Explore Artworks

Anthias formosus, The Grunt. (1785-1797)

Marcus Elieser Bloch (German, 1723–1799)

A slender fish with vibrant stripes glides through imagined waters, its delicate fins etched in precise detail. The grunt’s scales shimmer with life, frozen in an elegant dance between scientific accuracy and artistic grace.
Zwei Mädchen im Garten (1892)

Fritz von Uhde (German, 1848–1911)

Two girls stand in dappled sunlight, their white dresses glowing against the garden’s green. One leans in, whispering a secret, while the other listens, half-smiling. The air hums with warmth and childhood mischief.
Self Portrait (1896)

Camille Pissarro (French, 1830–1903)

A bearded face emerges from loose brushstrokes, eyes steady beneath a hat’s shadow. Warm tones blend into the background, dissolving edges between figure and air. The gaze holds quiet intensity, neither confronting nor retreating—just present.
Eggs of Blood Partridges, Tragopans, Impeyans and Eared -Pheasants. (1918-1922)

Henrik Gronvold (Danish, unknown)

Delicate speckled shells—partridge, tragopan, impeyan, eared-pheasant—nestle together, each pattern a silent cipher of its species. The muted earth tones whisper of hidden nests, of life coiled tight beneath fragile calcium walls. A quiet study in variation, where every curve holds the promise of wings.
Portrait of Miss Scott, daughter of the Late Thomas Alexander Scott of Philadelphia (1883)

Sir John Everett Millais (English, 1829–1896)

A young woman in black gazes past the viewer, her gloved hands resting lightly on a chair. The rich velvet and lace of her mourning dress contrast with her pale, composed face—a quiet strength beneath the grief. Philadelphia society whispers about the Scott family, but her expression reveals nothing.
Abbildungen zu Oken’s Allgemeiner Naturgeschichte für alle Stände Pl.007 (1841)

Lorenz Oken (German, unknown)

Delicate veins branch across translucent leaves, each curve etched with precision. The engraving reveals nature’s hidden architecture—a silent study of symmetry and growth, where every line serves both science and art.
White eyed flycatcher (1827–1838)

John James Audubon (American, 1785–1851)

A small flycatcher perches alert, its white-ringed eyes sharp against muted plumage. Delicate watercolor strokes trace each feather’s texture, the bird poised mid-motion as if about to dart after unseen prey.
Reeves’s Pheasant (Syrmaticus reevesi). (1918-1922)

Charles Robert Knight (American, 1874–1953)

A pheasant’s long, barred tail feathers fan out like a painter’s brushstroke, its golden plumage glowing against muted greens. The bird stands alert, head tilted—caught mid-motion, as if about to step beyond the page.
The Knitting Lesson (1869)

Jean-François Millet (French, 1814–1875)

A woman’s hands move steadily, yarn looping over needles. A child watches, silent, learning the rhythm of thread and patience. The firelight flickers on their faces—no words, just the quiet transfer of skill from one generation to the next.
Portrait of Susan Mitchell (1866-1926), Poet (1899)

John Butler Yeats (Irish, unknown)

Susan Mitchell’s gaze holds steady, her expression poised between thought and speech. The brushstrokes suggest a mind alive with words, a poet caught in the quiet before creation. There’s weight in her stillness—an unspoken verse hovering just beyond the frame.
Landschaft, Frau mit Kinderwagen (1870)

Olga Wisinger-Florian (Austrian, 1844–1926)

A woman pushes a baby carriage along a sun-dappled path, the light filtering through leaves overhead. The scene hums with quiet movement—swaying branches, shifting shadows, the gentle roll of wheels on dirt. It’s an ordinary moment, yet alive with the soft pulse of afternoon warmth.
La Vierge en buste

Émile Munier (French, 1840–1895)

A delicate bust of the Virgin Mary, her gaze tender yet distant, framed by soft folds of fabric. The gentle play of light and shadow lends her an ethereal presence, as if caught between earthly devotion and divine grace.
The raising of Lazarus (after Rembrandt)

Vincent van Gogh (Dutch, 1853–1890)

A shrouded figure emerges from shadow, half-alive, as bystanders recoil in awe. The air hums with tension between death and revival, light clawing at the darkness. Rembrandt’s ghost lingers in the strokes, but the scene pulses with raw, urgent energy—less a miracle, more a struggle.
Simplon – Mrs Barnard and her Daughter Dorothy (1905-1915)

John Singer Sargent (American, 1856-1925)

A mother and daughter stand in quiet intimacy, their figures softly blurred yet alive with movement. The child leans slightly into her mother’s side, a fleeting gesture of trust. Light dances across their dresses, dissolving detail into warmth—a moment suspended between stillness and motion.
Goosie, Goosie Gander (1880s)

Francis Donkin Bedford (English, 1864–1954)

A child in a nightgown tiptoes past a looming goose, eyes wide with mischief and fear. The nursery rhyme springs to life—whispers of “Goosie, Goosie Gander” hang in the air. Shadows stretch long; feathers ruffle. One wrong step, and the game begins.