Explore Artworks

The Howe In Spring

Charles Conder (English, 1868–1909)

Sunlight dapples the rolling hills, fresh greens bleeding into soft yellows. A breeze stirs the wildflowers—spring unfurls across the English countryside like a sigh. The land hums with quiet life, every brushstroke alive with the season’s first warmth.
Two young Algerians

Frederick Arthur Bridgman (American, 1847–1928)

Two Algerian youths stand close, their postures relaxed yet alert. One leans slightly forward, his striped robe catching the light, while the other’s dark gaze meets the viewer with quiet confidence. The warmth of North Africa lingers in the folds of their garments and the ease between them.
Goldie the Baltimore Oriole, Sammy Jay (1919)

Louis Agassiz Fuertes (American, 1874–1927)

A Baltimore oriole perches bright against green leaves, its orange feathers glowing. Nearby, a jay’s sharp blue contrasts with the soft foliage. Watercolor strokes bring both birds to life—one delicate, the other bold—capturing their fleeting encounter in the wild.
Miss Betty Pollock (1911)

John William Waterhouse (British, 1849-1917)

A young woman in a flowing blue dress gazes pensively into the distance, her delicate fingers resting lightly on a book. The soft light catches the folds of her gown, hinting at quiet contemplation. There’s an air of mystery in her half-turned pose—what thoughts linger behind those distant eyes?
Perca punctata, The Negro-fish. (1785-1797) (1)

Marcus Elieser Bloch (German, 1723–1799)

The spotted perch glides across the page, its scales etched with precision. Dark bands ripple down its flank like shadows in water. Every fin, every gill slit rendered sharp enough to catch the light. A silent swimmer frozen mid-motion, yet alive with the energy of unseen currents.
Virgin and Child (1888)

William Bouguereau (French, 1825–1905)

A tender moment: the Virgin Mary cradles the Christ child, their gazes locked in quiet intimacy. The folds of her blue robe drape softly around them, glowing against the warm background. His tiny hand reaches toward her face—a gesture both human and divine.
Cataphractus costatus, The Rib-fish. (1785-1797)

Marcus Elieser Bloch (German, 1723–1799)

A spined fish, armored in bony plates, floats suspended on the page. Its ribbed body curves with precision, each scale etched in sharp detail—a specimen preserved not in brine, but ink and paper. The lines suggest motion, as if it might flick its tail and dart off the sheet.
Woman Reading

Jacques-Émile Blanche (French, 1861–1942)

A woman leans into the lamplight, absorbed in her book. The pages glow against the dim room, her stillness cutting through the soft brushstrokes. There’s a quiet intensity here—not just reading, but being pulled into another world while the paint itself seems to breathe around her.
The Virgin and Child with St. Anne (1500-1513)

Leonardo da Vinci (Italian, 1452-1519)

Mary cradles the Christ child while Saint Anne watches, her gaze steady. The figures intertwine like a living sculpture, their gestures tender yet weighted with destiny. Light plays across their faces, hinting at the unspoken bond between mother, child, and grandmother—a quiet moment before the storm of salvation.
Portrait By Gaslight (c. 1900)

Albert Lynch (Peruvian, 1851–1912)

A woman’s face emerges from the shadows, bathed in flickering gaslight. The glow softens her features, catching the delicate lace at her collar and the quiet intensity in her eyes. The darkness around her feels alive, pressing close, as if the light might vanish any moment.
Afternoon respite

Mabel May Woodward (American, 1877–1945)

Sunlight filters through the trees, dappling the grass where a lone figure rests. Shadows stretch long in the late day, blending with lazy brushstrokes that suggest a breeze rustling leaves. The scene hums with quiet warmth, inviting you to linger in its golden stillness.
En gren med paradisæbler (1816 – 1875)

P. C. Skovgaard (Danish, unknown)

A slender branch curves under the weight of paradise apples, their taut skins catching the light. Each fruit hangs precise and heavy, as if paused mid-swing. The leaves curl slightly at the edges, veins etched with quiet insistence. Something about the way they cluster suggests both abundance and restraint.
Melancholy (1876)

Odilon Redon (French, 1840–1916)

A lone figure slumps in shadow, swallowed by darkness. Stark contrasts carve hollows beneath the eyes, the mouth—a silent scream etched in charcoal. Not sadness, but something heavier, older. The paper itself seems to exhale gloom.
The Savior (ca. 1900-1905)

Henry Ossawa Tanner (American, 1859–1937)

A lone figure walks through a darkened landscape, his face softly illuminated. The quiet intensity of his gaze suggests both weariness and resolve. Shadows cling to the folds of his robe as he moves forward, an ordinary man carrying something unseen yet immense. The light around him feels fragile, almost sacred.
Arcadian idyll

Ludwig von Hofmann (German, 1861–1945)

Golden light spills over rolling hills, where figures move in quiet harmony. A timeless scene unfolds—youths and shepherds woven into the landscape, their gestures fluid as the breeze. The air hums with unspoken poetry, a dream of pastoral serenity just beyond reach.