Impressionist Paintings for the Hallway and Entryway (page 2)

Showing 49 to 91 of 91 Impressionist paintings

A cloud of canary-yellow flowers with pumpkin-orange centers on tall stems with emerald and pine-green leaves fills the top half of this vertical still life painting.

Claude Monet Jerusalem Artichoke Flowers, 1880 National Gallery of Art

A long-haired, small white dog with tawny-brown ears and spots sits on a garnet-red cushion in this loosely painted vertical portrait. The dog looks just to our left with large, round, black eyes under perked eyebrows.

Édouard Manet A King Charles Spaniel, c. 1866 National Gallery of Art

A bouquet of cut flowers in a clear glass vase nearly fills this vertical painting. The vase has straight sides and the rounded bottom is supported by short, round feet.

Édouard Manet Flowers in a Crystal Vase, c. 1882 National Gallery of Art

Berthe Morisot The Artist's Sister at a Window, 1869 National Gallery of Art

The head and floppy ears of a dog with a delicate muzzle are loosely painted in this vertical portrait. The dog’s head is cocked to our left, and it looks at us with large, glistening black eyes.

Pierre-Auguste Renoir Head of a Dog, 1870 National Gallery of Art

Child with Brown Hair, Pierre-Auguste Renoir, 1887/1888, oil on canvas

Pierre-Auguste Renoir Child with Brown Hair, 1887/1888 National Gallery of Art

A loose arrangement of colorful wildflowers bursting out of a red clay jug sits near the back left corner of a tabletop and fills the top two-thirds of this vertical still life painting.

Pierre-Auguste Renoir Flowers in a Vase, c. 1866 National Gallery of Art

Four flowers and greenery create a loose bouquet in a clear glass in this vertical still life, which is painted with visible brushstrokes throughout. The glass has a tall, narrow, rounded bowl on a flaring foot like a drinking glass.

Berthe Morisot Peonies, c. 1869 National Gallery of Art

The face of a young man with peachy-colored skin and dark hair fills this vertical painting. The man is lit from our left but is angled to slightly to our right, so his face is mostly in shadow.

Edgar Degas Self-Portrait with White Collar, c. 1857 National Gallery of Art

Shown from the hips up, a pale-skinned young girl wearing an ink-black garment with a cream-white collar and a coral-red sash and necklaces holds a terrier dog as she looks at us in this vertical portrait painting.

John Singer Sargent Miss Beatrice Townsend, 1882 National Gallery of Art

Sara in a Green Bonnet, Mary Cassatt, ca. 1901, oil on canvas

Mary Cassatt Sara in a Green Bonnet, ca. 1901 Smithsonian American Art Museum

Spanish Dancer Wearing a Lace Mantilla, Mary Cassatt, 1873, oil on canvas

Mary Cassatt Spanish Dancer Wearing a Lace Mantilla, 1873 Smithsonian American Art Museum

Self-Portrait, Armand Guillaumin, c. 1872–74, oil on canvas

Armand Guillaumin Self-Portrait, c. 1872–74 Cleveland Museum of Art

Portrait of Renoir, Frédéric Bazille, 1867, oil on canvas

Frédéric Bazille Portrait of Renoir, 1867 Cleveland Museum of Art

Edward Guthrie Kennedy, William Merritt Chase, ca. 1895, oil on canvas

William Merritt Chase Edward Guthrie Kennedy, ca. 1895 The Met

Pink Azalea—Chinese Vase, William Merritt Chase, 1880–90 (?), oil on wood

William Merritt Chase Pink Azalea—Chinese Vase, 1880–90 (?) The Met

Roland, William Merritt Chase, ca. 1902, oil on canvas

William Merritt Chase Roland, ca. 1902 The Met

Mrs. John Crosby Brown (Mary Elizabeth Adams, 1842–1918), Anders Zorn, ca. 1900, oil on canvas

Anders Zorn Mrs. John Crosby Brown (Mary Elizabeth Adams, 1842–1918), ca. 1900 The Met

This painting depicts a man from the waist up, facing us. He has light skin with a curled white mustache and pointed beard, and gray, wavy hair.

William Merritt Chase Self-Portrait, 1915 National Gallery of Art

Henri Fantin-Latour Duchess de Fitz-James, 1867 National Gallery of Art

This painting shows a man's head and shoulders in a portrait. He is turned slightly to the left, looking out towards us. The left half of his face and torso are in shadow.

Henri Fantin-Latour Self-Portrait, 1858 National Gallery of Art

This painting is a close-up portrait of a man's head and shoulders. He has pale skin and light, slightly disheveled brown hair with a strong widow's peak, and a short brown beard.

Henri Fantin-Latour Self-Portrait, 1861 National Gallery of Art

A Gentlewoman, Julian Alden Weir, 1906, oil on canvas

Julian Alden Weir A Gentlewoman, 1906 Smithsonian American Art Museum

Portrait of Wyatt Eaton, Julian Alden Weir, ca. 1878, oil on canvas

Julian Alden Weir Portrait of Wyatt Eaton, ca. 1878 Smithsonian American Art Museum

General Georges Leman, Commander of the Fortified Town of Liege, Edmund Charles Tarbell, 1919-1920, oil on canvas

Edmund Charles Tarbell General Georges Leman, Commander of the Fortified Town of Liege, 1919-1920 Smithsonian American Art Museum

Figure in Sunlight (Artist's Wife), John Henry Twachtman, ca. 1890-1900, oil on canvas

John Henry Twachtman Figure in Sunlight (Artist's Wife), ca. 1890-1900 Smithsonian American Art Museum

In the Garden (Celia Thaxter in Her Garden), Childe Hassam, 1892, oil on canvas

Childe Hassam In the Garden (Celia Thaxter in Her Garden), 1892 Smithsonian American Art Museum

Head of a Man, William Merritt Chase, ca. 1872-1879, oil on canvas

William Merritt Chase Head of a Man, ca. 1872-1879 Smithsonian American Art Museum

Portrait of a Lady with a Dog (Anna Baker Weir), Julian Alden Weir, ca. 1890, oil on canvas

Julian Alden Weir Portrait of a Lady with a Dog (Anna Baker Weir), ca. 1890 Smithsonian American Art Museum

The Boulevard Montmartre on a Winter Morning, Camille Pissarro, 1897, oil on canvas

Camille Pissarro The Boulevard Montmartre on a Winter Morning, 1897 The Met

The Road from Versailles to Louveciennes, Alfred Sisley, probably 1879, oil on canvas

Alfred Sisley The Road from Versailles to Louveciennes, probably 1879 The Met

This painting depicts a scene where a winding path on the bottom left leads into a wooded area.

Alfred Sisley The Road in the Woods, 1879 National Gallery of Art

The Road from Moret to Saint-Mammès, Alfred Sisley, 1883–85, oil on canvas

Alfred Sisley The Road from Moret to Saint-Mammès, 1883–85 The Met

Round Hill Road, John Henry Twachtman, ca. 1890-1900, oil on canvas

John Henry Twachtman Round Hill Road, ca. 1890-1900 Smithsonian American Art Museum

The Old Road to the Sea, William Merritt Chase, c. 1893, oil on canvas

William Merritt Chase The Old Road to the Sea, c. 1893 Cleveland Museum of Art

The painting shows a bright-green landscape with rolling hills in the distance.

Julian Alden Weir Obweebetuck, c. 1908 National Gallery of Art

The painting features a large gray watering can in the bottom right corner, set against a lush garden background. Bushes on the right side are speckled with dots of pink, yellow, blue, orange, and purple, suggesting flowers.

Georges Seurat The Watering Can - Garden at Le Raincy, c. 1883 National Gallery of Art

A pale-skinned young man with a carrot-red beard and hair faces us, straddling a green chair in a sunny outdoor setting in this vertical painting. The scene is loosely painted so his features are indistinct.

Édouard Manet George Moore in the Artist's Garden, c. 1879 National Gallery of Art

This painting shows a woman standing, facing the right, her head slightly angled downward. She has pale skin and dark hair and is wearing a long, pale, blue-gray dress with wide sleeves adorned with black stripes.

Pierre-Auguste Renoir Woman in a Park, 1866 National Gallery of Art

A woman with light skin sits facing us across a marble-topped table in a café in this vertical painting. Her body is angled slightly to our right, and she rests her right elbow, on our left, on the table.

Édouard Manet Plum Brandy, c. 1877 National Gallery of Art

Connecticut Village (Going to School), Julian Alden Weir, after 1891, oil on canvas

Julian Alden Weir Connecticut Village (Going to School), after 1891 The Met

The Factory Village, Julian Alden Weir, 1897, oil on canvas

Julian Alden Weir The Factory Village, 1897 The Met

This painting depicts a view from an elevated position. The horizon is in the center of the painting, where the blue sky meets distant green hills.

Julian Alden Weir U.S. Thread Company Mills, Willimantic, Connecticut, c. 1893/1897 National Gallery of Art