- Van Gogh in Love (Art History Documentary) | Perspective
This episode traces the artist’s childhood and exposes an emotionally disastrous two years spent in England as an art dealer and teacher, where Van Gogh fell in love, first with a woman, and then with religion, only to be rejected by both. Presented by Waldemar Januszczak. Perspective is YouTube’s home for the arts. Come here to get your fill of great music, theatre, art and much, much more! From Vincent Van Gogh: The Full Story.
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- Girl with Green Pinafore, 1910-Egon Schiele (1890-1918)
- “The Boulevard” 1911-Gino Severini (Italian, 1883–1966)
- L’église de Varengeville (1882)-Claude Monet (1840-1926)
- “Breakfast “, 1919-1920 Henri Matisse (1869-1954)
- Nature-morte-aux-fleurs-et-aux-fruits 1919-Suzanne Valadon (1865-1938)
- Lane at alchamps, Arles 1888-Paul Gauguin (1848-1903)
- Paul Cézanne (1839-1906): Forêt, c. 1902-04
- Decks Awash, 1939- ARTHUR BRISCOE (1873-1943, English)
- Three Apples with Glass. 1925. – Charles Demuth (1883-1935)
- Braun um Bunt, 1927-Wassily Kandinsky (1866-1944)
- Le Toits de Paris sous la Neige, 1902-Auguste Herbin (French,1882-1960)
- Lilac in a glass, 1882-Edouard Manet (1832-1883)
- Scarborough by Moonlight, 1898 – Walter Linsley Meegan (1859-1944)
- Still life with open drawer 1879-Paul Cezanne (1839-1906)
- Egon Schiele (1890-1918) – Schiele’s work only spans 28 years, making every unique piece very collectible.
Egon Schiele Biography
Egon Schiele was born June 12, 1890, in Tulln, Austria. After attending school in Krems and Klosterneuburg, he enrolled in the Akademie der Bildenden Künste in Vienna in 1906. Here he studied painting and drawing but was frustrated by the school’s conservatism. In 1907, he met Gustav Klimt, who encouraged him and influenced his work. Schiele left the Akademie in 1909 and founded the Neukunstgruppe with other dissatisfied students. Upon Klimt’s invitation, Schiele exhibited at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toroop, Vincent van Gogh, and others. On the occasion of the first exhibition of the Neukunstgruppe in 1909 at the Piska Salon, Vienna, Schiele met the art critic and writer Arthur Roessler, who befriended him and wrote admiringly of his work. In 1910, he began a long friendship with the collector Heinrich Benesch. By this time, Schiele had developed a personal expressionist portrait and landscape style and was receiving several portrait commissions from the Viennese intelligentsia.
Egon Schiele (Austrian, 1890–1918)
Seeking isolation, Schiele left Vienna in 1911 to live in several small villages; he concentrated increasingly on self-portraits and allegories of life, death, and sex and produced erotic watercolors. In 1912, he was arrested for “immortality” and “seduction”; during his 24-day imprisonment, he executed several poignant watercolors and drawings. Schiele took part in various group exhibitions, including those of the Neukunstgruppe in Prague in 1910 and Budapest in 1912; the Sonderbund, Cologne, in 1912; and several Secession shows in Munich, beginning in 1911. In 1913, the Galerie Hans Goltz, Munich, mounted Schiele’s first solo show. A solo exhibition of his work took place in Paris in 1914. The following year, Schiele married Edith Harms and was drafted into the Austrian army. He painted prolifically and continued to exhibit during his military service. His solo show at the Vienna Secession of 1918 brought him critical acclaim and financial success. He died several months later in Vienna, at age 28, on October 31, 1918, a victim of influenza, which had claimed his wife three days earlier.
Egon Schiele was born into modest means in Tulln an der Donau (“on the Danube”), a small but vibrant Austrian town also known as Blumenstadt, or “city of flowers.” He was the third child born to Adolf Schiele, who worked as a stationmaster for the Austrian State Railways, and Marie Soukupova, who originally hailed from the Bohemian town of Cesky Krumlov (Krumau), now the site of the Egon Schiele Art Centrum, a museum dedicated primarily to the artist’s work. Schiele had two older sisters, Melanie and Elvira, the former of whom often modeled for Schiele and eventually married Schiele’s close friend, the painter Anton Peschka. Schiele also had a younger sister, Gerti (Gertrude), with whom he was very close, with some accounts calling the relationship incenstuous.
Although Schiele was never a prolific student, one of his primary school arts instructors recognized a natural gift for draughtsmanship in Schiele and encouraged him to pursue formal training. Following his father’s death from syphilis, and having been placed under the guardianship of his uncle and godfather, Leopold Czihaczek, in 1906 Schiele enrolled in Vienna’s Akademie der bildenden Kunste (Academy of Fine Arts), which Gustav Klimt had also attended.
In 1907, Schiele sought out Klimt, whose work he already greatly admired, and the two quickly formed a mentor-mentee relationship that would have a major impact on the young artist’s early development. Klimt not only exerted his influence over Schiele in the studio, but also in introducing Schiele to patrons, models, and the work of other artists—such as Vincent van Gogh, Edvard Munch, and Jan Toorop—about whom Schiele, despite being a devoted art student, had little occasion to learn, given Vienna’s relative isolation from European avant-garde movements during this time. Through Klimt, Schiele was also introduced to the Wiener Werkstätte, the arts and crafts workshops of the Vienna Secession, a movement that had close ties to other modern art styles of the period.
In 1908, when Schiele was eighteen, he participated in his first exhibition, a group showing in Klosterneuburg, a small town to the north of Vienna. The following year, Schiele and a few fellow students left the Academy in protest, citing the school’s conservative teaching methods and its failure to embrace more forward-thinking artistic practices that were sweeping through Europe. As part of this rebellion, Schiele founded the Neuekunstgruppe (New Art Group), composed of other young, dissatisfied artists defecting from the Academy.
The new group didn’t waste any time, holding several public exhibitions throughout Vienna, all the while Schiele was exploring new modes of painterly expression, favoring distortions and jagged contours of form and a more somber palette than that of the more decorative and ornate Art Nouveau style. Essentially, Schiele was gradually distancing himself from the style popularized by Klimt, although the two men would remain close until Klimt’s death in early 1918. If the content of Schiele’s work is any indication, it appears that the mentor and mentee shared an insatiable appetite for women.
Shortly after forming the Neuekunstgruppe, Schiele began enjoying modest success as a painter and draughtsman, and in 1911 he had his first solo exhibition, at Vienna’s Galerie Miethke, where the artist’s increasing penchant for self-portraiture and sexualized—often approaching lewd—studies of young women were on display. While Schiele’s work scandalized Viennese society, at the same time he sold many of his explicit images to private collectors, as he wrote, “Doing an awful lot of advertising with my prohibited drawings,” when five newspapers critiqued his work. Schiele’s early studies were also controversial for his use of children as nude models and for showing pubescent girls in implicitly erotic situations, as seen in his Nude Girls Reclining (1911) where two pubescent girls are depicted as if after an erotic encounter. That same year, Schiele lived briefly in his mother’s hometown of Krumau in Southern Bohemia, where his practice of having young children visit his studio attracted disapproval from the local townspeople.
The following year was a crucial one for Schiele, both personally and artistically. In addition to participating in a number of group exhibitions—in Budapest, Cologne, and Vienna—Schiele was invited by Galerie Hans Goltz in Munich to show his work alongside members of the Der Blaue Reiter group of Expressionists, which included Wassily Kandinsky, Franz Marc, and Alexej von Jawlensky. Among Schiele’s works at this time was his most famous Self-Portrait with Chinese Lantern Plant (1912), a captivating study of the artist, his face and other features replete with lines, scars, and subtle deformities. The Goltz show provided Schiele with his greatest exposure to date, revealing his rich use of personal symbolism and dark allegory to the public.
Also in 1912, while living in the Austrian town of Neulengbach, Schiele was arrested at his studio and imprisoned for twenty-four days, accused of the kidnapping and rape of a twelve-year-old girl (as in Krumau, Schiele’s studio had become a gathering place for many of the town’s children, attracting outrage from local residents). These charges were eventually dropped, and he was convicted of exposing children to erotic images. The police had confiscated 125 of his “degenerate” works, and in a symbolic gesture, the judge burnt one of his drawings in the courtroom (the work, showing a young girl nude from the waist down, had previously been displayed on his studio wall). The incident had a noted impact on Schiele, as he subsequently ceased his practice of using children as models, although the morbidity and sexual explicitness of his work — particularly in his drawings — appears to have increased following his release
Later Years and Death
Nonetheless, even though World War I loomed, his career flourished as he returned to Vienna. In 1913 he held his first solo exhibition in Munich and in 1914 a solo show in Paris. His personal life also took a turn, when 1915 he wrote to a friend, “I intend to get married, advantageously,” and proposed to Edith Harms, a young woman of good social standing. Though he hoped to continue his relationship with Wally Neuzil, she left him upon news of his engagement, a loss powerfully expressed in Death and the Maiden (1915).
Schiele was eventually conscripted into military service four days after his marriage. However, he never saw any real combat throughout the war’s duration, and instead was allowed to continue practicing his art and exhibiting wherever he was stationed. Inspired by his wartime travels, Schiele produced a number of land- and cityscapes around this time, devoid of the artist’s usual exaggerated contours.
By 1917, Schiele was back in Vienna and hard at work. That same year, he and Klimt co-founded the city’s Kunsthalle (Art Hall), a new exhibition space designed to encourage Austrian artists to remain in their homeland. The following year, both poignant success and tragedy visited the artist in many forms. In February, a stroke and pneumonia claimed the life of his mentor and friend, Klimt. Just one month later, the Vienna Secession held its forty-ninth annual exhibition and devoted the main exhibition space to Schiele’s work, making the affair a great commercial success. In October, his wife, Edith, six months pregnant, succumbed to the Spanish flu pandemic sweeping through Europe at the time, which claimed Schiele’s life just three days later, dying at age twenty-eight. In the three days between their respective deaths, Schiele produced a number of sketches of his late wife.
The Legacy of Egon Schiele
Despite Egon Schiele’s short life, the artist produced an astonishing number of works on canvas and paper. He was instrumental in formulating the character of early-20th-century Expressionism, characterized by the use of irregular contours, an often somber palette, and frequently dark symbolism. Unlike his mentor, Klimt, with whom Schiele’s name remains most commonly associated, he produced a great number of self-portraits, suggesting a preoccupation with the self on a par with the likes of Picasso. Schiele’s aesthetic greatly influenced both Expressionist contemporaries like Oskar Kokoschka, as well as Neo-Expressionist successors as varied as Francis Bacon, Julian Schnabel, and Jean-Michel Basquiat.
Doku Österr. 2018 von Herbert Eisenschenk.
Aufnahme: ARTE 21.10.2018.
Einsamkeit, Neugierde am Okkulten, Ablehnung, Verehrung. Lust und Laster, Verdammung, Bestrafung. Nicht zu vergessen der kurze und kometenhafte Aufstieg in die strahlenden Höhen des Künstlerolymps, der sinnlos erscheinende frühe Tod, schließlich die Gegenwart mit Verehrungs- und Heiligsprechungstendenzen. Dies sind die Bausteine des kurzen Lebens von Egon Schiele. Sie und seine bis heute schwer zu entschlüsselnde Kunst bilden bis heute, 100 Jahre nach seinem Tod, jenes Material, aus dem die Legenden der Unerreichbaren gefertigt sind. Aber wer sich die Mühe macht, sich nicht von dieser affektbeladenen Fassade einschüchtern zu lassen, sondern hinter diese zu blicken, dem sollte es auch gelingen, in seiner Kunst die Seele des Menschen Schiele zu erkennen. Diese Begegnung mag verstören: Das, was sie uns mitzuteilen hat, wurde oft mit brutaler Ehrlichkeit auf Leinwände und Papier gebannt. Es ist weit entfernt von Schönheit und Harmlosigkeit angesiedelt.
Egon Schiele entkleidet die Gesellschaft und sich selbst nachhaltig und im doppelten Sinne. Wie Sigmund Freud drang auch er in jene Zonen des Menschseins vor, wo ästhetisches Empfinden eine untergeordnete Rolle spielt. Sein Blick legte die aus dem Verborgenen heraus wirkenden menschlichen Triebe genauso schonungslos frei, wie er menschliches Sein als Leidensweg des physischen und seelischen Schmerzes entzifferte.
100 Jahre nach Schieles Tod versucht die Dokumentation nicht das Genie zu huldigen, sondern die inneren Zusammenhänge aufzudecken, die Schieles unvergleichliches Werk erst ermöglichten.
Egon Schiele (EN)
Edited by: EZorrilla.
- The Resolution, (1678)- Willem van de Velde (1633-1707)
-The Resolution, serving as Admiral Sir Thomas Allin’s flagship in the Mediterranean in 1668, hence the Union flag at the main.
Van de Velde’s famous painting, probably commissioned by Allin, (1678) shows her contending against a strong gale.
(NATIONAL MARITIME MUSEUM, GREENWICH)
In the foreground is the ‘Resolution’, in port-quarter view, close-hauled on the port tack. Her topsails are neatly furled, she has a Union flag at the main and flies a red ensign. ‘Resolution’ was one of the first of the 70-gun two-deckers, built at Harwich in 1667 and rebuilt in 1698. She was flagship of Sir Thomas Allin in 1668-70, the Union at the main signifying his role at that time as ‘Admiral of a Fleet to the Streights’ (of Gibraltar), or, in more familiar terms, commander-in-chief in the Mediterranean. His fleet consisted of three third-rates, eleven fourth-rates and four fifth-rates, with three fire-ships, two ketches and a storeship.
As Vice-Admiral he had Sir Edward Spragge in the ‘Revenge’ and, as Rear-Admiral, Sir John Harman in the ‘St David’ – who both operated separately on occasions in their continuing war to protect English merchant shipping against Barbary pirates. The picture is therefore presumably a commission from Allin and was done from several drawings the artist made of the subject. It may be based on Allin’s reminiscence of a storm on 14 December 1669, of which he gives a brief account in his journal (also in the National Maritime Museum but edited by R.C. Anderson for the Navy Records Society; 2 vols., 1939-40).
Close ahead of the ‘Resolution’ is another two-decker with a common pendant at the masthead but no ensign or jack.
The artist was younger son of Willem van de Velde the Elder. Born in Leiden, he studied under Simon de Vlieger in Weesp and in 1652 moved back to Amsterdam. He worked in his father’s studio and developed the skill of carefully drawing ships in tranquil settings. He changed his subject matter, however, when he came with his father to England in 1672-73, by a greater concentration on royal yachts, men-of-war and storm scenes. From this time painting sea battles for Charles II and his brother (and Lord High Admiral) James, Duke of York, and other patrons, became a priority. Unlike his father’s works, however, they were not usually eyewitness accounts. After his father’s death in 1693 his continuing role as an official marine painter obliged him to be more frequently present at significant maritime events. The painting is signed ‘W.V.Velde J’.
A son of Willem van de Velde the Elder, also a painter of sea-pieces, Willem van de Velde, the younger, was instructed by his father, and afterwards by Simon de Vlieger, a marine painter of repute at the time, and had achieved great celebrity by his art before he came to London. He was also influenced by the work of the Dutch maritime artist Jan van de Cappelle, who excelled at painting cloudy skies, the clouds often being reflected in the calm waters. The younger Van de Velde collaborated with his father, an experienced draughtsman, who prepared studies of the battles, events and seascapes while the son painted the pictures. Father and son were driven from the Netherlands by the political and economic conditions which resulted from war with the French, and by 1673, had moved to England. Here he was engaged by Charles II, at a salary of £100, to aid his father in “taking and making draughts of sea-fights”, his part of the work being to reproduce in color the drawings of the elder Van de Velde. He was also patronized by the Duke of York and by various members of the nobility.
He died on 6 April 1707 in London, England, and was buried at St James’s Church, Piccadilly. A memorial to him and his father lies within the church. A memorial to Willem van de Velde the Older and the Younger in St James’s Church, Piccadilly.
His brother, Adriaen van de Velde, was also an artist.
Edited by: EZorrilla.
- Birth of Impressionism: Monet’s Lost Sunrise (Art History Documentary) | Perspective
Impression, Sunrise (French: Impression, soleil levant) is a painting by Claude Monet first shown at what would become known as the “Exhibition of the Impressionists” in Paris in April, 1874. The painting is credited with inspiring the name of the Impressionist movement.
Monet’s Impression: Sunrise typified this and the notion behind the name was that the painting was concerned with giving an ‘impression’ of the landscape of Le Havre and not an accurate description of it. Monet confirmed such a belief when he noted about that the painting: “really could not pass as a view of Le Havre”.
Monet’s paintings consist of nine colors. They are lead white (titanium white), chrome yellow (bright yellow-orange), cadmium yellow, viridian green, emerald green, French ultramarine, cobalt blue, madder red (crimson), and vermilion.
Claude Monet: A collection of 1540 paintings (HD)
- Fisherman Repairing his Nets -Anna Ancher (Danish 1859-1935)
- Maloja “Paesaggio paradisiaco”, 1920-Gottardo Segantini (Swiss,1882-1974)
- Under the Pergola, 1892-Oscar Bluhm (German,1867-1912)
- The Houses of Parliament, 1905 Claude Monet (1840-1926)
- Venetian Quay in the Moonlight. 1882-Wilhelm Von Gegerfelt (1844–1920)
- A rooster,1938-Pablo Picasso (1881-1973)
- View of Paris from the Rooftops, (No Date)-Nicolas Tarkhoff (1871-1930)
- Pierre-Auguste Renoir – Gerbe D’Anémones (c.1905)
- Tulips in a Vase, 1888/1890-Paul Cézanne (French, 1839–1906),
- Cliff at Dieppe, 1882-Claude Monet (1840-1926)
- Nudes and Bust, 1932-Pablo Picasso (1881-1973)
Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. Wikipedia
- Portrait of journalist Sylvia von Harden,1926-Otto Dix 1891 – 1969
- The Railway Bridge at Argenteuil 1874-Claude Monet (1840-1926)
- Charles Bridge, Prague 1934-Oskar Kokoschka (1886-1980)
- Peder Mønsted (Danish, 1859‑1941). Autumn day in the forest. 1889.
Mønsted was born at Grenå, Denmark. He was the son of Otto Christian Mønsted and Thora Johanne Petrea Jorgensen. His father was a prosperous ship-builder. At an early age, he began to receive painting lessons at the art school in Aarhus. From 1875 to 1879, studied at the Royal Academy of Fine Arts with Niels Simonsen and Julius Exner. In 1878, Mønsted studied under the artist Peder Severin Krøyer. In 1882, he spent some time in Rome and Capri then, the following year, visited Paris, where he worked in the studios of William Adolphe Bouguereau.
In 1889, he went to Algeria. Three years later, he travelled to Greece, where he was a guest of King George I who had been born a Danish prince. While there, he also did portraits of the Greek royal family. After that, he visited Egypt and Spain. 
During his later years, he spent a great deal of time in Switzerland and travelling throughout the Mediterranean His travels produced numerous sketches that became paintings he presented at several international exhibitions. Most of his landscapes were devoted to Scandinavia. He was especially popular in Germany, where he held several shows at the Glaspalast in Munich. 
- Gegengewichte ( Counter Weights ), 1926-WASSILY KANDINSKY (1866-1944)
- Liverpool quay by moonlight,1887-JOHN ATKINSON GRIMSHAW(1836-1893)
- St. Mary’s with Houses and Chimney (Bonn), 1911-August Macke (1887-1914)
- La chambre blanche 1924-MARIUS BORGEAUD (1861-1924)
- “Casa a Auvers” (1890)-VINCENT VAN GOGH (1853-1890)
- Oriental Architecture, 1929-Paul Klee
- Charing Cross Bridge, 1905-ANDRE DERAIN (1880-1954)
- Roses,1920- FRANCIS CAMPBELL BOILEAU Cadell (1883-1937)
- Elisabeth at the Table, 1909-August Macke (1887-1914)
- Squares with concentric circles, 1913-Wassily Kandinsky (1866-1944)
Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. Kandinsky is generally credited as the pioneer of abstract art. Born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics. Wikipedia
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- Market in Algiers, 1914 – August Macke (1887-1914)
- Flowers and Ceramic Plate, 1913-Henri Matisse (1869-1954)
- Landscape, 1909 -Henri-Edmond Cross (1856-1910)
- “Wintertime” 1927-ARNOLD WILTZ (GERMAN, 1889-1937)
- Pomegranates, Majorca, 1908-JOHN SINGER SARGENT (1856-1925)
- LA MORFINOMANE, 1899-Vittorio Matteo Corcos (1859-1933)
- Figure with Bouquet, 1939-Henri Matisse (1869-1854)
- A Sunny Terrace, 1930-Konstantin Ivanovich Gorbatov(1891-1973)
- Femme cousant, 1891-Bertha Wegmann (1847-1926)
- The Red Barn: Plowing, 1935- DALE WILLIAM NICHOLS (AMERICAN,1904-1995)
- The Barber Shop, 1931-Edward Hopper(1882-1967)
- Interno del Bargello, 1865-ODOARDO BORRANI (ITALIAN,1832-1905)
- Woman in park, 1914 – AUGUST MACKE (1887-1914)
- Russisches Ballett (I), 1912 – August Macke (1887-1914)
- Tunis, Strasse, 1905 – WASSILY KANDINSKY (1866-1944)
- Spring Waters (Maestoso) 1910 – VILHELMS PURVĪTIS (LATVIAN, 1872 – 1945)
- Hoarfrost, Young Peasant Woman Making Fire, 1888 -CAMILLE PISSARRO (1830-1903)
- Two in One, 1933 – WASSILY KANDINSKY (1866-1944)
- “Brita at the Piano” – 1908 Carl Larsson (Swedish, 1853-1919)
- Women in their Sunday best, 1928 – Paul Klee (1879-1940)
- Flowering garden with three women at the table, 1916 – Kind Erik Larsen (1865 – 1922)
- Upward (Empor), 1929 – Wassily Kandinsky (1866-1944)
- Gladioli, 1876 – Claude Monet (1840-1926)
- Peach Trees in Blossom, 1888-Vincent van Gogh (1853-1890)
- Anna Ancher and Marie Krøyer on Skagen beach, 1890 -Peder Severin Krøyer (1851-1909)
- Portrait Of Jaime Sabartes as Grandee 1939 – Pablo Picasso (1881-1973)
- Leaning Harlequin, 1901 – Pablo Picasso (1881-1973)
- Self-Portrait, 1914 -Marc Chagall (1887-1985)
Name Marc Chagall Birth Year 1887 Death Year 1985 Country Russia Movement Expressionism
Marc Chagall Biography
Marc Chagall (1887-1985) was a Russian-Jewish painter of the 20th Century and one of the best known representatives of the Russian Avant-Garde in the West. Chagall painted in a style all his own, combining elements of Expressionism, Symbolism, Cubism and, to a lesser degree, other Modernist art movements. A prolific and multi-faceted artist, Chagall left behind him thousands of works in many different techniques and media that have established him as one of the foremost artists of the 20th Century. His original name was Moshe or Moishe Shagal; “Moshe” is Hebrew for Moses, while “Shagal” is a variation of the common Jewish surname Segal or Seagal. In his papers, his name was russified by the authorities to Mark Zakharovich Shagalov. The name “Marc Chagall,” by which the painter is best known, was adopted when the painter arrived in Paris and combined the “Mark” of his Russian name with the “Shagal” of his original name, and rendered it in the French spelling.
- The entrance to the tidal basin in Bordeaux 1912 – André Lhote (Francese, 1885-1962)
- Port of the Moon (Bordeaux) in 1759 – Claude-Joseph Vernet (1714-1789)
- Coppia a cavallo, 1906-Kandinsky (Russo, 1866-1944)
- Blau 1913 – Winden Augusto Giacometti (Svizzero, 1877 – 1947)
- Wildflowers 1889 – Yaroshenko Nikolai Alexandrovich (Russian)1846 – 1898
- AT THE BALL 1907- CHARLES MAURIN (1856 – 1914)
- In the Park, 1919 – Amedeo Bocchi 1883-1976
- Synchromie in black, 1939 – Auguste Herbin (1882-1960)
- Chemin et sous-bois, 1932 – Gustave Cariot (French,1872-1950) –
- The Blue Door. 1927 – Raymond Wintz (1884-1956)
- “ Self Portrait “,1937 Tove Jansson (Finnish,1914-2001)
- Springtime in the Village , 1917 Daniel Garber (American, 1880-1958)
- The Lineman 1884 – Laurits Andersen Ring (1854-1933)
- The Birthday, 1915 – Marc Chagall (1887-1985)
- “Mountain Laurel” – 1888 Charles Ethan Porter (1847-1923)
- La Charrette, 1911. Félix Vallotton (1865-1925)
- Curtains, 1885, watercolour – Paul Cézanne (1839-1906)
- The Train, Bedford Park 1897 – Camille Pissarro (1830-1903)
- The Tree of Life ,1905 – Gustav Klimt (1862-1918)
- Scharf-Ruhig, 1927 – Kandinsky (1866-1944)
- Bouquet of Sunflowers,1881 – Claude Monet(1840-1926)
- Boat At Low Tide At Fecamp 1881 – Oscar-Claude Monet (1840-1926)
- Church in Cassone (1913) – Gustav Klimt (1862-1918)
- Trees reflecting in a pond 1907 – Egon Schiele(1890-1918)
- Square Rock, Ogunquit, 1914 Edward Hopper (1882-1967)
- Chestnut Tree in Blossom 1890 – Vincent van Gogh (1853-1890)
- The Garden of Monet at Argenteuil (1873) – Claude Monet
- Albany in the Snow 1871 – Walter Launt Palmer (1854 – 1932)
- Lorette with Turban and Yellow Vest, 1917 – Henri Matisse (1869-1956)