On View

This dignified figure of a Hemba warrior, with his upright posture and lofty, outward gaze, would have served as the focus for the veneration of its ancestors among one of the Hemba peoples
Warrior Ancestor Figure
Warrior Ancestor Figure
This dignified figure of a Hemba warrior, with his upright posture and lofty, outward gaze, would have served as the focus for the veneration of its ancestors among one of the Hemba peoples

Warrior Ancestor Figure

Africa, Democratic Republic of the Congo
Area of Lualaba, Luika, and Lukuga rivers, Hemba people
19th century
Wood
33 1/8 x 10 1/4 x 9 1/8 in. (84.1 x 26 x 23.2 cm)
AP 1979.03
This dignified figure of a Hemba warrior, with his upright posture and lofty, outward gaze, would have served as the focus for the veneration of its ancestors among one of the Hemba peoples of the central and eastern Congo.
The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter) depicts a paymaster in the French administration, Monsieur Gaudry, instructing his daughter in geography.
The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter)
The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter)
The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter) depicts a paymaster in the French administration, Monsieur Gaudry, instructing his daughter in geography.

The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter)

Louis-Léopold Boilly
French (1761–1845)
19th century
1812
Oil on canvas
29 x 23 1/4 in. (73.6 x 59 cm)
AP 1990.01
Arriving in Paris in 1785, Louis-Léopold Boilly was witness to the collapse of the French monarchy, the struggle for modern republicanism, and the rise and fall of Napoleon’s empire.
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.
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.
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.
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.
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.
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.
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.
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.

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