Tag: NYC

L’Annonciation (1886-1894)

Tissot, James (1836-1902) L’Annonciation (The Annunciation) 1886–1894 Opaque watercolor over graphite on gray wove paper, 17 x 21.7 cm Brooklyn Museum, New York According to Luke, an angel appeared to Mary and announced that she would bear the Son of God.…

Brooklyn Museum (New York)

Opened: 1895 Location: 200 Eastern Pkwy, New York, NY 11238 Website: https://www.brooklynmuseum.org/ Collection: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z See…

Yo (1901)

Picasso, Pablo (1881-1973) Yo (Self Portrait) 1901 Oil on cardboard mounted on wood, 51.4 x 31.8 cm Museum of Modern Art, New York Marilee Talkington: Pablo Picasso seems to move toward us out of the darkness in this powerful Self Portrait…

Le Rêve (1910)

Rousseau, Henri (1844-1910) Le Rêve (The Dream) 1910 Oil on canvas, 204.5 x 298.5 cm Museum of Modern Art, New York “The woman asleep on the couch is dreaming she has been transported into the forest, listening to the sounds from the…

Le repas du lion (c.1907)

Rousseau, Henri (1844-1910) Le repas du lion (The Repast of the Lion) c.1907 Oil on canvas, 113.7 x 160 cm Metropolitan Museum of Art, New York This work was probably shown in the Salon d’Automne of 1907, but it treats a theme…

Berges de la Bièvre près de Bicêtre (c.1908-1909)

Rousseau, Henri (1844-1910) Berges de la Bièvre près de Bicêtre (Banks of the Bièvre near Bicêtre) c.1908–1909 Oil on canvas, 54.6 x 45.7 cm Metropolitan Museum of Art, New York Rousseau identified the subject of this painting in a handwritten note, affixed…

Les joueurs de football (1908)

Rousseau, Henri (1844-1910) Les joueurs de football (The Football Players) 1908 Oil on canvas, 100.3 x 81.1 cm Guggenheim Museum, New York Henri Rousseau endured the art-historical misfortune of being a working-class late bloomer—he was a Sunday painter who only began to…

Les artilleurs (c.1893-1895)

Rousseau, Henri (1844-1910) Les artilleurs (Artillerymen) c.1893–1895 Oil on canvas, 80.6 x 100.6 cm Guggenheim Museum, New York Henri Rousseau endured the art-historical misfortune of being a working-class late bloomer—he was a Sunday painter who only began to paint seriously in his…