our right. A pleated lace ruffle encircles her smooth neck. Her gown is parchment white where the light glints off the stiff fabric and is silvery gray in the shadows, creating a silk-like sheen. The dress is cut low across the chest, fits tightly around her narrow waist, and has puffy sleeves tied at the elbows with topaz-blue bows. Another blue bow is tied at her chest, and the ends wrap around her back along her waist. A corsage at her left shoulder, to our right, is a profusion of white flowers around a pale pink rose. In her other hand, to our left, she holds a straw hat with a shallow crown and a wide brim, trimmed with sky-blue ribbon. The arm holding the hat is nearly engulfed in the deep folds of her full skirt. She holds a pink rose in her other hand, which rests on the lip of a shiny, copper-colored urn filled with pink flowers and delicate green leaves. On that wrist she wears a bracelet with four strands of white pearls holding a cameo. She stands on a pale, dirt ground. A teal-blue bench in the lower left corner of the painting is tucked into sage-green shrubbery. Sprigs of pink roses are strewn across the seat and on the ground. The woman is framed to either side with olive and celery-green trees and vegetation, which blend into the hazy distance beyond her head.
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0253c293-4cc1-4131-89a9-f2c997aebba0
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We look out onto a sweeping, panoramic view with trees, their leaves fiery orange and red, framing a view of a distant body of water under a sun-streaked sky in this long, horizontal landscape painting. The horizon comes about halfway up the composition, and is lined with hazy mountains and clouds in the deep distance. Close examination slowly reveals minuscule birds tucked into the crimson-red, golden yellow, and deep, sage-green leaves of the trees to either side of the painting. Closest to us, vine-covered, fallen tree trunks and mossy gray boulders line the bottom edge of the canvas. Beyond a trickling waterfall and small pool near the lower left corner, and tiny within the scale of the landscape, a group of three men and their dogs sit and recline around a blanket and a picnic basket, their rifles leaning against a tree nearby. The land sweeps down to a grassy meadow crossed by a meandering stream that winds into the distance, at the center of the painting. Touches of white and gray represent a flock of grazing sheep in the meadow. A low wooden bridge spans the stream to our right, and a few cows drink from the riverbank. Smoke rises from chimneys in a town lining the riverbank and shoreline beyond, and tiny white sails and steamboats dot the waterway. Light pours onto the scene with rays like a starburst from behind a lavender-gray cloud covering the sun, low in the sky. The artist signed the painting as if he had inscribed the flat top of a rock at the lower center of the landscape with his name, the title of the painting, and date: “Autumn – on the Hudson River, J.F Cropsey, London 1860.”
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026ef766-f93f-42eb-a1ab-889b18f3152b
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Six men and women stand or kneel in front of a sixth person, a man, holding the limp corpse of another, Jesus, in this vertical drawing on cream-white paper. Jesus and the man supporting him are in the lower right corner of the page, and a woman with long, loose hair bends low to kiss Jesus’s feet in the lower left corner. These three people are the mostly simply drawn of the group, sketched in with outlines and contours without shading. The other woman kneels with her hands together, facing Jesus in profile. A young, cleanshaven man stands at her far side and rests his hand on her other shoulder. A trio of three men stand closely behind this pair. All three wear elaborate hats, two may converse, and one holds a drum-like object and another a hammer. A rectangular stone tomb stretches behind Jesus at the foot of a rocky cliff face. Across the paper, three crosses rise from a hill in the top left corner of the composition. A ladder leans against the central cross, and men hang heavily from the other two. The artist signed and dated the work as if he had inscribed the top middle of the tomb cover. A capital letter D is tucked between the wide legs of a capital A, both under the date, 1504.
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0331bb3f-90d2-4fe8-a079-57315ac929a6
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A jumble of pewter plates and a pitcher, glass goblets, a gold chalice, a brass candlestick, and other vessels along with lemons, olives, and the remains of a mince pie are arranged on a cream-white tablecloth bunched on a dark green tabletop in this square still life painting. The scene is painted almost entirely in shades of cool grays, gold, brown, and white against a deep beige background. The objects span width of the canvas across its center. At the left edge of the painting, a vibrant yellow lemon has been cut so its rind curls in a spiral that hangs over the front edge of the table. Behind the lemon, a scissor-like candle snuffer is propped against the wide ledge of the tall brass candlestick, its white candle nearly burned down. A few glistening olives sit in a small pewter plate, and one olive sits on the tabletop near the lemon and candlestick. A glass goblet with a wide stem with textured knubs rests upended on an elaborately chased, gold, footed vessel that has been tipped over so its wide shallow bowl faces away from us. The tall pewter pitcher behind this is dented on its rounded body. The lidded gold chalice next to the jug is the tallest object in the painting. Next to the chalice, along the right half of the painting, is a glass oil cruet with a long, curving spout, a tall, cylindrical vessel holding a small pile of salt, and a straight-sided, low glass holding beer. In front of these objects, an untouched bread roll and knife sit on a pewter plate at the center of the composition. The remains of the mince pie with its pastry crust sit on a large pewter plate to our right. In front of it is a smaller plate holding a broken goblet and a piece of black and white paper rolled into a cone. A few empty oyster shells sit on the table to the left and right, near the lemons and mince pie. The artist signed and dated the painting along the edge of the white cloth near the lower right corner: “HEDA 1635.”
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034bc932-e493-4847-8d1f-5c3852696462
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In this horizontal painting, a crowd of more than two dozen men and women gathered shoulder to shoulder at the foot of three men hanging from wooden crosses nearly fill the scene. All the people have pale or ruddy skin. To our left of center, each of the crucified men is tied and nailed to a cross. Blood pours from their hands and feet, and from a gash over the central man’s right ribs. The men’s heads slump and their bodies sag. They are nude except for a red cloth across the central man’s hips and a small white loincloth on the man to our right. Two of the men wear crowns of thorns. The spear piercing the central man’s side is held by a man riding a white horse in the crowd below. At least three additional men in the crowd are on horseback. Many of the men are armed with spears, creating a bristle of vertical and diagonal lines over the group. The men and women wear robes and uniforms in shades of golden yellow, pine green, crimson and rust red, black, and cream white. A few men wear metal helmets, and one wears armor. Near the lower left corner, a woman wearing a navy-blue robe has fainted and is supported by two kneeling women while another woman and cleanshaven man look on, their fingers interlaced and held low. The smooth ground is grass green. A spindly tree with dark green leaves grows up the right side of the composition. Off in the distance beyond the tree, two buildings hint at a city. Blue clouds billow in the blue sky above.
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03619368-16a1-4888-a7bb-a6d5520f0fc1
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Three pale-skinned men wearing black garments and long, white aprons stand behind a table on which lies a nude corpse on a white sheet in this vertical painting. The corpse’s head is to our right and the face falls toward us. The eyes are sunken, and the rib cage and hip bones protrude sharply from the body. The men gathered behind the table are painted with fewer details so their faces are indistinct, though we can make out that the person to our left has gray hair, and he touches the corpse’s pelvis. The other two have dark beards and might wear black caps, and the middle person might take notes. The man to our right rests both hands on the table on either side of the corpse’s head and leans forward, looking down. The table is under the curve of a thick arched wall that separates two high, deep-set windows. Two unlit lamps hang above. The scene is painted with dabs and some visible brushstrokes, giving it a soft, shadowy, and hazy appearance. The artist signed the painting in red in the lower left, “H. Gervex.”
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03b37311-d35a-4a91-ab2b-6c3df89ab232
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Three tall sailing ships, each with three masts and full sails, float in calm, arctic waters, surrounded by fragments of icebergs and ice floes amid a smattering of arctic animals in this horizontal landscape painting. The horizon line comes about a quarter of the way up the composition so the sails and rigging of the ships are shown against the sky. The clouds have ivory tops and lavender-purple undersides, and they curve in a C-shaped bank to cover most of the left half of the painting and to span the horizon. The three ships closest to us are spaced evenly across the composition, with the left-most the closest, and therefore the largest. The ship to our right is set a bit farther back, and the center ship is the farthest away. A rowboat holding several men has pulled alongside the boat to our left, and more men haul massive slabs of whale blubber up the side of the ship. Others walk on an ice floe nearby. Close inspection reveals more rowboats around and beyond these ships, and several more ships fading into the hazy distance along the horizon. Jagged edged chunks of icebergs as tall as the ships float around them. Closer to us, a trio of seals sits on an ice floe near the lower center of the composition, and a polar bear stands nose to nose with a cub to our right. Two narwhal whales with long tusks break the surface of the water between us and the ships, as does a whale’s tail near the boat to our right. Two walruses with long tusks sit on a floe near the center ship. A couple dozen birds, many white with black wing tips, fly low over the surface of the water across the painting.
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03ee67ee-dd0e-443f-84ef-ede5f62ce0cd
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A naked man with ghostly white skin sits upright in a canopied bed set in a narrow room in this tall, vertical painting. Wearing a black cap, he looks to our left in profile toward a skeleton who comes through a door along the left edge of the composition. The man gestures at the skeleton with one hand and, with the other, toward a bag of money held up by a small demon next to the bed to our left. The skeleton wears a white shroud and holds an arrow. A winged angel kneels next to the man in the bed, one hand on the man’s shoulder and the other lifted to gesture at a crucifix hanging in the window over the door. A small devil on the canopy above looks down onto the bed. At the foot of the bed, a man wearing a green robe and headdress drops coins into a sack held by another demon. Three more demons crawl about and hide under the chest. Pieces of armor and weapons lie on the ground to the right in front of a stone ledge in the foreground. Two pieces of clothing drape over the ledge to our left.
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03f80b1e-7843-4562-a0da-2f7693c7d82b
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A man and woman greet each other at the center of a group of about a dozen people set within a landscape in this horizontal painting. All the people have pale, peachy skin. In the middle of the crowd, a woman, Abigail, kneels to our left while a man to our right, David, reaches out to her. Abigail’s blond hair is tied back under a white veil that drapes over her shoulders, and she wears a slate-blue dress and a string of pearls around her neck. She holds her left hand, on our right, to her chest and her other hand gestures down to a basket of bread held by a man in the lower left corner of the painting. David stands and bends toward Abigail as he cups her bent elbow with his left hand. His other hand rests on a walking stick near her head, and his index finger is extended as if to brush her cheek. He has short, curly blond hair and beard, and he wears a thigh-length tunic under a breastplate. Crimson-red fabric drapes around his shoulders and over his armor, and a dagger or short sword hangs at his hip. Three women, three men, and a donkey gather to our left, behind Abigail. Two of the men hold large baskets of bread, and they all look toward Abigail and David. Six armored men, two younger people, and two horses make up the group to the right. Trees line a hill behind the people to our left and dark gray and amber-colored clouds fill the sky.
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0410a6f0-36dc-465d-bf8a-2a77fc3d07a5
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A person at the center of this loosely painted horizontal landscape rides a dark horse across a field as a man to the left works the field behind a horse-drawn plow. The field is carpeted with muted and gold-shaded green, and a grove of trees in the right third of the composition are painted in fern, olive, and dark green. A patch of darker green near us and to left of center is dotted with red and yellow to suggest flowers. The men and horses are small in relation to the composition. The people have brown skin and are painted with a few strokes in dark gray and muted green for the man behind the plow to the left and pale yellow and white and a red cap for the person on horseback. A band of houses with tan or light yellow walls and gray or terracotta red roofs line the far side of the field to the left, and an arched bridge crosses what appears to be a shallow, grassy ravine near the center. The horizon comes about a third of the way up this composition and a few smoke-gray clouds line the upper edge of the otherwise milk-white sky. The artist signed the lower left corner, “COROT.”
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0414be87-3a13-4782-aa33-31063797ce0b
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Dozens of light-skinned men and women gather around clusters of columns and sandstone-colored buildings that line a crimson-red river to our right in this horizontal painting. The center of the painting is dominated by a structure made up of three rows of three columns each, which hold up a flat-topped roof. A similar structure angles into the distance along the left edge of the painting. The columns of these two structures are carved with bands showing people separated by rings of vertical lines. The capitals are carved with stylized leaves. Just beyond the columns to our left, a blocky, rose-pink structure is carved with more people, seated or standing singly or in pairs. More rectangular, parchment-brown buildings extend into the distance along the water’s edge. The people gathered along the riverbank wear robes and tunics in deep blue or black, bright white, or saturated tones of cobalt blue, ruby red, or shell pink. Standing within the columns of the central structure, a crowned, bearded man wearing an emerald-green robe under a scarlet-red cloak gestures to our right, toward the red river. A woman nearby, wearing lapis blue and also crowned, watches with hands flung up as a person pours red liquid from a bucket. Most of the other people look or gesture toward the river, which winds in deep S-curves from the horizon line, which comes about two-thirds of the way up the composition, through sage-green fields, to the town. A single, white lightning bolt zigzags down from a white cloud in an otherwise navy-blue sky above.
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04570b01-f9de-42cb-97ff-d33abe5a9051
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A bird in flight with its hooked beak wide open, wings held high, holds a shimmering green and white fish in its talons in this vertical painting. The bird and fish fill the composition against a pale, hazy landscape. Both animals face our left in profile. The bird’s raised wings are dark brown, and the feathers on the underside of its left wing, closer to us, are cream white. Its tail is fanned and the feathers are striped with golden yellow against dark brown. The bird surges forward, to our left, its head low. The yellow eye we see is round and clear, and its dark beak curves to a sharp point over its protruding tongue. The head is striped with cream and brown, creating a mask-like effect. Powerful talons grip the fish, whose tail still dips in the water below. The fish’s mouth gapes and its eye, which is yellow around a black iris, is wide open in the gray and silver head. The top of the fish’s body is iridescent emerald green that fades to tan and parchment yellow along its belly. Light and dark speckles create a dotted pattern along the fish’s length. The body of water meets the horizon about a quarter of the way up the composition. The surface of the water is painted in sage green, golden tan, and pale pink. Cliffs in the distance are soft mauve purple under an aqua-blue sky filled with billowing clouds. White birds with black wingtips fly over the water in the distance.
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049b735e-a9a4-46d9-9754-ef2a5baa1910
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A sliver of land across the bottom of this composition gives way to a procession of puffy gray and white clouds sweeping up across a vivid blue, panoramic sky in this horizontal landscape painting. An area of darker gray beyond the brown land could be a valley, mountain, or shadows from the billowing clouds. About one-fifth of the way up the composition, the horizon glows the faintest peach. The clouds trundle from our left up and to our right. The view is loosely painted, especially in the land.
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054dd103-4e95-434e-8a84-13c8cd2a1a45
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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."
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057b18ed-2c6c-44f5-a8c0-3e7aa95ab038
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Shown from the waist up, the profile of a pale-skinned woman wearing an ice-blue dress is loosely painted with visible brushstrokes in this vertical portrait. The woman’s body faces our right, and she looks slightly down with her pale pink lips parted. A floppy straw hat is tied over her copper-blond hair with a plum-purple ribbon and tied in a bow beneath her chin. The bow appears to be nearly as wide as her shoulders, and the ribbons hang down almost to her belly button. Her dress has a high, ruffled neckline along the back of the neck and long sleeves. A few flecks of lapis blue suggest polka dots, and a blue belt wraps around the waist. The background is especially loosely painted with strokes of aqua blue and bright, bottle green that suggest an outdoor setting and few touches of coral red in the lower corners could be flowers.
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0584680b-b08b-4186-ab2f-56bd80e4524d
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Dozens of men and women wander through a tall interior space lined with statues and columns and topped by a soaring domed roof in this vertical painting. The people are small in scale within the cavernous space. The women wear long, full dresses and the men wear knee-length waistcoats and stockings in shades of dark blue, crimson red, pine green, marigold orange, or brown. Three people wear clothing of the clergy: two of them, on our left, wear long, ginger-brown robes under white mantles, and a third person on our right wears a hip-length, diaphanous white cape over a long dark blue robe. The crowd strolls, kneels, converses, or leans back to look up at the high ceiling overhead, which has a round opening at its apex. A glimpse white of azure-blue sky with white clouds is visible through the opening. The interior is divided into three levels. The ground level has five niches lining the walls, each with a white stone statue of a man or woman standing inside. Each statue is at least three times the height of the people in the space below. The three niches closest to us on our left and right have semicircular pediments with garnet-red or moss-green columns flanking the statues. Two niches at the far end have triangular pediments and honey-gold columns. Each niche sits on a wide base, presumably an altar, and is surrounded by marbled gold and purple panels set against a sage-green background. Sets of three honey-gold columns line the wall between each niche. Oversized, copper-green double doors are swung inward at the far side of the space. More people, a sunlit obelisk, blue sky, and slivers of other buildings are visible through the doorway. The second level of the interior has windows spaced across walls otherwise covered with white, blue, and mauve-pink panels. An inscription running around the building between the first and second level reads, “DOMINVM IN SANCTIS EIVS LAVS EIVS IN ECCLE.” The third level is the domed pewter-gray ceiling with coffers, like inwardly stepped panels. The floor is patterned with alternating circles and rectangles in sage green or light brown.
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05a612fd-23ad-4862-8ba2-84811c563c5a
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A woman with peachy skin stands facing our left in profile ironing a pale blue shirt on a white surface, possibly a table, with a line of pastel-colored shirts hanging in front of curtained windows opposite us in this vertical painting. We seem to look slightly down onto the woman’s shoulders and onto the surface of the table. The white tabletop takes up most of the bottom half of the composition, and, seen from the knees up, the woman leans in from the lower right corner. The woman’s chestnut-brown hair is pulled up into a bun, and she wears a dark earring in her left ear. Her denim-blue dress is speckled with white dots and highlighted with strokes of blush pink. Her sleeves are rolled up to the elbow, and a dusty rose-pink apron covers her brown skirt. She presses down on the iron with her right hand, farther from us, and uses her left hand to straighten the fabric of the shirt collar. The iron has a thick handle and a flat, narrow, triangular surface used to press out wrinkles. A small, empty, bronze-colored bowl and crisply starched and folded porcelain-white shirt lie on the table to her left, closer to us. A row of hanging garments in pale crepe pink, flaxen gold, teal, and lavender purple soften the light coming into the room from three vertical windows, which are covered with sheer, ivory-white curtains. The artist’s feathery brushstrokes give the painting a hazy quality. The artist signed the work with olive-green letters near the lower left corner: “Degas.”
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05d70ba8-5283-44eb-92df-b8e286cf4217
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Four men and one woman gather around a dead man who is dressed in a bright honey-gold cape and pointed hat, his stone-gray face resting on a stump or column in this dark vertical painting. All the people have peachy skin or light skin tinged with green. Shown from the knees up, Saint Gennaro, the dead man, twists and slumps to our right. On the stump, his eyes are closed and his lips parted. His hands are crossed at his waist and bound with rope. He wears a tall hat rising to a peak in the center. His cloak drapes over a white tunic, and red seeps from around his neck. On our right, a brown-haired woman is shown from the waist up, bending down in front of Saint Gennaro’s face. The light falls across the scene from our right, so her profile is in shadow. She holds a silver chalice in one hand and squeezes something, perhaps a rag or sponge, over the chalice with her other hand. A clean-shaven man with dark curly hair stands behind the stump. That man’s body faces us as he leans to our right and tilts his head down over Saint Gennaro, his shadowed face obscured. His left hand is under the dead man’s head and his right hand clutches his own chest. Behind the dead man and to our left, a bald, gray bearded man bends over and spreads his arms wide over and across the saint’s back. His brow is furrowed, and he looks at Saint Gennaro with deep-set eyes. Along the left edge of the canvas, a bald man with a hooked nose and large ears stands and angles his body to our right, his face in profile. He leans back from the dead man, his right hand holding a knife or sword with a bird-shaped hilt. The fourth man close to Saint Gennaro looks on to our right, from behind the stooping woman. The people gathered around Saint Gennaro wear clothes in muted shades of gray, brown, and white. The edge of a building rises up along the left edge of the composition. In front of a distant mountain to our right, more people are gathered, some with swords raised and others looking on with mouths gaping. One faint head, the face painted in tones of ash gray, peeks over the shoulder of the fourth man. Yellow streaks near the horizon also illuminate the undersides of heavy, dark gray clouds above.
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05f1edd6-d083-4e9f-a367-7aef9355791f
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A young blond person stands in the center of a dimly lit room facing dozens of men in this horizontal painting. The people all have pale skin, though many are in shadow. The central person, Joan of Arc, stands in profile facing our left. She clutches one hand at her chest and the other extends in front of her, fingers arcing up. She has chin-length hair and bangs. Her brow is furrowed and her lips parted. She wears a lapis-blue, high-necked tunic over smoke-gray stockings and pointed black shoes. A metal band encircles her waist and a chain and manacle hang from one of two rings there. The chamber is lined with two rows of seats that extend along the short side to our left and the long wall across from us. A man wearing a white robe and a burnished gold mitre hat and cloak sits in the corner, both arms resting on a high throne. The other men wear clergy’s brown or black and white robes or long garments in slate blue, olive green, tawny brown, charcoal gray, and silvery white. Most wear hats. Four more men sit around a table covered in a grass-green cloth behind Joan, to our right. One man looks down at and writes on a sheet of paper. About half a dozen soldiers wearing silvery helmets and holding spear-topped halberds cluster in the back right corner, beyond the table. A wood stepstool sits closer to us, in front of the table, in the lower right corner. The walls of the chamber are paneled in a rectangular grid of light brown planks over darker wood, and the floor is tiled with small pink rectangles. The artist has signed in the lower right, “M. Boutet de Monvel.”
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06631f67-ea04-47ac-a3f8-d7d1ccfcceb2
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Two men pitchfork hay onto a horse-drawn carriage in a field in this horizontal black and white photograph. The platform of the carriage is wider than the two white horses harnessed to it. One man tosses hay onto the top of the pile and the other man standing there. We look slightly down a hill, which is spanned a short distance away by a band of evergreen trees. Rolling hills are hazy in the distance beyond.
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068873bf-6b25-4ff6-8314-17e4647f5cb5
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A young girl with dark hair and pale skin, wearing a long white dress, kneels on the ground in a hilly, tree-lined landscape in this vertical portrait painting. The girl sits close to us, her body slightly angled to our left as she looks toward and reaches for a rose bush potted in a tall, brown urn along the left edge of the painting. She has pale gray eyes under faint brows and a delicate, pointed nose. Her round cheeks are flushed, and her pink bow lips are closed. Her chestnut-brown hair curls at the neck of her clothing, and bangs cover her forehead under a lacy white bonnet. Light glistens off her lace-edged black cape, which is tied at her throat. The full skirt of her white dress pillows like a cloud on the ground around her legs, and she has a wide, teal-blue sash around her waist. With her right arm, farther from us, she reaches out to touch a pink blossom with a gloved hand. The fingers of the butter-yellow gloves have been folded back. Her other hand rests with exposed fingers in a loose fist in near her knee. Behind her, gently rolling hills are dotted with leafy green trees silhouetted against a stretch of white sky just above the low horizon. Painted in smoky gray, ivory white, and pale, blush pink, the thin clouds against the topaz-blue sky fills the upper two-thirds of the picture. The painting is inscribed with gold paint in the lower right corner: “Lady Caroline Howard” and “Lady Cawdor.”
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072919d5-cf19-4605-8c9c-a85267f9ca96
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Two women and a baby, all with pale skin, sit together on a gray, stone throne with patterned fabric hanging behind them and a patterned rug below in this narrow, vertical painting. The woman sitting on the throne, Saint Anne, is the largest. A second woman, Mary, is smaller in scale, and she sits on Saint Anne’s lap. Mary, in turn, holds a nude baby boy on her lap. Both women have light brown eyes under faint, arched brows, smooth skin, long straight noses, and their shell-pink lips are closed. Saint Anne sits with her body facing us and she looks down with her head slightly tilted to our left. Her white head covering drapes over her shoulders and hangs down from her chin to cover her neck. She wears a marine-blue dress cinched at her waist with a black and gold belt, and a crimson-red robe that falls to and puddles around her feet. Her right arm, on our left, wraps around and holds Mary’s hip, and she supports a book with gold-edged pages with her other hand. Mary sits on Saint Anne’s right thigh, to our left, and leans toward the baby, who sits on her left knee, to our right. Her long, wavy, brown hair falls over her shoulders, and she wears a cobalt-blue robe over a lilac-purple dress. The baby has short, curly blond hair and reaches to turn the pages of the book. He has rounded cheeks and a pudgy torso. The stone throne is ornamented on the arms and at the top corners with ivory-white, nude children that are presumably also carved out of stone. The cloth hanging behind Saint Anne is decorated with glimmering gold, ornamental leaf designs against a pine-green background. The rug beneath her feet is a geometric pattern of red, tan, black, and white.
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07572d12-752f-4283-be45-6afe3e352e0c
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Shown from the thighs up, a woman holding a baby is surrounded by a man, woman, and two winged angels in this vertical painting. Mary, the central woman, the baby, Jesus, and the other woman, Saint Catherine of Alexandria, have pale, peach-toned skin. The man, Saint Jerome, and two angels have slightly darker peach-colored skin with faint gray shading. They all have gold halos, wide-set, hooded, light brown eyes, long, straight noses, delicate mouths, and pointed chins where we can see. Mary sits with her knees angled to our right, and she looks down at the baby held sitting upright near that shoulder. The crown of her head is covered by a white veil down to her forehead. A lapis-blue cloak drapes over the back of her head, her shoulders, and across her lap. There is a gold starburst on the right shoulder, to our left, and the cloak is edged in gold. The dress she wears is patterned ruby red on garnet red and decorated with shimmering, bright gold designs. She supports Jesus’s bottom with her left hand, to our right, and braces his chest with her other hand. He has small features with chubby cheeks, a high hairline with blond hair, and a chubby body. He grips the neckline of her dress with his right hand, to our left, and touches the hand that holds his chest with the other. He is nude except for a translucent white cloth around his chest and hips. To our left, Saint Jerome looks down at and writes in a book with a dark green cover using a feather quill. He is balding and has a long white beard. His forehead is lined, his cheeks hollow, and his lips parted. He wears a red robe over a white garment with a white collar. To our right, Saint Catherine looks at Jesus and holds a blue-covered book and black quill pen in one hand and a fragment of a wooden wheel lined with spikes with the other. Her blond hair is wrapped with and around a white cloth, and she wears a white-on-white patterned dress under a silver-gray cloak. One angel looks on from between Mary and the other looks up and to our right from behind Jesus. Both have their lips parted. The one to our right wears a pale pink garment and holds up one hand. The background is shiny, bright gold punched along the top and upper corners with a geometric design.
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0769e5d6-dcd0-4595-9876-3f48d5305a06
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We look across a lush landscape of olive-green forests lining a glimmering, silvery-blue lake with hills in the deep distance under a pale blue sky in this horizontal landscape painting. The scene is painted with some visible and some blended brushstrokes to give it a hazy, soft appearance. A man wearing a red cap and a white shirt sits in a long, low, narrow boat with a pointed bow in the grasses along the shore, near the bottom center of the composition. Gnarled tree trunks, one to each side, frame the view beyond. Towering, leafy trees nearly fill the right half of the painting. To our left, the still surface of the lake leads back to a city painted almost in silhouette with flint blue, which is reflected in the surface of the water. Hills and mountains are painted in bands of lightening blue as they recede into the deep distance to our left. The horizon comes about a third of the way up the composition, and the pale sky above is veiled with soft white clouds. The painting is signed in orange letters in the lower left corner, “COROT,” and dated in the lower right, “JANVIER 1866.”
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0794483c-b8c5-462c-b2a3-363696c7bad4
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About two dozen men, women, children, and a baby sit in rows of wooden benches or on traveling trunks in this horizontal painting. Their skin is mostly pale with some ranging more toward pink and others toward tan. A woman nursing a baby sits in the center of the composition. Her blond hair is pulled back, and she wears a white blouse under a red vest and a long black skirt. Her shirt is pulled down to expose one breast, and the feeding baby wears a white bonnet and clothing, and is wrapped in a gray-patterned blanket. The woman sits on a wooden trunk in front of a young girl, who sits on a second chest just behind her and to our left. This girl has strawberry blond hair held back under a black headband, and she wears a blue shawl over a brick-red dress. Three silver pans, a silver jug, a glass bottle, and tin cup sit next to her trunk. She leans forward and looks intently off to our left. A man with a red beard wears glasses, a brown suit, and a flat-topped straw hat sits farther back in the room on the far side of bulging sacks and more trunks. He looks into the distance off to our right. Three men wearing black suits and two wearing black bowler hats sit facing each other just over this man’s shoulder. In the right two-thirds of the painting, more men wear fedoras, bowler hats, or brimless caps. Their clothing ranges from vests over button-down shirts to suits and ties. Some wear overcoats, and some are bearded. One man wears a military-style hat, a double-breasted black coat, and smokes a pipe with a white bowl. He looks toward the nursing woman, as does a standing man farther in the room. The men sit alone or chat in groups of two or three, and one sleeps, propped up against a fabric bag. A few more women are among the group, including one older woman who wears a yellow scarf tied over her head to the left. A sign hanging on a column behind the nursing woman begins with the text, “Emigrant Landing Depot” over columns of fine print. The walls of the room are mottled fog and cream white, and one visible window is small within the thick wall. The floor is wooden planks and there is a brown stain near the lower right corner.
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094c319a-2f95-4caf-a2aa-0bc2386b69e1
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Shown from the waist up behind a forest-green ledge or tabletop, a bearded man with a ruddy complexion strums a six-stringed lute between two, light-skinned people in this horizontal painting. The green ledge runs close to the bottom edge of the canvas, and the people nearly fill the composition. The musician’s body faces us but he looks up and off to our left with gray eyes under arched brows, with lips parted. His long brown hair is covered with a red hat wrapped with a pale, pink band. The ribbon meets in a bow-like form near the front center, and tassels hang to each side. His voluminous coat has wide, burnt-orange fur lapels and is lined with fur where it splits open over his shoulders. The garment below has dark sleeves. He lifts his right shoulder high over the lute as the instrument rests on the tabletop, with the neck to our right. The soundhole at the center is covered with rosette-like tracery. The man to our left has long, straight, dark brown hair and a cleft in his chin, which is darkened with a five o’clock shadow. He looks down and toward the musician with brown eyes over a long nose, and his lips are closed. He wears a black cloak with a fur collar over a white shirt, and holds a red book. To our right, a young person, possibly a man with delicate features, stands with his body angled toward the musician but he turns his face to look at us with gray eyes. He has flushed cheeks, a long, straight nose, and a rounded chin. He has shoulder-length, wavy brown hair parted down the middle, and he wears a red cloak also with a fur lapel, over a cream-white undershirt. A crumpled white cloth and a small, oval-shaped box with its lid askew sits on the green surface near the lute. The background behind the trio is elephant gray.
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099e8599-3242-46f4-bf5d-1a2e6032eb13
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Two women with pale skin look out at us from the other side of a rectangular window opening with a shadowy interior behind them in this vertical painting. On our right, in the lower third of the composition, one young woman leans toward us over her left arm, which rests along the window ledge. She bends her right arm and props her chin on her fist. She looks at us with dark brown eyes under dark brows. She has shiny chestnut-brown hair with a strawberry-red bow on the right side of her head, to our left. She has a straight nose, and her full pink lips curve up in a smile. She wears a gossamer-white dress with a wide neckline trimmed in dark gray, with another red bow on the front of her chest. Her voluminous sleeves are pushed back to her elbows. To our left, a second woman peeks around a partially opened shutter. She is slightly older, and she stands next to the first woman with her body facing us. She tilts her head and also gazes at us with dark eyes under dark brown brows. She has dark brown hair covered by an oyster-white shawl. She holds the shawl up with her right hand to cover the bottom half of her face. Her mouth is hidden but her eyes crinkle as if in a smile. Her left arm bends at the elbow as she grasps the open shutter. She also wears a white shirt pushed back to her elbows, and a rose-pink skirt. The frame of the window runs parallel to the sides and bottom of the canvas. The room behind them is black in shadow.
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09df3cc7-5166-4d00-9e77-9c20f5766cdf
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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 pale blue mattress. The upholstery on the woman’s chair and the wallpaper behind her are patterned with dusky rose-pink flowers and vines against very pale yellow. The floor is also dark rose pink.
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09e0b00e-47c7-4bbd-a9b8-21b58de10e41
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Printed with black ink on light tan paper, this horizontal engraving shows a tight group of three muscular men riding imaginary creatures and an old woman standing behind them to our left, all with mouths dropped wide open. The men are spaced evenly across the picture, and they and the woman are all nude. The man on our left faces us and rides a scale-covered creature. The animal has a fish tail at the back and long talons at the front. The dragon-like mouth gapes open, and a forked tongue flicks out over sharp teeth. The rider holds the reins of the snarling creature in one hand and holds a tall staff in the other. The old woman stands behind him with one foot on the creature’s back. Her other leg is hidden by that man’s body. The woman’s long hair flows back from her wrinkled face, and her long, thin breasts droop off her emaciated body. Her jaw drops open, and her gaunt cheeks are hollow. She holds a fluttering cloak in her right hand, closer to us, and in the other, she holds out a sign about the size of a postcard that reads “INVID.” The sign hangs from a ribbon over the head of the man in the middle who engages with the third man to the right. They both ride animals with horses’ bodies and coiling serpents’ tails. The men and steeds face each other, also with mouths wide open and teeth bared. The man in the center holds a bunch of fish up behind his head in one hand. The third man’s cloak swirls behind his head as he lunges forward, thrusting a rod at the man in the middle. The hair, beards, and ears of these two men are formed by leaves. Beyond these two stands a sculpture of a naked man seen from the back. His head is turned to our left to look at the trident he holds in that hand, while the other cradles what appears to be a small dolphin. He stands on a tall base and an oval frame, perhaps a mirror, hangs on the wall opposite him among a bank of reeds. The ground around and under the animals is made of wavy lines to suggest water. A hill to our left and buildings atop a mountain at the center are far in the distance and deep in shadow. The artist used dense areas of thin black lines to build the shadows in the background and on the people and creatures.
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09f50027-eeb8-42c1-9306-050e48b637e4
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560 panels, each painted a unique, flat color, are hung in a grid to create an abstract work of art. The grid has ten horizontal rows of fifty-six panels. The surface of each panel is covered from edge to edge with a single color. The colors range from mahogany to peach, almond white to dark brown. Some panels are smoothly painted while brushwork is visible on others.
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0a2fce4a-5873-40f4-ac8d-950e4470e5c5
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Created with black lines printed on cream-white paper, a dense crowd of men and women gathers to our left facing a woman riding a dragon-like creature with seven heads to our right, while angels fly overhead in this vertical woodcut. To our right, the woman rides the creature side-saddle, with both legs facing us, but she turns her torso to face the crowd to our left. She holds up a tall, ornate, lidded chalice with her right hand, farther from us, and her other hand rests in her lap. The woman has delicate features, seen almost in profile, and ringlets frame her face. The rest of her hair is pulled up under a jeweled crown, and she wears a pearl necklace. Her bodice is belted at the waist before falling past her feet. Her sleeves are off the shoulder and come to her elbows, and ornaments there could be jewels and more pearls. The creature she rides has talons for the front and back legs, with a plume of feathers and a tapering, snake-like tail at the back. Wings at the beast’s shoulders might be folded under the woman. Each of the seven faces of the creature has a long, serpentine neck with the head of a different animal with horns added, including a goat, bird, camel, and other imaginary animals. To our left, the group is made up of six men and one woman, with the tops of about a dozen hats indicating a crowd beyond. One man stands with his back to us, wearing a turban, a long, fur-lined cloak, and chains and jewels around his neck. Facing us, another man is cleanshaven with a double chin, and he wears a hat cocked to one side. Others wear a long floppy cap, a feathered cap, or monk’s robes. Densely packed slivers of faces and hats are jumbled together beyond, and the spiked blade of a halberd rises above the crowd. The group and creature seem to stand near the edge of a body of water, with plants and rocks scattered around their feet. The water stretches into the distance beyond the creature to a town being consumed by flames, to our right. Two masted ships and a rowboat float in the water near the shoreline, which leads back to distant mountains. Two winged angels with flowing, curly hair appear within coiling, twisting clouds in the sky above. One gestures toward the scene below with arms spread wide and the other holds a disk-like millstone. Also in the sky, to our left and smaller in scale, an armored man riding a horse raises a sword high overhead. Dozens of faces create a second crowd disappearing into the cloud banks beyond the rider. The artist signed the work with a D tucked into the legs of an A at the lower center.
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0aa028c4-c063-4612-bb57-5a8ca4601ca1
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A young girl stands next to and holds the hand of an elegantly dressed woman sitting in a wooden armchair near stone columns, in front of a crimson-red curtain pulled up to reveal a distant landscape view in this vertical portrait painting. The child and woman have smooth, light skin, and the fabric of their dresses has a silken sheen. To our right, the woman sits with her knees angled slightly to our left, and she looks at us with dark blue eyes under faint brows. Her brown hair is pulled back from her high forehead under a hair covering set with pearls. Her pointed chin is slightly pulled back, and her pale pink lips are closed. A teardrop-shaped pearl hangs from the ear we can see, and she wears two strands of pearls like a choker, above a thick, pleated lace ruff. The fabric of the long-sleeved bodice has a gold-on-gold pattern, and is lined with a row of buttons down the front. Filmy lace cuffs extend back over her forearms from her wrists. Her full, floor-length skirt is scarlet red with a gold, brocade-like pattern, and has silvery-gray stripes down the front and around the lower hem. The cloak she wears over the dress has a black-on-black floral pattern. Three thick gold chains hang across her bodice, and she wears a square-cut, gray stone set in a gold ring on the third finger of her left hand. To our left, the young girl stands next to the wooden arm of the chair and holds the woman’s hands with both of hers. The child looks at us with gray eyes, and her pale pink lips are parted in a slight smile. Her light brown hair is pulled back under a gray band, perhaps of fur, around her head, over an apricot-colored head covering that matches her dress. The tight-fitting, long-sleeved bodice is striped with bands of alternating gold and pink geometric designs against the apricot-peach background. A lace-edged collar lies across her shoulders. A red, oval pendant hangs from her three-standed pearl necklace, and she wears three pearl bracelets on one wrist. A thick gold chain falls across her chest and around one hip. The floor-length, full skirt has buttercup-yellow and shell-pink highlights on the coral-colored background. Behind the pair, the red curtain has been pulled up so it seems to flutter behind the woman’s head, in front of stone columns that frame a distant landscape view with trees. A blocky structure, presumably a building, sits on the far distant, hazy horizon. Light pours down in streaks from steel-gray clouds against a pale blue sky.
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0ad4855e-760a-476f-bbbb-8164f430b4ec
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Twelve people and one child stand, sit, or kneel along a riverbank in this horizontal painting. All the people have pale or tanned skin, and are muscular. They are in various stages of undress, wearing robes of golden yellow, ruby red, petal pink, azure blue, or cream white. To our right of center, a man, Jesus, stands facing us with his arms crossed over his chest. He wears a blue robe wrapped loosely across his shoulders and across his hips. He looks down, his blond hair falling alongside his face, as another man, wearing red, pours water from a shallow dish onto his head. A white dove flies with wings spread overhead. To our right of Jesus, one kneeling person wearing white holds up Jesus’s blue robes and another looks on, wearing a sage green robe and holding a voluminous rose-pink cloth. To our left, a group of five men react by throwing up hands, pointing upward, or looking up. One man with a gray beard and hair stands and bows his head over praying hands. A young boy wraps the arm we can see across the praying man's hips. Three more men to the left of this group pause as they undress to look toward Jesus. All the men stand or sit among puddles as a river spans the width of the painting behind the group and winds into the distance to our right. At the center of the composition, three men stand or recline on a grassy mound on the far side of the river. Tucked under trees at the peak of the mound, a smudge of white could be another kneeling person. Two more people walk along a path that crests the mound to our left. Mountains in the distance are slate blue beneath a vivid blue sky streaked with white clouds.
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0ae30455-d12e-45fc-87a6-eedf81fb3388
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Vertical bands of vibrant, saturated color are created with upright dashes of paint in this abstract, square painting. The colors range widely from primary colors to intense jewel tones, and there is no repeating pattern. The dashes are also varying widths, and bands occasionally repeat so there could be two or more of a single color before another shade marches up the canvas.
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0b125197-533c-4038-b021-2660d2da0d66
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A leafless, ash-white tree trunk has fallen from a broken stump into the wide V of a neighboring tree at the edge of a body of water near a verdant forest in this horizontal landscape painting. The fallen trunk creates a diagonal from near the lower left corner to the upper right. As it fell, it sheared off a substantial branch from a neighboring tree with a dark trunk. The bark where the damaged branch has pulled away is honey-orange, the same color as the leaves at the canopy, which has been pinned under the fallen trunk. Trees, vines, and other vegetation fill the space around and beyond this pair. In the lower right corner of the painting, vines grow over a broken stump, which deep in shadow. Between the stump and fallen tree, the peanut-brown surface of the water is smooth. Tiny in scale beneath the fallen tree and easily overlooked, there are two men and a dog in a boat. One man stands at the back of the boat and pushes it along with a long pole. He wears a tall, brown, cloth hat, a white shirt rolled up to the elbows under a blue vest, and loose-fitting pants. A second man wears a flat-topped, white hat with a black brim, a long, forest-green jacket, and tight-fitting slate-blue pants. He braces a rifle against one shoulder and shoots into the forest. The dog is white with brown spots, and it stands with its front paws on the edge of the boat, presumably ready to spring after the target. A patch of blue sky with puffy white clouds is seen above the trees in the upper left corner. The artist signed and dated the work in the lower right corner: “H. Vernet Rome 1833.”
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0b56a532-da7e-48bc-9152-5218f68790d4
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Two pale-skinned women sit together surrounded by five sheep and a dog in a lush forest in this vertical painting. The woman to our right sits slightly above the other, with her arm draped around the shoulders of her companion. The woman to our right wears a low-cut, rose-pink dress with a full skirt and voluminous, gossamer sleeves. Blond curls are pulled back behind a headband, which is adorned over one ear with three large, pink flowers and smaller yellow and blue flowers. She tips her head to our right as she gazes down to her left at her friend. She has blue eyes, flushed cheeks, a delicate nose, and her grapefruit-pink lips curl in a gentle smile. She crosses one knee over the other and leans toward the other woman. Tucked into her side, the second woman looks up at the first in profile facing our right. Her low-cut, lavender-purple dress has a gold shimmer that suggests silk. Her ash-brown curls are pulled back and decorated with small sea-blue flowers. One toe peeks out from her long skirt, and both women are barefoot. The woman in purple holds a white dove on her friend’s lap, and the woman in pink holds a small envelope closed with a shell-pink seal next to the bird. The dove’s wings are slightly outspread, and a blue ribbon is tied around its neck. Just behind the pair, a towering tree with a silvery-gray trunk grows up and off the top edge of the painting. It angles to our left, and green branches hang down into the picture. To our right of the tree, a rectangular sand-brown stone structure is topped with a male lion carved from the same stone, near the upper right corner. The ground beneath the women is covered with moss-green growth and the space around them filled with verdant bushes and plants. A single, cream-colored sheep stands to our right, facing the women, next to a basket of flowers near the lower right corner. Four more sheep stand and lie together beyond the women to our left, while a black-bodied hound with a white muzzle sits watching the women. A pile of broken branches, perhaps forming a fence, lies behind the sheep. Grassy hills and trees become hazy in the distance beyond, and the sky above is slate blue with a few white and pale pink clouds. The upper and lower right corners and the lower left corner are deep in shade. The artist signed and dated the painting as if he had inscribed the stone in the shadow just below the lion, “f. Boucher 1750.”
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0b5cefc9-8828-4bc7-b01b-be33f59a10bc
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Shown from the knees up, a pale-skinned woman in a voluminous rust-orange dress stands facing us in this vertical portrait painting. She looks toward us but slightly down with dark brown eyes under curved brows. She has a wide face, rounded cheeks, a broad nose, and closed, coral-pink lips over a deeply dimpled chin. Her chestnut-brown hair is pulled up and back. The orange dress has a band of charcoal gray across the shoulders and at the flaring cuffs. Wide, vertical pleats fall from under the band across her chest. White trim, perhaps lace or fur, is suggested by loosely painted cream white at the high neck. The poofy sleeves and cinched cuffs of her white shirt extend beyond the dress sleeves. Her right arm, to our left, hangs by her side and the other holds an indistinct, loosely painted light-colored object down in front of her. She seems to be in a corner with the wall behind thinly washed in muted brown and green and a sienna-brown wood panel wall to our right.
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0b9cefb5-1ee4-401a-8154-8d4039191a28
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A pale turquoise footbridge arching over a pond lined with tall grasses and filled with petal-pink and butter-yellow waterlilies spans this horizontal landscape painting. The scene is loosely painted with touches of vibrant color. In the top third of the composition, the shallowly arched bridge nearly touches the top edge of the canvas, and it extends off each side. The shadows on the bridge are painted with eggplant purple. Bands of waterlilies gently zigzag into the distance on the surface of the water. The spring and emerald-green grasses growing along the banks fill the space around and over the pond, and they blend into a screen of trees beyond that enclose the scene. The green of the grasses and trees is reflected in the surface of the water, as is the underside of the bridge. The artist signed and dated the work with dark paint in the lower right corner: “Claude Monet 99.”
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0bcfa379-776f-4405-81b7-3f8e969ae931
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A cup carved from stone is mounted in gold fittings to create a jeweled chalice with handles that curl up each side and a tall, flaring foot below. The stone of the cup is swirled with shell pink and rust brown, and carved to create vertical ridges. The gold rim around the lip flares outward and is set with a band of alternating pairs of small, white pearls and mostly garnet-red stones, though one stone to our right is a muted blue. In this photograph, the handles curve up each side from the base of the stone cup to the gold lip, where the handle divides into two scrolling tendrils on either side of a teardrop shaped center, like curling petals. The base and foot are as tall as the stone cup and gold lip. A knob-like form just below the stone cup is set with deep red and jade green stones around its center, and rows of small pearls around the narrow top and bottom of the knob. The knob is chased to create a pattern of scrolling vines, like tracery. The flaring foot below is also chased with the same pattern, surrounding gold, oval medallions set at regular intervals in the foot. In our view, the medallion to the left shows a bunch of grapes and the center is a portrait of a bearded man with a halo, holding his right hand up with his first two fingers raised. The details on the medallion to our right are difficult to make out but it could be a sheaf of wheat. Small, round jewels are set above and below each medallion, and between each one.
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0c21a9c7-c19d-43ae-ae1a-abd0cabaae4a
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This sculpture is of a young girl in a ballet costume standing before us with her hands clasped behind her lower back, her head tipped back, and her chin thrust forward. The skin of her face, arms, chest, and legs are covered in bronze-brown wax, and her body faces us in this photograph. The sleeveless, putty-gray bodice of her costume fits tightly above a layered, fabric, pale, tea-brown tutu, and she wears ballet shoes. Her hair is pulled back but bangs sweep across her forehead, brushing her nearly closed, heavy eyelids. Her lips are slightly parted, and light catches the broad planes of her cheekbones. Her shoulders are drawn back by her pose, holding her hands behind her with arms straight, and her hips jut slightly forward. She stands with her right foot extended in front of her, with both feet turned out, parallel to each other. She stands on a square, wood platform.
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0c391ab1-550c-45e0-a9fd-00fe0cbc5eb5
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Two rabbits, one white and one gray, lie on a grassy hill in this horizontal painting on paper. On our left, the white rabbit rests so its front paws face us, and it looks slightly off to our left. To our right, the gray rabbit takes up most of the picture with its head near the white rabbit and its tail nearly touching the right edge of the paper. Tiny pen and graphite strokes make up the individual hairs of the rabbits' fur and whiskers. The ground close to us is olive and earth green. Mountains are frosty teal-green in the distance under lavender-gray clouds streaking up and to our left against a blue sky. Two birds fly in the deep distance. Tiny writing in black ink in the top left corner spells "Leach" in the top left corner. A number 1 appears next to the gray rabbit’s head and a number 2 next to the white.
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0c5e1eb1-cd12-45c5-9455-b287dd9dafbc
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Towering, pale, celery-green trees frame a view of a lush park with about a dozen elegantly dressed, light-skinned men and women in this vertical landscape painting. The color palette is dominated by moss and lemon-lime green, golden yellow, and spruce blue. The men all wear jackets with long tails over knee-breeches, and their long hair is pulled back at the napes of their necks. The women wear long dresses with full skirts and hints of lace at the sleeves and bust, and their brown or white hair is pulled up. Nine of the men and women gather to our right on a stone terrace along the bottom edge of the painting. A man in butter yellow kneels in front of a woman wearing rose pink. Around this pair, people stand, kneel, sit, or recline wearing aquamarine blue, light turquoise, or ivory white. A man and woman sit on a bench to our left, a little removed from the larger group. This woman wears ruby red and the man leaning toward her wears topaz blue. Two people in the park beyond these groups are painted with only a few strokes of pale blue and white paint, and they look over a low hedge row lining the walking path. Beds of red flowers fill the lower corners of the composition in front of a statue of a woman to our left and a person, perhaps on a fountain, to our right. The grassy walking path and trees become more blue as they fade into the hazy distance between the tall tress to either side. The sky fades from pale blue along the horizon to a silvery blue, almost white, at the top.
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0c7e6380-3074-4a4f-aab0-570a6f00ca2b
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This vertical portrait painting shows the head and shoulders of a person with pale peach skin and an auburn, cheek-length bob hairstyle. The person has high cheek bones, deep pink lips, and an angular, pointed chin. The head is cocked to our left, and almond-shaped eyes are nearly blacked out. The black jacket has lapels over a white, collared, buttoned-up shirt with a crimson-red necktie. Shown against brick-red and black background, the portrait is painted with areas of relatively flat color but with loose brushstrokes that create a textured, mottled effect. The artist signed the work with black paint in the lower right corner: “modigliani.”
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0cd7a155-9488-443e-9866-66a5fe3fb258
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In a landscape with chiseled, rocky mountains beyond a grassy meadow and stream, two men wearing dove-gray robes react to a flame-red cross in the sky in this nearly square painting. Both men have pale skin and their hair has been cut into a ring around each head. Their loose robes are cinched at the waist, and both have bare feet. The man to our left, with hands raised, kneels with his body angled to our right, facing the red cross in the sky, in the upper right corner of the painting. He has gray or blond hair and a flat gold halo edged with red. Five thin gold lines emanate from the red cross to touch the man’s hands, feet, and the right side of his chest. There is a red spot where one gold ray touches the palm of his right hand, closer to us. The second man, to our right, sits and leans back on one hand and holds his other hand to his brow as he looks up at the cross. He has dark hair. A small book with yellow pages and a red cover sits on the grass nearby. In the background, each of the three tall, pointed mountains nearly touch the top edge of the composition, and each is a different color, with icy, pale blue to our left, shell pink at the center, and light laurel green to our right. A stream running in front of the mountains turns a corner and comes our way in the lower right corner of the panel. The green meadow has a line of dark pine green trees and bushes behind the kneeling man and along the bottom left edge of the panel, near us. Wisps of white clouds float in the violet-purple sky above.
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0d11550e-2b94-4ee9-b366-db676bd1b99f
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Drawn with black crayon on tan-colored paper, a winding road weaves past fields, trees, and a few houses in this horizontal landscape. The road is created with dark, wavy lines that run almost parallel to each other. The road nearly spans the lower edge of the composition, and it curves into the distance. Vegetation to either side is indicated with bouncing squiggles or flicks of the crayon. One house edges into the picture from the right and another is at the foot of rolling hills farther back in the scene. The sky is filled with puffy clouds. The landscape is enclosed with a border made of freehand-drawn lines. Beneath the bottom line and near the right corner, an inscription reads “Geo. Bellows ESB.”
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0d202b87-f85d-418a-8462-da6bec43b714
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A woman cradling a baby boy sits on an arched throne, which is surrounded by twenty men, women, and winged angels against a glimmering gold background in this vertical painting. The panel on which it is painted comes to a pointed arch at the top, and a gold, carved, twisting column frames the scene to each side. Most the people have pale skin faintly tinged with green and all have bright gold, plate-like halos. The woman, Mary, wears a forest-green, gold-edged robe covering her head, shoulders, and body over a peach-colored dress, which is decorated with gold, geometric designs. She has wavy, strawberry-blond hair, a straight nose, wide, narrowed eyes, and her pink lips are closed. Her body faces us but she looks down and to our right, toward a pair of women on that side of the throne. The baby looks in the same direction, and has short, blond, curly hair, pudgy cheeks, a wide, bare chest, and scrawny arms. The fabric wrapped around his waist and legs shimmers from canary yellow to sky blue, and is crimson red on the underside. He reaches one arm across his body to our right, toward a small gray bird held by one of two women standing next to the throne. Those women and the others around the throne are smaller in scale than Mary. Their bodies face the throne, and most look up toward it. They all wear gold-trimmed robes in ultramarine blue, ruby red, emerald green, pale pink, fawn brown, ivory white, or golden yellow. Each person holds one object, including a palm frond, flute, ring, ointment jar, wooden cross, sword, lamb, or a book. One man, to our lower left, wears a furry garment under his robe and holds a red cross and a scroll. Another man, to our right, holds a book and a large, gold skeleton key. Even smaller in scale, two winged angels play instruments in the lower center, at the base of the throne. Finally, to each side of the throne, over the saints surrounding it, there are two pairs of two angels. In each of that final pair of angels, one is painted entirely in cobalt blue and the other entirely in scarlet red. Crimson-red fabric embellished with gold, stylized leaf patterns hangs behind Mary, on the throne.
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0db8b561-cb20-4940-bc13-3cf247f9c078
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Seen through a wide, shallow, ornamental, stone arch, seventeen light-skinned people and a dog gather around or near a long banquet table set with plates of food in this horizontal painting. The table angles away from us so the short, right side is closest to us in the darkened room, which is lined along the far wall with shallow columns and capitals. To our left, an arched doorway in the room opens to a view of a stone structure and a sliver of blue sky. A gleaming, gold candelabra with curving arms hangs over the table from a coffered, possibly wooden ceiling. The table is covered with a white cloth. Men crowd around the short ends and the long side of the table opposite us. In pairs and trios, the men converse or look toward a man with light radiating from the top and sides of his head, at the center of the far side of the table. That bearded man, Jesus, has long brown hair and points his index finger upward with his right hand, on our left. The other men at the table wear robes and tunics in sage green, tan, brown, or slate blue. A portly man behind Jesus stands with a cloth draped over one forearm and his other hand on his hip, looking down at the table. Another cleanshaven man stands holding a large platter at the far corner of the table, and two people, perhaps a man and woman, appear to be walking away from the table but look back over their shoulders to our left. On the long side of the table, closer to us, a man to our left, balding with a long gray beard, sits on a narrow, bench-like seat and twists to pick up a jug from a large basin on the floor. The final man stands near an overturned seat as he turns his back on the table. He gestures forward, to our left, with one hand as he looks back over his other shoulder. A white dog with brown spots chews on a bone near the overturned seat. The highly decorated wide archway through which we see the scene seems to be carved from pale, fog-gray stone with scrolling moldings and capitals. The arch has a shield-like decoration at the top center, and is flanked by sculpted people in the upper corners. Two larger golden statues of robed women stand on floating plinths to either side of the arch. The woman to our left holds flaming orbs and the other holds a yoke across her shoulders. Though the painting seems rather illusionistic from afar, closer examination shows that it is sketchily painted throughout.
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0dc1267b-874c-4283-8cc5-83f891b6edb4
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Seven men sit or stand in a town street in front of a bone-brown stucco building in this horizontal watercolor painting. Light pours across the road from the right, making the surface glow parchment white. The building is close to us and takes up the left two-thirds of the composition. Its face is flat except for a wide, deeply shadowed arch, which is about twice the height of the standing person, and a shallowly projecting structure that encases the second story of the corner. This structure is pierced to create intricate tracery and is supported by corbels. Three people sit or recline against the building façade in the middle of the composition. They wear tattered clothing in ivory white, scarlet red, ultramarine blue, beige, and black. Their skin is painted in tones of ash white, and they have beards. Their eyes appear to be closed. One man hunches over a long staff across his lap, and the head of another man rests back against the wall, his mouth downturned and eyebrows gathered. The reclining person’s bare legs stretch long, and his slippers lie near bare feet as he props his head in one hand. A fourth man is wrapped in white cloth and stands looking at the trio, facing away from us. A fifth man perches atop a donkey, swaddled in pale peach and white fabric and huddled around a long rifle braced upright in front of him. Now we realize that the long staff the other man held is also the barrel of a rifle. A second pale donkey stands in profile facing our left in front of the mounted man, who looks down at a man who returns his gaze as he stands behind that second donkey. In the right third of the watercolor is a view down an alley-like street spanned occasionally with arches or walkways. People man tables set out in front of the buildings there and others look at the wares. Another man swathed in black fabric huddles near the corner of the building. The artist inscribed and dated the lower right corner of the watercolor, “A M Stewart son ami Fortuny 1869.”
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0dd57cd1-91db-4e04-a709-6fb236d266d1
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More than a dozen light-skinned men, women, and children eat, drink, talk, and make music around a dancing couple under an arbor in this horizontal painting. Most of the people are dressed in muted tones of green, gray, and black. The patio-like space is enclosed by a railing along the back and a half wall to our right. Sage-green vines and leaves covering the roof-like trellis hang down. Ten men and women sit or stand closely around a long table along the left, next to the exterior wall of a red brick building. A woman sitting in a wooden chair at the end of the table closest to us wears a flax-yellow gown with a wide white collar and a starched white cap. She smiles up at the child she braces in her lap. The child stands and holds a toy in both hands and looks over one shoulder to our right. The child wears a carrot-orange gown with a white pinafore. Two men lean out of open windows at the far end of the brick building, and the people along the table drink, smile, or look on as a man in the center leads a woman by the hand to an open spot under the arbor. He wears a charcoal-gray suit, and a muted pink cap is pulled low over his eyes. He has a long, hooked nose, and light glints off teeth in his smiling mouth. The woman is pulled behind the man, so she stands flat-footed to our left of him. She faces our right but turns to looks at us from the corners of her dark eyes. Her light brown hair is gathered at the back of her head under a pearl-lined covering. She wears a dusty rose-pink gown with a sheer black shawl around her shoulders and white apron at her waist. Beyond the back rail, a man smiles widely as he balances a covered basket containing a gray chicken with one hand on his head. Nearby, a boy on our side of the rail talks with a little girl across the railing, who smiles back. Two men and a woman wearing a black head covering talk a short distance away. Close to us, a man, woman, and child in the lower right corner sit near two young men perched on the half wall, one playing a violin and the other a flute. A gleaming pewter ewer, a wooden barrel with a square opening, a white pipe, a terracotta bowl, broken eggs, a spoon, and an overturned pail of flowers lie scattered across the foreground of the patio. The artist signed and dated the lower left, “JSteen. 1663,” with the J and S overlapping.
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0e4c968b-f73e-47b0-ac08-6cb2482e5881
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Shown from about the knees up, a young girl with pale skin and flushed cheeks stands in front of a landscape, looking at us in this vertical portrait painting. She stands with her body angled to our left, and she turns her face to us. Her chestnut-brown hair curls down the nape of her neck, and her bangs sweep across her forehead over slate-blue eyes. Her turned-up nose and pink bow mouth are set within in her round face. The girl’s smooth skin, her white dress, and her ivory-colored, wide-brimmed straw hat are brightly and evenly lit. Her flushed cheeks are echoed by the broad, petal-pink sash tied around her waist into a bow at her back and the matching ribbon of her hat, tied in a bow under her chin. A few streaks of pink also appear in the aquamarine-blue sky behind her. A hillside painted with tones of harvest gold and tawny brown slopes up from the lower left corner to the right edge of the canvas. The landscape is more loosely painted with lively brushstrokes.
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0e95a043-6d84-4cef-adf9-60f4084b2a44
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Shown from the chest up, a light-skinned, cleanshaven man looks down and to our left in this vertical portrait painting. His shoulders angle slightly to the right, but he turns to look in the other direction with dark eyes under gathered brows. He has a prominent nose, a pointed chin, and his full lips are parted. His dark blond hair is parted down the middle and falls to both shoulders. His right arm, to our left, crosses his chest, and he holds a staff with that hand along the right side of the painting. He wears a tawny-brown coat with buttons down the front over a high white collar. The background is painted with shades of fawn and peanut brown. The artist signed and dated the painting along the center of the left edge in faint brown paint: “P. Soutman F.A. 1640.”
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0eb31cfb-ddba-41c2-a0a5-b6b2e41efadf
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An older woman wearing a long black dress sits reading a book in front of a younger woman wearing cream white, who sits on a couch just beyond, in this vertical portrait painting. The scene is loosely painted with some visible brushstrokes, especially in the furniture, clothing, and room. Both women have pale skin and wear dresses with long sleeves and skirts. To our right, the older woman sits in a chair with a curved back, which runs parallel to the right edge of the canvas. The full skirt of her black dress angles down across the picture, almost spanning the bottom edge of the composition. Her gray hair is pulled back and covered by a black cloth or veil, which falls to her shoulder and blends with her dress. The collar is lined with a white ruffle, and white lace cuffs encircle her wrists. Her face is painted with rosy tones. She looks down at her book with dark eyes, and her rose-pink lips are closed. She wears a gold ring with a light stone on her left ring finger, and the book she holds has a moss-green cover. Her skirt overlaps the younger woman sitting nearby on the couch, which runs along the back wall of the room. The young woman’s knees are angled to our left but she looks slightly back to our right, to gaze down and into the distance with brown eyes. Her skin is paler, but she has lightly flushed cheeks and her petal-pink lips are also closed. An azure-blue bow is tied in her chestnut-brown hair. A few tendrils fall down her back and over one shoulder. Her dress falls loosely over her torso and legs. She wears a gold ring on her left hand and a gold bracelet on that wrist. She fingers a piece of lapis-blue fabric in one hand. The couch behind her has a pattern with stylized flowers or leaves floating within rose-pink ribbons that hang in swags, against a white background. Pillows patterned with ruby red, sky blue, and fawn brown peek out from behind the young woman. A round or oval wooden table with curving legs to our left holds a glass vase with a violet-purple flower, perhaps a hydrangea. A slip of paper or envelope sits on the table next to the vase. The wall behind the couch is fog gray, and the bottom edge of a gold frame hangs behind the young woman.
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0ef454d7-7988-4044-81e3-38daf8dbf70e
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People gather under trees next to an expansive river dotted with boats in this horizontal landscape painting. The people are tiny in scale in the landscape, and they all have light skin. The softly rippling river takes up the right half of the composition. The water is bottle green closest to us, shifting to celestial blue in the distance. The water blends with the same color blue in the sky along the horizon, which comes halfway up the painting. Rowboats and sailboats line the shore along our left and float into the distance, some with sails tied up and others unfurled. In the lower right corner, a ferryboat filled with travelers, horses, and cattle approaches a landing on the lower left. At the landing, a boatman passes a baby to a man standing on the riverbank, while several ladies, a young girl, and a dog wait nearby. On the ground in front of this group is a basket, several packages, and dead fish. A second small group awaits passage just beyond the man receiving the baby. The women wear long dresses and hats or bonnets, and the men wear jackets, knee-length britches, stockings, and caps in shades of royal blue, petal pink, laurel green, ruby red, or white. A copse of trees with tall, slender canopies fills the left third of the composition. People walk along a path through the trees and work in and around boats along the riverbank. Farther back, a stone bridge crosses a stream, and beyond it, tan buildings cluster around a church spire seen through a break in the trees. Above the church, the sky is a pale cream color, and the light streams down to highlight the bridge, buildings, and the water. Birds sit in the trees and fly overhead, while waterfowl gather by the landing, near the lower left. The painting is signed and dated in the lower left: “BRVEGHEL 1607.”
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0ef7daea-db7f-4ffa-93eb-e3e4b63b213d
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Shown from about the knees up, a woman with pale skin and honey-brown hair stands in the center of this vertical portrait painting. She turns her body slightly to our right and looks down to read a small, chocolate-brown book held up in her left hand, to our right. The book is decorated with gold bands and medallions on the spine and both covers. Her eyes are hooded under faint brows. She has a straight nose, and her small, coral-pink lips are closed. Her hair is pulled back and braided up along the side of her head. Small, translucent tendrils curl over her right temple, to our left. She wears a long, topaz-blue gown with gold trim down the high-necked bodice and the front of the skirt. The dress has dusty rose-pink sleeves edged with white ruffles at the cuffs. A white collar, pleated into figure-eights, nestles around her chin and the base of her skull. Her right arm, to our left, hangs by her side and she grasps a silvery white handkerchief bordered with thin fringe. She wears a gold ring with a red stone in a square setting on the third finger of that hand. A table covered in a scarlet-red tablecloth angles toward us to our right. Almost falling off the edge is a second book in a parchment-gold binding. The two ties at the edges of the pages are loose, and a sheet of folded paper sits on top of the book. Black script on the paper reads, “All'Ill re mia s rae p rona Oss ma la sig ra quinti lia fischieri de Bon a Urbino.” A fern-green curtain is bunched along the left side of the painting, and the rest of the background is olive green.
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0f89f4fa-f116-4087-acac-e1bca883d150
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This free-standing bronze sculpture shows the rounded, stylized forms of a person with long limbs riding astride a horse with noticeably short legs. The horse and rider are angled to our right in this photograph. The dark brown bronze gleams white where the light catches the smooth surfaces, and some areas are a burnished gold color. The horse looks ahead with large eyes. It has short ears, and its mouth is parted. The person riding the horse holds the reins with the right hand, closer to us. The reins wrap halfway around the horse’s neck and are then broken off. The cleanshaven rider has a heavy brow ridge and a long, straight nose. He wears a flat-topped cap and a robe that reaches to his ankles. The pointed toes of his shoe pokes through the small stirrup we can see. A rounded handle connects the rider’s upper back to the back of the horse. The background is taupe-gray behind the sculpture and darkens at the upper corners.
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0fa34c3a-f8df-434d-a6e4-3249556ff09a
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A man and woman embrace and kiss while sitting on a rocky formation in this free-standing bronze sculpture. Both people are nude, and they turn toward each other. In this photograph, to our right, the slender woman reaches her left arm, closer to us, up to wrap around the man’s neck. Her left breast is silhouetted against the man’s muscular chest. The woman’s raised arm covers most of their faces but the man turns his head down to meet hers. The man rests his right hand, closer to us, on her hip and she hooks one leg over his. His knees are angled to our left and he turns his torso toward her. The woman’s left toes brush his foot, just below hers. They sit on a textured, rock-like form. The surface of sculpture has a golden-brown patina, which darkens where the bodies fold and crease. The artist’s name is stamped into the seat, just below the woman’s hip: “RODIN.”
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0fd27212-b70a-4a0b-9e7c-ed0d8bbe7ebf
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About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.
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101f6ae4-948e-4d84-923c-cdf4e37d2b36
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A thin, narrow-shouldered woman holding a black shawl close to her body walks toward us down an alleyway past a pair of men wearing all black in this horizontal painting. One of the men’s faces is in shadow but all three people seem to have light skin. The woman’s shawl wraps around her shoulders and the bottom hem, edged with fringe, kicks around her shins over a long, cream-white skirt. A stroke of magenta pink at her neck, perhaps her shirt, is echoed in the deep pink of her closed, full lips. Her gaze seems to be downcast, and her features, like much of the rest of the scene, are loosely painted. A touch of coral red on her head could be a flower or decoration in her brown hair, which seems to be pulled back. Behind her and to our right, two men stand, presumably talking, near a building. Both wear black hats and the collars of their black coats seem to be lined with fur. One man leans against the building and looks toward the woman. The other man looks at his companion, his face in shadow. In the distance, a man and woman sit at a small table on the far side of the alley. Buildings rising along the walkway to our left and right fill the composition and extend off the top edge. At least two buildings close off our view across the far end of the alley. A higher structure behind one of them seems to catch sunlight with a touch of bright, cream white, but the scene in the alley is softly lit, in diffused shadow. The faces of all the buildings are ivory or pale peach, and most have forest-green shutters. On the buildings, the paint is applied in rough layers to mimic stucco or plaster. Throughout the work, loose brushstrokes are visible. The artist signed the work in dark paint in the lower right corner: “John S. Sargent.”
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1034a430-14b9-494d-8b69-c135e592892f
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Shown from this chest up, a man holding a paint palette and brushes angles to our left toward an easel in this vertical painting. The portrait is loosely painted with short strokes and visible dashes in cool, green-edged yellow and blue. The man looks at or toward us from the corners of his electric-blue eyes, which are deep-set under bushy blond eyebrows. He has a bumped nose, high cheekbones, and a narrow chin. A ginger-orange mustache and beard frame his pale pink lips, which are closed. He also has short-cropped blond hair. His face is painted with strokes on mint green and straw yellow, and his features are outlined in plum purple. His high-necked blue smock fastens at his throat over a white garment. The topaz and steel-blue strokes of the smock are overlaid with horizontal, harvest-yellow dashes. The man’s thumb pokes through the rectangular palette he holds in his left hand, closer to us. Daubs of yellow, red, blue, red, and white are smeared on the palette. The edge of the canvas on which the man works angles in from the left edge of the composition. The background is painted thickly with pale celery green.
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104fd57e-cd5f-4fa5-a31c-440dcd256ed6
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Four women and two children, all with pale skin, carry baskets as they walk along a beach under a brilliant blue sky in this horizontal painting. The scene is painted with visible dabs and blended strokes. The women all wear long-sleeved shirts, calf-length skirts and aprons, head coverings, and gray clogs. The group walks to our left, amid shallow pools that reflect the topaz-blue sky. At the front of the group, to our left, a young woman wears a white kerchief tied at the back of her neck, under her blond hair. She wears a navy-blue shirt and a gray skirt, and she carries a shallow, woven, straw basket against her left hip, closer to us. On her other side, a barefoot child walks beside her. The child wears a white, long-sleeved shirt tucked into tan-colored shorts and a wide-brimmed, golden yellow hat. He holds a basket at the small of his back. To our right, near the center of the composition, a pair of women walk with their heads tipped toward each other. The woman closer to us has bright, copper-blond hair under a white bonnet tied under her chin. A black shawl crosses over her white shirt, and black coverings are pulled up over the forearms of her white shirt. Her beige apron mostly obscures her crimson-red skirt. Wearing dark stockings, she is the only woman whose shins are not bare. The woman next to her, farther from us, wears a dark gray head covering and skirt, and a navy-blue shirt. The chin straps on the bonnets of both of these women flutter in the breeze. Behind that pair, to our right, and older woman also wears a black shawl and sleeve protectors over a white shirt. Her apron is aquamarine blue and she lifts it over a brown skirt. She has stopped to gaze down at the second child, standing next to her. Sunlight sets the child’s blond hair aglow as he reaches down to tug at the leg of his dark gray shorts. He wears a teal-blue, long-sleeved shirt and is also barefoot. Touches of white paint on the beach around the group makes the sand seem to shimmer. More people approach the beach from the upper right corner, where the dune leads back to a lighthouse. The structure is a hazy, slate-gray silhouette against the bright white clouds in the vivid blue sky above. The beach slopes down to our left into the distance, where sailboats and people are suggested with a few swipes of paint. The artist signed and dated the painting in the lower right corner, “John S. Sargent. Paris 1878.”
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109d9559-c6b7-4a83-929c-e3100b4993e6
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From a rocky shoreline, we look on several light-skinned people working by the sea with a boat and a net in this freely painted, almost square seascape. The scene is framed by a silhouette of low boulders along the lower right corner, and a towering cream-white rock rising two-thirds of the way up the composition to our left. Scrubby, celery-green vegetation grows on the rocky outcropping. Near the center, close to the towering white rocks, three people sit, reaching for something near one end of a boat while a fourth person braces against the rock, presumably to push the boat out to the sea. Closer to us, three people on the shore work with a net. Two stand with the net hooked over their shoulders, and a third person crouches in the water with head down. The people all wear simple shirts and pants in shades of tan, mustard yellow, burnt orange, and pale blue. All but two wear hats. The sea meets the shore with frothy white foam and cresting, low waves. The sea beyond fades from pale sage green to arctic blue along the horizon, which comes about a third of the way up the composition. Two sail boats tilt against the wind in the distance. Pale, smoky lavender-purple clouds drift across the ice-blue sky.
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10dcd16f-7fc6-4ac4-a93c-f77be29b39ec
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We look across a palm-tree lined river winding into the distance before a monumental, snow-covered mountain at the center of the composition in this horizontal landscape. The spit of land along the riverbank in the lower left corner is filled with lush vegetation, including waving ferns, vines, leafy trees, and palm trees. At the bottom center of the composition, along the shoreline, a boat with a pointed prow is occupied by three people wearing white pants. Two of the men are bare-chested and the third wears a red shirt. The boat is covered with a rounded, hut-like structure and tendrils of white paint, perhaps indicating smoke from a fire, waft up in front of the opening to the structure. The placid river widens beyond the boat and across from us, the distant shore is lined with white buildings with brown thatched roofs and a white church with two spires and a red tile roof. Trees around and beyond the buildings fill in the space before brown hills that eventually lead to the snowy peaks of the central mountain. The earthy moss and sage green and tawny brown of the vegetation and river closer to us fades to pale caramel and pinkish-tan in the hazy distance. A few birds fly across the pale blue sky to our left, and wisps of light gray clouds float in from our right. The artist signed and dated the work in the lower left corner: “Church 1854.”
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1153f2b7-bfe6-4159-8ca4-211ce86564b1
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Close to us, a woman and two men stand on a grassy riverbank looking out at the expanse of the river that nearly fills this horizontal landscape painting. A fourth person sits in a long, narrow canoe that angles from the riverbank near the lower left corner to our right, and it extends off the right edge of the canvas. The people all have pale, peachy skin. The man closest to us, to our right of the trio, wears a white hat and jacket and dark pants as he gazes across the river with his hands in his jacket pockets. The other man and woman, to our left, look toward us. The woman wears a royal-blue hat pulled low over her eyes. Her dress has a blue skirt, and her petal-pink corseted bodice is trimmed with white. The third standing person, along the left edge of the painting, wears blue and brown, and a straw-colored hat. The man in the boat wears a white long-sleeved shirt with a blue cravat at his neck, a crimson-red cummerbund at his waist, blue pants, and a brimmed, straw hat. He turns to look over his right shoulder, and he holds the end of a long oar in his right hand. The surface of the water is painted with short touches of vibrant blue paint. A sailboat, barge, and two other sculls float on the river between us and the far bank, which comes three-quarters of the way up the composition. A few white houses and buildings line the water amid tall grasses on the opposite bank on the right half of the painting. The blue sky is painted with long strokes in blue and white. The brushstrokes are loose throughout, creating a blurred, feathery texture.
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1155a052-5f8d-4168-80dc-750ca9c5e497
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In a camp, two soldiers wearing blue uniforms are lost in thought as they listen to a military band playing music in the background in this vertical painting. Their uniforms consist of midnight-blue jackets, stone-blue pants, and flat-topped, brimmed hats. Brass buttons line the open fronts of their jackets, and a gold-colored emblem is affixed to the tops of their caps. One soldier, at the center of the painting, stands facing our left in profile with one hand on his hip. Another, to our right, sits in front of a tent, also looking to our left. The seated soldier’s knees are spread wide. One hand rests on at least two pieces of paper on his thigh, and he rests his chin in the other hand, also propped on his thigh. A low, triangular tent, about waist-high, is pitched to the left of the standing solider. The inside is dark but closer inspection reveals the bottom of one boot, presumably belonging to a solider lying down inside. At the lower left of the painting, gray smoke drifts up from a pot on a campfire. A knapsack and a pewter plate holding waffle-like hardtack are laid near the tent. A few branches cover the dirt ground to our right. A tan cloth draped over an arbor-like structure of sticks forms a partition between the two soldiers and the rest of the camp, dividing the composition. Rows of tents extend into the distance. A band of soldiers plays music in the distance, light glinting off their gold horn instruments. A row of tents is visible in the deep distance, perhaps across a body of water. The horizon line comes about two-thirds of the way up the composition, and puffy white clouds drift across the pale blue sky above.
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115eecf3-19a0-4665-b651-45a2f272a31f
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Printed with energetic black lines and hatching against cream white paper, dozens of sheep graze in the deep shadows cast by a grove of trees in this horizontal landscape etching. The horizon runs lengthwise across the center of the sheet, and the sheep graze between two neat rows of trees that recede into the distance. The ground gently rises on either side of the sheep, and the trees lean in toward the center. A dark form near the middle of the flock could be a shepherd or thick tree stump. The print is inscribed in graphite in the lower margin to the right, “MLiebermann.”
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119e0e08-4971-4d2f-b618-02b6b97a03dd
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A nude man holding a book in one hand and a rock down by his other side kneels at the opening of a rocky cave in this vertical painting. The man’s body and the shadowy cave opening nearly fill the composition. The man’s torso and limbs are elongated and sinewy, and his skin is painted in tones of ivory white and pale peach with smoky gray shadows. His body is squared to us as he turns his long face to look up and off to our left. He has dark brows over deep-set eyes, a prominent nose, hollow cheeks, and his thin lips are closed. He has short white hair and a frost-white beard. His skin pulls tightly over the tendons in his neck, across his collarbone, and over his ladder-like ribcage. He is nude except for a loosely painted, light-colored cloth across his hips. His left arm, to our right, lies along an open book, which rests against his hip or on a rock in the cave. A few touches of red line the hand that grips the rock, which he holds away from his body with his other hand. The craggy face of the cave opening is loosely painted, and the interior is swallowed in complete darkness. The man raises his face toward rays of canary yellow and cotton white against a turquoise-blue sky in the upper left corner of the canvas.
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123aac2d-f89f-4193-a22c-57ea3739bcda
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A young woman sitting and holding a nude baby boy is surrounded by winged angels and four men in this vertical painting. They all have pale skin, and the people, not angels, have delicate gold rings as halos. The woman, Mary, sits on a white stone pedestal on a stone step, which spans the width of the painting. Her head tilts to our right as she looks down. Her brown hair is covered with a translucent white veil. She wears a raspberry-pink dress under a midnight-blue cloak lined with pine green. She cradles the chubby baby with both hands. He has round cheeks, a snub nose, and bow-shaped lips. He looks at Mary and reaches toward her face with one hand. Two men stand on the step to either side of her pedestal, and two more kneel at the base of the step. The man at the top left is cleanshaven and has wings striped with grass green, mauve pink, pearl white, and sky blue. He wears a gold helmet, a muscled breastplate, a knee-length, lavender-blue tunic, and gold, shin-high, toe-less shoes. He holds a sword up high with one hand and a scale with the other. A tiny man kneels and prays to Mary in the higher pan of the scale. In front of him, a man with darker, tanned skin, kneels on one leg with his body facing us as he turns his head to look up at Mary and the baby. His brows are furrowed and his lips parted. He has short, curly brown hair and a trimmed beard. He wears a bottle-green robe and a canary-yellow cloak. He holds a piece of paper on a pink book braced against his raised knee. To the upper right, the man standing next to Mary’s pedestal has a long white beard, and he looks down at an open book he holds with both hands. He wears a conical, split hat, a grass-green robe edged with a pattern of haloed, winged baby heads against maroon red. He wears gold rings over white gloves and a white garment underneath the cloak. In front of him, a balding man with a curly white beard and hair also kneels on one leg in front of the step. This man also looks down with lips parted. He holds a book with a moss-green cover with one hand and a pen in the other as he writes on a piece of paper on the book. He wears a cranberry-red cloak over a lapis-blue robe, and both kneeling men wear sandals on the feet we can see. Four winged angels, about half the size of the other people, hover in a line behind Mary, two to each side. They all have long, blond, curly hair. Their wings and robes are painted in shades of red, yellow, blue, and green. The angel to our left holds a spray of white flowers and one to our right holds a branch of white lilies. They all look at Mary or the baby. A sliver of blue, mountainous landscape is visible to our left of the pedestal. The horizon comes about halfway up the composition, so Mary, the angels, and the men standing to each side of the pedestal are mostly outlined against a pale blue sky.
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125d79bc-0a09-4428-bfb2-ceaf995400cd
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Warm light coming from the left illuminates four men standing in pairs on either side of a dirt road that winds between rocky, tree-studded hills and a misty river in this almost square landscape painting. The trees have tall, gnarled, brown trunks with high canopies of sage, olive, and forest green while others have golden yellow leaves. The road curves in a C-shape along the foot of the hills that rise up the right side of the composition, their craggy faces painted in warm tones of sand, fawn, and caramel brown. Closest to us is rocky terrain covered with scrubby plants and two moss-covered trees growing next to a broken tree trunk that separates us from the men. The trees are just right of center and divide the scene vertically. The two men to the right of the tree rest among boulders next to the road. One sits and the other stands, and each holds a tall staff. A light-gray, bearded goat lies to the right of the men and closer inspection reveals another grazing nearby. On the left, one man sitting astride a donkey turns his head away from us to look at the man standing just behind him. The men are all simply dressed in knee-length breeches, shirts, and sleeveless coats in shades of brick red, ivory, and tan, or ginger brown, and wear tall, wide brimmed hats. A man driving cattle approaches them from farther back along the road. Beyond the tall trees near the center, the hills slope down to a winding river fringed with trees. The river flows into the distance, past headlands jutting into the water, and ends at a tall mountain rising from the low horizon. A thin wash of butter yellow creates a hazy glow over the river, headlands, and distant mountain. A pale robin's egg-blue sky scattered with petal-pink and dusty rose-colored clouds fills the top of the scene.
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12aab9ab-9927-40a5-b2fe-9737d1a37f05
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Shown from the shins up, two elegantly dressed women and two young boys, all with light skin, sit together on a bench in front of a stone balustrade with a forest landscape beyond in this horizontal portrait painting. The people are brightly lit from our left but the darkened sky suggests dusk. The boys lean onto the woman at the center of the composition, and the second woman sits to her right, our left. All of the people have pale skin, rosy cheeks, delicate noses, and their pink lips all turn up in slight smiles. The woman on our left sits with her body angled toward her friend but she turns her face to look at us with brown eyes under curving brows. Her wavy, flint-gray hair is loosely bound up so it frames the sides of her face and curls over her shoulders. Her swirling, white head covering is edged in gold and tied in a bow over her left ear, on our right. Her long-sleeved dress has a tight-fitting bodice and a low, scooped neckline lined with pleated white fabric. Her dress shimmers from sapphire blue to dusky pink, suggesting it is iridescent taffeta. Large pearls hang off the end of round, gold, hoop earrings, and a glimmering gold sash is tied around her waist. She sits with her left hand resting on her friend’s right shoulder, closer to her, and she gestures toward one of the young boys leaning on the friend’s lap with her other hand. The second woman sits with her body facing us, and she looks off to our left with gray-blue eyes. Her silvery gray, upswept hair is covered with a long piece of white fabric with pink stripes, twisted loosely into a turban-like head covering. She wears dangling gold earrings, and her dress is striped with parchment white and rust red. Her right hand, on our left, rests on her friend’s knee, and her other arm is wrapped around the older boy. He kneels on the bench and leans forward, wrapping the arm we can see around her torso. His face near hers, he looks up at her from under his lashes. A dimple marks the flushed cheek we can see. His chestnut-brown hair falls around his shoulders, and he wears a gingerbread-brown suit. The smaller and younger of the two boys rests his head on his crossed hands on her thigh, and looks out at us. He wears a white garment with a lilac-purple sash tied in a bow around his waist. There is a pale pink rosebush in the lower right corner of the painting, near the kneeling boy’s foot. The landscape beyond the balustrade is filled with dark green trees against a slate-blue sky. The painting is created with blended brushstrokes, giving it a soft look.
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12daec31-876f-46b1-8f0b-eff186efc4f3
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From a high vantage point, we look across hills, trees, and a body of water and into the deep distance in this horizontal landscape painting. A shed-like structure with an overhanging roof protecting an image of a woman holding a baby is near the left edge of the composition. In front of the structure, a person wearing a white head covering, red vest, white sleeves, and long blue skirt kneels on the dirt path, and a basket of flowers is near her knees. Two other people, all tiny in scale, stand nearby. One of them wears a brown cape, cassock, and hood, and the other wears a high-crowned hat, a red coat, gray pants, and holds a walking stick. Across the composition, a man sits and a woman stands, facing each other, on the far side of a boulder in the lower right quadrant of the painting. The man wears a burnt-orange jacket, slate-blue pants, a high-crowned hat, and holds a long staff. The woman has brown hair and wears a yellow dress over white sleeves and white lining across the neckline. They both have pale, peachy skin. A sailboat is reflected in the placid body of water that lies far below us, and a complex of buildings tops the hill on the opposite bank. The peanut-brown land flattens and ripples gently back to pale blue mountains lining the horizon, which comes just over halfway up this composition. White clouds pile up over the right side of the horizon, and a few thin clouds drift higher up. The upper corners of the canvas are darkened, suggesting that at one point this was displayed with an arched top. The artist signed and dated the painting as if he had written the information on the face of rocks in the lower right corner: “C.P. CRANCH 1852.”
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1312dab4-b852-44f8-92f6-472151626200
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A violin, bow, and a tattered page of sheet music hang from a dark, forest-green, wooden door in this vertical painting. The string holding the violin hangs from a nail just above the sheet music. The violin hangs at an angle so the neck points slightly to our right. The bow hangs almost vertically behind the violin’s body. White powder coats the violin under the strings, one of which is broken. The sheet of music is titled “VIOLIN” and the musical notation is legible. The edges of the paper are chipped and wrinkled. Several pins are pounded into the wooden door, and a few small holes and vertical cracks mar its surface. The tip of one of two scrolling, gold hinges to are left is broken. A keyhole to our right is surrounded a brass plate, and a gold key hangs nearby. A scrap of newspaper is pasted on the door just below the violin to our right, but the text is illegible. The green paint is worn away on the left and right edges of the composition. The initials “JFP” appear to be carved into the door just above the violin to our left. The artist’s name is painted in black near the lower left corner, “John. F. Peto.”
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132e789c-27da-4f54-a68d-3e2b691a9448
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Through a golden haze and across an expanse of gently rippling water dotted with boats, ghostly ivory and parchment-white buildings rise along a distant shore in this loosely painted horizontal landscape. The misty horizon comes about a third of the way up the composition, and the sky above is mostly butter yellow with a few touches of shell pink, and a patch of topaz blue in the upper left corner. Closest to us, in the lower right corner, several honey-yellow boats are pulled up to a parchment-white dock. Touches of charcoal gray, peacock green, ruby red, and mauve pink suggest cloth or other objects filling the boats and piled on the corner of the dock. A few strokes of white, blush pink, and brick red suggest several people beyond a low wall or other structure to our right. Farther back and to our left, streaks and swipes of coral red, pale yellow, and gold suggest boats along a dock. Along the horizon, in the distance opposite us, there is a golden-yellow building with a tower on its front façade. Beyond this building, a cream-white structure with two tall domes rises against the sky. Along the horizon to either side, blended smudges of lilac purple, rose pink, and aquamarine blue suggest more buildings and boats. The buildings and boats are reflected in the loosely painted, straw-yellow water. The artist signed the painting as if he had written his initials on the wall near the lower right corner, “JMWT.”
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1457b3af-e3f5-41d1-a96f-40b110a0157b
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This free-standing, white marble sculpture shows the head, shoulders, and upper chest of a balding, bearded man. In this photograph, his body faces us and he looks straight ahead. Bushy eyebrows arch low over deeply set eyes, and his forehead hollows inward at his temples. He has high cheekbones and the skin of his cheeks draws slightly in. His thin lips are set in a straight line within a full beard. His high-necked robe falls slightly open over his chest and is cut also away over the shoulders to show the crinkled fabric of the garment beneath. The bottom edge of the sculpture curves upward in a very shallow U across the bottom, and is supported by a square pedestal foot decorated with scroll designs. The background behind the bust lightens from charcoal gray along the top edge to pale gray across the bottom, and the sculpture casts a shadow behind its base.
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14918d11-0824-4a85-aa84-579d9434d7dc
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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.
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14bd56b4-0967-4c9c-9869-4c7e0fe4d823
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From high above the earth, we look onto a dramatically lit scene with a man falling from a horse-drawn chariot in midair, surrounded by eleven women against a bank of clouds in this horizontal painting. All of the people have pale skin and are illuminated by a bright burst of sunlight streaming across the scene from the upper right corner. The man is covered only by a burgundy-red sash that wraps across his groin and around one shoulder. He careens headfirst from the U-shaped, golden chariot with his chest facing us, arms flung overhead and legs splayed, to our right of center. The tumble of bodies around him includes four horses, three ivory white and one gray, and the eleven women, who are either nude or dressed in robes of parchment white, tan, slate blue, butterscotch yellow, steel gray, or rose pink. The women all have blond or brown hair, and some have wings like butterflies, patterned with circles and stripes. They fall alongside the man or float above the wreckage, their robes and hair billowing. Some of the women hold the red reins of the horses, though some of the reins stop abruptly or are painted over so they appear as dark lines beneath the surface. The nickel-gray clouds surround and support some of the women in front of a hazy circular arch curving up the left side of the composition. Peeks of sky around the action are deep aqua blue, and vibrant orange flames lick up from the earth in the lower right.
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1510418b-3d48-49a6-b55e-a76db204b64f
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A man with a rounded nose and wide, soft jawline looks out at us in this almost square red-chalk drawing. The man’s shoulders angle to our right, and he turns his face to us, his heavy-lidded eyes shadowed under a floppy beret. His thin lips are closed, and he has a goatee. Curly hair frames his face, and one long lock falls over his right shoulder, to our left. A light-colored collar, perhaps lace, lies across his shoulders over a darker garment.
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1534dd35-2609-4ca4-b4e5-3eda9575695e
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A sunlit bowl of pale and deep pink flowers sits on a white curtain draped over the sill of an open window in this vertical still life painting. The sill comes about a third of the way up the composition, and the open window and landscape beyond fills the top two-thirds. Shell-pink and ruby-red flowers with pine-green leaves fill the shallow, slate-gray bowl. Sunshine highlights one white flower and one blush-pink flower, perhaps roses. The white curtain falls over the right half of the window and pools on the sill before draping down and off the bottom edge of the composition. Sunlight dapples the curtain and the surface of the sill, and the paneling of the wall below the window is white. A tawny-brown path winds through a pale green lawn and around an ivory-colored house in the landscape seen through the window. The sky turns from silvery blue above to light mauve pink around trees lining the horizon in the distance.
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157279f0-8e4e-405d-9c4a-5250b47b2e14
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Shown from the knees up, an older, pale-skinned man stands with his body angled to our right as he looks at us from the corners of his eyes in this vertical portrait painting. His short fringe of hair around a balding head and his bushy moustache are steel gray, and he gazes at us with brown eyes under thick brows. A long, hooked nose and small red mouth are set in his jowl-lined face. He wears a long, fern-green coat with a matching vest trimmed in gold over a white shirt. A polka-dotted, pine-green cravat is tied around the standing collar and held in place with a gold pin. Two copper-colored brushstrokes near his waist suggest a pocket watch chain. The hand closer to us hangs by his hip with the thumb hooked into the pocket of his trousers, which are loosely painted with long strokes of olive and sage green. His other hand rests on the mahogany-brown wooden door that fills the space beyond him. Inset panels on the door are outlined in darker brown to create stepped, geometric shapes. The man is warmly lit from the upper left and the background is in shadow. The artist signed and dated the painting in the upper right, “John S. Sargent 1902.”
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15c1c07f-f163-42de-a931-f6f2f5a581ec
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A portly man wearing a wide ruffled collar and armor faces our right in profile in this circular bronze medal. He is cleanshaven and has curly hair. He looks to our right from slightly bulging eyes, and he has a high forehead, a bumped nose, full, rounded cheeks, and a double chin. He wears armor densely decorated with vegetative scrolls, and a cape. His collar is pleated into serpentine, figure-eight folds. An inscription in capital letters runs around the perimeter: “FRAN IIII D G DVX MANT V MONT FER III AN I AET XXVI.” And in smaller letters under the man’s shoulder: “G DVPRE F 1612,” but the “2” is upside down. The medal is shown against a black background in this photograph.
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15f8bb8b-ad0f-49e1-9948-60e87ede6be6
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We look beyond a cluster of flags hanging from the side of one tall building onto a wide street at a row of buildings across from us in this vertical painting. The scene is loosely painted with visible brushstrokes, so some details are difficult to make out. We seem to lean out a window to look along the street, so the building to our right only skims the edge of the composition and continues off the top. The three flags closest to us fly from nearly horizontal flagstaffs along the bottom edge of the painting. All the flags are in shades of scarlet red, white, and royal blue. The flag closest to us is red with the red, white, and blue Union Jack in the upper corner. Beyond it is an American flag with 49 stars, and then the French flag with the vertical bands of blue, white, and red. Those three flags are repeated about a dozen times along the building that stretches away from us, along the right edge of the painting. More of those flags are hung from the cream-white and tan buildings across the street, to our left. Some of those buildings reach off the top edge of the canvas and others come close. The shadows along moldings and the windows are painted with pale and lapis blue. Through narrow gaps left between the fluttering flags, vertical strokes of navy blue and violet purple suggest crowds of people in the street below. The sky between the buildings is ice blue. The artist signed and dated the painting in the center left, “Childe Hassam May 17 1917.”
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15f8d0fb-d3ac-487b-91b7-eaa4f4adac70
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A sinewy older man, his pale skin mostly exposed, sits on a stone low to the ground facing a table on our right in the center of this vertical painting. His gray hair is cropped short, and he has a graying, long beard. He faces our right in profile, and has a hooked nose, deep-set eyes, and the eyebrow we can see is bushy. The man's bare chest has a red wound flecked with darker red gashes. A smooth and shiny, rose-pink cloth drapes across his thighs and falls around his bare knees, its soft folds highlighted in white. A translucent white undergarment peeks out from beneath it. In the man’s left hand, farther from us, he holds the bottom of a wooden cross against the pages of an open book, which is propped up on a skull on a wooden table. The crucifix is as tall as the book. An hourglass sits on the corner of the table just beyond that hand. He clutches a palm-sized stone in his right arm, which is slightly bent and held down by his side. His legs are bent and cramped under his body as he sits on the low stone. A small lion lies in the shadows under the table. To our left and directly behind the man looms a brown, rocky arch with two wooden slats, like a fence, across its opening. Another rocky formation fills the space through the archway, leaving a sliver of blue sky while juniper-green bushes grow around its edges. To our right, a rolling wilderness stretches away to the horizon, with soft foliage of kelly green giving way to steep hills in soft blues. Hazy white squares suggest a cluster of buildings on the distant hillside. Pale gray and white clouds float across a sky that deepens from pale pink along the horizon to vivid blue along the top edge.
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16707b5a-1217-4e98-8133-b3d552380b4a
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Shown from the hips up, a pale-skinned man with a Van Dyck beard stands with one hand on his hip in this vertical portrait painting. The man’s body faces our right almost in profile, but he turns his head to look at us from the corners of his brown eyes under lifted, black brows. The bridge of his nose is slightly flattened, and he has full pink lips, a pointed chin, and chin-length, wavy black hair. His mustache flares upward at the ends, and a line of hair grows down his chin. The wide brim of his hat would nearly have reached his shoulders, but it sits angled on the back of his head. Layers of white lace create a round collar resting on his chest over a black jacket. The coat is slashed over the chest and upper arms of the sleeves so the white shirt underneath is visible. The jacket is also partially unbuttoned over his torso. The cuff we can see reaches from his wrist along his forearm and is edged in lace. The back of that hand rests against that hip, and the cloth of a black cloak is bunched up around that hand. Black drapery fills most of the background but is pulled back to our right to reveal a landscape with a sunset-streaked sky.
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16d3f97b-02d2-4b95-a6c6-41385098d873
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We look down onto a landscape where several laundry lines have been draped mostly with white sheets or cloth to dry in a flat, grassy yard in front of a rustic house and a distant town in this horizontal painting. The scene is created entirely with thick, visible brushstrokes that creates a sense of texture on the canvas’s surface and makes many details difficult to make out. The forms of at least three women wearing skirts hang laundry out along the lines, and a person wearing trousers tends to a flat piece of green ground near the lower left corner. A few pieces of white cloth have been draped over the wooden fence that runs along the bottom edge of the canvas. A dove-gray cart with wooden carriage wheels rests, tipped forward, at the center of the laundry lines. To our right and just beyond the laundry lines, a two-story ivory and slate-blue house with a gray peaked roof sits behind a grove of emerald-green trees. The laundry field and the grassy plane beyond is painted with a pale celery green with long, horizontal strokes. Dabs of moss green and a white streak interrupt the field in the distance. Beyond that, touches of steel and silvery-gray paint suggest smokestacks and smoke in a town along the horizon, which comes about three-quarters of the way up this composition. A few patches of vivid blue sky peek through a screen of shell-pink and cream-white clouds above. The artist signed the work in brick-red paint in the lower left corner, “Berthe Morisot.”
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16f90d95-983b-4b93-ae7f-aa27eb8f150f
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In this vertical portrait painting, a pale-skinned, bearded man holding a painter’s palette and brushes stands in front of a painting on an easel that shows a chubby child and a slender dog. The man stands in the lower right quadrant of the composition, close to us. Shown from the waist up, his body faces our left in profile, and he turns to look at us. His forehead is lined, and his left eye, to our right, turns in a bit toward his nose. His shoulder-length, wavy, ash-blond hair gleams. His brushy mustache flips up at the ends over closed pink lips, and he has a narrow strip of a beard on the hint of a double chin. He wears a black garment with a wide white collar, and white fabric peeks through a slit in the sleeve we can see. He holds the palette and five thin brushes in the hand closer to us and a sixth brush in his other hand. The palette is dotted with white, light brown, burnt orange, and black smears of paint. The painting within the painting takes up most of the composition, but a sliver of the easel’s legs and the top brace are visible along the upper and lower edges of the composition. The painting within shows a nude, small boy with pale, peachy skin. His blond hair curls onto his forehead and around his ears. He stands with one knee leaning against a rock to our right. He holds a small bow close to his body in his left hand, on our right, with a quiver of arrows slung across his chest. His right hand extends to our left to hook a finger into the collar of a sleek, light-brown dog that lies alongside him. The dog’s chest faces our left, but the head, with a long, narrow muzzle, turns back to gaze at the child. Near the dog’s front feet and the child’s standing foot is a square, light tan stone slab. The top surface is carved with a snake swallowing its tail. A dark brown rocky outcropping rises along the right side of the painting within the painting. Gray clouds skim across a vibrant blue sky above the dog and boy.
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173199d6-cab0-4c52-9d36-25da0c54f10e
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A sand-colored riverbank stretches in front of us to meet an arched bridge that spans a pale blue river to our right in this horizontal landscape painting. The scene is loosely painted so many details are indistinct. A retaining wall extends toward us from the abutment of the bridge, where it meets the land. About halfway along the shore, a group of people painted with a few strokes of gray, pink, brown, and white gather near the water. The bridge continues off the right edge of the painting and reflects in the rippling, pale water below. To our left, a bank of fern green, suggesting grasses or other growth, and some trees line the beach-like riverbank. A line of ivory-colored buildings with pewter-gray roofs extend into the distance to our left beyond the bridge. More buildings and trees along the horizon line in the deep distance are seen through the arches of the bridge to our right. In the top half of the painting, tan-colored brushstrokes lightly sweeping across the blue sky suggest hazy clouds. Two inscriptions have been written in the lower left corner. In brown ink, one reads, “Corot 1834.” Below it, the other is written in pencil: “Corot Pingebat 1834.”
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1751b321-4ea2-4253-aad6-82772d610e00
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A nearly square landscape with a bridge to our right and a person walking at the lower center is painted loosely in tones of pine, spruce, and sage green with a few touches of yellow, black, and brown. Along the bottom of the canvas, a walkway or road close to us leads back to blocky forms on either side of a gap, perhaps a staircase leading down or a walkway set below our level. Within that gap and shown from the thighs up on the far side of the dip, the person has light-toned skin and wears a dark coat and gray hat. They stoop as they walk to our left, facing that direction in profile. Three streetlights in this area glow yellow. A tree rises along the left side of the composition, and the bridge stretches from the right edge of the composition into the distance at the center of the painting. Tall arches hold up the high deck, which is lined with more streetlights. Touches of black paint could be people moving along the bridge. A low area beyond the person and under the bridge is hard to interpret. Painted with streaks of green, peanut brown, and cobalt blue, it could be water darkened by nighttime or a grassy expanse. Two tall, tower-like structures rise high above a few other buildings on the far side of the bridge. The sky is streaked with forest and turquoise green and topaz blue. The artist signed the lower right corner in red paint, “E. Lawson.”
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17707775-8562-416f-a470-3761a4ba0414
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We look across an ochre-yellow field to a band of pearl-white buildings under an azure-blue sky in this horizontal landscape painting. Flecks of red in the lower right corner could be flowers. Some of the buildings have tan or silvery-gray roofs, and the faces are in blue shadow. The horizon comes about halfway up the composition, and a few round white clouds trundle across the vivid blue sky. The scene is painted with visible, textured brushstrokes throughout. The artist signed the lower left corner, “ODILON REDON.”
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1776edff-237b-411e-b28e-940e253398c1
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A man with light skin with a greenish cast, wearing a slate-blue robe draped over a burgundy-red, ankle-length tunic, stands under an arched opening against a glimmering gold background in this vertical painting. The man’s body faces us but he turns his head to our right and looks off in that direction with dark eyes under curving, dark brows. Like his skin, his white hair and beard has a greenish cast, but is painted with long, curving white lines to indicate the flow of hair. He has a high forehead, a long, thin nose, and his small pink lips are closed. His left arm, on our right, is wrapped in or hidden by his robe, and he holds a parchment-colored scroll in front of his chest with his other hand. His clothing is painted with lines to indicate folds. He wears sandals with thin, mahogany-brown straps on his feet and stands on a pine-green floor. His head is surrounded by a halo created by incising and punching the gold background behind the man. The shoulder-wide halo is decorated with S-shaped spirals and a ring of simple, delicate flowers around the perimeter. The arch above the man is supported by maroon-red columns topped by cobalt-blue, leafy capitals. The corners above the arch are maroon red, and rough, disk-shaped areas in each corner could indicate losses. A web of cracks stretches across the gold areas. Writing along the arch reads, “SANCTVS I HANES SSUM.”
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17cb936f-4fe7-429d-ad14-d9c003da5bef
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A young woman sits wearing a voluminous, long, royal-blue dress to our right and a winged angel wearing a white robe stands looking at her with one arm raised to our left in this vertical painting. The people nearly fill this composition and both have pale, ivory-white skin. In the lower right quadrant of the painting, the woman’s body faces us, and she looks up and to our left with dark eyes. She has an oval-shaped face with a long, delicate nose and her small, pink lips are closed. Her wavy, light brown hair falls over her shoulders and down nearly to her waist. Her blue garment is edged with gold. Her cloak is fastened at the neck with a gold chain, from which hangs an amethyst-purple stone set into a pendant with pearls. The cuffs of her blue robe are lined with fur over crimson-red sleeves beneath. The blue robe puddles on the floor around her and the corners of two pillows—one gold and one scarlet red, each with a fat tassel—behind her suggest she sits on the cushions. She holds a thick book with red and black text and gold edges open in her lap, resting on a silvery blue cloth with tassels at the front corners. A white dove hovers with wings outstretched over her head, and is surrounded by a white halo deepening in several concentric rings to aquamarine blue. Along the left edge of the painting, the angel’s body is angled to our right and the head tips toward the woman. The angel’s right hand, on our left, is raised high overhead. In the other hand is a long gold staff, almost as tall as the angel. The angel’s blond hair falls in ringlets to the shoulders, and the nose and mouth are delicate. The flowing white robe is cinched at the waist, and it has a wide collar like lapels, with a round purple stone fastened like a brooch at the throat. A jeweled head piece has a dark stone set in gold at the center flanked by a row of alternating white and pink flowers to either side. The wings are rose pink along the top edge, pale turquoise along the center, and icy blue along the bottom. A bright emerald-green cloth hangs on the cream-white wall behind the angel, and brick shows through what appears to be lost plaster over the woman’s head to our right. The door of a cabinet behind the woman is ajar and a rounded urn holding tall, white lilies sits on the surface above.
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183b291d-39f9-4f77-ad1a-126f36c186cc
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A woman holding a nude child sits against a gold background in this vertical painting, which has a long, pointed top. They both have pale skin tinged with green, blond hair, delicate features, and pink cheeks. The woman sits on a cushion with her body angled to our left and holds the baby on her right knee. She tips her head and looks down at the child with hooded eyes. She wears a cream-white dress under a midnight-blue cloak lined with forest green. She braces the baby’s torso with her right hand, to our left, and holds the pale pink cloth on which he sits with the other. The child’s body faces her, and he touches the clasp of her cloak with one hand. The other hand rests on her shoulder. Both have decorative, patterned halos punched into the gold background. The white cushion is patterned with white-petaled flowers with tiny red centers. The brown floor is speckled with white dots and perhaps minuscule flowers, but the area is dark and difficult to make out. A bearded man shown from the waist up floats overhead in a much smaller scale. He has a gold halo, blond hair, and wears a yellow robe. Six pink wings are lined up down his arms. Gold rays fan down from his body to reach a white bird between him and the woman. The panel has molding around its edges and flame-like carvings up the pointed top.
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18480bb2-1e28-4b33-a757-f6e87f677949
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A nude woman with long blond hair stands in front of a landscape in this vertical painting. Brushstrokes are visible and textured throughout so details are loosely painted and indistinct. The woman’s body is painted in shades of pale and shell pink, and a few strokes suggest an arm wrapped across her middle and two legs. Next to her, in the lower left corner of the canvas, is an area painted thickly with white and blue brushstrokes. Behind the woman, there appears to be a light blue body of water. Soft horizontal green and red strokes just above it may represent land, merging with a light blue horizon. On the right of the canvas, bright yellow dashes suggest flowers. The artist signed the lower right corner with a cursive “R.”
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187aebc3-ef48-4f5f-8dd2-8b5c74b298ab
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To our right, a man with a long, pointed beard, wearing a fawn-brown, hooded robe, walks toward a second bearded man, to our left, wearing a cobalt-blue robe and sitting on a stone slab in front of a deep landscape, in this vertical painting. Both men have pale skin and brown hair. The man to our right faces our left in profile, and has two sharp, bone-white horns curving back from the top of his head and a claw-like, webbed foot protruding from under the hem of his monk’s robe. He has a prominent, hooked nose, sunken eyes, and he seems to look ahead, into the distance. He clutches a strand of large beads hanging from his waist with his right hand, farther from us, and holds a round, loaf-sized stone in his other hand. The body of the seated man, to our left, faces us but he turns to look off to our right with dark eyes. His left hand, to our right, rests in his lap and his other hand is raised, palm facing the walking man. Rocks and boulders lie on the ground between and around the men. Behind them, a grassy meadow dotted with tiny white flowers slopes down to a line of trees with olive-green leaves, tucked beyond the hill. One tall, spindly tree grows behind the horned man and a bird perches, wings spread, on the top. A steep, rocky cliff rises behind the seated man, to our left. Two strokes of light blue and pale beige suggest two people standing atop the cliff. Beyond, a city with tan-colored stone buildings and blue mountains are hazy in the distance. Atop a tower in the city, the pair of men appear again, with the man in brown gesturing down and the man in blue looking on. Three more birds fly across the sky, which deepens from a misty white near the mountaintops in the background to azure blue along the top edge of the panel. The surface of the painting has visible long, mostly vertical cracks throughout.
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18d283f5-04d0-46f4-8f6b-f3cc3475cefe
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We look across a coral-pink beach that curves around a royal-blue bay, under a glimmering, pale blue sky in this horizontal watercolor landscape. The area of the beach closest to us is cast under a pale, plum-purple shadow. The beach curves away from us and to the right, like a backward C. At the curve, a short distance from us, a bank of emerald-green vegetation and a scrubby, dark green tree leads back to a low, grassy hill. A pair of two-story buildings with oyster-white walls and bright white roofs perch on the spit of land opposite us, across the water. Pale pink boats are pulled up onto the beach in front of and to our left of the buildings. The buildings and the green hill reflect in the water, which laps against the sand closest to us with bands of azure blue. More loosely painted buildings line the horizon, which comes about a third of the way up the composition. Two brick-red smudges to our left could be people standing at the water’s edge in the distance. The sky above has puffy white clouds against a brilliant blue sky. The artist signed the painting in the lower left, “HOMER.” In the lower right, the location and date are written in dark gray, “Salt Kettle Dec 1899.”
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1911d50b-a4fd-4e32-a20c-cc2a613a33bb
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Three men hang on wooden crosses above people crowded below in this square panel painting. The crucified men wear only white cloths across their hips, and their pale skin has a noticably green cast. A halo encircles the bent head of the man on the middle cross, Jesus, who wears a ring of thorns in his long, red hair. Blood trickles down his forehead and drips from nails driven through his hands and overlapped feet, and from a gash over his right ribs, to our left. Four miniature, winged angels are painted entirely in tones of dark cobalt blue fly in pairs on either side of his body. An inscription over the top of the cross reads “INRI” in gold letters against a red field. The other two crosses are spaced evenly to either side. The men are tied with their elbows hooked unnaturally back over the crossbeams and wounds on their broken shins pour blood. The man to our left tilts his head up as one small, golden angel touches the back of his head and the other lifts a miniature version of the man from his parted lips. To our right, the man’s eyes roll back and his mouth gapes open as two black, winged creatures like dragons fly overhead. In the bottom left corner, a group of four women comfort a recumbent woman with long blond hair wearing a blue cloak. In the right corner, a group of three men tug at a blue tunic, as they draw straws from one man’s fist. Other men and women, a few with gold halos, cluster at the feet of the crosses, wearing robes and armor in shades of buttercup yellow, coral and brick red, light and lapis blue, and brown. The panel is in a gold frame inset with a band of lapis blue with a scrolling, leafy design in gold.
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19b78825-fea7-4eb3-a6de-1ae0939e7769
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This nearly square painting is visually divided into three vertical zones, with a pergola-like structure occupied by two people at the center taking up the most space, and narrower scenes with more people to either side. All the people have light, peachy skin tinged in some areas with pale green. The central structure has a shallow roof and several types of arched openings—some rounded and some pointed, all of different sizes. A winged angel to the left under the structure has curly blond hair and wears a shell-pink, floor-length robe. A seated woman to our right wears a lapis-blue dress and a white head covering. She sits with her forearms crossed over her chest, her hands in front of her shoulders. Both have plate-like, gold halos. Two arched openings at the back of the structure lead into rooms beyond. In the left quarter of the painting, a nude man and woman are pushed through an arched gateway by a winged angel with a gold halo. A bearded, haloed man looks down from a gold cloud above. Forest-green trees line the garden at the back and flowers and rabbits fill the space around the people’s feet. To our right, a balding, bearded man warms his hands at a fire in a room beyond the central structure. He wears rose pink and has a gold halo.
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1a0bd5c7-54f0-49e9-b570-aaa680278896
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A man kneels, holding a rock to his bare chest, in a rocky landscape in this tall, vertical painting. The scene is painted entirely in white and gray. The man, Saint Jerome, takes up the bottom half of the narrow panel. He faces our left almost in profile and looks up and off in that direction. He is clean-shaven with rounded, sagging cheeks, deep-set eyes, and wispy, curly hair. A robe with deep, angular folds is open across his chest and puddles on the ground around his feet. He holds a rock to his chest with one muscular arm, and the other hangs by his side holding another rock. A flat-topped, wide-brimmed hat is on the ground in front of his knees, and a lion lies next to him, to our left. The lion’s features are flattened and rounded, with almost human eyes, mouth, and ears. A ridge of craggy boulders separates Saint Jerome and the lion from the landscape beyond. A man rides a camel next to a walking man on the far side of the ridge. The camel rider holds a whip up high, and the other man carries a basket on a long stick slung across one shoulder. A stony hill rises steeply in the near distance behind this pair. A church is cut from the rock there. On a rocky path leading to the church, the lion rests his front paws up on Saint Jerome like a dog expecting a treat. Here, Saint Jerome wears his hat and long robes. He appears again just to our left, approaching an arched door of the church. Spires and flying buttresses surround the church like lace. A river winds to another town in the deep distance to our left under a cloudy sky.
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Dataset Card for docent
This dataset contains works of art with expert-written detailed descriptions from the U.S. National Gallery of Art, published as part of DOCENT. It was introduced in "PoSh: Using Scene Graphs To Guide LLMs-as-a-Judge For Detailed Image Descriptions". You can find a full description of its collection methodology in the paper: https://arxiv.org/abs/2510.19060.
Dataset Details
- Language: English
- License: CC-0
Dataset Sources
- Images: images in the public domain, from the U.S. National Gallery of Art
- Reference Descriptions: expert-written references from the U.S. National Gallery of Art, published as part of their Open Data Initiative (https://github.com/NationalGalleryOfArt/opendata)
- Repository: https://github.com/amith-ananthram/posh
- Paper: https://arxiv.org/abs/2510.19060
Uses
The intended use of this dataset is as a benchmark for evaluating detailed image description, in particular for artwork. It contains three splits: a training set of 1,000 images, a validation set of 250 images and a test set of 500 images. When evaluating model generations, we recommend reporting PoSh scores (https://github.com/amith-ananthram/posh) or using a replicable metric that produces stronger correlations with the judgments in https://huggingface.co/datasets/amitha/docent-eval-coarse.
Dataset Structure
Each row in the dataset corresponds to a work of art.
- uuid: a unique identifier for work of art
- image: an image of the work of art (useful for multimodal metrics)
- reference: an expert-written reference description of this artwork from the U.S. National Gallery of Art
Dataset Creation
Curation Rationale
This dataset was collected to evaluate detailed image description, especially for artwork.
Source Data
The images/artwork are all in the public domain and provided by the U.S. National Gallery of Art.
The expert written references were published by the U.S. National Gallery of Art as part of their Open Data Initiative (https://github.com/NationalGalleryOfArt/opendata).
Annotations
Annotation process
The expert written reference descriptions were composed according to the U.S. National Gallery of Art's Accessibility Guidelines: https://www.nga.gov/visit/accessibility/collection-image-descriptions.
Who are the annotators?
An expert in art history from the U.S. National Gallery of Art.
Bias, Risks, and Limitations
While this work aims to benefit accessibility applications for blind and low-vision users (as reference descriptions were written according to the U.S. National Gallery of Art's Accessibility Guidelines: https://www.nga.gov/visit/accessibility/collection-image-descriptions), we acknowledge that it assumes a one-size-fits-all approach to assistive text. Ideally, such a benchmark would include different styles of accessibility text more representative of diverse user needs. However, it is our hope that by including reference descriptions that are extremely detailed, models that perform well in this more challenging setting will be able to adapt to a wide number of description needs.
Additionally, as with other computer vision systems, this work could theoretically be applied to surveillance contexts, but our focus on detailed description does not introduce novel privacy risks beyond those inherent to existing image analysis technologies. The primary intended application—-improving accessibility—-aligns with beneficial societal outcomes.
Citation
BibTeX:
@misc{ananthram2025poshusingscenegraphs, title={PoSh: Using Scene Graphs To Guide LLMs-as-a-Judge For Detailed Image Descriptions}, author={Amith Ananthram and Elias Stengel-Eskin and Lorena A. Bradford and Julia Demarest and Adam Purvis and Keith Krut and Robert Stein and Rina Elster Pantalony and Mohit Bansal and Kathleen McKeown}, year={2025}, eprint={2510.19060}, archivePrefix={arXiv}, primaryClass={cs.CV}, url={https://arxiv.org/abs/2510.19060}, }
APA:
Ananthram, A., Stengel-Eskin, E., Bradford, L.A., Demarest, J., Purvis, A., Krut, K., Stein, R., Pantalony, R.E., Bansal, M., McKeown, K. (2025). PoSh: Using Scene Graphs To Guide LLMs-as-a-Judge For Detailed Image Descriptions. arXiv preprint arXiv:2510.19060.
Dataset Card Authors
Amith Ananthram
Dataset Card Contact
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