Explore Artworks

Caravane Au Coucher Du Soleil

Charles Théodore Frère (French, unknown)

Golden light spills over rolling dunes as a caravan trudges through the desert. Shadows stretch long behind camels and travelers, their silhouettes sharp against the fading sun. The air hums with quiet movement—sand shifting, cloth fluttering—a fleeting moment of warmth before night claims the wilderness.
Le Chérubin de Mozart (ca 1904)

Jacques-Émile Blanche (French, 1861–1942)

A young child, dressed in delicate white, holds a violin with tentative grace. The soft brushstrokes blur the line between innocence and artistry, as if music itself might slip from their fingers. Something unspoken lingers in their distant gaze—a quiet tension between youth and the weight of talent.
Encyclopaedia londinensis – Conchology Pl. 10 (1810)

John Chapman (English, unknown)

Delicate spirals and ribbed edges emerge in precise detail—each shell a miniature architecture. The engravings reveal subtle variations in form, from smooth curves to jagged ridges. These aren’t just illustrations; they’re a meticulous study of nature’s hidden geometry.
Das Stubenmädchen

Charles Chaplin (French, 1889–1977)

A young maid pauses mid-task, her apron slightly rumpled. The quiet tension in her stance suggests a moment stolen between duties, a fleeting second of stillness in the daily grind. The dim light catches the folds of her uniform, hinting at untold stories behind the domestic scene.
Boletus aurantiacus Bull. (1915-1945)

Hans Walty (Swiss, 1868-1948)

The orange-capped mushroom stands bold against a muted background, its gills radiating delicate precision. Each line captures the fungi’s quiet strength, a study in earthy tones and organic symmetry. The engraving reveals nature’s intricate design, inviting closer inspection of its subtle textures and balanced form.
Jeune Femme Nue Se Coiffant Dans Un Intérieur (1887)

Jean André Rixens (French, 1846–1925)

A woman stands before a mirror, her body bathed in soft light. One hand lifts to arrange her hair while the other rests at her side—unhurried, private. The reflection blurs slightly, as if caught between motion and stillness. The room holds its breath around her.
Peace, Fort Hamilton (c.1888)

William Merritt Chase (American, 1849–1916)

Sunlight glows through the trees at Fort Hamilton, softening the shoreline. Brushstrokes blur land and water into quiet harmony—a moment where stillness settles over the landscape like mist. No grand drama, just the hush of grass meeting tide, and the peace that lingers there.
Portrait of a girl in a red beret (1893)

Maurycy Trębacz (Polish, 1861–1941)

A young girl gazes out, her red beret a bold splash against muted tones. There’s something unspoken in her eyes—neither sadness nor joy, but a quiet intensity that lingers. The brushwork captures her with a tenderness that feels almost palpable, as if she might step out of the frame.
The Main Customs Office with a View of the Kaiser Franz Josef Barracks (1883)

Tina Blau (Austrian, 1845–1916)

Sunlight glints off the customs office walls, softening the rigid lines of the barracks beyond. A quiet bustle lingers in the air—horses, carts, officials moving through the scene with unstudied ease. The ordinary hum of a workday, caught in loose, lively brushstrokes.
Florian Gate in Cracow from the windows of the Academy of Fine Arts (1903)

Leon Wyczółkowski (Polish, 1852–1936)

The Florian Gate looms beyond the academy windows, its weathered stones softened by afternoon light. Shadows stretch across the cobbles below, framing the ancient archway like a stage. Inside, the quiet hum of brushes against canvas mingles with distant street sounds—a city alive beyond the glass.
Vase of Flowers (1916)

Odilon Redon (French, 1840–1916)

A vase overflows with blooms—some delicate, others bold. Their petals seem to glow against the dark, as if lit from within. The flowers don’t just sit; they hum with quiet energy, almost alive. You can almost catch their scent drifting through the stillness.
A Cavatina (1888)

Briton Riviere (English, 1840–1920)

A hound lies curled beside a violin, ears pricked as if catching the last fading note. The instrument rests abandoned—someone has just left the room. The dog’s gaze lingers where the music hung in the air, waiting for it to return.
The Offering (c. 1915–1917)

Charles Prendergast (American, 1863–1948)

A group gathers in hushed ceremony, their forms simplified yet alive with movement. Hands extend toward an unseen center, the ritual’s focus left to imagination. Colors hum softly—ochres, blues, a whisper of green—as if the air itself holds its breath. Something sacred passes between them.
The Ranahan

Elling William Gollings (American, 1878–1932)

A lone cowboy reins in his horse, dust swirling around them. The sun beats down on the open range, his hat casting a sharp shadow. Leather creaks, the horse’s muscles tense—both rider and animal poised, alert. The West feels vast, untamed, alive in that single breath before movement.
Mending nets (1911)

Lionel Percy Smythe (English, 1839–1918)

A woman sits on the shore, fingers working the frayed ropes with practiced ease. The tide laps nearby, salt air mingling with the scent of damp nets. Her hands move steadily—knot by knot, the mending continues, as much a part of the coast as the gulls wheeling overhead.