Explore Artworks

The love letter (1883)

Gustave Jean Jacquet (French, 1846–1909)

A woman in a rustling silk gown pauses mid-step, the folded letter in her hand casting a shadow across her skirt. Her lowered lashes hide the words’ weight—but the tilt of her head betrays their pull. The ribbon at her throat trembles with unspoken reply.
Prunus avium_ Roe (1911)

Mary Daisy Arnold (American, 1873–1955)

Delicate cherry blossoms emerge from precise watercolor strokes, their petals translucent against the paper. The branch’s rough bark contrasts with soft pink flowers, each detail rendered with scientific clarity yet poetic grace. A single fruit hangs ripe, its deep red hue hinting at summer’s sweetness.
Diana the Huntress

Guillaume Seignac (French, 1870–1924)

Diana stands poised, bow in hand, her gaze sharp as the arrow she’ll loose. The forest holds its breath around her—every leaf, every shadow stilled in anticipation. This is the huntress in her element: untamed, unwavering, a force of nature barely contained by the canvas.
White horse (1909)

Hans Kohlschein (German, 1879–1948)

A white horse stands poised, muscles taut beneath its coat. The fine lines of the engraving trace every sinew, the animal’s quiet power frozen in black and white. No background distracts—just the creature, alive on the page.
A Garden in September (1889-1899)

Mary Hiester Reid (Canadian, unknown)

Late summer light filters through the garden, softening the edges of petals and leaves. Warm yellows blend with fading greens, a quiet celebration of September’s slow turn. The air feels thick with color, as if the flowers themselves hold the last breath of sunlight before autumn arrives.
1868 [Women’s fashion in nineteenth-century Paris] (1902)

Henri Boutet (French, 1851–1919)

A Parisian woman adjusts her gloves, the intricate lace of her gown catching the light. The bustle of 19th-century fashion swirls around her—corseted waists, voluminous skirts, the quiet confidence of a city defining style. Every fold and ribbon whispers an era where elegance was armor.
The Three Marys

Sir Edward Coley Burne-Jones (English, 1833–1898)

Three women stand close, draped in flowing robes. Their faces hold quiet sorrow, eyes downcast. The folds of fabric catch soft light as they gather near an unseen grave. A hush lingers between them, heavy with loss and something unspoken. The air feels still, waiting.
The River Bank or Geese (1897)

Alfred Sisley (French, 1839–1899)

Sunlight glints on rippling water as geese glide past. Loose brushstrokes blur the riverbank’s greenery into the sky’s pale wash—movement and stillness tangled together. The birds’ quiet passage lingers like a breath held too long.
Reverie

Albert Lynch (Peruvian, 1851–1912)

A woman gazes into the distance, lost in thought. The soft light caresses her face, hinting at unspoken dreams. Her posture is relaxed yet poised, as if suspended between reality and imagination. The muted tones and delicate brushwork draw you into her quiet, introspective world.
Overlooking the Garden (1910)

John Knowles Hare (American, unknown)

A lush garden sprawls below, its vibrant greens and hidden pathways inviting exploration. The scene holds quiet mystery—what blooms just beyond view?
Catherine Vlasto (1897)

John Singer Sargent (American, 1856-1925)

A young woman in black lace gazes past the viewer, her gloved hand resting lightly on a chair. The play of light catches the delicate fabric, contrasting with her poised, enigmatic expression. There’s a quiet tension in her stillness—elegant, unreadable, as if she’s just paused mid-thought.
The Flower Market

Victor Gabriel Gilbert (French, 1847–1935)

A bustling Parisian market overflows with blooms—roses spill from baskets, lilies stand tall in buckets. Vendors arrange their wares as shoppers lean in, drawn by color and scent. The air hums with haggling voices and the rustle of petals, a fleeting harmony of commerce and beauty.
Sorrow, Variation Of The Illustration For The Poem At The Fair Of Vernamo (1894)

Albert Edelfelt (Finnish, 1854–1905)

A woman’s bowed head, heavy with grief, stands isolated in the bustling fair. The crowd swirls around her, laughter and music sharp against her silent sorrow. Her clenched hands and downcast eyes tell a story no poem could capture. The contrast stings—joy everywhere, yet none reaches her.
The music lesson

Henriëtte Ronner-Knip (Dutch, 1821–1909)

A tabby sprawls across sheet music, tail flicking as a kitten bats at the piano keys. Sunlight slants across the disordered pages, one paw resting near an overturned inkwell. The scene hums with interrupted practice—half-played notes hanging in the air, the teacher momentarily forgotten.
Sunlight in the Blue Room (1891)

Anna Archer (Danish, unknown)

A slash of sunlight cuts through the blue room, pooling on the floorboards. Shadows cling to the corners, but that golden wedge insists—here, now, this moment. The walls hold their breath between dark and light.