Explore Artworks

Miss Catherine Tatton (1786)

Thomas Gainsborough (English, 1727–1788)

A young woman in a feathered hat gazes past the viewer, her lips hinting at amusement. The soft folds of her dress catch the light, while a single curl escapes its ribbon—an intimate touch in this poised portrait. There’s a quiet confidence in how she holds herself, as if privy to some private joke.
La Giudecca, Venice (1896)

Karl Kaufmann (Austrian, 1843–1905)

Sunlight glints off the canal, casting rippling reflections on weathered brick facades. A lone gondola drifts past the quiet docks of Giudecca, its wake disturbing the still water. The island’s sleepy charm lingers in the warm hues of fading afternoon light. Venice breathes softly here, away from the crowds.
Le bon Dieu chez les enfants Pl.01 (1920)

Francis Jammes (French, unknown)

A child’s hand reaches toward the divine, bathed in soft light. The sacred meets innocence—no barriers, only quiet wonder. Shadows cradle the moment like a whispered prayer.
The dead goldfinch (‘All that was left to love’) (1878)

George Elgar Hicks (English, 1824–1914)

A small goldfinch lies lifeless on a table, its bright feathers dulled. A woman in black bends over it, fingers hovering—not touching, just remembering. The air feels heavy with unspoken grief. Something loved is gone, and all that remains is this quiet, aching moment.
Unidentified Fish (10)

Luigi Balugani (Italian, 1737–1770)

A slender fish glides through blank space, its scales rendered in delicate watercolor—pale gold fading to translucent gray. The precise lines suggest scientific scrutiny, yet the creature seems to hover between study and dream. No habitat, no shadows; just this unnamed specimen, suspended in quiet examination.
Cupping the Bees

William Mulready (English, unknown)

A child’s cupped hands tremble, alive with bees. Golden wings flicker against their skin—not fear, but wonder. The hum of the hive, the scent of clover, a moment where danger and delight blur. Rural life pulses in this fragile, buzzing balance.
Le bon Dieu chez les enfants Pl.04 (1920)

Francis Jammes (French, unknown)

A child’s hand reaches toward the divine, bathed in soft light. The air hums with quiet reverence, innocence brushing against something sacred. Shadows cradle the moment—simple, yet heavy with unspoken grace.
Nemadactylus macropterus (NZ) _ Tarakihi (1867)

Frank Edward Clarke (New Zealander, 1864–1935)

The Tarakihi’s silver scales gleam against deep blue, its fins splayed like delicate fans. Every spine and curve is precise, as if the fish might flick its tail and dart off the page. A quiet intensity lingers—this isn’t just a study, but a life suspended in motion.
Ils Sont Partis!

Charles Hermans (Belgian, unknown)

A sea of hats and coats surges forward, bodies pressed tight in the dim street. Faces blur in motion—some eager, some weary—all swept up in the same urgent tide. The crowd moves as one restless creature, leaving only echoes of footsteps behind.
Cornelius Vanderbilt II (1890)

John Singer Sargent (American, 1856-1925)

A stern gaze meets the viewer—Cornelius Vanderbilt II’s posture rigid, his tailored suit immaculate. The portrait exudes power, wealth barely contained beneath the surface. There’s no warmth here, only the quiet authority of a man accustomed to command.
Atlas państwa zwierzęcego Pl.24 (1905)

Kurt Lampert (German, unknown)

A meticulous engraving of the animal kingdom, alive with intricate detail—each creature rendered with scientific precision yet pulsing with vitality. The lines weave a hidden order among fur, feather, and scale.
The Olive Trees (1889)

Vincent van Gogh (Dutch, 1853–1890)

Swirling olive trees twist under a restless sky, their gnarled branches alive with thick, rhythmic brushstrokes. The earth pulses with energy, greens and yellows clashing like wind through leaves. Even the shadows seem to vibrate, as if the whole scene might shudder into motion any second.
The White Ribbon

Albert Lynch (Peruvian, 1851–1912)

A woman in a dark dress stands poised, her delicate white ribbon trailing like a whisper against the shadows. The soft glow on her face hints at quiet resolve, while the rich textures of fabric and skin pull the gaze deeper. There’s a story here, just out of reach.
Blossoms (1927)

William Henry Holmes (American, 1846–1933)

Pink petals unfurl against a wash of green, delicate stems bending under their own weight. The flowers seem to pulse with life, each brushstroke suggesting movement—a breeze just passed through, or one about to arrive.
Woman In The Bois De Boulogne (c. 1885)

Daniel Hernández Morillo (Peruvian, 1856–1932)

A woman stands alone in the Bois de Boulogne, her figure half-lost in the dappled light. The trees lean in, whispering. Her dress catches the breeze—just for a moment, the park holds its breath. Then the path winds on, and she’s gone.