European Collection

Lawrence's Portrait of Frederick H. Hemming, Richard Baker’s great-nephew. Lawrence coveted Baker's drawings and painted this portrait in hopes of exchanging this for Baker's drawings.
Portrait of Frederick H. Hemming
Portrait of Frederick H. Hemming
Lawrence's Portrait of Frederick H. Hemming, Richard Baker’s great-nephew. Lawrence coveted Baker's drawings and painted this portrait in hopes of exchanging this for Baker's drawings.

Portrait of Frederick H. Hemming

Thomas Lawrence
British (English) (1769–1830)
19th century
c. 1824–25
Oil on canvas
30 x 25 3/8 in. (76.2 x 64.5 cm) Framed: 41 x 36 x 5 in. (104.1 x 91.4 x 12.7 cm)
ACF 1963.01
After the death of Sir Joshua Reynolds in 1792, Thomas Lawrence was appointed Painter in Ordinary to King George III. Drawing inspiration from Reynolds’s style, with its allusions to the old masters, Lawrence dominated society portraiture in England.
Lawrence's Portrait of Mary Anne Bloxam, Frederick H. Hemming's fiancé. Bloxam was reputedly an accomplished porcelain painter, and in her portrait holds a brush.
Portrait of Mary Anne Bloxam (later Mrs. Frederick H. Hemming)
Portrait of Mary Anne Bloxam (later Mrs. Frederick H. Hemming)
Lawrence's Portrait of Mary Anne Bloxam, Frederick H. Hemming's fiancé. Bloxam was reputedly an accomplished porcelain painter, and in her portrait holds a brush.

Portrait of Mary Anne Bloxam (later Mrs. Frederick H. Hemming)

Thomas Lawrence
British (English) (1769–1830)
19th century
c. 1824–25
Oil on panel
30 x 24 1/2 in. (76.2 x 62.2 cm) Framed: 41 x 36 x 5 in. (104.1 x 91.4 x 12.7 cm)
ACF 1963.02
After the death of Sir Joshua Reynolds in 1792, Thomas Lawrence was appointed Painter in Ordinary to King George III. Drawing inspiration from Reynolds’s style, with its allusions to the old masters, Lawrence dominated society portraiture in England.
The Grand Canal, Venice, Looking Toward the Rialto is Bonington's spot-on oil sketch of Venice's main thoroughfare.
The Grand Canal, Venice, Looking Toward the Rialto
The Grand Canal, Venice, Looking Toward the Rialto
The Grand Canal, Venice, Looking Toward the Rialto is Bonington's spot-on oil sketch of Venice's main thoroughfare.

The Grand Canal, Venice, Looking Toward the Rialto

Richard Parkes Bonington
British (English) (1802–1828)
19th century
1826
Oil on millboard
13 7/8 x 17 7/8 in. (35.2 x 45.4 cm) Framed: 21 3/8 x 25 3/8 x 2 3/4 in. (54.3 x 64.5 x 7 cm)
AP 2009.02
Bonington was one of the most supremely gifted landscape painters Britain has produced, comparable in artistic stature to J. M. W. Turner and John Constable but less familiar because he died young and left a comparatively small body of works, most on a modest scale.
The Interior of Sant' Ambrogio, Milan is Bonington's oil sketch of the interior of a Milan Cathedral with a nocturnal effect.
The Interior of Sant' Ambrogio, Milan
The Interior of Sant' Ambrogio, Milan
The Interior of Sant' Ambrogio, Milan is Bonington's oil sketch of the interior of a Milan Cathedral with a nocturnal effect.

The Interior of Sant' Ambrogio, Milan

Richard Parkes Bonington
British (English) (1802–1828)
19th century
1826
Oil on millboard
13 3/4 × 16 7/8 in. (34.93 × 42.86 cm) Framed: 18 7/8 × 20 1/4 × 2 in. (47.94 × 51.44 × 5.08 cm)
AP 2015.01
The English painter Bonington traveled to Italy for the first time in the spring of 1826. This is one of the first paintings he produced while there, on or about April 11. His traveling companion wrote that “We are in Milan, where at last we have unpacked and put to use our color boxes.
View of Olevano is Corot's landscape oil sketch of Olevano, about twenty-five miles east of Rome.
View of Olevano
View of Olevano
View of Olevano is Corot's landscape oil sketch of Olevano, about twenty-five miles east of Rome.

View of Olevano

Jean-Baptiste-Camille Corot
French (1796–1875)
19th century
1827
Oil on paper affixed to canvas
10 7/8 x 17 7/8 in. (27.6 x 45.4 cm) Framed: 16 3/4 x 23 5/8 x 2 1/2 in. (42.6 x 60 x 6.4 cm)
APg 1980.11
As the final stage in his artistic education, Corot went to Italy in the fall of 1825.
Mountain Peak with Drifting Clouds is one of Friedrich's Romantic landscapes that can be open to interpretation as a spiritual text. The clouds and trees can be interpreted as spiritual metaphors.
Mountain Peak with Drifting Clouds
Mountain Peak with Drifting Clouds
Mountain Peak with Drifting Clouds is one of Friedrich's Romantic landscapes that can be open to interpretation as a spiritual text. The clouds and trees can be interpreted as spiritual metaphors.

Mountain Peak with Drifting Clouds

Caspar David Friedrich
German (1774–1840)
19th century
c. 1835
Oil on canvas
9 13/16 x 12 1/16 in. (25 x 30.6 cm) Framed: 15 x 17 1/2 x 3 in. (38.1 x 44.5 x 7.6 cm)
AP 1984.08
Friedrich is among the greatest of those Romantic artists in whose work spiritual yearning is the dominant theme.
Glaucus and Scylla is Turner's dramatic depiction of an episode from Ovid’s Metamorphoses in which the seagod Glaucus hopes for the favor of the beautiful ocean nymph Scylla as she runs from her would-be lover.
Glaucus and Scylla
Glaucus and Scylla
Glaucus and Scylla is Turner's dramatic depiction of an episode from Ovid’s Metamorphoses in which the seagod Glaucus hopes for the favor of the beautiful ocean nymph Scylla as she runs from her would-be lover.

Glaucus and Scylla

Joseph Mallord William Turner
British (English) (1775–1851)
19th century
1841
Oil on panel
30 13/16 x 30 1/2 in. (78.3 x 77.5 cm) Framed: 37 5/8 x 38 x 4 3/4 in. (95.6 x 96.5 x 12.1 cm)
AP 1966.11
J. M. W. Turner dominated British landscape painting throughout the first half of the nineteenth century, when landscape gained widespread recognition as a major category of modern art.
Portrait of H. J. van Wisselingh is Courbet's portrait of the Dutch art dealer H. J. van Wisselingh in which  in which deep shadows obscure physical fact and suggest the melancholy of the sitter and his world.
Portrait of H. J. van Wisselingh
Portrait of H. J. van Wisselingh
Portrait of H. J. van Wisselingh is Courbet's portrait of the Dutch art dealer H. J. van Wisselingh in which  in which deep shadows obscure physical fact and suggest the melancholy of the sitter and his world.

Portrait of H. J. van Wisselingh

Gustave Courbet
French (1819–1877)
19th century
1846
Oil on panel
22 1/2 x 18 1/8 in. (57.2 x 46 cm) Framed: 31 3/8 x 27 1/2 x 4 in. (79.7 x 69.9 x 10.2 cm)
AP 1984.04
Courbet was born at Ornans, near the Swiss border of France. After he went to Paris in 1840, he evolved a vigorous Realism with profound and influential philosophical and political implications. Already in the Salon of 1846, Courbet’s work was noticed by the Dutch art dealer H. J.
Delacroix’s painting of Selim and Zuleika, from the tale of Lord Byron's The Bride of Abydos, the lovers await rescue in a grotto by the sea, pursued by Giaffir and his men, armed and bearing torches.
Selim and Zuleika
Selim and Zuleika
Delacroix’s painting of Selim and Zuleika, from the tale of Lord Byron's The Bride of Abydos, the lovers await rescue in a grotto by the sea, pursued by Giaffir and his men, armed and bearing torches.

Selim and Zuleika

Eugène Delacroix
French (1798–1863)
19th century
1857
Oil on canvas
18 3/4 x 15 3/4 in. (47.6 x 40 cm) Framed: 25 1/2 x 22 5/8 x 3 in. (64.8 x 57.5 x 7.6 cm)
AP 1986.04
Like many of his contemporaries, Delacroix took inspiration from the best-selling Romantic poetry of Lord Byron. This painting is the last and most developed of the four canvases that the artist devoted to “The Bride of Abydos,” first published in 1813 and available in French translation by 1821.
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.

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