Explore Artworks

Evelyn Hope (1908)

Eleanor Fortescue-Brickdale (English, 1872–1945)

A young woman gazes downward, her delicate features framed by cascading curls. The soft glow on her face contrasts with the muted tones around her, hinting at quiet resilience. Her hands rest lightly in her lap, fingers barely touching—a portrait of contemplation and unspoken longing.
Die Erde (1906)

Hans Thoma (German, 1839–1924)

A patchwork of fields stretches under a brooding sky, the land heavy with quiet life. Trees stand like sentinels along the horizon, roots sunk deep into the soil. There’s weight here—not just earth, but something older, waiting.
Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.021 (1718-1719)

Louis Renard (French, 1678–1746)

Vibrant fish dart across the page, their scales shimmering in impossible hues. Nearby, a crimson crayfish raises its claws beside a crab with spiked armor. Each creature twists in exaggerated forms—some striped like tigers, others spotted like leopards—as if plucked from a fevered dream of the deep.
A Dalmatian Woman

Nathaniel Sichel (German, 1843–1907)

A woman stands poised, her Dalmatian beside her. The contrast of dark spots against pale fabric mirrors the dog’s coat. There’s an unspoken bond in their shared gaze—quiet, knowing. The portrait lingers on that connection, leaving the rest unsaid.
Sahurs Meadows in Morning Sun (1894)

Alfred Sisley (French, 1839–1899)

Golden light spills across the meadow, turning dew into scattered diamonds. The grass shivers under a soft breeze, alive with the day’s first warmth. Shadows stretch long and thin, dissolving into the haze of morning. It’s that quiet hour when the world holds its breath before waking.
Woman And Roses (1879)

Auguste Toulmouche (French, 1829–1890)

A woman in a flowing gown stands surrounded by roses, their petals spilling over her arms. The soft folds of her dress mirror the delicate blooms, as if she’s become part of the garden itself. Light catches the silk and velvet, blending her elegance with the flowers’ quiet riot of color.
The Mandolin (1866)

James Smetham (English, 1821–1889)

A woman cradles a mandolin, fingers poised above the strings. The instrument’s curves mirror her own, wood grain glowing against dark fabric. Music hangs in the air before the first note sounds.
The Immaculate Conception (Joachim en Anna receiving the Virgin Mary from God the Father) (c. 1757 – c. 1759)

Giovanni Battista Tiepolo (Italian, 1696–1770)

Golden light spills from heaven as God the Father presents the infant Virgin Mary to her awestruck parents. Joachim and Anna reach upward, their faces alight with reverence, while celestial figures swirl in the luminous clouds above. The child glows at the center of this divine transaction, suspended between earth and sky.
Le petit Oiseau de paradis Emeraude, mâle. (1806)

Jacques Barraband (French, unknown)

A male emerald paradise bird perches, its jewel-toned plumage glowing against the paper. Delicate brushstrokes trace each iridescent feather, as if the tiny creature might take flight with the next breath. The watercolor breathes life into this exotic specimen, frozen mid-display.
Rebecca At The Well (1869)

Émile Vernet-Lecomte (French, 1821–1900)

Rebecca kneels by the well, her pitcher tilted as water spills over the rim. The desert sun glints off the surface, casting rippling shadows across her face. A stranger watches from the road—his camels thirsty, his fate unwritten. The moment hangs between kindness and destiny.
Western Tragopan (Tragopan melanocephalus). (1918-1922)

Archibald Thorburn (Scottish, 1860–1935)

A crimson-headed bird perches among shadowed branches, its black-barred plumage glowing against muted greens. The Western Tragopan’s golden eye fixes on something unseen, tension coiled in its stance—a fleeting balance between concealment and revelation. Watercolor strokes suggest feathers ruffled by a breeze the viewer can’t feel.
Boletus pinicola Venturi, Vittadini (1915-1945)

Hans Walty (Swiss, 1868-1948)

The Boletus mushroom rises from the page, gills exposed like delicate pleats. Crosshatched shadows cling to its stem, grounding it in some unseen forest floor. The engraving’s precision makes the specimen almost tangible—you could pluck it straight from the paper.
Light of the Harem (c. 1880)

Frederic Leighton (English, 1830–1896)

Golden light spills across the harem’s tiles, catching the folds of silk and idle limbs. A woman lounges near the window, half in shadow, half in warmth—her gaze distant, as if listening to something beyond the walls. The air hums with stillness, heavy with unspoken longing.
Virgin and Child (1876)

François Alfred Delobbe (French, 1835–1915)

A tender moment: the Virgin Mary cradles the infant Jesus, her gaze soft with devotion. The child reaches toward her, fingers curling in innocent trust. Warm light bathes them, highlighting folds of fabric and quiet intimacy. A timeless scene of maternal love, rendered with delicate precision.
Ann old woman (1892)

Evert Larock (Belgian, unknown)

Wrinkles map a lifetime across her face, each crease holding stories untold. Her eyes, weary yet sharp, meet yours with quiet defiance. The plain shawl drapes her shoulders like armor. No grandeur, just the raw weight of years lived.