19th Century Art Archives - Page 12 of 26

Beauty of the Tyrol (1880)

Franz von Defregger (Austrian, 1835–1921)

A young woman in traditional Tyrolean dress stands against a rugged alpine backdrop, her gaze steady. The folds of her skirt catch the light, echoing the textures of the landscape behind her. There’s quiet strength in her posture, an unspoken bond between people and place.
Mrs. Walter Rathbone Bacon (Virginia Purdy Barker, 1862–1919) (1897)

Anders Zorn (Swedish, unknown)

A woman in black lace gazes past the viewer, her poised elegance softened by the play of light on her face. The brushstrokes blur formality into something alive, fleeting—a moment caught between restraint and quiet emotion.
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.
Portrait Of A Girl

Albert Anker (Swiss, 1831–1910)

A young girl gazes directly at the viewer, her clear eyes holding quiet confidence. The soft light catches the folds of her white dress and the faint blush on her cheeks. There’s an unspoken story in her steady expression—neither smiling nor solemn, just present, as if pausing mid-thought.
Abbildungen zu Oken’s Allgemeiner Naturgeschichte für alle Stände Pl.061 (1841)

Lorenz Oken (German, unknown)

Delicate veins branch across translucent leaves, each curve etched with precision. A hidden world unfolds—petals unfurl, stems twist, nature’s geometry laid bare in ink. No flourish escapes the page; every thorn and tendril holds its place. Here, science and art share the same sharp line.
Street in Ville-d’Array (1873)

Alfred Sisley (French, 1839–1899)

Sunlight dapples the cobbled street, softening the edges of stone buildings. A lone figure moves past shuttered windows, their shadow stretching long on the worn path. The air hums with quiet village life—nothing extraordinary, yet everything alive with shifting light and fleeting color.
La collectionneuse au kimono vert (1881)

Jan Verhas (Belgian, unknown)

A woman in a green kimono stands poised, the fabric’s rich folds contrasting with her serene expression. The 19th-century setting hints at quiet luxury, her gaze suggesting a story left untold. The kimono’s vivid hue draws the eye, its elegance both foreign and familiar.
Weiblicher Akt (1877)

Franz Rumpler (Austrian, 1848–1922)

A woman reclines, her body bathed in soft light. The folds of fabric cling to her curves, shadows pooling where skin meets cloth. There’s an unguarded ease in her posture—not posed, but momentarily still, as if caught between breaths. The realism strips away pretense, leaving only flesh and quiet presence.
Orpheus And Eurydice (1864)

Frederic Leighton (English, 1830–1896)

Orpheus turns—just once—to see Eurydice’s face. His fingers brush hers as she fades back into shadows, her form dissolving like mist. The moment hangs between them: love’s last breath before the underworld reclaims her. A single glance undoes everything.