Gustav Klimt, 1907-1908, Belvedere, Vienna, Austria
Benjamin West, 1808, Rococo
Ernst Ludwig Kirchner, 1930
Vincent van Gogh, 1886; Paris, France: Van Gogh Museum, Amsterdam, Netherlands
Max Ernst, 1927, The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice, 1976
Edvard Munch, 1896, Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase
Vasily Kandinsky, 1909-10, Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim Founding Collection
Ernst Ludwig Kirchner, c.1908, Solomon R. Guggenheim Museum, New York Estate of Karl Nierendorf, By purchase
Max Ernst, 1942, The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice, 1976
Rene Magritte, 1928Museum of Modern Art (MoMA), New York City, NY, US
Pablo Picasso, 1971, Surrealism
Musee des Beaux Arts de Montreal
Henri Fantin-Latour , Grenoble 1836 – Buré, France, 1904
1863
Oil on canvas
98.5 x 131.5 cm
Purchase, John W. Tempest Fund, inv. 1936.658
This ambitious canvas represents, according to the artist’s widow, “a young fairytale princess” who “descends the steps of a fantasy palace and sees before her a young prince charming with his retinue, offering her precious gifts.” What was viewed as the painting’s unfinished appearance—created by its sketchy brushwork—kept it out of the official exhibitions, but it was included in the famous Salon des Refusés in 1863 alongside avant-garde works by the future Impressionists. Among those misunderstood artists were Manet, Cézanne, Pissarro and the American McNeill Whistler, who became the owner of this picture. Fantin-Latour objected to being labelled an Impressionist. His work is at once belatedly Romantic and Symbolist before the fact, and refers to past masters, like the Venetian painters Titian and Veronese, and the Rococo artist Watteau. Neither mythological nor realist, the subject falls in line with the “art for art’s sake” decree of Théophile Gautier. The artist borrowed the flamboyant colouring of Delacroix. Fantin-Latour infused this canvas with a uniquely misty atmosphere. His poetically musical lyricism drew inspiration from the music of Richard Wagner, which he encountered in 1857, putting him well in advance of the craze for Wagnerian opera.
Carracci
Carracci
Carracci
Oskar Kokoschka, 1913
Vsevolod Maksymovych, 1913, National Art Museum of Ukraine, Kyiv, Ukraine
Fedir Krychevsky, 1927, National Art Museum of Ukraine, Kyiv, Ukraine
Kitagawa Utamaro, 1799
Ernst Ludwig Kirchner
Maurice Denis, 1908
Fernando Botero, 1984
Sabin Balasa
George Segal, 1970
Laszlo Moholy-Nagy, 1925, Dada
Rembrandt, 1639
Pablo Picasso, 1933, Neoclassicism, National Gallery of Australia (NGA), Canberra, Australia
Auguste Rodin, 1901 - 1904, Impressionism
Lovis CORINTH, 1921, Gift of Mr. R. Langstadt, McMaster Museum of Art
Dimensions: Image: 17.9 × 15.9 cm (7 1/16 × 6 1/4 in.) Support: 34.2 x 24.9 cm (13 7/16 x 9 13/16 in.)
Medium: Drypoint on paper
Max Beckmann, 1918, Publisher: Verlag R. Piper & Co., Munich, McMaster Museum of Art
Dimensions: Plate: 21.5 x 25.7 cm (8 7/16 x 10 1/8 in.) Support: 31.8 x 33.3 cm (12 1/2 x 13 1/8 in.)
Medium: Etching and drypoint on paper
Hans von Aachen (1552–1615): Fogg Museum
Marià Fortuny
1861
Museu Nacional d’Art de Catalunya
Paul Delvaux, 1943, Surrealism
Jean Auguste Dominique Ingres, 1814, Neoclassicism, Louvre, Paris, France
Eugene Delacroix
1857
Diego Rivera, 1886-1957
Reynolds, 1788
Rembrandt, 1637
1871
1863
Goya, 1800
Delacroiz, 1827
Pyotr Konchalovsky, 1917
Kees van Dongen, 1909
Eugene Delacroix
c.1825
Fitzwilliam Museum (University of Cambridge), Cambridge, UK
Pierre-Auguste Renoir
c.1907
Tehran Museum of Contemporary Art (TMoCA), Tehran, Iran
Pierre-Auguste Renoir
1916
Piero di Cosimo
1490
Musée Condé, Chantilly, France
Francesco Hayez, 1867, Italy
James McNeill Whistler, c.1892
Jean Auguste Dominique Ingres (1780–1867), 1839 Fogg Art Museum
Alexei Jawlensky, 1910, Solomon R. Guggenheim Museum, New York
Pierre Molinier, 1967, Surrealism, photo
Georges Roualt, 1937, Gift of Herman H. Levy, McMaster Museum of Art
Printer: LACOURIÈRE, Roger; Publisher: VOLLARD, Ambroise
Dimensions: Image: 29.3 × 21.2 cm (11 9/16 × 8 3/8 in.) Support: 44 × 34 cm (17 5/16 × 13 3/8 in.)
Medium: Coloured aquatint on paper
Pablo Picasso, 1903, Expressionism, Cleveland Museum of Art (CMA), Cleveland, OH, US
Pablo Picasso, 1904, Expressionism, Museum of Modern Art (MoMA), New York City, NY, US
Felicien Rops, Symbolism
Ernst Ludwig Kirchner, Expressionism
Edvard Munch, 1898, Expressionism, Rasmus Meyer Collection, Bergen, Norway
Felicien Rops, 1879, Symbolism
Quentin Matsys, 1525
Lucas Cranach the Elder, c.1525
Lucas Cranach the Elder, c.1517, Northern Renaissance, Royal Museums of Fine Arts of Belgium, Brussels, Belgium
Quentin Matsys, c.1525 - c.1530, Northern Renaissance, Museo de Arte de Sao Paulo (MASP), Sao Paulo, Brazil
Jan Steen (1625/1626–1679): Fogg Art Museum, Harvard University, Cambridge, Massachusetts, USA.
Max Beckmann, 1932, Expressionism, Surrealism
Paul Gauguin (1848–1903): Worcester Art Museum
Bernard Buffet, 1949, Expressionism, Miserablism
Oskar Kokoschka, 1966, Expressionism
Paolo Veronese, Mannerism (Late Renaissance): Musée Condé, Chantilly, France
Tintoretto, Mannerism (Late Renaissance): Alte Pinakothek, Munich, Germany
Sandro Botticelli, c. 1485, National Gallery, UK
Egon Schiele, 1914
Arnold Böcklin, Symbolism
Marc Chagall, 1960, France
Benjamin West, 1776, Neoclassicism
Peter Paul Rubens, c.1630-1632, Dulwich Picture Gallery, London, UK
Giovanni Battista Tiepolo, 1719,
Guercino, 1657
James Tissot
Matthias Stom, 1637-1639, Tenebrism
Luca Giordano, 1696
Rembrandt, 1637, Baroque, Israel Museum, Jerusalem, Israel
Musee des Beaux Arts de Montreal
Giovanni Antonio Pellegrini
Venice 1675 – Venice 1741
About 1720-1725
Oil on canvas
118.5 x 94.3 cm
Purchase, Horsley and Annie Townsend Bequest and gift of Mr. and Mrs. Michal Hornstein, inv. 1995.11
Pellegrini was one of the outstanding Venetian Rococo history painters. A prodigy, by the age of fifteen the artist had travelled internationally. His loose brushwork was encouraged by visits to Rome, where he encountered the art of Giordano and the late paintings of Gaulli. He brought a new sprezzatura (spontaneous brushstroke) and vividness of colourism to Venetian decorative painting. He also was profoundly indebted to the Venetian Renaissance master, Veronese.
This painting is characteristic of the artist’s works of the early 1720s, with its weaving, nervous diagonal compositional structure, pastel palette and intense silvery light that dematerializes the figure. The artist prepared the canvas of The Penitent Magdalen with white, instead of red, ground. The result contributes to the brilliance of light and softening of forms defined in rapid brushstrokes as if dissolving in palpable atmosphere — a characteristic of the Venetian school — and the freshness and sensuality of the Magdalen, who is shown here surrounded by amor-like cherubim. The iconography is part of an extended Venetian heritage. Bare-breasted with long hair, the sensual Magdalen refers to her putative earlier history as a prostitute before her conversion to Christ. She appears accompanied by angels, shown in the open landscape of the wilderness to which she retreated, penitent and regarding scripture and a cross, with a skull as a memento mori, a Venetian type that had a long and notable history, with examples by Titian and Veronese, among others.
El Greco
c.1577
Peter Paul Rubens, 1618, Baroque: Alte Pinakothek, Munich, Germany
Correggio, c.1518 - c.1519, High Renaissance, National Gallery, London, UK
El Greco
c.1580
El Greco
c. 1590
Cau Ferrat Museum, Sitges, Spain
Alexandre Cabanel, 1875, France
Pietro Perugino, 1500, Palazzo Pitti, Florence, Italy
Titian, 1531, Hermitage Museum, Saint Petersburg, Russia
Salvador Dali, 1960
Gabriel Rossetti, 1877, Delaware Art Museum, Wilmington, DE, US
Guido Reni, c.1628-1629
Francesco Hayez, 1825, Italy, Galleria d'Arte Moderna, Milan, Italy
Georges de la Tour, 1630-1635, Louvre, Paris, France
Alexander Andreyevich Ivanov, 1835
Caravaggio, 1571-1610, Doria Pamphilj Gallery
Jules Joseph Lefebvre, 1876, Academicism
Artemisia Gentileschi, 1613-20, Private collection
Artemisia Gentileschi, 1615-16 or 1631, Private collection, Marc A. Seidner, Los Angeles, USA
Paul Delvaux, 1946, Surrealism
Paul Delvaux, 1944, Surrealism
Utagawa Kunisada, c.1840, Ukiyo-e
Felicien Rops, c.1890, Symbolism
Endre Bartos, 1980
Gustave Courbet, 1866, Realism
Bernard Buffet, 1955, Expressionism
Augustus Edwin John, 1919, Art Gallery of Ontario
Diego Rivera, 1948
Diego Rivera, 1943, Art Deco