Impressionist Paintings (page 10)

Showing 433 to 480 of 489 paintings

Shown from the knees up, a young pale-skinned woman sits looking at us in this vertical portrait painting. Her body is angled to our right, but she turns her face to gaze out with large brown eyes under dark brows.

Henri Fantin-Latour Portrait of Sonia, 1890 National Gallery of Art

The painting depicts a harbor scene with several large ships and smaller boats on a wide waterway. To the left and right of center, two large ships are visible, each with multiple tall masts and several sails.

Eugène Boudin Entrance to the Harbor, Le Havre, 1883 National Gallery of Art

This painting shows three large peaches on a round white plate. The peaches are in shades of red, pink, and light yellow, and they cast dark shadows on the plate. The plate rests on a brown surface which fills the background of the image.

Henri Fantin-Latour Three Peaches on a Plate, 1868 National Gallery of Art

Beach Scene, Eugène Boudin, c. 1865–1867, oil on wood panel

Eugène Boudin Beach Scene, c. 1865–1867 Cleveland Museum of Art

Portrait of My Daughter Alice, William Merritt Chase, c. 1895, oil on canvas

William Merritt Chase Portrait of My Daughter Alice, c. 1895 Cleveland Museum of Art

Porte de la Reine at Aigues-Mortes, Frédéric Bazille, 1867, oil on canvas

Frédéric Bazille Porte de la Reine at Aigues-Mortes, 1867 The Met

The Dock of Deauville, Eugène Boudin, 1891, oil on wood panel

Eugène Boudin The Dock of Deauville, 1891 Cleveland Museum of Art

The Beach at Deauville, Eugène Boudin, 1864, oil on wood panel

Eugène Boudin The Beach at Deauville, 1864 Cleveland Museum of Art

Horseneck Falls, John Henry Twachtman, ca. 1889–1900, oil on canvas

John Henry Twachtman Horseneck Falls, ca. 1889–1900 The Met

Waterfall, John Henry Twachtman, ca. 1889–91, oil on canvas

John Henry Twachtman Waterfall, ca. 1889–91 The Met

Shown from the knees up, a woman wearing an ice- and teal-blue dress and shawl sits in front of a window in this vertical painting. The scene is painted loosely with brushstrokes especially evident in the clothing and background.

Childe Hassam The New York Window, 1912 National Gallery of Art

This painting shows a cluster of trees against a bright sky in shades of pale yellow and pale seafoam green. Closest to us, a green-gray path stretches horizontally next to tall teal and blue grasses.

Julian Alden Weir Moonlight, c. 1905 National Gallery of Art

This painting shows a harbor with sailing ships displaying countless colorful flags. The ships stretch across the painting horizontally, floating on clear, reflective water.

Eugène Boudin Yacht Basin at Trouville-Deauville, probably 1895/1896 National Gallery of Art

This painting shows a man in a yellow jacket standing on a small brown rowboat on a wide, pale green river. Behind him is a large mint-green sailboat, its tall mast bare, the sails folded on the deck.

Childe Hassam Oyster Sloop, Cos Cob, 1902 National Gallery of Art

This painting depicts a scene overlooking a calm body of water. A large sailing ship with two tall masts and a dark hull is anchored on the water, its sails tied up. On the left, there are two people in a small, dark rowboat.

Eugène Boudin Ship on the Touques, c. 1888/1895 National Gallery of Art

We are eye-level on a beach with half a dozen ships in view, sitting on the ground against a gray sky in this vertical landscape oil painting created with broad, unblended strokes.

Eugène Boudin Low Tide, Sailboats Run Aground, 1885-1890 National Gallery of Art

This painting shows a busy marketplace scene at eye level with a crowd of people and cattle. Hills are in the distance under a cloudy gray sky, and in front of them we can see a line of rooftops and a tall church spire.

Eugène Boudin Fair in Brittany, 1874 National Gallery of Art

Idle Hours, Julian Alden Weir, 1888, oil on canvas

Julian Alden Weir Idle Hours, 1888 The Met

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

Storm Clouds, John Henry Twachtman, 1880, oil on canvas

John Henry Twachtman Storm Clouds, 1880 Cleveland Museum of Art

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

Julian Alden Weir The Factory Village, 1897 The Met

This painting shows two women in a room. At the center of the painting, a young woman is seated at a desk, her hand resting on the back of the chair, opening a small drawer.

Edmund Charles Tarbell Mother and Mary, 1922 National Gallery of Art

This is a painting depicting a social gathering under a large pavilion outdoors. The background shows a green, hilly landscape with hints of brown and white buildings in the distance, under a sky of soft blues with wispy gray clouds.

Eugène Boudin Concert at the Casino of Deauville, 1865 National Gallery of Art

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

We look beyond a cluster of flags hanging from the side of one tall building onto a wide street at a row of buildings across from us in this vertical painting.

Childe Hassam Allies Day, May 1917, 1917 National Gallery of Art

Gray Day on the Bay, William Merritt Chase, c. 1886, oil on wood

William Merritt Chase Gray Day on the Bay, c. 1886 Cleveland Museum of Art

Berthe Morisot with a Muff, Édouard Manet, c. 1871–72, oil on canvas

Édouard Manet Berthe Morisot with a Muff, c. 1871–72 Cleveland Museum of Art

The Lock at Pontoise, Camille Pissarro, 1872, oil on fabric

Camille Pissarro The Lock at Pontoise, 1872 Cleveland Museum of Art

Fishmarket, Camille Pissarro, 1902, oil on canvas

Camille Pissarro Fishmarket, 1902 Cleveland Museum of Art

Two Men, Edgar Degas, ca. 1865–69, oil on wood

Edgar Degas Two Men, ca. 1865–69 The Met

Two groups of people face off in front of a hilly landscape in this loosely painted, vertical scene. On our left, a pale young man in a white tunic looks with eyes wide and lips parted at a group of three people on our right.

Edgar Degas Alexander and Bucephalus, 1861/1862 National Gallery of Art

A young boy with pale skin, wearing a burgundy-red suit and floppy hat, stands facing and looking at us with a gray terrier dog at his side in this vertical portrait painting.

Mary Cassatt Eddy Cassatt (Edward Buchanan Cassatt), 1875 National Gallery of Art

Shown from the lap up, two women with pale skin and dark hair pulled up and back, wearing white dresses with baby-blue polka dots, sit on a couch in this horizontal portrait painting.

Berthe Morisot The Sisters, 1869 National Gallery of Art

Shown from the knees up, a pale-skinned woman in a voluminous rust-orange dress stands facing us in this vertical portrait painting. She looks toward us but slightly down with dark brown eyes under curved brows.

Edgar Degas Girl in Red, c. 1866 National Gallery of Art

Shown from the lap up, a young woman with pale skin, rosy cheeks, dark eyes, and upswept chestnut-brown hair sits in an upholstered chair angled to our left and she looks in that direction in this vertical portrait painting.

Edgar Degas Mademoiselle Malot, c. 1877 National Gallery of Art

Shown from the hips up, a pale-skinned woman holds an open, gold-colored fan in her lap in this vertical, loosely painted portrait.

Mary Cassatt Woman with a Fan, c. 1878/1879 National Gallery of Art

Shown from the knees up, two young women with pale, peachy skin wearing white gowns sit close together and almost fill this vertical painting. The women are angled to our left and look in that direction.

Mary Cassatt The Loge, c. 1878-1880 National Gallery of Art

Shown from the knees up, a young woman with peachy skin and red hair sits facing us on a pine-green bench in this vertical painting.

Mary Cassatt Woman with a Red Zinnia (Revery), 1891-1892 National Gallery of Art

Shown from the knees up, a young man with pale, peachy skin, wearing a black uniform and cap, leans against the back of a chair in this vertical portrait painting. He looks at us with pale blue eyes under sloping brows.

Edgar Degas Achille De Gas in the Uniform of a Cadet, 1856/1857 National Gallery of Art

Against a hilly landscape and on a patch of dirt, five people wearing tattered clothing gather around a bearded man who holds a violin in his lap in this horizontal painting. Most of them have pale skin.

Édouard Manet The Old Musician, 1862 National Gallery of Art

Berthe Morisot Young Woman with a Straw Hat, 1884 National Gallery of Art

Upon first glance, the shapes and colors in this painting are hard to distinguish. After closer inspection, three women become visible, all with pale skin, light hair, and indistinct facial features.

Edgar Degas The Loge, c. 1883 National Gallery of Art

Shown from about the hips up, a woman whose pale face is deep in shadow stands with her back to us, wearing a black and gray dress and hat, in front of a colorful but loosely painted, indistinct background in this nearly square painting.

Edgar Degas Woman Viewed from Behind (Visit to a Museum), c. 1879-1885 National Gallery of Art

Shown from the chest up, a young, pale-skinned boy dressed in black turns to face us in this vertical portrait painting.

Edgar Degas René de Gas, 1855 National Gallery of Art

A small, shaggy, black and white dog stands in a wood paneled room with its body angled to our right but turning its head, pink tongue out, to our left in this vertical painting.

Édouard Manet Tama, the Japanese Dog, c. 1875 National Gallery of Art

Painting of a young woman outdoors in a light purple dress and head covering with a wooden yoke around her neck suspending large bundles of brightly colored flowers.

George Hitchcock Flower Girl in Holland, 1887 Art Institute of Chicago

Brooklyn Bridge, Henry Ward Ranger, 1899, oil on canvas

Henry Ward Ranger Brooklyn Bridge, 1899 Art Institute of Chicago

Joseph Rodefer DeCamp The Seamstress, 1916 National Gallery of Art

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