100 paintings - five centuries of flowering
The 100 most famous flower paintings
From Flemish bouquets to Sunflowers, from Water Lilies to O'Keeffe: a hundred paintings where the flower becomes light, symbol and modern language.
The route brings together bouquets, vases, gardens, orchards and fields. The paintings available in the store use their Alpha images and links; five works by Georgia O'Keeffe remain documentary and lead directly to the museum.
The flower as a world
Why painters always come back to flowers
The flower seems to offer an immediately attractive subject, but it poses formidable pictorial problems: making transparency, organizing a multitude of shapes, suggesting perfume and capturing a beauty already threatened by time.
From the Flemish vase to the impressionist garden, each petal becomes a decision of light, color and rhythm.
The classification limits the number of works per artist and alternates bouquets, flowery landscapes and modern constructions in order to tell a story rather than repeat a collection.
Enter the rankingThe 100 flower paintings in pictures
Twenty-five paintings that have become universal images.
#1Sunflowers
Classified no. 1, Tournesols shows how Vincent van Gogh transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1888 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1888 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1888 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1888 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store
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#2Water Lilies
Classified no. 2, Les Nymphéas shows how Claude Monet transforms the flower into an autonomous subject. The flower floats between water, sky and reflection. The contours become unstable, the depth reverses and the color takes over from the drawing, until transforming the observed garden into an almost abstract space. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1916 -1919 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#3Red hills with flowers
Classified No. 3, Red Hills with Flowers shows how Georgia O'Keeffe transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is 1937 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1937 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1937 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1937 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1937 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1937 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The image and button lead directly to the instructions from the Art Institute of Chicago, which documents the title, date, technique and collection. The digital image makes the composition accessible, but the actual scale, key density and surface nuances remain essential in front of the original.
Image: Art Institute of Chicago · Institutional notice.
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#4The Sunflower
Classified no. 4, The Sunflower shows how Gustav Klimt transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. Modernity frees the motif of the strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is 1906 -1907 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The provenance data available on the sheet allows you to continue to the source collection. The link associated with the image allows you to find the corresponding sheet and continue to the available collection data.
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#5The Iris
Classified no. 5, Les Iris shows how Vincent van Gogh transforms the flower into an autonomous subject. The vertical stems structure the composition and the petals introduce breaks in color. Botanical precision is never an end: it serves a construction where each interval counts as much as each flower. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1889 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1889 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button
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#6Still life with white peonies and other flowers
Classified no. 6, Still Life with White Peonies and Other Flowers shows how Édouard Manet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory of touch and light. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. The dating chosen is 1864 and the technique indicated is oil on canvas or panel. The dating chosen is 1864 and the technique indicated is oil on canvas or panel. The dating chosen is 1864 and the technique indicated is oil on canvas or panel. The dating chosen is 1864 and the technique indicated is oil on canvas or panel. The dating chosen is 1864 and the technique indicated is oil on canvas or panel. The dating chosen is 1864 and the technique indicated is oil on canvas or panel. The dating chosen is 1864 and the technique indicated is oil on canvas or panel. The dating chosen is 1864 and the technique indicated is oil on canvas or panel. The dating chosen is 1864 and the technique indicated is oil on canvas or
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#7Flowers: Iris and Hyacinths, with cherries and almonds on the table
Classified no. 7, Flowers: Iris and Hyacinths, with cherries and almonds on the table shows how Henri Fantin-Latour transforms the flower into an autonomous subject. The vertical stems structure the composition and the petals introduce color breaks. Botanical precision is never an end: it serves a construction where each interval counts as much as each flower. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory of touch and light. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory of touch and light. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory of touch and light. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory of touch and light. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory of touch and light. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory
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#8Vase of flowers: the red poppy
Classified No. 8, Vase of Flowers: The Red Poppy shows how Odilon Redon transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. Modernity frees the motif from the strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1912 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here
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#9Ballet skirt or electric light (white rose pattern)
Classified No. 9, Ballet Skirt or Electric Light (White Rose pattern) shows how Georgia O'Keeffe transforms the flower into an autonomous subject. Roses allow you to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and vase prevent the softness of the pattern from becoming pure decoration. Modernity frees the pattern from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is 1927 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1927 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1927 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1927 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1927 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1927 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1927 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1927 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The
Image: Art Institute of Chicago · Institutional notice.
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#10Lilies, tulips, roses and other flowers in an ornamental vase
Classified No. 10, Lilies, Tulips, Roses and Other Flowers in an Ornamental Vase shows how Jan Brueghel the Elder transforms the flower into an autonomous subject. Roses allow volume, velvety and transparency to be compared. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1600 -1625 and the technique indicated is oil on canvas or panel. The dating chosen is around 1600 -1625 and the technique indicated is oil on canvas or panel. The naturalistic precision often brings together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision
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#11Magnolias on light blue velvet fabric
Classified No. 11, Magnolias on Light Blue Velvet Fabric shows how Martin Johnson Heade transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is around 1885 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1885 -1895 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The dating chosen is around 1885 -1895 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet
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#12The Anemone Bouquet
Classified no. 12, The Bouquet of Anemones shows how Henri Matisse transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1947 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate
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#13Bouquet of roses
Classified no. 13, Bouquet of Roses shows how Pierre-Auguste Renoir transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1915 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection.
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#14Poppies near Vétheuil
Classified no. 14, Les Coquelicots near Vétheuil shows how Claude Monet transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#15Sunflowers along the Seine
Classified no. 15, Tournesols along the Seine shows how Gustave Caillebotte transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1880 -1894 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection.
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#16Fritillaries imperial crown in a copper vase
Classified No. 16, Fritillaries Imperial Crown in a Copper Vase shows how Vincent van Gogh transforms the flower into an autonomous subject. The vertical stems structure the composition and the petals introduce color breaks. Botanical precision is never an end: it serves a construction where each interval counts as much as each flower. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a
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#17Still life with flowers and fruits
Classified no. 17, Still Life with Flowers and Fruits shows how Rachel Ruysch transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1700 -1720 and the technique indicated is oil on canvas or panel. The naturalistic precision often brings together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1700 -1720 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The
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#18Yellow hickory leaves with daisy
Classified No. 18, Yellow Hickory Leaves with Daisy shows how Georgia O'Keeffe transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is 1928 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1928 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1928 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1928 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1928 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1928 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1928 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1928 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1928 and
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#19Vase of Flowers
Classified No. 19, Vase of Flowers shows how Jan Davidsz de Heem transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1640 -1670 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The composition chosen is around 1640 -1670 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without
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#20Bouquet of Flowers
Classified no. 20, Bouquet of Flowers shows how Jan Brueghel the Elder transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1600 -1625 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the
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#21Big Bouquet
Classified no. 21, Grand Bouquet shows how Odilon Redon transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1900 -1912 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding oil on canvas or panel, The technique indicated is oil on canvas or panel. The image and the button open the corresponding oil on canvas or panel. The image and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The origin data available on the sheet allow us to continue towards
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#22Red roses in a Japanese vase on a gold velvet fabric
Classified No. 22, Red Roses in a Japanese Vase on Gold Velvet Fabric shows how Martin Johnson Heade transforms the flower into a self-contained subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the pattern in the history of art. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and
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#23Still life with sunflowers on an armchair (II)
Classified no. 23, Still Life with Sunflowers on an Armchair (II) shows how Paul Gauguin transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. Modernity frees the motif of the strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1885 -1901 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the
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#24Iris vase
Classified no. 24, Vase d'iris shows how Vincent van Gogh transforms the flower into an autonomous subject. The vertical stems structure the composition and the petals introduce breaks in color. Botanical precision is never an end: it serves a construction where each interval counts as much as each flower. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image
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#25Vase of roses
Classified no. 25, Vase of Roses shows how Vincent van Gogh transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures the light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the pattern in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open
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See this reproduction →The cut flower, from Flemish tradition to modernities.
#26Roses
Classified no. 26, Roses shows how Vincent van Gogh transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the pattern in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet
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#27Two sunflowers cut
Classified no. 27, Two Cut Sunflowers shows how Vincent van Gogh transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used
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#28Oleanders
Classified no. 28, Lauriers-roses shows how Vincent van Gogh transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the pattern in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel
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#29Four faded sunflowers
Classified no. 29, Four Faded Sunflowers shows how Vincent van Gogh transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in
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#30Still life: Vase with five sunflowers
Classified No. 30, Still Life: Vase with five sunflowers shows how Vincent van Gogh transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating
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#31Still life: Vase with fifteen sunflowers
Classified No. 31, Still Life: Vase with fifteen sunflowers shows how Vincent van Gogh transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating
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#32Poppy vase
Classified no. 32, Poppy Vase shows how Vincent van Gogh transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha
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#33Vase with red gladioli
Classified no. 33, Vase with red gladioli shows how Vincent van Gogh transforms the flower into an autonomous subject. The vertical stems structure the composition and the petals introduce breaks in color. Botanical precision is never an end: it serves a construction where each interval counts as much as each flower. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding
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#34Still life: majolica with wild flowers
Classified no. 34, Still Life: Majolica with Wild Flowers shows how Vincent van Gogh transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction
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#35Almond tree branch in bloom in a glass with a book
Classified no. 35, Almond Branch in Flowers in a Glass with a Book shows how Vincent van Gogh transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The dating chosen is 1886 -1890 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating
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#36Water lilies
Classified no. 36, Water Lilies shows how Claude Monet transforms the flower into an autonomous subject. The flower floats between water, sky and reflection. The contours become unstable, the depth reverses and the color takes over from the drawing, until transforming the observed garden into an almost abstract space. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The link associated with the image allows you to find the corresponding sheet and continue to the available collection data.
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#37The Water Lilies Basin
Classified no. 37, The Water Lilies Basin shows how Claude Monet transforms the flower into an autonomous subject. The flower floats between water, sky and reflection. The contours become unstable, the depth reverses and the color takes over from the drawing, until transforming the observed garden into an almost abstract space. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#38Vase of Flowers
Classified no. 38, Vase of Flowers shows how Claude Monet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha
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#39Poppy vase
Classified no. 39, Vase de poppies shows how Claude Monet transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The digital image makes the composition accessible, but the actual scale, the density of the key and the surface nuances remain essential in front of the original.
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#40Spring flowers
Classified no. 40, Spring Flowers shows how Claude Monet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The link associated with the image allows you to find the corresponding sheet and continue to the available collection data.
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#41Jerusalem artichoke flowers
Classified no. 41, Jerusalem artichoke Flowers shows how Claude Monet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding
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#42Poppy field in Giverny
Classified no. 42, Field of Poppies in Giverny shows how Claude Monet transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#43Apple trees in bloom
Classified no. 43, Apple Trees in Flowers shows how Claude Monet transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1926 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The digital image makes the composition accessible, but the actual scale, the density of the key and the surface nuances remain essential in front of the original.
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#44Spring
Classified No. 44, Spring shows how Georgia O'Keeffe transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is 1923 -1924 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1923 -1924 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1923 -1924 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1923 -1924 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1923 -1924 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1923 -1924 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1923 -1924 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1923 -1924 and the
Image: Art Institute of Chicago · Institutional notice.
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#45Flowers, sweet peas and nigella in a small vase
Classified no. 45, Flowers, Scented Peas and Nigella in a Small Vase shows how Henri Fantin-Latour transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1865 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#46Still life with glass pitcher, fruits and flowers
Classified no. 46, Still Life with Glass Pitcher, Fruits and Flowers shows how Henri Fantin-Latour transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1865 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#47Still life with flowers: autumn chrysanthemums in a white vase
Classified no. 47, Still Life with Flowers: Autumn Chrysanthemums in a White Vase shows how Henri Fantin-Latour transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory of touch and light. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1865 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#48Still life with yellow rose
Classified no. 48, Still Life with the Yellow Rose shows how Henri Fantin-Latour transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1865 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection.
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#49Roses in a Standing Glass
Classified no. 49, Roses in a Standing Glass shows how Henri Fantin-Latour transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1865 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection.
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#50Violets and azaleas (Violetas y azaleas)
Classified no. 50, Violets et azaleas (Violetas y azaleas) shows how Henri Fantin-Latour transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1865 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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See this reproduction →Floral color reaches the landscape and transforms the depth.
#51Flowers: Tulips, Azaleas and Roses
Classified no. 51, Flowers: Tulips, Azaleas and Roses shows how Henri Fantin-Latour transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1865 -1890 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#52Anemones and tulips
Classified no. 52, Anemones and Tulips shows how Odilon Redon transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1900 -1912 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The
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#53Flowers in a blue vase
Classified no. 53, Flowers in a Blue Vase shows how Odilon Redon transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1900 -1912 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding oil on canvas or panel, The technique indicated is oil on canvas or panel. The image and the button open the corresponding oil on canvas or panel. The oil on canvas and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in
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#54Large bouquet of wild flowers
Classified no. 54, Grand bouquet de fleurs des champs shows how Odilon Redon transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. Modernity frees the motif from the strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1900 -1912 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. In this classification, the work serves as a reference because it summarizes a tradition and at the same time shows how a familiar motif can renew the language of painting.
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#55Flowers in a Japanese vase
Classified no. 55, Flowers in a Japanese Vase shows how Odilon Redon transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1900 -1912 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The resulting dating is around 1900 -1912 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without
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#56Bouquet of mimosa flowers
Classified no. 56, Bouquet of flowers with mimosa shows how Odilon Redon transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1900 -1912 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The
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#57Etruscan vase with flowers
Classified no. 57, Etruscan Vase with Flowers shows how Odilon Redon transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1900 -1912 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding oil on canvas or panel, The technique indicated is oil on canvas or panel. The image and the button open the corresponding oil on canvas or panel, The technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The
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#58Still life with apple blossoms in a nautilus shell
Classified No. 58, Still Life with Apple Blossoms in a Nautilus Shell shows how Martin Johnson Heade transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colorful touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. In this classification, the work serves as a reference because it summarizes a tradition and at the same time shows how a familiar motif can renew the language of painting.
Image and link: Alpha Reproduction.
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#59Cattleya orchid, two hummingbirds and a beetle
Classified No. 59, Cattleya Orchid, two hummingbirds and a beetle shows how Martin Johnson Heade transforms the flower into an autonomous subject. The vertical stems structure the composition and the petals introduce color breaks. Botanical precision is never an end: it serves a construction where each interval counts as much as each flower. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding
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#60Passion Flowers and Three Hummingbirds
Classified no. 60, Flowers of Passion and Three Hummingbirds shows how Martin Johnson Heade transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet
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#61A magnolia on red velvet
Classified No. 61, A Magnolia on Red Velvet shows how Martin Johnson Heade transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the motif in the history of art. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in
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#62Cherokee roses in a glass vase
Classified No. 62, Cherokee Roses in a Glass Vase shows how Martin Johnson Heade transforms the flower into a self-contained subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. The painting combines botanical observation, construction of the painting and symbolism of the ephemeral, three dimensions which explain the permanence of the pattern in the history of art. The dating chosen is around 1880 -1895 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows us to continue towards the source collection. In this classification, the work serves as a reference because it summarizes a tradition and at the same time shows how a familiar pattern can renew the language of painting.
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#63Carnations and clematis in a crystal vase
Classified no. 63, Carnations and Clematis in a Crystal Vase shows how Édouard Manet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1864 -1882 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#64Still life with flowers, fan and pearls
Classified no. 64, Still Life with Flowers, Fan and Pearls shows how Édouard Manet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1864 -1882 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#65Peony vase on a lacquered top
Classified no. 65, Vase of peonies on a lacquered top shows how Édouard Manet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1864 -1882 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#66White lilacs in a glass vase
Classified no. 66, White Lilacs in a Glass Vase shows how Édouard Manet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1864 -1882 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The origin data available on the sheet allow you to continue to the source collection.
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#67Roses and lilacs in a vase
Classified no. 67, Roses and lilacs in a vase shows how Édouard Manet transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1864 -1882 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection.
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#68White lilac in a crystal vase
Classified no. 68, White Lilac in a Crystal Vase shows how Édouard Manet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1864 -1882 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#69Boy in the Flowers (Jacques Hoschedé)
Classified no. 69, Boy in Flowers (Jacques Hoschedé) shows how Édouard Manet transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1864 -1882 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#70Peonies in a vase
Classified no. 70, Peonies in a Vase shows how Pierre-Auguste Renoir transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1915 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows us to continue towards the source collection. In this classification, the work serves as a reference because it summarizes a tradition and at the same time shows how a familiar motif can renew the language of painting.
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#71Cow skull with calico roses
Classified No. 71, Cow Skull with Calico Roses shows how Georgia O'Keeffe transforms the flower into an autonomous subject. Roses allow you to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and vase prevent the softness of the pattern from becoming pure decoration. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is 1931 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1931 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1931 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1931 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1931 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1931 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The dating chosen is 1931 and the technique indicated is oil on canvas. This painting is not offered for reproduction in this route. The image and button lead directly to the instructions from the Art Institute of Chicago, which documents the title, date, technique and collection. The digital image makes the composition accessible, but the actual scale, the density of the key and the surface
Image: Art Institute of Chicago · Institutional notice.
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#72Gladioli in a vase
Classified no. 72, Gladioli in a Vase shows how Pierre-Auguste Renoir transforms the flower into an autonomous subject. Vertical stems structure the composition and the petals introduce color breaks. Botanical precision is never an end: it serves a construction where each interval counts as much as each flower. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1915 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#73Roses in a vase
Classified no. 73, Roses in a Vase shows how Pierre-Auguste Renoir transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1915 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection.
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#74Spring bouquet
Classified no. 74, Bouquet de Printemps shows how Pierre-Auguste Renoir transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1915 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows us to continue towards the source collection. In this classification, the work serves as a reference because it summarizes a tradition and at the same time shows how a familiar motif can renew the language of painting.
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#75Bouquet of chrysanthemums
Classified no. 75, Bouquet of Chrysanthemums shows how Pierre-Auguste Renoir transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1870 -1915 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The digital image makes the composition accessible, but the actual scale, the density of the key and the surface nuances remain essential in front of the original.
Image and link: Alpha Reproduction.
See this reproduction →Redon, Matisse, Klee and O'Keeffe move the motif towards the imagination.
#76Sunflower vase
Classified no. 76, Vase of Sunflowers shows how Henri Matisse transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. Modernity frees the motif of the strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1947 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The link associated with the image allows you to find the corresponding sheet and continue to the available collection data.
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#77Bouquet, Chinese vase
Classified no. 77, Bouquet, Chinese vase shows how Henri Matisse transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1947 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding oil on canvas or panel, The technique indicated is oil on canvas or panel. The image and the button open the corresponding oil on canvas or panel. The image and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image
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#78Geranium
Classified no. 78, The Geranium shows how Henri Matisse transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1947 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding oil on canvas or panel, The technique indicated is oil on canvas or panel. The image and the button open the corresponding oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. In
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#79Anemones and Chinese vase
Classified no. 79, Anemones and Chinese Vase shows how Henri Matisse transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1947 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The resulting dating is around 1905 -1947 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a
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#80Iris vase
Classified no. 80, Vase d'iris shows how Henri Matisse transforms the flower into an autonomous subject. Vertical stems structure the composition and petals introduce color breaks. Botanical precision is never an end: it serves a construction where each interval counts as much as each flower. Modernity frees the motif of strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1947 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The link associated with the image allows you to find the corresponding sheet and continue to the available collection data.
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#81Basket of flowers, or Flowers in a basket
Classified no. 81, Basket of Flowers, or Flowers in a Basket shows how Paul Gauguin transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1885 -1901 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction
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#82Still life with mangoes and hibiscus flower
Classified no. 82, Still Life with Mangoes and Hibiscus Flower shows how Paul Gauguin transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1885 -1901 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow us to continue towards the source collection. In this classification, the work serves as a reference point because it summarizes a tradition and at the same time shows how a familiar pattern can renew the language of painting.
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#83Still life. Vase of flowers at the window
Classified no. 83, Still life. Vase of flowers in the window shows how Paul Gauguin transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1885 -1901 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The dating chosen is around 1885 -1901 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store.
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#84Japanese flowers and book on a table
Classified no. 84, Japanese Flowers and Book on a Table shows how Paul Gauguin transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1885 -1901 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction
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#85Yellow and red roses in a crystal vase
Classified no. 85, Yellow and Red Roses in a Crystal Vase shows how Gustave Caillebotte transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1880 -1894 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection.
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#86Bouquet of daisies, nasturtiums and suns in a vase
Classified no. 86, Bouquet of daisies, nasturtiums and suns in a vase shows how Gustave Caillebotte transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1880 -1894 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The origin data available on the sheet allow you to continue to the source collection.
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#87Bouquet of roses in a crystal vase
Classified no. 87, Bouquet of Roses in a Crystal Vase shows how Gustave Caillebotte transforms the flower into an autonomous subject. Roses allow us to compare volume, velvety and transparency. Their tight architecture captures light in successive layers, while the stems and the vase prevent the softness of the pattern from becoming pure decoration. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1880 -1894 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection.
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#88White and yellow chrysanthemums. Garden of Petit Gennevilliers
Classified no. 88, White and yellow chrysanthemums. Jardin du Petit Gennevilliers shows how Gustave Caillebotte transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. In the 19th century, the flower became a laboratory of touch and light. The painter no longer only seeks to inventory the species, but to capture a colorful presence, a moment and a sensation. In the 19th century, the flower became a laboratory of touch and light. The painter no longer seeks only to inventory the species, but to capture a colorful presence, a moment and a sensation. The dating chosen is around 1880 -1894 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allow you to continue to the source collection.
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#89Sunflower garden
Classified no. 89, Sunflower Garden shows how Gustav Klimt transforms the flower into an autonomous subject. The large solar corolla provides an immediate center of gravity. Yellows, ochres, greens and browns not only describe the plant: they regulate the rhythm of the entire surface and vary the image between brightness and maturity. Modernity frees the motif of the strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1913 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. Its fame lies in this alliance between immediate recognition and pictorial invention: the flower remains readable while becoming color, material and rhythm.
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#90Poppy field
Classified no. 90, Poppy Field shows how Gustav Klimt transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. Modernity frees the motif from the strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1913 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. In this classification, the work serves as a reference because it summarizes a tradition and at the same time shows how a familiar pattern can renew the language of painting.
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#91Flower garden
Classified no. 91, Flower Garden shows how Gustav Klimt transforms the flower into an autonomous subject. Here, the flower leaves the vase and organizes the landscape. The colored touches punctuate the terrain, measure the depth and circulate the gaze between foreground, vegetation and atmospheric light. Modernity frees the motif from the strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1905 -1913 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The resulting dating is around 1905 -1913 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The resulting data is around 1905 -1913 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The digital image makes the composition accessible
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#92Basket of Flowers
Classified no. 92, Basket of Flowers shows how Jan Brueghel the Elder transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1600 -1625 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open
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#93Flowers in a sandstone vase
Classified no. 93, Flowers in a Sandstone Vase shows how Jan Brueghel the Elder transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1600 -1625 and the technique indicated is oil on canvas or panel. The naturalistic precision often brings together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1600 -1625 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding
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#94Flowers in a Wanli Kendi
Classified no. 94, Flowers in a Wanli Kendi shows how Jan Brueghel the Elder transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1600 -1625 and the technique indicated is oil on canvas or panel. The dating chosen is around 1600 -1625 and the technique indicated is oil on canvas or panel. The naturalistic precision often brings together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision becomes a demonstration of knowledge, richness and mastery. The naturalistic precision
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#95Still life with flowers and fruits
Classified no. 95, Still Life with Flowers and Fruits shows how Anne Vallayer-Coster transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. French tradition transforms the bouquet into a reception piece: decorative balance, variety of species and virtuosity of the material meet the requirements of collections and refined interiors. The dating chosen is around 1770 -1785 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. The original image made accessible, but the actual scale, the density of the key and the surface nuances remain essential in front of the original.
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#96Flowers in a vase
Classified no. 96, Flowers in a Vase shows how Anne Vallayer-Coster transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. French tradition transforms the bouquet into a reception piece: decorative balance, variety of species and virtuosity of the material meet the requirements of collections and refined interiors. The dating chosen is around 1770 -1785 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is around 1770 -1785 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is around 1770 -1785 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The dating chosen is around 1770 -1785 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The origin data available on the sheet allows you to continue to the source collection. The provenance data available on the sheet allows you to continue to the source collection. The provenance data available on the sheet allows you to continue to the source collection
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#97Vase of Flowers
Classified no. 97, Vase of Flowers shows how Jean-Baptiste Monnoyer transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. French tradition transforms the bouquet into a reception piece: decorative balance, variety of species and virtuosity of the material meet the requirements of collections and refined interiors. The dating chosen is around 1680 -1695 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding oil on canvas or panel, The technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding oil on canvas
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#98Basket of Flowers
Classified no. 98, Basket of Flowers shows how Osias Beert transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. In Flemish and Dutch painting, these impossible bouquets often bring together species that do not flower in the same season: naturalistic precision becomes a demonstration of knowledge, richness and mastery. The dating chosen is around 1610 -1620 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue towards the source collection. In this classification, the work serves as a reference because it summarizes a tradition and at the same time shows how a familiar motif can renew the language of painting.
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#99Two red flowers
Classified no. 99, Two Red Flowers shows how Paul Klee transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif from strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1915 -1940 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The dating chosen is around 1915 -1940 and the technique indicated is oil on canvas or panel. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and button open the corresponding
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#100Still life with vase of flowers
Classified no. 100, Still Life with Flower Vase shows how Fernand Léger transforms the flower into an autonomous subject. The bouquet becomes a living architecture. The stems regulate directions, the petals distribute color accents and the vase stabilizes a whole whose balance remains deliberately fragile. Modernity frees the motif of strict description: simplification, expressive color, enlargement, decorative rhythm and abstraction give the flower new power. The dating chosen is around 1920 -1940 and the technique indicated is oil on canvas or panel. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The provenance data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The origin data available on the sheet allows you to continue to the source collection. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate in the store. The image and the button open the corresponding Alpha Reproduction sheet, used here without creating a duplicate
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Three ranking criteria
The top combines fame, historical importance and pictorial force, with strict control of works and connections.
Importance
The role of the work in the history of floral painting and in the artist's journey.
Documentation
A controlled image, link, and attribution in Shopify or the museum collection.
Balance
Centuries, schools and varied species to avoid a classification dominated by a single painter.
A story of color
From the clever bouquet to the modern flower
Brueghel, De Heem and Ruysch invent encyclopedic bouquets where science, luxury and meditation on time meet.
Manet, Fantin-Latour, Monet, Renoir and Caillebotte then release the touch: cut flowers, gardens and fields become experiences of light.
Van Gogh, Redon, Klimt, Matisse, Klee, Léger and O'Keeffe finally transform the flower into an expressive, decorative or almost abstract sign.
Institutional sources
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Online collections confirm titles, dates, techniques and places of conservation.
Frequently asked questions
Read the floral classification
Method, images, titles and links: useful references for browsing the hundred paintings.
How was the top 100 established?
The ranking combines fame, historical importance, museum presence, quality of documentation and diversity of artists. He favors paintings where the flower plays a major visual role.
Are all works paintings?
Yes. Unpainted drawings, prints, photographs, sculptures and botanical studies were excluded.
Why are the titles in French?
The titles have been translated or Frenchified for the site's readership. The museum notice or the Alpha sheet allows you to find the original title.
Why do some images open the Alpha store?
The artists concerned died before 1956 and their works already have a reproduction sheet in the store. The images and links used are those of Alpha Reproduction.
Why are five O'Keeffes referring to the museum?
Georgia O'Keeffe died in 1986. These paintings remain documentary, are not offered for reproduction and open their notice at the Art Institute of Chicago.
Are flowery landscapes included?
Yes, when flowers actually structure the composition, like poppy fields, flowering orchards or Klimt gardens.
Have the museums validated the ranking?
No. This is an independent editorial selection. The museums cited serve as sources and do not approve of the classification or the commercial offer.
How to verify information?
Museum links directly open the official notice. Alpha sheets keep the provenance and collection information available for each model.
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