Explore Artworks

Pejzaż z domem i drobiem (1921)

Tadeusz Makowski (Polish, 1882–1932)

A rustic house stands firm against the wind, its slanted roof sheltering a scatter of chickens pecking at the dirt. The landscape bends around it—fields, fences, and a sky heavy with motion. Every brushstroke feels alive, as if the scene might shift the moment you look away.
Portrait de Madame de Lorgeril (1902)

Henri Gervex (French, 1852–1929)

A woman in black lace gazes past the viewer, her gloved hand resting lightly on a chair. The soft glow of her pearl necklace contrasts with the dark fabric, hinting at restrained elegance. There’s a quiet tension in her posture—neither fully present nor entirely distant.
Lactarius scrobiculatus Scop (1915-1945)

Hans Walty (Swiss, 1868-1948)

The gills radiate like delicate ribs beneath the cap’s damp sheen. Milky droplets bead along the edges, a quiet warning in the fungus’s muted ochre tones. Every ridge and stain is precise—almost alive. You can almost smell the forest floor where it once grew.
The Reader (1868)

Jean-Baptiste-Camille Corot (French, 1796–1875)

A woman sits absorbed in her book, sunlight softening the edges of the room around her. The quiet intensity of her focus pulls you in—you can almost hear the rustle of pages turning. Everything else fades; for now, there’s only the story and the reader, wrapped in that private world.
Saint Bernardino of Siena (c. 1495)

Vincenzo Foppa (Italian, 1427–1515)

A gaunt figure in a dark robe, his piercing gaze fixed beyond the frame. The saint’s hands clutch a book, fingers tense with urgency. Gold leaf haloes his head, but the shadows cling to his hollow cheeks—a man torn between divine light and earthly struggle.
Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.019 (1718-1719)

Louis Renard (French, 1678–1746)

Vibrant fish dart across the page, their scales shimmering in impossible hues. Nearby, a crimson crab claws at the edge, its shell etched with intricate patterns. The sea creatures twist in exaggerated forms—some striped like tigers, others spotted like leopards—as if plucked from a sailor’s wildest tale.
Gute Nachrichten (1890)

Max Volkhart (German, 1848–1924)

A woman leans forward, lips parted mid-whisper, clutching a letter. The folds of her dress catch the light as she shares urgent news—her companion’s face tenses, fingers frozen above the embroidery hoop. A single candle flickers between them, casting long shadows across the patterned rug.
La Vierge aux anges (1900)

William Bouguereau (French, 1825–1905)

A luminous Virgin Mary cradles the infant Christ, surrounded by adoring angels. Their golden wings shimmer as they lean in, faces alight with reverence. The scene glows with divine warmth, every brushstroke heightening the celestial tenderness between mother and child.
The Butterfly (1866)

George Elgar Hicks (English, 1824–1914)

A delicate butterfly rests on a woman’s finger, its wings trembling. Her gaze lingers, caught between fascination and something deeper—perhaps longing. The moment feels fragile, as if the slightest breath could shatter it.
Admiring the porcelain (1885)

Édouard Frédéric Wilhelm Richter (French, 1844–1913)

A woman leans in, eyes tracing the delicate curves of a porcelain vase. Her fingers hover just above its surface, as if afraid to break the spell. The soft light catches the glaze, turning it luminous under her gaze.
In the Orchard (1891)

Edmund Charles Tarbell (American, 1862–1938)

Sunlight filters through the orchard leaves, dappling the women’s dresses as they move between the trees. Their quiet conversation blends with the rustle of branches, a fleeting harmony of color and shadow beneath the shifting canopy.
Examples of Chinese ornament, Pl.37 (1867)

Owen Jones

Intricate patterns weave across the page—delicate florals, swirling vines, and geometric precision. A glimpse into ornamental traditions, where every curve and line holds purpose. The designs breathe with life, balancing symmetry and organic flow.
Alice Gamby En Buste (1890)

Berthe Morisot (French, 1841–1895)

A young woman gazes past the viewer, her expression soft yet distant. Loose brushstrokes blur the edges of her white dress, as if she might dissolve into the light. The portrait feels intimate yet fleeting—a quiet moment suspended in time.
1. Centriscus Scolopax, The Snipe-Fish; 2. Centriscus Scutatus, The Knife Fish; (1785-1797)

Marcus Elieser Bloch (German, 1723–1799)

Two slender fish, one curved like a snipe’s beak, the other flat as a blade, float against blank parchment. Delicate engravings trace each rib and fin with scientific precision, transforming marine creatures into elegant specimens suspended between art and study.
Russula alutacea Persoon (1915-1945)

Hans Walty (Swiss, 1868-1948)

The russet cap splits at the edges, revealing pale gills beneath. Delicate stippling traces each rib and vein of this woodland fungus, its stem flushed pink where it meets the earth. A study in decay and precision, where scientific rigor meets the quiet strangeness of the forest floor.