Figurative Art Collection | Perfect for Wall Art, Prints - Page 30 of 93

Jeune Femme Nue Se Coiffant Dans Un Intérieur (1887)

Jean André Rixens (French, 1846–1925)

A woman stands before a mirror, her body bathed in soft light. One hand lifts to arrange her hair while the other rests at her side—unhurried, private. The reflection blurs slightly, as if caught between motion and stillness. The room holds its breath around her.
Portrait of a girl in a red beret (1893)

Maurycy Trębacz (Polish, 1861–1941)

A young girl gazes out, her red beret a bold splash against muted tones. There’s something unspoken in her eyes—neither sadness nor joy, but a quiet intensity that lingers. The brushwork captures her with a tenderness that feels almost palpable, as if she might step out of the frame.
A Cavatina (1888)

Briton Riviere (English, 1840–1920)

A hound lies curled beside a violin, ears pricked as if catching the last fading note. The instrument rests abandoned—someone has just left the room. The dog’s gaze lingers where the music hung in the air, waiting for it to return.
The Offering (c. 1915–1917)

Charles Prendergast (American, 1863–1948)

A group gathers in hushed ceremony, their forms simplified yet alive with movement. Hands extend toward an unseen center, the ritual’s focus left to imagination. Colors hum softly—ochres, blues, a whisper of green—as if the air itself holds its breath. Something sacred passes between them.
The Ranahan

Elling William Gollings (American, 1878–1932)

A lone cowboy reins in his horse, dust swirling around them. The sun beats down on the open range, his hat casting a sharp shadow. Leather creaks, the horse’s muscles tense—both rider and animal poised, alert. The West feels vast, untamed, alive in that single breath before movement.
Mending nets (1911)

Lionel Percy Smythe (English, 1839–1918)

A woman sits on the shore, fingers working the frayed ropes with practiced ease. The tide laps nearby, salt air mingling with the scent of damp nets. Her hands move steadily—knot by knot, the mending continues, as much a part of the coast as the gulls wheeling overhead.
The Shadow

Edmund Blair Leighton (English, 1853–1922)

A knight stands frozen, his sword half-drawn as a shadow creeps across the stone floor. The unseen presence looms behind him—too close, too late. His gloved hand tightens on the hilt, but the real threat isn’t steel. It’s the chill crawling up his spine before the blade even falls.
L’aquarelliste (1890)

Alfred Smith (French, 1854–1936)

A woman leans over her work, brush poised above the paper. The watercolor blooms where her hand hesitates—soft edges, vibrant washes. Light catches the curve of her wrist, the concentration in her posture. Every stroke holds the quiet tension between intention and accident.
Woman Looking out a Window (Portrait of A.M. Hooey) (1895)

George Albert Thompson (American, unknown)

A woman stands by the window, her gaze distant. The light catches the curve of her cheek, the folds of her dress. Outside, the world blurs—just shapes, colors. But here, in this quiet corner, her stillness holds everything.