Permanent Collection

Portrait of May Sartoris is Leighton's portrait of Adelaide Sartoris's daughter. She is aged about fifteen and depicted in the setting of the family’s country residence in Hampshire.
Portrait of May Sartoris
Portrait of May Sartoris
Portrait of May Sartoris is Leighton's portrait of Adelaide Sartoris's daughter. She is aged about fifteen and depicted in the setting of the family’s country residence in Hampshire.

Portrait of May Sartoris

Frederic Leighton
British (English) (1830–1896)
19th century
c. 1860
Oil on canvas
59 7/8 x 35 1/2 in. (152.1 x 90.2 cm) Framed: 71 1/2 x 48 x 5 3/4 in. (181.6 x 121.9 x 14.6 cm)
ACF 1964.03
One of the leading artists of the tendency in British art known as the Aesthetic Movement, Frederic Leighton trained in the continental academic tradition in Germany, Italy, and France and insisted upon beauty and form as the artist’s primary concerns.
In Corot's dreamlike fantasy landscape Orpheus Lamenting Eurydice, Eurydice, has just died from the bite of a serpent. In mourning, he plays his lyre to three female companions.
Orpheus Lamenting Eurydice
Orpheus Lamenting Eurydice
In Corot's dreamlike fantasy landscape Orpheus Lamenting Eurydice, Eurydice, has just died from the bite of a serpent. In mourning, he plays his lyre to three female companions.

Orpheus Lamenting Eurydice

Jean-Baptiste-Camille Corot
French (1796–1875)
19th century
c. 1861–65
Oil on canvas
16 1/2 x 24 in. (41.9 x 61 cm) Framed: 24 1/4 x 31 3/8 x 4 in. (61.6 x 79.7 x 10.2 cm)
ACF 1961.03
The celebrated landscape painter Corot was among the leading members of the so-called Barbizon school, which was committed to working directly from nature. But he was active at the same time as a painter of dreamlike fantasy landscapes.
La Pointe de la Hève at Low Tide is Monet's beautiful beach scene near Le Havre, where the artist grew up. The figures and horses on the beach, all observed from the rear, appear in other works painted by Monet during the 1860s.
La Pointe de la Hève at Low Tide
La Pointe de la Hève at Low Tide
La Pointe de la Hève at Low Tide is Monet's beautiful beach scene near Le Havre, where the artist grew up. The figures and horses on the beach, all observed from the rear, appear in other works painted by Monet during the 1860s.

La Pointe de la Hève at Low Tide

Claude Monet
French (1840–1926)
19th century
1865
Oil on canvas
35 1/2 x 59 1/4 in. (90.2 x 150.5 cm) Framed: 47 x 70 1/2 x 5 in. (119.4 x 179.1 x 12.7 cm)
AP 1968.07
This beautiful beach scene near Le Havre, where the artist grew up, was one of two landscapes that launched Monet’s career when exhibited in 1865 at the Paris Salon, the vast, well-attended survey of contemporary art sponsored by the French government.
Roe Deer at a Stream is one of Courbet's modern proto-impressionist landscape paintings.
Roe Deer at a Stream
Roe Deer at a Stream
Roe Deer at a Stream is one of Courbet's modern proto-impressionist landscape paintings.

Roe Deer at a Stream

Gustave Courbet
French (1819–1877)
19th century
1868
Oil on canvas
38 3/8 x 51 1/8 in. (97.5 x 129.8 cm) Framed: 49 3/4 x 62 1/4 x 4 3/4 in. (126.4 x 158.1 x 12.1 cm)
AP 1968.02
Courbet was an avid hunter and painted such works as Roe Deer at a Stream—in which he seems to approach the deer, his quarry unobserved—to appeal to patrons who shared his sporting interests.
French River Scene shows a view along the Oise River, not far from the artist’s home in Auvers. The wind-swept clouds and river surface dotted with water lilies would become the essence of Impressionism.
French River Scene
French River Scene
French River Scene shows a view along the Oise River, not far from the artist’s home in Auvers. The wind-swept clouds and river surface dotted with water lilies would become the essence of Impressionism.

French River Scene

Charles-François Daubigny
French (1817–1878)
19th century
1871
Oil on panel
15 x 26 3/4 in. (38.1 x 68 cm) Framed: 24 3/4 x 36 3/8 in. (62.9 x 92.4 cm)
AP 1969.20
Daubigny was one of the foremost painters of the Barbizon school, a group of French artists active from the 1830s who celebrated the French landscape in their paintings during a period of unbridled industrialization and urbanization.
Near Sydenham Hill is landscape painted by Pissarro while he was living in a suburban neighborhood just south of London. The  vantage point is just north of Sydenham Hill Station, looking toward West Norwood Cemetery.
Near Sydenham Hill
Near Sydenham Hill
Near Sydenham Hill is landscape painted by Pissarro while he was living in a suburban neighborhood just south of London. The  vantage point is just north of Sydenham Hill Station, looking toward West Norwood Cemetery.

Near Sydenham Hill

Camille Pissarro
French (1830–1903)
19th century
1871
Oil on canvas
Unframed: 17 1/8 x 21 1/16 in. (43.5 x 53.5 cm) Framed: 26 1/2 × 30 1/4 × 2 3/4 in. (67.31 × 76.84 × 6.99 cm)
AP 1971.21
Camille Pissarro was one of the leading figures of the French Impressionist movement. He took part in the first Impressionist show in 1874 and was the only member to show his work in all eight exhibitions organized by the group.
Drying Nets is one of the earliest Impressionist paintings portraying a bridge over the Seine to the island of Saint-Denis.
Drying Nets
Drying Nets
Drying Nets is one of the earliest Impressionist paintings portraying a bridge over the Seine to the island of Saint-Denis.

Drying Nets

Alfred Sisley
French (1839–1899)
19th century
1872
Oil on canvas
Unframed: 16 9/16 x 25 9/16 in. (42 x 65 cm) Framed: 25 1/4 × 34 3/8 in. (64.1 × 87.3 cm)
APx 1977.01
Sisley, whose parents were British, grew up in Paris and met Renoir and Monet at art school in 1862. Very few of Sisley’s 1860s works are known today, since the artist lost nearly everything during the invasion of France by Prussian troops in 1870.
The Kitchen Garden (Le Potager) shows an ordinary yard behind a suburban residence, with its gardener’s shed, cold frame, and greenhouse amid earthen paths and gardens.
The Kitchen Garden (Le Potager)
The Kitchen Garden (Le Potager)
The Kitchen Garden (Le Potager) shows an ordinary yard behind a suburban residence, with its gardener’s shed, cold frame, and greenhouse amid earthen paths and gardens.

The Kitchen Garden (Le Potager)

Alfred Sisley
French (1839–1899)
19th century
1872
Oil on canvas
19 3/4 × 25 7/8 in. (50.17 × 65.72 cm) Framed: 27 1/2 × 33 1/4 × 3 1/4 in. (69.9 × 84.5 × 8.3 cm)
AG 2015.01
One of the major figures in the landscape revolution of this time, Sisley was the son of an Englishman who manufactured artificial flowers.
The Stonecutters depicts a scene that could have been easily witnessed along the outskirts of Paris––a stonecutter is shown swinging his mallet, alongside a horse-drawn cart already full of hewn rock.
The Stonecutters
The Stonecutters
The Stonecutters depicts a scene that could have been easily witnessed along the outskirts of Paris––a stonecutter is shown swinging his mallet, alongside a horse-drawn cart already full of hewn rock.

The Stonecutters

Jean-Baptiste-Camille Corot
French (1796–1875)
19th century
c. 1872–74
Oil on canvas
32 1/2 x 40 in. (82.6 x 101.6 cm) Framed: 43 x 50 x 4 1/2 in. (109.2 x 127 x 11.4 cm)
AP 1994.08
The Stonecutters featured in the posthumous retrospective of Corot’s work held in 1875 in Paris––the first public homage to the fame of the deceased master––where it was purchased by a Parisian, Dr. Cambay.
In Waterfall and Monkeys, Zeshin creates a lively scene of a troop of young monkeys with their beleaguered mother, crawling about the craggy rocks at the base of a fast-flowing waterfall.
Waterfall and Monkeys
Waterfall and Monkeys
In Waterfall and Monkeys, Zeshin creates a lively scene of a troop of young monkeys with their beleaguered mother, crawling about the craggy rocks at the base of a fast-flowing waterfall.

Waterfall and Monkeys

Shibata Zeshin
Japanese (1807–1891)
Meiji period (1868–1911)
1872
Hanging scroll; ink and light colors on silk
73 7/8 x 44 3/4 in. (187.7 x 113.7 cm)
AP 1984.12
Shibata Zeshin was the outstanding Japanese lacquer artist and painter of the nineteenth century. An energetic and prolific artist, he earned distinction during his lifetime for paintings that showed unusual creativity. Zeshin painted several works in which animals mimic human behavior.
Portrait of Charles Carpeaux, the Sculptor's Brother is the artist's terracotta-cast posthumous portrait of his musician brother. The artist’s physical involvement is evident in the artist’s physical involvement through sketchy handling, traces of the artist's fingers, lines and chisel marks on the jacket and hair.
Portrait of Charles Carpeaux, the Sculptor's Brother
Portrait of Charles Carpeaux, the Sculptor's Brother
Portrait of Charles Carpeaux, the Sculptor's Brother is the artist's terracotta-cast posthumous portrait of his musician brother. The artist’s physical involvement is evident in the artist’s physical involvement through sketchy handling, traces of the artist's fingers, lines and chisel marks on the jacket and hair.

Portrait of Charles Carpeaux, the Sculptor's Brother

Jean-Baptiste Carpeaux
French (1827–1875)
19th century
1874
Terracotta
27 x 19 1/2 x 15 in. (68.6 x 49.5 x 38.1 cm)
AP 1984.21
Jean-Baptiste Carpeaux was much sought after as a portraitist by prominent sitters, including members of the French imperial household. Among his finest busts is this posthumous portrait of his older brother, Charles, a musician, who died in 1870 after long suffering.
Kneeling Mother and Child is a sensual and naturalistic wooden sculpture thought to represent the primeval matriarch who founded the Makonde tribe.
Kneeling Mother and Child
Kneeling Mother and Child
Kneeling Mother and Child is a sensual and naturalistic wooden sculpture thought to represent the primeval matriarch who founded the Makonde tribe.

Kneeling Mother and Child

Africa, Tanzania-Mozambique border area, Makonde people
late 19th century
Wood
14 1/2 x 5 3/8 x 4 3/4 in. (36.8 x 13.6 x 12 cm)
AP 1979.37
Among the few East African peoples who make sculptures in any quantity, the Makonde produce unusually naturalistic figures.
On the Pont de l’Europe is Caillebotte's virtually monochromatic painting of three figures standing in the cold on the modern industrial bridge, which overlooks the Saint-Lazare train station.
On the Pont de l’Europe
On the Pont de l’Europe
On the Pont de l’Europe is Caillebotte's virtually monochromatic painting of three figures standing in the cold on the modern industrial bridge, which overlooks the Saint-Lazare train station.

On the Pont de l’Europe

Gustave Caillebotte
French (1848–1894)
19th century
1876–77
Oil on canvas
41 5/8 x 51 1/2 in. (105.7 x 130.8 cm) Framed: 55 11/16 x 65 3/4 x 4 15/16 in. (141.5 x 167 x 12.5 cm)
AP 1982.01
Although his closest artist friends were Monet and Renoir, the key advocates for loose brushwork and bright color, Caillebotte preferred the sort of conventional draftsmanship and unaffected urban subjects dear to their fellow Impressionist Degas.
Portrait of Georges Clemenceau is one of two of Manet's unfinished portraits of the French political figure. The rostrum at the bottom of this painting  indicate Clemenceau’s incumbency at the time in the Chamber of Deputies.
Portrait of Georges Clemenceau
Portrait of Georges Clemenceau
Portrait of Georges Clemenceau is one of two of Manet's unfinished portraits of the French political figure. The rostrum at the bottom of this painting  indicate Clemenceau’s incumbency at the time in the Chamber of Deputies.

Portrait of Georges Clemenceau

Édouard Manet
French (1832–1883)
19th century
1879–80
Oil on canvas
45 5/8 x 34 3/4 in. (115.9 x 88.2 cm) Framed: 59 1/4 x 48 1/4 x 3 in. (150.5 x 122.6 x 7.6 cm)
AP 1981.01
Shortly after he became prime minister of France in 1906, Georges Clemenceau (1841–1929) ordered Manet’s controversial painting of Olympia to be transferred from the Musée du Luxembourg (where contemporary art was relegated) to the Louvre, thus granting it old master status.
Dancer Stretching is a drawing by Degas, which may have been intended as a preliminary study for a never-realized detail in one of his multifigured paintings of dancers.
Dancer Stretching
Dancer Stretching
Dancer Stretching is a drawing by Degas, which may have been intended as a preliminary study for a never-realized detail in one of his multifigured paintings of dancers.

Dancer Stretching

Edgar Degas
French (1834–1917)
19th century
c. 1882–85
Pastel on pale blue gray paper
Unframed: 18 3/8 x 11 11/16 in. (46.7 x 29.7 cm) Framed: 26 3/4 × 20 3/8 × 2 1/2 in. (67.95 × 51.75 × 6.35 cm)
AP 1968.04
By 1872 Degas had begun to specialize in genre scenes of women at work, especially music-hall performers and ballet dancers.
Self-Portrait is both somber and defiant in mood and is the first of the many self-portraits in which Gauguin sought to explore his dark inner psyche.
Self-Portrait
Self-Portrait
Self-Portrait is both somber and defiant in mood and is the first of the many self-portraits in which Gauguin sought to explore his dark inner psyche.

Self-Portrait

Paul Gauguin
French (1848–1903)
19th century
1885
Oil on canvas
25 11/16 x 21 3/8 in. (65.2 x 54.3 cm) Framed: 37 1/2 x 33 1/4 x 2 3/4 in. (95.3 x 84.5 x 7 cm)
AP 1997.03
Gauguin assumed his role as renegade artist in 1885. Rather than remain jobless in Copenhagen with his Danish wife and their five children, the former stockbroker decided now to return to Paris to follow his restless artistic conscience.

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