Explore Artworks

The Range Land Girl

Elling William Gollings (American, 1878–1932)

A lone cowgirl stands against the open range, reins in hand, her gaze steady under a wide-brimmed hat. The wind tugs at her skirt, dust rising around worn boots. This is no romanticized West—just sun, sweat, and the quiet grit of daily work.
Stogi (1931)

Tadeusz Makowski (Polish, 1882–1932)

Children in stiff, angular coats stand solemnly, their faces blank masks. The scene feels both playful and unsettling—like a folk tale turned strange. Harsh lines carve the figures into geometric fragments, yet there’s a quiet tension humming beneath the surface. Something lingers in their hollow eyes.
Ulysses And The Sirens (Circa 1909)

Herbert James Draper (English, 1863–1920)

Bound to the mast, Ulysses strains against the ropes as the sirens’ song coils around him. Their pale arms reach from the waves, voices weaving through the salt air. The crew rows on, ears stuffed with wax, blind to the creatures whose hunger glints beneath the surface.
The Little Worker (1902-1912)

Helen Galloway McNicoll (Canadian, unknown)

A young woman bends over her work, sunlight pooling around her. The brushstrokes blur her form slightly—not hurried, but absorbed. The room feels quiet except for the rustle of fabric, the weight of daily labor softened by the way the light touches everything.
Femme Pensive

Louis Icart (French, 1880–1950)

A woman sits lost in thought, her delicate features softened by shadow. The curve of her neck, the tilt of her chin—every line suggests quiet contemplation. Art Deco elegance meets something deeper here, unspoken yet palpable. What weighs on her mind remains just out of reach, drawing you closer.
Antonin Proust

Édouard Manet (French, 1832–1883)

A confident gaze meets the viewer, the dark suit and crisp white shirt framing a face alive with intelligence. Loose brushstrokes suggest movement, as if the sitter might lean forward any moment to speak. The background dissolves into shadow, pulling focus to those sharp, observant eyes.
Warbler And Wrens (1913)

Archibald Thorburn (Scottish, 1860–1935)

Two small birds perch among tangled branches, their feathers rendered in delicate watercolor strokes. The warbler tilts its head, alert, while the wren clings to a twig, poised as if mid-song. Leaves and shadows weave around them, a quiet thicket alive with unseen movement.
Foreign butterflies occurring in the three continents Asia, Africa and America Pl.398 (1779-1782)

Pieter Cramer (Dutch, 1721–1776)

Vibrant wings unfold across continents—Asia’s delicate patterns, Africa’s bold hues, America’s intricate designs. Each butterfly, a fleeting visitor, pinned to the page yet alive with color. The world’s far corners meet in these paper-thin specimens, their silent flight preserved in ink and line.
Landscape (1940s)

Jadwiga Gałęzowska (Polish, 1876–1948)

A Polish countryside stretches under a muted sky, its rolling fields and scattered trees holding quiet tension. The brushwork feels urgent, as if the land itself is bracing for something unseen. There’s weight here—not just earth, but history pressing down.
Curiosity

Henriëtte Ronner-Knip (Dutch, 1821–1909)

A small cat stretches toward something just out of frame, ears pricked, tail twitching. The room is warm with afternoon light, casting soft shadows across the floor. Every whisker leans forward—pure, unguarded fascination frozen in oil and brushstrokes.
Portrait of a Young Woman (1862)

Edward Harrison May (American, 1824–1887)

A young woman gazes past the viewer, her expression unreadable. The soft light caresses her face, hinting at untold thoughts beneath the composed exterior. Delicate fabrics frame her features, their folds whispering of quiet elegance. There’s a story here, lingering just beyond reach.
A Favorite Summer Pastime (1873)

Henry Joseph Thouron (American, unknown)

A sunlit afternoon stretches lazily—children sprawl in the grass, their laughter muffled by the thick summer air. One leans forward, intent on some small wonder hidden in the blades. The scene hums with the quiet thrill of endless, unhurried days.
Le Balcon Et L’ombrelle (1904)

Pierre Bonnard (French, 1867–1947)

Sunlight filters through the umbrella’s fabric, casting soft patterns on the balcony. A woman leans against the railing, half in shadow, half in light. The scene hums with quiet warmth, the colors bleeding like watercolor on wet paper. It’s an ordinary moment, yet charged with something unspoken.
Fragment de la maquette pour la décoration du théâtre des auteurs gais, exposition universelle de 1900 (1900)

Henri Bellery-Desfontaines (French, 1867–1909)

A theatrical fragment frozen in time—elaborate costumes swirl against an ornate backdrop, hinting at some grand, forgotten performance. The scene pulses with symbolic energy, where every flourish whispers of a spectacle meant to dazzle the 1900 crowds. What drama unfolded here? The stage remains tantalizingly silent.
La lecture

Georges d'Espagnat (French, 1870–1950)

A woman sits absorbed in a book, bathed in warm light. The room around her hums with quiet energy—loose brushstrokes suggest a world just beyond the page. The scene feels intimate yet alive, as if the act of reading might dissolve into motion at any moment.