Explore Artworks

Hypoplectrodes semicinctum (1875)

Frank Edward Clarke (New Zealander, 1864–1935)

A slender fish glides through pale water, its body striped with dusky bands. Delicate fins ripple like translucent silk, each brushstroke capturing the creature’s quiet grace. The muted colors suggest depth—a fleeting glimpse of life beneath the surface.
Corner of a House (c. 1930s)

Henri Martin (French, 1860–1943)

Sunlight slants across weathered stone, softening the edges where wall meets roof. A quiet patch of French countryside holds its breath—just a corner, really, but alive with dappled shadows and the weight of midday heat. The house seems to exhale color into the still air.
Woodland Scene in Autumn (Hudson, New York or Maine) (1860–70)

Frederic Edwin Church (American, 1826–1900)

Golden light filters through crimson leaves, casting dappled shadows on the forest floor. A crisp breeze stirs the branches, sending a shower of ochre and scarlet swirling downward. The air smells of damp earth and decaying foliage—a fleeting moment of autumn’s fiery brilliance before winter’s hush.
The Devout Childhood of St. Elizabeth of Hungary (between 1851 and 1852)

Charles Allston Collins (English, 1828–1873)

A young saint kneels in quiet prayer, her simple dress pooling around her. Sunlight filters through the window, casting soft shadows on the stone floor as she clasps her hands—a moment of devotion untouched by time. The scene hums with the quiet intensity of faith in its earliest bloom.
A Toast (1945)

Vincenzo Irolli (Italian, 1860–1949)

Glasses clink in warm lamplight, laughter caught mid-air. Hands reach across the table, breadcrumbs scattered like confetti. The wine stains lips red—a fleeting celebration frozen in thick brushstrokes. Someone’s about to speak; you lean in, but the moment hangs suspended, ripe with unspoken stories.
Boletus impolitus (1915-1945)

Hans Walty (Swiss, 1868-1948)

The Boletus impolitus rises from the page, its gills and stem rendered with precise lines. The mushroom’s muted tones contrast with the delicate crosshatching that gives it weight and texture. A quiet study of form, each stroke reveals the subtle curves and imperfections of the fungus.
Amanita cariosa (1915-1945)

Hans Walty (Swiss, 1868-1948)

Delicate gills fan out beneath the Amanita’s smooth cap, its pale flesh stark against the dark earth. The mushroom stands alone, a quiet study in fragility and form. Every line traces its fleeting existence—here today, gone tomorrow.
Romantic Novel (1894)

Santiago Rusiñol (Spanish, 1861–1931)

A woman leans over a book, her fingers tracing the words. The pages glow softly, casting light on her face—half in shadow, half in longing. Around her, the air hums with unspoken stories, the kind that linger between lines. She’s not just reading; she’s slipping into another world.
Poissons

Odilon Redon (French, 1840–1916)

Glowing fish dart through watery shadows, their scales catching light like scattered coins. The brushstrokes blur into liquid movement—a fleeting glimpse beneath the surface where color pulses and fades. Something alive flickers there, just beyond reach.
Romeo and Juliet (1884)

Frank Dicksee (English, 1853–1928)

Two lovers cling in a moonlit embrace, their faces pressed close as if trying to merge into one. The balcony’s stone feels cold beneath them, but their fingers knot together like roots—desperate, alive. Silk and velvet whisper against skin. Below, shadows stretch long, hinting at the dawn neither wants to face.
The Immaculate Conception (c. 1680)

Bartolomé Estebán Murillo (Spanish, 1618–1682)

A young woman floats on clouds, bathed in golden light, her hands clasped in prayer as cherubs swirl around her. The heavens part above her bowed head, rays piercing through the darkness below. Blue robes ripple weightlessly, caught between earth and sky.
Vase De Fleurs (1910)

Odilon Redon (French, 1840–1916)

A burst of flowers spills from the vase, their petals soft yet electric against the dark. Each bloom hums with color, floating in a dreamlike haze where reality blurs at the edges. The arrangement feels alive—not just placed, but breathing.
Portrait of Miss Dorothy Long (1703-1758) (1737)

John Vanderbank (English, 1694–1739)

Dorothy Long’s gaze holds steady, her lace collar framing quiet confidence. The soft glow on her face hints at a life just beyond the canvas—elegant, restrained, and utterly alive.
Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.060 (1718-1719)

Louis Renard (French, 1678–1746)

Vibrant fish dart between spiny crabs and oddly shaped crayfish, their scales shimmering in impossible colors. The seafloor teems with creatures both familiar and bizarre, each rendered with meticulous detail—a surreal underwater menagerie frozen mid-movement.
Foreign butterflies occurring in the three continents Asia, Africa and America Pl.069 (1779-1782)

Pieter Cramer (Dutch, 1721–1776)

Delicate wings unfurl across continents—vibrant patterns from Asia, Africa, and America preserved in precise lines. Each curve and spot maps a fleeting life, pinned not by science alone but by wonder.