![Albert Edelfelt - Women Outside the Church at Ruokolahti [1887]](http://farm1.staticflickr.com/729/21773830709_d6317dfd1c_o.jpg)
[Ateneum, Helsinki - Oil on canvas, 129.5 x 158.5 cm]
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Albert Edelfelt - Women Outside the Church at Ruokolahti [1887]
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John Koch - Father and Son [1955]
![John Koch - Father and Son [1955]](http://farm1.staticflickr.com/679/21772870518_06760bbee5_o.jpg)
Born in 1909 in Toledo, Ohio, Koch grew up in Michigan receiving little training as an artist. He attended an artist colony for two summers in Massachusetts before moving to Paris after graduation to practice his skill. His strongest influence was Charles Hawthorne, yet he never studied under anyone. After Paris, he moved to New York City, where the bulk of his work was created. Koch used his upscale apartment as the scene for his works, planning each piece with meticulous detail. While Koch was a realist, he did not paint the reality set before him; he created and manipulated the reality into his idealised version. Those who knew him claimed that Koch controlled every aspect of his life in the way that he controlled his paintings, aiming to create a well-ordered life draped in privilege and high society. In fact, though the focus of his paintings appears to be people, often it is the detail that overwhelms viewers.
[Heritage Auctions - Oil on canvas, 76.2 x 91.4 cm]
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Pieter Codde - Actors Changing Room [1630s]
![Pieter Codde - Actors Changing Room [1630s]](http://farm6.staticflickr.com/5714/21799518400_abe46854a0_o.jpg)
[Gemäldegalerie, Berlin - Oil on oak panel, 33 x 52 cm]
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Richard Bergh - After the Sitting [1884]
![Richard Bergh - After the Sitting [1884]](http://farm1.staticflickr.com/750/21800745129_5985923aae_o.jpg)
Richard Bergh (Stockholm, December 28, 1858 - January 29, 1919) was a well-known Swedish painter. His paintings often depicted Swedish landscapes and portraits. In 1915, Bergh became the director of the Swedish National Museum.
[Malmö Konstmuseum - Oil on canvas]
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Frederick Carl Frieseke - Afternoon Yellow Room [1910]
![Frederick Carl Frieseke - Afternoon Yellow Room [1910]](http://farm6.staticflickr.com/5666/21826353928_c94878803b_o.jpg)
[Indianapolis Museum of Art - Oil on canvas, 32 x 32 inches]
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William Merritt Chase - After the Rain, Venice [1913]
![William Merritt Chase - After the Rain, Venice [1913]](http://farm6.staticflickr.com/5805/22024059051_e39cb684be_o.jpg)
[Baltimore Museum of Art, Maryland - Oil on wooden panel, 29.2 x 20.3 cm]
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Andrew Nicholl - Malahide Estuary
[Sotheby’s, London - Watercolour with bodycolour, 33.5 x 52 cm]
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Vincent van Gogh - Garden with Courting Couples, Square Saint-Pierre [1887]
![Vincent van Gogh - Garden with Courting Couples, Square Saint-Pierre [1887]](http://farm1.staticflickr.com/718/21844534398_c46870297f_o.jpg)
This sunny park scene is one of the largest canvases Van Gogh painted. Gardens and parks were poetic places for him, and the romantic feel of this image is further heightened by the three courting couples. The execution of the painting was inspired by the Pointillists, who built up their compositions from stipples of paint. Rather than dots, however, Van Gogh used small strokes of colour of varying length, which he applied in different directions. The technique helped him achieve a joyful and radiant effect, which perfectly matches the sense of intimacy and togetherness he wanted to express. Van Gogh had a relationship with Agostina Segatori, who ran a café in Montmartre, at the time he painted this work. The affair did not last long: Van Gogh had an unhappy love life, to which he eventually resigned himself. At the end of the day, he was devoted to his art.
[Van Gogh Museum, Amsterdam Oil on canvas, 75 x 113 cm]
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Steve McCurry - Afghan Girl [1984]
![Steve McCurry - Afghan Girl [1984]](http://farm1.staticflickr.com/654/21411549214_a06aaa0d7b_o.jpg)
Steve McCurry (born in Philadelphia) is an American photographer best known for his photograph Afghan Girl which originally appeared in National Geographic magazine. In early 2002 the subject of the photo was identified as Sharbat Gula (born c.1972), an Afghan woman who was living as a refugee in Pakistan during the time of the Soviet occupation of Afghanistan when she was photographed.
[Heritage Auctions - Chromogenic, printed later on Fujifilm Crystal Archive paper, 45.7 x 30.5 cm]
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Anthony Troncet - A Moment of Rest
Anthony Troncet (1879 - 1939) was a French painter.
[Sold for £12,500 at Sotheby’s, London - Pastel on canvas, 88.5 x 134 cm]
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Félix Vallotton - Models Resting [1905]
![Félix Vallotton - Models Resting [1905]](http://farm6.staticflickr.com/5764/22023130766_a371e21691_o.jpg)
[Kunstmuseum Winterthur, Switzerland - Oil on canvas, 130 x 195.5 cm]
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Todd Squires - Guitar Maker [2014]
![Todd Squires - Guitar Maker [2014]](http://farm1.staticflickr.com/571/21861385840_89bb41670a_o.png)
[Baang and Burne, New York - C print mounted to aluminium with matte laminate, 38.1 × 38.1 cm]
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Edouard Manet - Oysters [1862]
![Edouard Manet - Oysters [1862]](http://farm6.staticflickr.com/5667/22076448571_dd207e36e1_o.jpg)
Oysters, one of Manet’s earliest still lifes, was reportedly painted for his fiancée and remained with them in the family home. The painting was in the artist's studio at the time of his death, however, so this may only be a romantic fiction. Manet spent long hours in the Louvre, studying and copying the works of the past. Here, cool subdued colours recall seventeenth-century Dutch still lifes, while the simple subject and thick application of paint show the influence of the eighteenth-century French artist Chardin.
The heavy yellow paint puckers in imitation of the lemons' pebbly skins, while the wet surface of the cut fruit is smooth and flat, sectioned by a few spare strokes. The oysters, plump and slick from a distance, appear upon closer inspection to be formed by a few swift undulations of a brush laden with thick paint. This work from the early 1860s reveals Manet's developing style. Sudden transitions of colour within a limited range, not a continuous and gradual modulation of tone, give shape to his objects. Each colour, each brushstroke, stands independently on the canvas; it is in our eye that they blend to create form.
[National Gallery of Art, Washington D.C. - Oil on canvas, 39.2 x 46.8 cm]
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Peter Coad - Owl Study - Coorong Moo [2013-14]
![Peter Coad - Owl Study - Coorong Moo [2013-14]](http://farm6.staticflickr.com/5691/21879594349_e098ff9f4c_o.png)
Peter Coad’s landscapes of the Australian outback, which he paints en plein air, tenuously move between abstraction and representation, embellishing and expressing the natural beauty of the places he depicts. Coad travels throughout the country to observe Australia’s culture and wilderness. “Cultures have been an experience and an inspiration for me as a painter. I combine a cultural influence in most of my paintings, and a spiritual connection between both is formed,” he says. The vivid Australian wilderness, with its myriad colors and curious flora and fauna, provides rich and varied inspiration for his work. For example, Coad’s use of colour in Lagoon – Flight 1 Series (2013–14) is emblematic of his approach. In it, a purplish-blue is set against a contrasting red and orange; this interplay of hues abstracts the landscape, enhancing its expressive formal properties while faithfully depicting its features.
[Wentworth Galleries, Sydney - Oil painting, 75 × 75 cm]
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Vincent van Gogh - Tree Roots [1890]
![Vincent van Gogh - Tree Roots [1890]](http://farm1.staticflickr.com/719/22073884572_1e493a6903_o.jpg)
Van Gogh had already made several drawings of tree roots in The Hague in 1882. He wrote at the time of his wish ‘to express something of life’s struggle […] in those gnarled black roots’. It is tempting to see the same symbolism in these twisted tree roots, painted eight years later. The work seems to consist at first sight of a jumble of bright colours and abstract forms, prompting some art historians to identify Van Gogh as an important forerunner of abstract art. If you keep looking, however, you make out the tree roots, plants and leaves, and beneath them the brown and yellow of the sandy forest floor, all laid down on the canvas with powerful brushstrokes and oily gobs of paint.
[Van Gogh Museum, Amsterdam - Oil on canvas, 50.3 x 100.1 cm
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Paul Klee - Senecio [1922]
![Paul Klee - Senecio [1922]](http://farm6.staticflickr.com/5803/22086389675_927f2ed4c3_o.png)
Completed in 1922, Senecio is a manifestation of Paul's sense of humour and African culture. The simple colours and shapes, Paul makes use of various shades of orange, red, and yellow to reveal portrait of an old man. Artistic use of shapes gives the false impression that one eye browse is raised. His left eye brow is represented by a triangle while the other one is made of a simple curved line. The portrait is also called Head of a Man Going Senile and intentionally mimics children's artwork by using ambiguous shapes and forms with minimal facial details.
[Kunstmuseum Basel - Oil on canvas]
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Henri de Toulouse-Lautrec - Young Woman at a Table (Poudre de riz) [1887]
![Henri de Toulouse-Lautrec - Young Woman at a Table (Poudre de riz) [1887]](http://farm1.staticflickr.com/735/21917836968_9aa5e8e86b_o.jpg)
Vincent van Gogh was a good friend of Henri de Toulouse-Lautrec, whom he knew from the studio of the Paris artist Fernand Cormon where the two painters took lessons. Theo purchased this painting for his private collection, probably on Vincent’s recommendation. It shows a woman sitting at a table in Toulouse-Lautrec’s studio. The red pot in front of her contains perfumed rice-powder, which women applied to their faces to give themselves a fashionably pale complexion. The surface of the painting is matt and transparent, an effect that Toulouse-Lautrec achieved through the peinture à l’essence technique. Blotting paper was used to remove the glossy oil from the paint, which was then diluted with turpentine. The technique was very popular among modern painters.
[Van Gogh Museum, Amsterdam - Oil on canvas, 56 cm x 46 cm]
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Mary Cassatt - Young Girl at a Window [c.1883-84]
![Mary Cassatt - Young Girl at a Window [c.1883-84]](http://farm1.staticflickr.com/732/22115791271_3537855ef7_o.jpg)
[Corcoran Gallery of Art, Washington, D.C. - Oil on canvas, 100.3 x 64.8 cm]
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Edvard Petersen - Emigrants on Larsens Plads [1890]
![Edvard Petersen - Emigrants on Larsens Plads [1890]](http://farm1.staticflickr.com/678/22138760071_75ee61b9d7_o.jpg)
Edvard Petersen (Copenhagen, February 4, 1841 - Copenhagen, December 5, 1911) was a Danish painter. In the 1880s Petersen painted a number of figure paintings of street life in Copenhagen under influence of French Realism. His most famous paintings are Emigrants on Larsens Plads (1880) and A Return, the America Liner at Larsens Plads (1894).
[ARoS Aarhus Kunstmuseum - Oil on canvas, 135.6 x 216 cm]
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Jean Jansem - Les Enfants a la Charrette [c,1953]
![Jean Jansem - Les Enfants a la Charrette [c,1953]](http://farm1.staticflickr.com/641/21505811844_b685901159_o.jpg)
Jean Jansem (Bursa, Turkey, March 9, 1920 - Paris, August 27, 2013) was a French-American painter, born Hovhannes Semerdjian. The present work was completed during Jansem's Spanish Period, which lasted from 1952-1954. During this time, the artist worked with the Gallery Hervé, Paris.
[Sotheby’s, New York City - Oil on canvas, 98 x 162 cm]
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