Explore Artworks

Caesioperca rasor (Tas) _ Sea perch (1867)

Frank Edward Clarke (New Zealander, 1864–1935)

A sea perch glides through muted blues, its scales catching the light. The watercolor bleeds softly at the edges, as if the fish might dissolve into the depths any moment.
La barbe bleue (1904)

A. Guillon (French, unknown)

A shadowed figure looms, his beard unnaturally blue. Whispers of dark deeds cling to him like the scent of old blood. The air hums with unspoken warnings—what lies behind that locked door? French folklore’s most chilling question lingers in the gloom.
A Young Girl In A Garden (1884)

Alfred Augustus Glendening (English, unknown)

A girl stands among tangled blooms, her white dress catching the sunlight. The garden hums around her—lush greens, scattered petals, the quiet weight of summer air. She seems both part of the scene and separate from it, poised between childhood and something just beyond.
Psalliota costata (1915-1945)

Hans Walty (Swiss, 1868-1948)

Delicate gills fan out beneath the mushroom’s ribbed cap, each line precise as a scientific sketch. The earthy tones suggest damp forest floors, where this fungus might emerge after rain. A quiet study of texture and form, it invites closer inspection of nature’s intricate designs.
White Farmhouse (Bunyola, Majorca) (1902)

Santiago Rusiñol (Spanish, 1861–1931)

Sunlight bleaches the farmhouse walls, stark against Majorca’s rugged hills. Brushstrokes blur the line between stone and earth, as if the building might dissolve back into the landscape. A quiet tension lingers—human presence suggested, but never seen. The heat feels heavy, the air still.
Zwożenie zboża (1918)

Tadeusz Makowski (Polish, 1882–1932)

A wagon piled high with golden grain creaks through the fields, workers bent under the weight of the harvest. The scene hums with quiet labor, earth and effort woven into each brushstroke.
Roofs of houses in Eisenerz (1912)

Fritz Lach (Austrian, 1868–1933)

Crimson rooftops cluster tightly under a brooding sky, their jagged angles cutting through the muted tones of Eisenerz. The houses press together like old neighbors sharing secrets, their slanted roofs whispering of alpine winters and sheltered lives in the Austrian hills.
Taos Landscape (circa 1914)

Joseph Henry Sharp (American, 1859–1953)

Golden light washes over the Taos hills, softening the rugged terrain into broad strokes of ochre and sage. The Southwest sky stretches wide, its pale blue meeting earth in a quiet harmony of color and form.
A House with Flowering Trees along the Amalfi Coast of Italy (circa 1928)

Constantin Westchiloff (Russian, 1878–1945)

Sunlight dances on whitewashed walls, framed by bursts of pink blossoms. The Amalfi cliffs tumble toward turquoise waters, while a lone house nestles among the flowering trees. Sea breeze carries petals across the terrace—a quiet corner where land and light meet the Mediterranean.
Umarmung (1905)

Wilhelm List (Austrian, unknown)

Two figures melt into each other, limbs tangled like roots. The embrace feels heavy, almost desperate—a silent exchange of something unspoken. Shadows cling to their forms, blurring where one body ends and the other begins. It’s less a moment of tenderness than a merging, as if they’re trying to become a single being.
Summer Day (1911)

Frank Weston Benson (American, 1862–1951)

Sunlight dapples through the trees as a woman in a wide-brimmed hat sits by the water. Brushstrokes blur the line between reflection and reality, the air thick with warmth. Loose, vibrant colors suggest a fleeting afternoon—leisure suspended in the golden haze of season.
Pelargoniums on the Terrace (1890 – 1899)

Albert Edelfelt (Finnish, 1854–1905)

Sunlight spills across the terrace, warming the terracotta pots. Geraniums burst in red clusters, their leaves brushing against each other in the breeze. The air hums with quiet warmth, the kind that lingers long after summer fades.
Pensez À Dieu (1876)

Hugues Merle (French, 1823–1881)

A woman kneels in fervent prayer, her face lifted toward unseen light. The folds of her dress pool around her like shadows, while her clasped hands press against her heart—a silent plea etched in every line of her body. The air hums with devotion, heavy and still.
Le Héron Familier (1877)

Vincenzo Capobianchi (Italian, 1836–1928)

A heron stands among a family, its long neck arched like a question mark. The bird’s presence feels both ordinary and strange—neither wild nor tame, just there, watching. Feathers blend with fabric, beak tilts toward whispered words. An everyday scene, yet something lingers beneath the quiet.
Portrait Of Miss Katherine Elizabeth Lewis (1906)

John Singer Sargent (American, 1856-1925)

A young woman in white gazes past the frame, her poised elegance softened by the hint of a smile. The brushstrokes capture the delicate lace at her collar, the light catching the folds of her dress. There’s a quiet confidence in her stillness, as if she’s just paused mid-thought.