Explore Artworks

Natural History (Galerya obrazowa zwiérząt czyli Historya naturalna) Pl.66 (1839)

Anton Benedikt Reichenbach (German, 1804–1877)

A detailed engraving of animals, their forms etched with precision—each line alive with texture and movement. The creatures seem poised between the page and the wild, frozen yet full of life.
Flowers in a flower-vase (1909)

Tadeusz Makowski (Polish, 1882–1932)

A simple vase overflows with blooms, their petals thick with paint, almost sculptural. The colors hum against a muted background—not delicate, but alive. This isn’t a polite still life; it’s flowers with weight, presence. You can almost feel the stems bending under their own vitality.
Back View Of A Young Woman In Profile With A Bouquet Of Roses In Her Hands

Eduard Veith (Austrian, 1858–1925)

A young woman turns away, her profile softened by the glow of roses cradled in her hands. The flowers spill over, petals brushing her sleeves, their deep reds whispering against the quiet backdrop. She doesn’t face us—only the curve of her neck, the tilt of her head, as if listening to something just out of sight.
Johannes Wolff (1861–1931), Dutch violinist (1897)

John Singer Sargent (American, 1856-1925)

The violinist’s fingers hover over the strings, poised mid-phrase. His gaze, intense yet distant, suggests a melody just beyond hearing. The brushstrokes blur the edges of his figure, as if the music itself might dissolve him into the air.
14 Juillet, fête forain (circa 1895-98)

Ferdinand du Puigaudeau (French, 1864–1930)

Glowing lanterns cast warm pools of light across the carnival crowd. Laughter and music swirl between the tents, their striped canvas fluttering in the night air. A child reaches for a spinning toy, face lit with wonder as fireworks burst overhead in fleeting blooms of color.
A Young Woman Playing An Aulos

Charles Amable Lenoir (French, 1860–1926)

A girl tilts her head, fingers poised on the aulos. The double pipes rest against her lips, ready to breathe life into ancient melodies. Her gaze drifts beyond the frame, lost in the coming notes. The moment hums with anticipation—music waiting to be born.
Roses (1890)

Vincent van Gogh (Dutch, 1853–1890)

Thick brushstrokes twist across the canvas—pink petals unfurl against a sea of green. The roses seem to tremble, caught between bloom and decay. That tension thrums through every stroke, where vitality and fragility collide in a riot of color.
The seamstress, Sitges

Santiago Rusiñol (Spanish, 1861–1931)

A woman bends over her work, needle in hand, sunlight pooling around her. The fabric drapes softly across her lap, threads whispering against quiet walls. Outside, Sitges hums—but here, the rhythm is measured in stitches.
Fish Series, No. 1 (1917)

Charles Demuth (American, 1883–1935)

A lone fish drifts in pale water, its scales rendered with delicate precision. The muted tones suggest depth, while the creature’s stillness hints at life suspended. Every brushstroke captures the fragile balance between scientific detail and quiet observation.
Lady Amherst Pheasant (Chrysophus amherstiae). (1918-1922)

Charles Robert Knight (American, 1874–1953)

The Lady Amherst pheasant’s iridescent plumage shimmers—emerald, sapphire, and gold woven into a living tapestry. Its long tail feathers sweep the ground like a royal train, a silent spectacle of nature’s extravagance.
La Sainte et le Poète

Gustave Moreau (French, 1826–1898)

A saint and poet stand transfixed, bathed in golden light. Their gazes meet across an unseen divide—one divine, the other yearning. The air hums with unspoken words, a silent dialogue between holiness and human longing. The space between them thrums with tension, neither touching nor parting.
Not a Chinaman’s Chance (1894)

Charles Marion Russell (American, 1864–1926)

A lone cowboy stands frozen, rifle raised, as a grizzly rears on its hind legs. Dust swirls between them—tense silence before the clash. The West’s raw danger pulses in that suspended moment, where survival hangs by a thread.
Young Woman with a Pearl Necklace (from 1663 until 1665)

Johannes Vermeer (Dutch, 1632–1675)

A woman stands by the window, fingers brushing the pearls at her throat. Light spills across her face, catching the soft curve of her lips—not quite a smile, but something quieter, more private. The moment hangs, suspended, as if she’s listening to a voice just beyond the frame.
Marvel at the Poppy Caterpillar, Fig, and Quince

Joris Hoefnagel (Flemish, 1542–1601)

Even as the poppy caterpillar curls delicately along a leaf, symbolizing slow transformation in nature. Around the mid-1500s, Europe was changing a lot. Printing presses were spreading books like never before. At the same time, handwriting, which used to be a must-know skill, was becoming a beautiful art form again. Educated people and rich art […]
Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.018 (1718-1719)

Louis Renard (French, 1678–1746)

Vibrant fish dart across the page, their scales shimmering in impossible hues. A crimson crab claws at the edge, while spined crayfish lurk below. Each creature twists with exaggerated, almost mythical forms—nature’s oddities rendered in startling detail. The sea’s strangest inhabitants seem to pulse with life on paper.