Ochre Editions
SearchSign inCart (0)

Impressionism

Painters in 1870s Paris who worked quickly, often outdoors, to catch light as it changed.

53 works · hang 4476 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. Two girls in acrobatic uniforms stand in an arena, one holds oranges.
    Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg)Pierre-Auguste Renoir, 1879Courtesy of the Art Institute of Chicago
  2. Impressionist painting of woman wearing green dress trying on hats.
    The Millinery ShopEdgar Degas, 1879-86Courtesy of the Art Institute of Chicago
  3. After the Bath, by Mary Cassatt, 1901
    After the BathMary Cassatt, 1901Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848–1904) and Her Children, Georgette-Berthe (1872–1945) and Paul-Emile-Charles (1875–1895), by Pierre-Auguste Renoir, 1878
    Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848–1904) and Her Children, Georgette-Berthe (1872–1945) and Paul-Emile-Charles (1875–1895)Pierre-Auguste Renoir, 1878Courtesy of The Metropolitan Museum of Art
  2. A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?), by Edgar Degas, 1865
    A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?)Edgar Degas, 1865Courtesy of The Metropolitan Museum of Art
  3. Impressionist painting of two girls on balcony, bright flower hat, knitting basket.
    Two Sisters (On the Terrace)Pierre-Auguste Renoir, 1881Courtesy of the Art Institute of Chicago

Section 2, south wall

  1. Shown from the chest up, a pale-skinned man in a suit sits in a high-backed chair, looking slightly to our right in this vertical portrait painting. His eyes and head are both turned slightly to our right, with only one ear visible on our left. His shoulder on our right and the right side of the chair are slightly cut off by the edge of the painting. He has a straight nose, high cheekbones, and pale pink closed lips. His eyes are dark, with small shadows beneath them. His black, wavy hair is parted on our right and cropped short on the sides of his head, with thick, defined waves on top. He has a light brown mustache that extends past the edge of his lips and flips up at the ends and a small, thin goatee. Beneath his chin, the collar of his white shirt is visible. The man wears an open suit jacket with a black vest, which folds slightly just below his chest, revealing a glimpse of his white shirt beneath it in a gap between buttons. The chair is only visible from the man’s shoulders up and ends at his forehead. It has a curved, round top back with a red frame and dark green upholstery. The part of the red frame on the right side of the painting has white and yellow highlights. The background is dark gray with visible brushstrokes. The artist signed and dated the painting at the top left, “F. Bazille. 1866.”
    Edouard BlauFrédéric Bazille, probably 1869Courtesy National Gallery of Art, Washington
  2. A work made of oil on canvas.
    Alfred SisleyPierre-Auguste Renoir, 1876Courtesy of the Art Institute of Chicago
  3. A work made of oil on canvas.
    The Place du Havre, ParisCamille Pissarro, 1893Courtesy of the Art Institute of Chicago
  4. A work made of oil on canvas.
    Fruits of the MidiPierre-Auguste Renoir, 1881Courtesy of the Art Institute of Chicago

Section 2, north wall

  1. Roses in a Vase, by Pierre-Auguste Renoir, c. 1890
    Roses in a VasePierre-Auguste Renoir, c. 1890Courtesy of the Cleveland Museum of Art
  2. A work made of oil on canvas.
    The LaundressPierre-Auguste Renoir, 1877–79Courtesy of the Art Institute of Chicago
  3. From a high perspective, we look beyond two overlapping, emerald-green hills to a body of powder-blue water dotted with sailboats in this loosely painted horizontal landscape. Closest to us, the hills create a shallow V that spans the lower third of the composition, with the right-hand hill rising to more than halfway up the right edge. The hills are painted with dashes and long strokes mostly in seafoam, shamrock, and celery green, with some swipes of peach, goldenrod yellow, and royal blue. On the hill to our left, one woman sits and the other stands next to her. They wear hats, long-sleeved, fitted jackets, and long skirts in tones of dusky pink and dove gray. A touch of peach on the seated woman, to our left, gives the impression of a pale face. A red veil or scarf at the back of the other woman’s hat is lifted, as if in the wind. The water is painted with blended strokes of pale blue, light turquoise, smoky mauve pink, and touches of soft peach. The horizon comes two-thirds of the way up the composition, and the sky is painted with the same tones of blue, green, and peach to suggest a screen of clouds. Triangles and dashes of slate blue suggest about three dozen sailboats, rowboats, and one steamship in the rippling water. Squiggles of teal and sage green create reflections for some of the boats. The brushstrokes are visible throughout. In some areas, the paint is so thinly applied that the texture of the canvas shows through, especially in the sky. The artist signed the work in the lower left corner: “Claude Monet 82.”
    Cliffs at PourvilleClaude Monet, 1882Courtesy National Gallery of Art, Washington
  4. In a dance studio, two ballerinas wearing knee-length tutus and ballet slippers sit on a bench and stretch to our right while four more pose at the back of the space, to our left, in this long, horizontal painting. The scene and dancers are loosely painted so many features are indistinct. All the women have light skin and dark brown hair. Each pale, robins’ egg-blue costume has a low-cut, tightly fitting, sleeveless bodice and a full skirt. Dabs of off white, teal, and blue suggest flowers lining the deep U of the neckline at the front and down the back of each bodice. Closest to us and nearly brushing the edges of the lower right corner of the canvas, one dancer sits on the end of a wooden bench and leans down between her legs, her feet widely planted. She rests her torso on an elbow folded onto one knee as she reaches for her left foot, farther from us, with her other hand. Her hair is pulled up and her face, looking downward, is deep in shadow. Sitting behind her on the bench, to our left, a second dancer lifts her right leg, toe pointing, as she pulls on her pale pink tights. Her other leg stretches straight, pointed toe brushing the floor, in front of her. This woman’s hair hangs loose around her shoulders. The pair is brightly lit from a source to our right, and an arched area of electric blue and mustard yellow behind them is difficult to interpret. The floor, which takes up about two-thirds of the composition, is painted with dabs of teal blue, pale fuchsia pink, and caramel brown. It leads us back to the upper left corner of the painting where four more four ballerinas stand in a line. The pair to our left stands with their backs to us, facing the wall with their right legs raised to shoulder height, toes pointed. The pair to our right faces us. They also stand with their right legs raised, creating a wide angle with their standing legs. All four ballerinas bend their arms gently at the elbow, and some tip their heads toward the raised legs. The rightmost dancer is illuminated by a pair of French doors at the back corner, at the top center of the painting. The wall behind the bench is streaked with mint green over honey brown, and the wall at the back of the room is leather brown. The visible, soft brushstrokes give the image a blurred, ethereal appearance in the dimmed studio. The artist signed the painting in the lower left corner, “Degas.”
    Before the BalletEdgar Degas, 1890/1892Courtesy National Gallery of Art, Washington

Section 3, north wall

  1. Landscape, by Edgar Degas, 1892
    LandscapeEdgar Degas, 1892Courtesy of The Metropolitan Museum of Art
  2. This painting shows a young woman's upper body from the torso up. She is seated and facing the right, with her face seen in profile and one arm bent in front of her, seeming to rest on a brown table or surface. She has pale skin, round, rosy cheeks, a small nose, and pink lips that are slightly parted. Her brown hair is styled into a smooth, glossy bun at the nape of her neck. She is wearing a white garment with thin straps over her shoulders. The background features a yellow section on the bottom half, and on the top half is a colorful, abstract pattern with large, soft, swirling forms in shades of orange and red on a blue-gray background with hints of green.
    Head of a Young GirlPierre-Auguste Renoir, c. 1890Courtesy National Gallery of Art, Washington