Art and Art History Collection (Saskia)
The Art and Art History Collection from Saskia Ltd., Cultural Documentation features a wide range of digital images with an emphasis on the history of Western art. There are 3,645 images in this collection. Image sets include: The Dresden Collection, Brueghel and Rubens, Ancient Greek Art (Architecture and Sculpture), Ancient Art (Minoan and Roman), Roman Art, Michelangelo, Italian Renaissance, Realism, Impressionism, Post-Impressionism, and Contemporary Architecture. Images from art history textbooks include: Gardner, Expanded Gardner, Stokstad, Gilbert, Hartt, Cunningham, and Reich.
Access note: Only thumbnail images and descriptive information are available to non-USF users. Full access to this collection is available only to authorized users on the USF network on campus or via VPN. For more information or to report technical issues please contact us.
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Apple Trees in Blossom (detail)
Unknown
As the 1870s began, Monet continued his pursuit of natural phenomena. In order to avoid the Franco-German War, he left his son and Camille, whom he had just married, and traveled to London. There, with Pissarro, he was introduced by Daubigny to Paul Durand-Ruel, who was to become his dealer. In 1871 and 1872 he painted canals, boats, and windmills in The Netherlands and worked again at Le Havre.
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Apple Trees in Blossom
Unknown
As the 1870s began, Monet continued his pursuit of natural phenomena. In order to avoid the Franco-German War, he left his son and Camille, whom he had just married, and traveled to London. There, with Pissarro, he was introduced by Daubigny to Paul Durand-Ruel, who was to become his dealer. In 1871 and 1872 he painted canals, boats, and windmills in The Netherlands and worked again at Le Havre.
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Winter Landscape with Houses Effect of Snow
Unknown
Gaugins desire to return to untouched natural surroundings first took him to Brittany, looking for the
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Boy of the Bretagne
Unknown
Gauguin evolved towards an increasingly personal treatment of form and colour, and he adapted his technique to new requirements. According to Henri Delavall
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Motif from Arles (detail)
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Motif from Arles
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Self Portrait
Unknown
His paintings, usually on religious themes, have not proved so influential as his art theories. As the spokesman for symbolism and for the Nabis, Denis proposed his famous definition of painting: "Remember that a picture, before being a battle horse, a nude, an anecdote or whatnot, is essentially a flat surface covered with colors assembled in a certain order." In 1919, Denis attempted to revive the teaching of religious art and cofounded the Studios of Sacred Art. His writings include "Th
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Self Portrait (detail)
Unknown
His paintings, usually on religious themes, have not proved so influential as his art theories. As the spokesman for symbolism and for the Nabis, Denis proposed his famous definition of painting: "Remember that a picture, before being a battle horse, a nude, an anecdote or whatnot, is essentially a flat surface covered with colors assembled in a certain order." In 1919, Denis attempted to revive the teaching of religious art and cofounded the Studios of Sacred Art. His writings include "Th
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Faaturuma (detail) Melancholic
Unknown
Gauguin's title, Faaturuma, is inscribed on the frame of the unidentified landscape painting which hangs on the back wall of the room (surely one of the artist's own works). The Museum's picture evokes a mood of quiet detachment or melancholia and suggests something other than straightforward portraiture. The arabesque forms of the dress and rocking chair seem to accentuate the sitter's isolation, while the simple color scheme based on the primary colors of red, yellow and blue further contribute to the monumental character of the figure. The general composition seems to have been inspired by Corot's La Lettre (The Metropolitan Museum of Art, New York), a photograph of which is known to have been among Gauguin's possessions in Tahiti.
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Faaturuma (detail) Melancholic
Unknown
Gauguin's title, Faaturuma, is inscribed on the frame of the unidentified landscape painting which hangs on the back wall of the room (surely one of the artist's own works). The Museum's picture evokes a mood of quiet detachment or melancholia and suggests something other than straightforward portraiture. The arabesque forms of the dress and rocking chair seem to accentuate the sitter's isolation, while the simple color scheme based on the primary colors of red, yellow and blue further contribute to the monumental character of the figure. The general composition seems to have been inspired by Corot's La Lettre (The Metropolitan Museum of Art, New York), a photograph of which is known to have been among Gauguin's possessions in Tahiti.
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The Billiard Room Billiard Room at Menil-Hubert
Unknown
After 1880, Pastel became Degas's preferred medium. For the poses,Although he became guarded and withdrawn late in life, Degas retained strong friendships with literary people.
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Female Nudes Bathing
Unknown
Southern France offered Renoir scenes bursting with color and sensuality. At the same time, the seemingly joyous spontaneity of nature gave him the desire to depart from his newfound adherence to the dictates of classicism. While in southern France, he recovered the instinctive freshness of his art; he painted women at their bath with the same healthful bloom he would give to bouquets of flowers.
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Female Nudes Bathing (detail)
Unknown
Southern France offered Renoir scenes bursting with color and sensuality. At the same time, the seemingly joyous spontaneity of nature gave him the desire to depart from his newfound adherence to the dictates of classicism. While in southern France, he recovered the instinctive freshness of his art; he painted women at their bath with the same healthful bloom he would give to bouquets of flowers.
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Boulevard des Capucines (detail)
Unknown
To modern eyes, Monet's painting records truthfully the appearance of a crowded street scene viewed from a distance. But at the time of its creation, the Boulevard des Capucines disturbed the conventional notion of a stable, measured environment as represented in traditional 19th-century French painting. Monet's painting and the other pictures exhibited with it--by artists such as Renoir, Sisley, Cezanne and Degas--implied a willful rejection of the officially learned craft of painting taught by the Academy and hallowed within the institutional framework of the Salon system.
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Boulevard des Capucines
Unknown
Monet expresses his fascination with the rebuilding of Paris in 1873, alive with its happy colorful crowds with red balloons that thronged the streets. We are warmed by his luminous play of light and his many colors of snow - dashes of inspiration. "Never before has the elusiveness of movement been caught and held in its fluidity as in this extraordinary Boulevard des Capucines," says a critic of the time.
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Boulevard des Capucines (detail)
Unknown
The Boulevard des Capucines is now a landmark in the history of Impressionism. It was painted during the winter of 1873-74 in the third-floor studio of the famous photographer Gaspard Nadar, located at the corner of the Boulevard des Capucines and the Rue Danou. It figured as no. 97 in the first exhibition of the Impressionist artists, held on the vacated premises of the same studio, which opened on April 15, 1874. The public was mostly shocked and some art critics were scandalized by what they saw. Louis Leroy, writing for the journal Charivari, sneered at the "black tongue-lickings" in the lower part of the painting, saying what a joke it was that these crude scratches could be thought to represent people.
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Still Life with Skull
Unknown
Cezanne was an artist's artist, and his restrained pictures are impersonal and remote, much like his personality. His art misunderstood and discredited by art critics eventually challenged all the conventional values of painting through his insistence on personal expression and on the integrity of the painting itself.
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Harlequin Threatening Columbine Harlequin and Colombine
Unknown
Among the supreme masterpieces of the century are Degas's pictures of the ballet and its dancers. The impulse towards painting the contemporary scene came to him not only from Courbet and Manet but from his friend, the critic Duranty, the exponent of the aesthetics of naturalism. Yet in the particular direction of his tastes and his conception of design he was entirely individual. To study and convey movement was a chosen task, first undertaken on the race course and then in his many pictures of the Opera, viewed from behind the scenes, in the wings, or from the orchestra stalls during a performance.
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After the Bath
Unknown
Most of his works executed from 1883 to 1884 on are so marked by a new discipline that art historians have grouped them under the title the "Ingres" period, to signify their vague similarity with the technique of Ingres, or the "harsh," or "dry," period. Renoir's experiments with Impressionism were not wasted, however, because he retained a palette that was bursting with colours. Nevertheless, in paintings from this period, such as "The Umbrellas" (c. 1883) and "Bathers" (1884-87), Renoir emphasized volume, form, contours, and line rather than colour and brushstrokes. His strong reaction against Impressionism continued until about 1890.
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After the Bath
Unknown
Most of his works executed from 1883 to 1884 on are so marked by a new discipline that art historians have grouped them under the title the "Ingres" period, to signify their vague similarity with the technique of Ingres, or the "harsh," or "dry," period. Renoir's experiments with Impressionism were not wasted, however, because he retained a palette that was bursting with colours. Nevertheless, in paintings from this period, such as "The Umbrellas" (c. 1883) and "Bathers" (1884-87), Renoir emphasized volume, form, contours, and line rather than colour and brushstrokes. His strong reaction against Impressionism continued until about 1890.
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Mme. Mette Gauguin Seated in an Armchair (detail) Madame Mette Gauguin in Evening Dress
Unknown
Gauguin's break with the Impressionists came when he painted "Vision after the Sermon," where he tried to depict the inner feelings of his subjects. This painting also marked the start of a new painting style that came to be known as "Symbolism." Although this period had been highly productive for Gauguin, he was deeply depressed and in 1891 abandoned his family to seek an idyllic life in the South Pacific Islands.
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Landscape from the Bretagne
Unknown
Gauguin evolved towards an increasingly personal treatment of form and colour, and he adapted his technique to new requirements. According to Henri Delavall
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Mme. Mette Gauguin Seated in an Armchair Madame Mette Gauguin in Evening Dress
Unknown
Gauguin's break with the Impressionists came when he painted "Vision after the Sermon," where he tried to depict the inner feelings of his subjects. This painting also marked the start of a new painting style that came to be known as "Symbolism." Although this period had been highly productive for Gauguin, he was deeply depressed and in 1891 abandoned his family to seek an idyllic life in the South Pacific Islands.
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Landscape: Jas de Bouffan
Unknown
For many years, still-lifes and landscapes were Cezanne's main topics. . Cezanne records the slightest variations in tone and color observed over long periods as well as the forms from empirical geometry he considered the most frequent in nature - the 'cylinder, sphere and the cone.
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Still Life with Pitcher Kettle, Glass and Plate with Fruit
Unknown
Most of his pictures are still lifes. These were done in the studio, with simple props; a cloth, some apples, a vase or bowl and, later in his career, plaster sculptures. C
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Bretonian Seaside (detail)
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Basket of Fruit
Unknown
Before the 1890s Gauguin flattened his imagery with sometimes unsuccessful results, but throughout that decade his
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Basket of Fruit
Unknown
Before the 1890s Gauguin flattened his imagery with sometimes unsuccessful results, but throughout that decade his
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A Woman Having Her Hair Combed
Unknown
Degas applied pastel in so many successive layers that the pigment became burnished and the underlying paper rubbed to such an extent that the fibers were loosened and now project from the surface like many little hairs.Although usually associated with the French Impressionists, Degas' work was more tightly controlled, more painstakingly composed, and more visually immediate than that of other artists of his time. Paintings from his early years aim for an academic, historical style, and are nowhere near as interesting as those that followed his decision not to be a history painter. His portraits are remarkably complex and psychological, powerfully capturing the dynamics between the people pictured.
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Pouting (detail) Sulking
Unknown
This painting reveals the attention Degas dedicated to the psychological subtleties in his genre scenes. On the back wall there is a painting of a horse race that recalls similar works by Degas and other impressionists done during the same period. According to some scholars, the critic Duranty may have posed for the painting; he met Degas in 1862 and published a pamphlet in 1876 on the new painting that was very close to Degas
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Frieze of Dancers (detail)
Unknown
The splashes of green paint-strangely placed over the figures well after the artist had finished the canvas-evoke shadows and highlight the ballerina's red hair. In contrast to the immobility of the sculptural frieze, the green in the painting creates a sense of hypnotic movement through the vibrant, diverse colors. .The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure.
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Pouting Sulking
Unknown
This painting reveals the attention Degas dedicated to the psychological subtleties in his genre scenes. On the back wall there is a painting of a horse race that recalls similar works by Degas and other impressionists done during the same period. According to some scholars, the critic Duranty may have posed for the painting; he met Degas in 1862 and published a pamphlet in 1876 on the new painting that was very close to Degas
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Frieze of Dancers
Unknown
The splashes of green paint-strangely placed over the figures well after the artist had finished the canvas-evoke shadows and highlight the ballerina's red hair. In contrast to the immobility of the sculptural frieze, the green in the painting creates a sense of hypnotic movement through the vibrant, diverse colors. .The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure.
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Frieze of Dancers (detail)
Unknown
The splashes of green paint-strangely placed over the figures well after the artist had finished the canvas-evoke shadows and highlight the ballerina's red hair. In contrast to the immobility of the sculptural frieze, the green in the painting creates a sense of hypnotic movement through the vibrant, diverse colors. .The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure.
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Lady with a Dog Woman and Dog
Unknown
Degas evidently retained in memory a moment when his sitters were in pensive mood. He did not seek to flatter them or make a `pretty picture' (an idea he regarded with horror). On the other hand nothing could have been farther from his thoughts than to depict these familiar acquaintances as monsters of dissipation and degradation in order to draw a moral lesson.
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Morning Toilet Combing the Hair
Unknown
This important work depicts one of the artist's favourite subjects in his later years. It is based on several drawings and an earlier pastel. The bold treatment of the subject and limited range of colour are typical of Degas's works of this period.
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Morning Toilet (detail) Combing the Hair
Unknown
This important work depicts one of the artist's favourite subjects in his later years. It is based on several drawings and an earlier pastel. The bold treatment of the subject and limited range of colour are typical of Degas's works of this period.
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Mont St. Victoire, Provence Mont Sainte-Victoire
Unknown
The great depth is built up in broad layers intricately fitted and interlocked, without an apparent constructive scheme. Towards us these layers become more and more diagonal; the diverging lines in the foreground seem a vague refiection of the mountain's form. These diagonals are not perspective lines leading to the peak, but, conduct us far to the side where the mountain slope begins; they are prolonged in a limb hanging from the tree. It is this contrast of movements, of the marginal and centered, of symmetry and unbalance, that gives the immense aspect of drama to the scene. Yet the painting is a deep harmony, built with a wonderful finesse.
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Mont St. Victoire, Provence
Unknown
It is marvelous how all seems to flicker in changing colors from point to point, while out of this vast restless motion emerges a solid world of endless expanse, rising and settling. The great depth is built up in broad layers intricately fitted and interlocked, without an apparent constructive scheme. Towards us these layers become more and more diagonal; the diverging lines in the foreground seem a vague reflection of the mountain's form.
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Landscape with Viaduct, Mont Saint-Victoire Mont Sainte-Victoire and the Viaduct of the Arc River Valley
Unknown
Between 1882 and 1885, C
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The Gulf of Marseilles seen from L'Estaque
Unknown
The painting lives through the power of great contrasts: the luminous, richly broken field of reds, oranges, and greens against the blue sea; the modeled wavy mountains, convex, against the filmy, substanceless sky. The broad strata of the landscape are interlocked pairs, forming larger rectangular zones which become more cohesive still through the horizontals in the diagonal fields and the sloping forms in the horizontal. An ever-active touch, responding to the lie or swerve or rise of objects, unites this extended world from point to point. Nothing is perfectly still; the dark water has its pulsations and nuanced mood, and the pure sky, a delicate quivering of ethereal tones.
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View of the Domaine Saint-Joseph La Colline des Pauvre
Unknown
Despite the many areas of canvas left bare, this is one of the few paintings C
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Bretonian Seaside (detail)
Unknown
In 1874 he saw the first Impressionist exhibition, which completely entranced him and confirmed his desire to become a painter. He spent some 17,000 francs on works by Manet, Monet, Sisley, Pissarro, Renoir and Guillaumin. Pissarro took a special interest in his attempts at painting, emphasizing that he should `look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon.
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Basket of Flowers
Unknown
Gauguin's uses of flattened areas of color, and of non-naturalistic colors make him one of the important forebears in the modernist trend toward expressionism. He also pioneered appreciation of the simple and primitive, an interest that led him to Martinique in 1887, Tahiti in 1891-1892 and 1895-1901, and finally to the Marquesa Islands, where he died.
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Interior with a Woman in a Wicker Chair
Unknown
This painting is an excellent example of Bonnard's technique of using the horizontals and verticals of walls, doors and windows to structure a composition. Despite its strong organisation around a central vertical axis, this is a classic instance of an overlapping series of planes being used to establish depth so that, looking from the bottom to the top, the canvas is transformed into looking in and then out. Right at the rear a kind of visual puzzle awaits us. The paint of the two areas of very pale blue in the middle section of the open doors appears to run down below the lower edges. The white section to the left can be seen as attached to the window, or standing at an angle just outside, or perhaps flat on a wall at some distance.
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Nude Woman with Pink Dress (detail)
Unknown
Bonnard is indeed a visually complex artist, whose constant experimenting with peculiar compositional schemes--especially his habit of concealing figures on the margins of his paintings--requires patient and prolonged viewing. Picasso's paintings grab you by the throat; Bonnard's paintings dawn on you. They are "adventures of the optic nerve," as Bonnard calls them.
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Umbrella in the Snow
Unknown
Bonnard and his friends in the 'Nabis' (Prophets) group were inspired by the bold colours of Gaugin's paintings and this influence was predominant in Bonnard's lithographic work. "These pictures are about more than just the passage of time or the consolation of memory. They are about the acceptance that everything in nature surrenders to time...These works crystallise what has always been Bonnard's primary mood, that of elegy. He has often been described as a painter of pleasure, but he is not a painter of pleasure. He is a painter of the effervescence of pleasure and the disappearance of pleasure. His celebration of life is one side of a coin, the other side of which is always present - a lament for transience."
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Madame Cezanne Sewing
Unknown
On his first Paris trip, he met Marie-Hortense Fiquet, the model who eventually became his wife and the mother of his only child. She never liked Provence, and she never understood her husband. She preferred the city lights to the south of France, so they lived apart much of the time. She dutifully posed for her husband during summers in Aix, but these portraits show her with a remote, inscrutable look, with eyes that never meet the viewer's. She didn't get much out of the marriage. Paul kept her a secret from the family for years, and because he seldom sold a painting (although he did barter them for art supplies from P
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Nude Woman with Pink Dress
Unknown
Bonnard is indeed a visually complex artist, whose constant experimenting with peculiar compositional schemes--especially his habit of concealing figures on the margins of his paintings--requires patient and prolonged viewing. Picasso's paintings grab you by the throat; Bonnard's paintings dawn on you. They are "adventures of the optic nerve," as Bonnard calls them.
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Landscape in Brittany
Unknown
Gaugins desire to return to untouched natural surroundings first took him to Brittany, looking for the
