Floor plan

East wing: The Nineteenth CenturyPost-Impressionism

Post-Impressionism

Ia Orana Maria (Hail Mary), by Paul Gauguin, 1891
Homage to Goya, by Odilon Redon, 1885
Brünnhilde in Twilight of the Gods, by Odilon Redon, 1894
Mount Sainte-Victoire, by Paul Cézanne, c. 1904
A work made of reed pen and iron-gall ink on tan laid paper.
Tahitian Faces (Frontal View and Profiles), by Paul Gauguin, ca. 1899
Painting of a basket of green and red-yellow apples spilling over into a white cloth placed on a wooden table, with a dark green bottle and a plate of pale biscuits behind.
View of a village surrounded by hills, fields, and trees, shown from a vantage point above the scene. Subtly rolling hills recede into a bluish gray-ish sky punctuated by white clouds. Thick brushstrokes built up atop each other are visible throughout.

The works in this room are listed below.

Works in this room

Artists who kept Impressionism's colour but pushed towards structure, symbol and feeling.

Section 1, north wall

  1. Ia Orana Maria (Hail Mary), by Paul Gauguin, 1891
    Ia Orana Maria (Hail Mary)Paul Gauguin, 1891Courtesy of The Metropolitan Museum of Art
  2. Homage to Goya, by Odilon Redon, 1885
    Homage to GoyaOdilon Redon, 1885Courtesy of the Cleveland Museum of Art
  3. Brünnhilde in Twilight of the Gods, by Odilon Redon, 1894
    Brünnhilde in Twilight of the GodsOdilon Redon, 1894Courtesy of the Cleveland Museum of Art
  4. Mount Sainte-Victoire, by Paul Cézanne, c. 1904
    Mount Sainte-VictoirePaul Cézanne, c. 1904Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. A work made of reed pen and iron-gall ink on tan laid paper.
    Avenue of Pollard Birches and PoplarsVincent van Gogh, March 1884Courtesy of the Art Institute of Chicago
  2. Tahitian Faces (Frontal View and Profiles), by Paul Gauguin, ca. 1899
    Tahitian Faces (Frontal View and Profiles)Paul Gauguin, ca. 1899Courtesy of The Metropolitan Museum of Art
  3. Painting of a basket of green and red-yellow apples spilling over into a white cloth placed on a wooden table, with a dark green bottle and a plate of pale biscuits behind.
    The Basket of ApplesPaul Cézanne, c. 1893Courtesy of the Art Institute of Chicago
  4. View of a village surrounded by hills, fields, and trees, shown from a vantage point above the scene. Subtly rolling hills recede into a bluish gray-ish sky punctuated by white clouds. Thick brushstrokes built up atop each other are visible throughout.
    Auvers, Panoramic ViewPaul Cézanne, 1873–75Courtesy of the Art Institute of Chicago

Section 2, south wall

  1. Large painting of people in a crowded park, brushstrokes are dots.
    A Sunday on La Grande Jatte — 1884Georges Seurat, 1884–86, border added 1888–89Courtesy of the Art Institute of Chicago
  2. A work made of oil on canvas.
    The Vase of TulipsPaul Cézanne, c. 1890Courtesy of the Art Institute of Chicago
  3. A work made of oil on canvas.
    Madame Roulin Rocking the Cradle (La berceuse)Vincent van Gogh, 1889Courtesy of the Art Institute of Chicago

Section 2, north wall

  1. A work made of reed pen and black-brown ink, with black chalk on off-white wove paper.
    Weeping TreeVincent van Gogh, 1889Courtesy of the Art Institute of Chicago
  2. Painting of four women with blue shawls walking near red fence.
    Arlésiennes (Mistral)Paul Gauguin, 1888Courtesy of the Art Institute of Chicago
  3. A work made of transfer drawing in brownish-black ink (recto); graphite and blue crayon pencil with brush and solvent washes in ocher on cream wove paper.
    Woman with a CatPaul Gauguin, c. 1900Courtesy of the Art Institute of Chicago

Section 3, north wall

  1. Aman-Jean (Portrait of Edmond François Aman-Jean), by Georges Seurat, 1882–83
    Aman-Jean (Portrait of Edmond François Aman-Jean)Georges Seurat, 1882–83Courtesy of The Metropolitan Museum of Art
  2. Circus Sideshow (Parade de cirque), by Georges Seurat, 1887–88
    Circus Sideshow (Parade de cirque)Georges Seurat, 1887–88Courtesy of The Metropolitan Museum of Art