Floor plan

Style galleriesImpressionism

Impressionism

A work made of oil on canvas.
We look up at the exterior of a church that soars the height of this vertical painting. The church is painted with visible dabs and strokes of azure blue, peach, lavender purple, and camel brown to create a blurred look, as if seeing a reflection in the rippling surface of a puddle. The church façade is angled to our left, away from us. The main door and its surround takes up the center of the composition, where a rectangular door is set within nested, pointed arches that lead up to a narrow, tall, triangular gable. The point of that gable overlaps the round, dark rose window, which is the same width as the portal surround below. Spires flank the central section and rise precipitously off the top edge of the painting. The sky above is painted with daubs of white and pale blue. The artist signed and dated the lower left, “Claude Monet 94.”
Shown from the knees up, a young girl with pale skin, wearing a coral-peach dress, sits facing and looking at us in this loosely painted, vertical portrait. Her knees are angled slightly to our left, and her hands rest in her lap. She has a round face and smooth, lightly flushed cheeks. She has brown eyes under arched brows, a delicate, snub nose, and her rose-pink lips are closed. Her hair, which is painted with broad strokes of caramel brown and moss green, is parted on one side and pulled smoothly back, presumably tied behind her head. Tendrils fall over her shoulders. Her dress is gathered around her neck and tied with a bow at the back. The loose sleeves fall to just below her elbows, and the dress is belted around the waist. A curving swipe of canary-yellow paint could be a buckle at the front. The fabric of the dress is painted with long, visible strokes of shell and rose pink, butter yellow, and ivory white, and a few touches of sage green and periwinkle blue for shadows. She wears a ring on the middle finger of her right hand. The space around her is loosely painted with strokes of electric and cobalt blue, with unpainted canvas visible at some of the edges. To our left, over the girl's shoulder, a wooden bird cage holds an emerald-green parakeet. The bird is streaked with royal blue along its back, and the area around its hooked beak is apple red. The cage has a mint-green bow and ribbon along the top. The artist signed the painting in green on the lower right corner: “Berthe Morisot.”
Two groups of people face off in front of a hilly landscape in this loosely painted, vertical scene. On our left, a pale young man in a white tunic looks with eyes wide and lips parted at a group of three people on our right. The young man's right hand, on our left, is raised to stroke the head of a reddish-brown horse at his right shoulder. He stands with feet planted wide, knees bent, and he curls his left hand into a fist. Behind him, a man holds up a fluttering, light blue cape. A mottled red wall forms a backdrop to this scene on our left. The tight group gathered under a tree on our right stares back at the young man. The trio is made up of a balding, older man, a light-skinned boy also wearing a white tunic, and, closest to us, a brown-skinned woman wearing a marigold-orange shirt and a maroon-red skirt. Behind this group, a pair of pale raised arms suggests a fourth person, but the head is missing or has been painted over. The ground under the people is saffron orange. In the center of the picture, beyond the people, a group of horses stands near a green bank by a river, its surface reflecting white. The far bank is lined with white buildings. Tan and olive-green slopes rise from the opposite riverbank under a pale blue sky with cream-white clouds sweeping along the top edge of the composition. The artist signed his name in red paint in the lower right corner: “Degas.”
The Daughters of Catulle Mendès, Huguette (1871–1964), Claudine (1876–1937), and Helyonne (1879–1955), by Pierre-Auguste Renoir, 1888
The Red Kerchief, by Claude Monet, c. 1868–73
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.”

The works in this room are listed below.

Works in this room

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

Section 1, north wall

  1. A work made of oil on canvas.
    The Place du Havre, ParisCamille Pissarro, 1893Courtesy of the Art Institute of Chicago
  2. We look up at the exterior of a church that soars the height of this vertical painting. The church is painted with visible dabs and strokes of azure blue, peach, lavender purple, and camel brown to create a blurred look, as if seeing a reflection in the rippling surface of a puddle. The church façade is angled to our left, away from us. The main door and its surround takes up the center of the composition, where a rectangular door is set within nested, pointed arches that lead up to a narrow, tall, triangular gable. The point of that gable overlaps the round, dark rose window, which is the same width as the portal surround below. Spires flank the central section and rise precipitously off the top edge of the painting. The sky above is painted with daubs of white and pale blue. The artist signed and dated the lower left, “Claude Monet 94.”
    Rouen Cathedral, West FaçadeClaude Monet, 1894Courtesy National Gallery of Art, Washington
  3. Shown from the knees up, a young girl with pale skin, wearing a coral-peach dress, sits facing and looking at us in this loosely painted, vertical portrait. Her knees are angled slightly to our left, and her hands rest in her lap. She has a round face and smooth, lightly flushed cheeks. She has brown eyes under arched brows, a delicate, snub nose, and her rose-pink lips are closed. Her hair, which is painted with broad strokes of caramel brown and moss green, is parted on one side and pulled smoothly back, presumably tied behind her head. Tendrils fall over her shoulders. Her dress is gathered around her neck and tied with a bow at the back. The loose sleeves fall to just below her elbows, and the dress is belted around the waist. A curving swipe of canary-yellow paint could be a buckle at the front. The fabric of the dress is painted with long, visible strokes of shell and rose pink, butter yellow, and ivory white, and a few touches of sage green and periwinkle blue for shadows. She wears a ring on the middle finger of her right hand. The space around her is loosely painted with strokes of electric and cobalt blue, with unpainted canvas visible at some of the edges. To our left, over the girl's shoulder, a wooden bird cage holds an emerald-green parakeet. The bird is streaked with royal blue along its back, and the area around its hooked beak is apple red. The cage has a mint-green bow and ribbon along the top. The artist signed the painting in green on the lower right corner: “Berthe Morisot.”
    The Artist's Daughter with a ParakeetBerthe Morisot, 1890Courtesy National Gallery of Art, Washington
  4. Two groups of people face off in front of a hilly landscape in this loosely painted, vertical scene. On our left, a pale young man in a white tunic looks with eyes wide and lips parted at a group of three people on our right. The young man's right hand, on our left, is raised to stroke the head of a reddish-brown horse at his right shoulder. He stands with feet planted wide, knees bent, and he curls his left hand into a fist. Behind him, a man holds up a fluttering, light blue cape. A mottled red wall forms a backdrop to this scene on our left. The tight group gathered under a tree on our right stares back at the young man. The trio is made up of a balding, older man, a light-skinned boy also wearing a white tunic, and, closest to us, a brown-skinned woman wearing a marigold-orange shirt and a maroon-red skirt. Behind this group, a pair of pale raised arms suggests a fourth person, but the head is missing or has been painted over. The ground under the people is saffron orange. In the center of the picture, beyond the people, a group of horses stands near a green bank by a river, its surface reflecting white. The far bank is lined with white buildings. Tan and olive-green slopes rise from the opposite riverbank under a pale blue sky with cream-white clouds sweeping along the top edge of the composition. The artist signed his name in red paint in the lower right corner: “Degas.”
    Alexander and BucephalusEdgar Degas, 1861/1862Courtesy National Gallery of Art, Washington

Section 1, south wall

  1. The Daughters of Catulle Mendès, Huguette (1871–1964), Claudine (1876–1937), and Helyonne (1879–1955), by Pierre-Auguste Renoir, 1888
    The Daughters of Catulle Mendès, Huguette (1871–1964), Claudine (1876–1937), and Helyonne (1879–1955)Pierre-Auguste Renoir, 1888Courtesy of The Metropolitan Museum of Art
  2. The Red Kerchief, by Claude Monet, c. 1868–73
    The Red KerchiefClaude Monet, c. 1868–73Courtesy of the Cleveland Museum of Art
  3. 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

Section 2, south wall

  1. Life-size painting of an urban scene in Paris. A man in a top hat holding an umbrella and a woman in a long fashionable dark dress walk arm in arm toward the viewer as other city dwellers with umbrellas walk in various directions across cobblestone roads and sidewalks.
    Paris Street; Rainy DayGustave Caillebotte, 1877Courtesy of the Art Institute of Chicago
  2. Painted portrait dominated by loose, large brushstrokes of a woman, seen from the back, wearing a gauzy white off-the-shoulder dress and black choker, blond hair swept up, examining herself in a mirror at left. The background is a feathered swirl suggesting floral pattern in cool pale tones of gray, purple, pink, and blue.
    Woman at Her ToiletteBerthe Morisot, 1875–80Courtesy of the Art Institute of Chicago

Section 2, north wall

  1. 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
  2. A work made of oil on canvas.
    VétheuilClaude Monet, 1901Courtesy of the Art Institute of Chicago
  3. Romaine Lacaux, by Pierre-Auguste Renoir, 1864
    Romaine LacauxPierre-Auguste Renoir, 1864Courtesy of the Cleveland Museum of Art
  4. A work made of oil on canvas.
    Alfred SisleyPierre-Auguste Renoir, 1876Courtesy of the Art Institute of Chicago

Section 3, north wall

  1. A work made of oil on canvas.
    Mill of Pont MaupuitJean Baptiste Armand Guillaumin, c. 1900Courtesy of the Art Institute of Chicago
  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
  3. Color pastel drawing of ballerinas in tutus on stage, watched by audience.
    Ballet at the Paris OpéraEdgar Degas, 1877Courtesy of the Art Institute of Chicago