European Collection

On the Pont de l’Europe
On the Pont de l’Europe

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
Portrait of Georges Clemenceau

Portrait of Georges Clemenceau

Edouard 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
Dancer Stretching

Dancer Stretching

Edgar Degas
French (1834–1917)
19th century
c. 1882–85
Pastel on pale blue gray paper
18 3/8 x 11 11/16 in. (46.7 x 29.7 cm) Framed: 18 3/8 x 11 11/16 in. (46.7 x 29.7 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
Self-Portrait

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.
Skeletons Warming Themselves
Skeletons Warming Themselves

Skeletons Warming Themselves

James Ensor
Belgian (1860–1949)
19th century
1889
Oil on canvas
29 7/16 x 23 5/8 in. (74.8 x 60 cm) Framed: 39 1/2 x 33 1/2 x 3 in. (100.3 x 85.1 x 7.6 cm)
AP 1981.20
James Ensor was one of the most original painters of the late nineteenth century. Populated with masks and skeletons, his macabre images are morbid commentaries on the human condition, his hometown of Ostend on the North Sea, Belgian history, and his own mortality.
After the Bath, Woman Drying Her Hair
After the Bath, Woman Drying Her Hair

After the Bath, Woman Drying Her Hair

Edgar Degas
French (1834–1917)
19th century
c. 1895
Charcoal on yellow tracing paper
24 7/16 x 27 5/16 in. (62 x 69.3 cm)
AP 1995.04
In 1855, the twenty-year-old Degas visited the acclaimed Jean-Auguste-Dominique Ingres, who was seventy-four at the time, to report that a family friend had agreed to lend a painting of a nude by Ingres to an exhibition.
Maison Maria with a View of Château Noir
Maison Maria with a View of Château Noir

Maison Maria with a View of Château Noir

Paul Cézanne
French (1839–1906)
20th century
c. 1895
Oil on canvas
25 9/16 x 31 7/8 in. (65 x 81 cm) Framed: 37 x 43 1/2 x 4 3/4 in. (94 x 110.5 x 12.1 cm)
AP 1982.05
Provençal buildings with stucco walls and red-tiled roofs—often, as here, observed from a road turning into the picture—formed one of Cézanne’s favorite subjects.
Man in a Blue Smock
Man in a Blue Smock

Man in a Blue Smock

Paul Cézanne
French (1839–1906)
19th century
c. 1896–97
Oil on canvas
32 1/16 x 25 1/2 in. (81.5 x 64.8 cm) Framed: 40 15/16 x 35 1/2 x 3 1/2 in. (104 x 90.2 x 8.9 cm)
APg 1980.03
Starting around 1887, using his wife and son as models, Cézanne began to paint single figures with the same gravity he had developed in his landscapes and still lifes. Around 1890 he extended his options by enlisting workers from his family’s estate in the south of France.
Girls on the Pier
Girls on the Pier

Girls on the Pier

Edvard Munch
Norwegian (1863–1944)
20th century
c. 1904
Oil on canvas
31 11/16 x 27 5/16 in. (80.5 x 69.3 cm) Framed: 40 1/2 x 36 3/4 x 3 in. (102.9 x 93.4 x 7.6 cm)
AP 1966.06
In 1889 Munch started spending periods of time at the resort of Åsgårdstrand, which was popular with artists and writers. While summering there in 1893, he developed the pictorial ideas that some years later would evolve into Girls on the Pier.
Nude Combing Her Hair
Nude Combing Her Hair

Nude Combing Her Hair

Pablo Picasso
Spanish (1881–1973)
20th century
1906
Oil on canvas
41 1/2 x 32 in. (105.4 x 81.3 cm) Framed: 51 1/4 x 41 x 3 1/4 in. (130.2 x 104.1 x 8.3 cm)
AP 1982.06
Based on the classical Venus Anadyomene type of figure—in which the goddess, rising from the sea, wrings out her hair—Nude Combing Her Hair attests to the engagement with classicism that preoccupied Picasso throughout his career.
Penelope
Penelope

Penelope

Antoine Bourdelle
French (1861–1929)
20th century
1909
Cast bronze, dark green patina
47 1/8 x 17 1/4 x 14 3/4 in. (119.7 x 43.8 x 37.5 cm)
AP 1969.03
Bourdelle is generally acclaimed as the most important heir to Rodin, in whose studio he was an assistant from 1893 until 1908.
Girl with a Cross
Girl with a Cross

Girl with a Cross

Georges Braque
French (1882–1963)
20th century
1911
Oil on canvas
21 5/8 x 16 15/16 in. (55 x 43 cm)
AP 1989.02
Beginning in late 1907, Braque and his new acquaintance Pablo Picasso began to paint objects as highly simplified geometric forms, expressing solidarity with the most idiosyncratic tendencies in the art of Cézanne—especially that of putting together unaligned observations of adjacent parts.
Man with a Pipe
Man with a Pipe

Man with a Pipe

Pablo Picasso
Spanish (1881–1973)
20th century
1911
Oil on canvas
35 11/16 x 27 15/16 in. (90.7 x 71 cm) Framed: 44 1/2 x 37 1/2 x 2 1/2 in. (113 x 95.3 x 6.4 cm)
AP 1966.08
In early July 1911, Picasso left Paris for Céret, a small town in southwestern France, near the Spanish border. Braque joined him there in August and the two painted their ultimate “Analytical Cubist” works in intense dialogue.
Composition
Composition

Composition

Piet Mondrian
Dutch (1872–1944)
20th century
1914
Oil on canvas
47 1/2 x 39 7/8 in. (120.6 x 101.3 cm) Framed: 48 1/8 x 40 5/16 x 13/16 in. (122.2 x 102.4 x 2.1 cm)
APg 1983.03
From the age of fourteen, when Mondrian decided to become a painter, he specialized in calm landscapes, often with isolated buildings and shadowy twilight effects of dull gold and silver.
Portrait of Heriberto Casany
Portrait of Heriberto Casany

Portrait of Heriberto Casany

Joan Miró
Spanish (1893–1983)
20th century
1918
Oil on canvas
27 5/8 x 24 7/16 in. (70.2 x 62 cm) Framed: 38 1/2 x 36 1/2 x 2 1/2 in. (97.8 x 92.7 x 6.4 cm)
AP 1984.09
“Here in Barcelona, we lack courage,” Miró wrote in late 1917 to his studio-mate Enric Ricart. “We, the younger generation, could get together and exhibit every year, all together under the name of the “Chrome Yellow Salon,” for example, and pronounce virile manifestos. . . .
Weeping Willow
Weeping Willow

Weeping Willow

Claude Monet
French (1840–1926)
20th century
1918–19
Oil on canvas
39 1/4 x 47 1/4 in. (99.7 x 120 cm) Framed: 51 1/16 x 59 1/4 x 2 1/2 in. (129.7 x 150.5 x 6.4 cm)
AP 1996.02
Monet had painted ten Weeping Willow paintings by 1919, apparently in mournful response to the mass tragedy of World War I.

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