On View

Ideal Head of a Woman is a bust with elegant profile, smooth skin, and elaborate chignon. This “ideal head” exemplifies Canova’s Neoclassicism and his stunning technical virtuosity.
Ideal Head of a Woman
Ideal Head of a Woman
Ideal Head of a Woman is a bust with elegant profile, smooth skin, and elaborate chignon. This “ideal head” exemplifies Canova’s Neoclassicism and his stunning technical virtuosity.

Ideal Head of a Woman

Antonio Canova
Italian (1757–1822)
19th century
c. 1817
Marble
22 3/16 x 9 7/16 x 9 3/4 in. (56.3 x 24 x 24.7 cm)
AP 1981.13
The Venetian artist Antonio Canova was the leading sculptor of the Neoclassical movement. Traveling to Rome in late 1779, his virtuosity and stylistic innovation soon won him papal commissions and acclaim.
Portrait Study of a Youth is one of Géricault's adolescent portraits. In this portrait, light in the flushed cheek, glossy hair, and gleaming eyes lend the work a liveliness and intimacy.
Portrait Study of a Youth
Portrait Study of a Youth
Portrait Study of a Youth is one of Géricault's adolescent portraits. In this portrait, light in the flushed cheek, glossy hair, and gleaming eyes lend the work a liveliness and intimacy.

Portrait Study of a Youth

Théodore Géricault
French (1791–1824)
19th century
c. 1818–20
Oil on canvas
18 1/2 x 15 in. (47 x 38.1 cm) Framed: 26 3/8 x 23 1/8 x 3 1/2 in. (67 x 58.7 x 8.9 cm)
AP 1969.07
In the Salon of 1819, Géricault showed his celebrated Raft of the Medusa.
The Anger of Achilles is Jacques-Louis David's painting of the moment Agamemnon, king of the Greeks, has just revealed to the youthful Achilles that his daughter Iphigenia is not to be married to him but sacrificed in order to appease the goddess Diana. Iphigenia’s mother, Clytemnestra, looks on tearfully, Achilles angrily reaches for his sword.
The Anger of Achilles
The Anger of Achilles
The Anger of Achilles is Jacques-Louis David's painting of the moment Agamemnon, king of the Greeks, has just revealed to the youthful Achilles that his daughter Iphigenia is not to be married to him but sacrificed in order to appease the goddess Diana. Iphigenia’s mother, Clytemnestra, looks on tearfully, Achilles angrily reaches for his sword.

The Anger of Achilles

Jacques-Louis David
French (1748–1825)
19th century
1819
Oil on canvas
41 7/16 x 57 1/16 in. (105.3 x 145 cm) Framed: 52 1/4 x 68 x 4 in. (132.7 x 172.7 x 10.2 cm)
AP 1980.07
Jacques-Louis David, the leading Neoclassical painter in Europe during the French Revolution and under Napoleon, took exile in Brussels after the Battle of Waterloo in 1815.
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.
Chibinda Ilunga is a hero and royal ancestor of the Chokwe people. In this standing wood statute, the figure wears elaborate headgear and holds a staff and a carved antelope horn in his hands.
Chibinda Ilunga
Chibinda Ilunga
Chibinda Ilunga is a hero and royal ancestor of the Chokwe people. In this standing wood statute, the figure wears elaborate headgear and holds a staff and a carved antelope horn in his hands.

Chibinda Ilunga

Africa, northeastern Angola, Chokwe people
mid-19th century
Wood, hair, and hide
16 x 6 x 6 in. (40.6 x 15.2 x 15.2 cm)
AP 1978.05
This imposing figure represents the hero Chibinda Ilunga, royal ancestor of the Chokwe people. According to legend, Ilunga, the son of a great Luba chief, wooed Lweji, a Lunda chieftainess. He introduced into that tribe the concept of divine kingship and also taught the Lunda the art of hunting.
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.

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