Post-Impressionism Art Collection | Perfect for Wall Art, Prints - Page 4 of 9

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.
Bridge on the Seine (1908)

Tadeusz Makowski (Polish, 1882–1932)

A wooden bridge arches gently over the Seine, its reflection trembling in the river’s slow current. The scene hums with muted greens and soft blues, as if the air itself holds its breath. Something lingers here—not quite stillness, not quite motion—just the quiet pulse of water meeting land.
Landscape at sunset (1906)

Tadeusz Makowski (Polish, 1882–1932)

Golden light spills across the fields, dissolving edges into warm brushstrokes. The horizon glows—not fiery, but soft, like embers cooling. Trees stand as dark silhouettes against that lingering radiance, their forms simplified yet alive. A quiet moment stretches between day and night.
Vase de fleurs

Maxime Maufra (French, 1861–1918)

A burst of wildflowers spills from the vase, their petals alive with loose, energetic brushstrokes. The colors hum against each other—deep blues, fiery reds, soft yellows—as if the bouquet might tumble right off the canvas. No careful arrangement here, just nature’s unruly joy captured mid-dance.
Les Fleurs du potager (Le Grand-Lemps) (1909)

Pierre Bonnard (French, 1867–1947)

A tangle of garden flowers bursts from the canvas—vibrant, unruly, as if still swaying in the breeze. Petals glow against loose brushstrokes, their colors humming with life. No careful arrangement here, just the wild joy of blooms spilling from their pots.
Yellow Christ (1889)

Emile Bernard (French, 1868–1941)

A stark yellow Christ hangs on the cross, his body merging with the flat, vibrant fields behind him. The scene pulses with unnatural color—more vision than reality, where suffering and landscape become one.
Gardens Of The Generalife, Granada

Santiago Rusiñol (Spanish, 1861–1931)

Sunlight filters through cypress trees, casting dappled shadows on the tiled pathways. Water murmurs in hidden fountains, weaving through the geometric patterns of hedges. The air smells of orange blossoms and damp stone—a quiet corner of Granada where time moves differently.
Jeune femme dans l’intérieur

Georges d'Espagnat (French, 1870–1950)

A woman sits in a sunlit room, her posture relaxed yet poised. Warm light spills across the floor, catching the folds of her dress. The air feels still, intimate—like a quiet afternoon suspended in time. There’s something unspoken in her gaze, just beyond reach.
River Landscape

Eugène Galien-Laloue (French, 1854–1941)

Sunlight glints off the river’s lazy curve, where poplars lean like gossiping neighbors. A dirt path winds past cottages with smoke curling from chimneys—someone’s just stoked the fire. The water holds the sky’s pale blue, but deeper, slower, as if time itself pooled here between the banks.