Top 100 - 100 paintings in 100 dates: the great chronology of painting
100 paintings in 100 dates: the great chronology of painting
A cultural, visual and slightly mischievous classification to cross 100 paintings in 100 dates: the great chronology of painting without losing its way in the golden frames.
From 1305 to 1952, each painting here corresponds to a different year. The frieze does not claim to summarize the entire painting: it chooses a hundred moments when space, light, subject or material change enough to permanently shift the gaze.
A date, a painting, a change of outlook
One hundred paintings to cross six centuries without losing track
A date sets a benchmark, but a work may have been prepared, reprinted or completed over several years. We retain here the reference year most commonly associated with painting or its completion, in order to construct a frieze without duplicates.
A timeline is not a queue of masterpieces. Each date here marks a moment when painting learns something new: to tell, to illuminate, to disturb, to accelerate or to do without the visible world.Switch to images
Classification in images
Perspective, oil, portrait, humanism and large settings bring out the modern image between Florence, Flanders, Rome and Venice.
#1
The Lamentation over the Dead Christ
In 1305, Giotto gave mourning a new physical gravity. Around the dead Christ, the figures tilt, touch and occupy a rocky space led diagonally towards the main group. The angels themselves seem carried away by different reactions, far from decorative repetition. The Lamentation of the Scrovegni Chapel opens this chronology because it makes the sacred story a shared human experience.
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#2
The Mystical Lamb
Completed in 1432, The Mystical Lamb unfolds a world where materials, vegetation, jewelry, faces and light achieve unprecedented precision. Hubert and Jan van Eyck combine liturgical monumentality and microscopic observation in a polyptych designed to be open and closed. The oil allows transparencies and bursts which give the surfaces an almost tactile presence. This date marks the new authority of Flemish painting in 15th century Europe.
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#3
The Arnolfini Spouses
In 1434, Jan van Eyck transformed a bourgeois interior into a visual enigma. The convex mirror, the shoes, the dog, the oranges and the light of the window multiply the clues without imposing a single interpretation. The Arnolfini Husbands also demonstrate the ability of oil to render glass, fur, metal and skin in the same coherent space. The Arnolfini Husbands also demonstrate the ability of oil to render glass, fur, metal and skin in the same coherent space. The portrait here becomes at the same time social presence, memory and symbolic construction.
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#4
The Annunciation
Around 1475, Leonardo da Vinci placed the angel and Mary in a garden whose atmospheric depth extended the architecture. The wings, flowers and landscape bear witness to attentive observation, while the gestures silently organize the announcement. The Annunciation still belongs to the painter's youth, but it already shows his desire to unify figures, air and light. The religious scene ceases to be an assembly of signs to become a breathable environment.
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#5
Spring
In 1482, Botticelli brought together Venus, Mercury, the Graces, Zephyr, Chloris and Flora in an orange orchard set like a musical frieze. Spring does not seek spectacular depth: the line governs bodies, drapes and plant rhythms. Ancient mythology, humanist culture and princely decor meet in an image whose exact program remains discussed. This date reminds us that the Renaissance also invented allegory and poetry.
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#6
The Lady with the Ermine
In 1490, Leonardo painted Cecilia Gallerani facing a presence outside the frame. The ermine responds to the movement of the hands, the status of the model and the play on her name, without reducing the portrait to a simple rebus. The Lady with the Ermine introduces a rare psychological mobility into the court portrait: the face thinks, listens and reacts. The face is no longer just described; she seems surprised in the middle of a relationship.
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#7
The Last Supper
Completed in 1498 in the refectory of Santa Maria delle Grazie, The Last Supper organizes the reaction of the apostles to the announcement of the betrayal. Leonardo builds four groups around the geometric calm of Christ, whose head coincides with the vanishing point. The gestures make visible an emotional wave which crosses the entire table. The experimental technique quickly weakens the work, but its design lastingly transforms the narrative painting.
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#8
Sleeping Venus
In 1510, Sleeping Venus installed a monumental nude in a landscape whose hills gently extend the body. Begun by Giorgione and probably completed after his death by Titian, the painting combines sleep, nature and sensuality without resorting to mythological action. The reclining nude becomes an autonomous genre called to immense posterity. Venice thus affirms a Renaissance based as much on color and atmosphere as on drawing.
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#9
The Sistine Madonna
In 1512, Raphael made the Virgin and Child appear above Saint Sixtus and Saint Barbara, between open curtains and a cloud of faces. The Sistine Madonna combines celestial vision and theatrical presence with monumental simplicity. The two cherubs leaning at the bottom of the painting will become famous independently of the whole, a singular destiny for an altarpiece detail. The work sums up the balance, clarity and authority of the High Renaissance.
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#10
issenheim altarpiece first opening
In 1516, the Isenheim altarpiece placed the Crucifixion in front of the sick treated by the Antonines. Grünewald gives the body of Christ pathological violence, while the open shutters revealed other episodes and other regimes of color. The work combines architecture, sculpture and painting in a changing liturgical experience. Its date reminds us that the European Renaissance is reduced neither to Italian harmony nor to uniform progress towards the ideal.
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#11
The Transfiguration
In 1520, Raphael almost ended his career with The Transfiguration, where two registers connect the luminous revelation of Christ to the human disorder surrounding a sick child. The upper part is organized in symmetrical clarity; the lower part multiplies gestures, looks and diagonals. This tension already announces certain mannerist and baroque developments. Exhibited near the painter's body after his death, the work immediately becomes an artistic testament.
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#12
The four apostles: Saints John and Peter
In 1526, Dürer offered the Four Apostles to Nuremberg, two large panels where John, Peter, Mark and Paul affirm the seriousness of the biblical word. Temperaments, faces and drapes strongly differentiate each figure despite the common monumentality. In the context of the Reformation, the German inscription gave the gift a civic and religious significance. In the context of the Reformation, the German inscription gave the gift a civic and religious significance. The Northern Renaissance finds here an austere, scholarly and politically attentive form.
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#13
The Ambassadors
In 1533, two French diplomats posed in front of measuring instruments, books, a lute and a globe which described both their knowledge and the tensions of their time. An oblique shape in the foreground becomes a skull when looked from the side. The Ambassadors combine portrait, still life, science and memento mori in a construction of dizzying precision. Holbein makes the viewer's gaze an active part of the painting.
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#14
Portrait of Christine of Denmark
In 1538, Hans Holbein painted Christine of Denmark, a young widow considered as a possible wife by Henry VIII. Standing in front of an almost empty background, she imposes her presence with the darkness of mourning, gloved hands and a look of remarkable restraint. The diplomatic portrait becomes a psychological encounter without superfluous decoration. This date shows how painting participates directly in the political negotiations of the European court.
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#15
The Last Judgment
Completed in 1541, The Last Judgment covers the altar wall of the Sistine Chapel with a whirlwind of bodies around Christ the judge. Michelangelo abandons the regular compartments of the ceiling for a single, unstable space subject to opposing forces. The nudity of the figures will provoke debate and repainting after the Council of Trent. The work marks both the apogee of a resurgent ambition and the deep crisis of its certainties.
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#16
The Wedding at Cana
In 1563, Veronese installed the Wedding at Cana in sumptuous architecture populated by musicians, servants, princes and curious people. The miracle of wine becomes an immense Venetian spectacle where Christ nevertheless remains at the exact center of the composition. The color, costumes and scale transform a Benedictine refectory into a cosmopolitan scene. Religious painting demonstrates that it can absorb the contemporary world without losing its axis.
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#17
The Family of Darius before Alexander
In 1565, Veronese represented the family of the Persian king Darius kneeling before Alexander after the defeat of Issus. The painter treats Antiquity as a Venetian ceremony, displaying architecture, fabrics, animals and court gestures. Darius' Family in front of Alexander organizes an immense crowd without losing the moment of misunderstanding which structures the story. The Great Decor becomes a machine for reconciling history, power and visual pleasure.
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#18
Meal at Levi's
In 1573, the Inquisition summoned Veronese to explain the soldiers, dogs, jesters and servants introduced into a monumental Last Supper. Rather than repainting the canvas, the artist modifies his title: Christ's Meal becomes Le Meal at Levi's. The episode sets a major date in the history of the control of religious images. It also reveals the confidence of a painter capable of defending the abundance of his invention in court.
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#19
Burial of the Count of Orgaz
In 1586, El Greco divided The Burial of Count Orgaz between a tight earthly ceremony and an expanding celestial vision. Contemporary portraits anchor the miracle in Toledo, while elongated figures and cold color make the sky almost immaterial. The work links local command, civic memory and mysticism. Mannerism becomes less a distortion than a language capable of making two realities coexist.
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#20
Judith beheading Holofernes
In 1599, Judith grabbed Holofernes' hair while his servant waited and blood gushed out in a sharp light. Caravaggio condenses the biblical story into the irreversible moment of action, without distancing violence through idealization. The expressions differentiate determination, terror and practical attention. At the turn of the century, the painting announces the baroque through its framing, its chiaroscuro and its ability to bring the viewer dangerously close to the stage.
Discover →Chiaroscuro, baroque, Dutch golden age, rococo and neoclassicism organize light, power, pleasure and morality.
#21
Dinner at Emmaus
In 1601, "The Supper at Emmaus" included Caravaggio in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "The Supper at Emmaus", Caravaggio chooses a precise situation and pushes it beyond the anecdote; the light distributes the roles with quiet authority; the surface usefully delays the first reading. In "The Supper at Emmaus", the work is dated 1601; it is kept in the National Gallery, London; it measures 141 x 196.2 cm. In "The Supper at Emmaus", the work is dated 1601; it is kept at the National Gallery, London; it measures 141 x 196.2 cm. In "The Supper at Emmaus", the work is dated 1601; it is kept at the National Gallery, London; it measures 141 x 196.2 cm. In "The Supper at Emmaus", the work is dated 1601; it is kept at the National Gallery, London; it measures 141 x 196.2 cm. In "The Supper at Emmaus", the work is dated 1601; it is kept at the National Gallery, London; it measures 141 x 196.2 cm. In "The Supper at Emmaus", the work is dated 1601; it is kept at the National Gallery, London; it measures 141 x 19 authority. In Caravaggio's "The Supper at Emmaus", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. Caravaggio's "The Supper at Emmaus" thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#22
The Death of the Virgin
In 1606, "The Death of the Virgin" included Caravaggio in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "The Death of the Virgin", Caravaggio establishes a discreet tension from the first glance; the framing tightens what really deserves attention; the contrast usefully delays the first reading. Dated 1603, "The Death of the Virgin" is kept in the painting department of the Louvre Museum and measures 369 x 245 cm. For Caravaggio's "The Death of the Virgin", the balance between observation and memory remains decisive; Caravaggio adjusts the distance until presence and memory are held in the same surface. In Caravaggio's "The Death of the Virgin", here, the story counts as much as the atmosphere; caravaggio lets in the legend, then adjusts his voice to preserve the strength of the image. We can love "The Death of the Virgin" for its calm or its brilliance, but its hold comes mainly from the way in which Caravaggio organizes the gaze.
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#23
The Vocation of Saint Matthew
In 1609, "The Vocation of Saint Matthew" included Caravaggio in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. For "The Vocation of Saint Matthew", the ray of light follows Christ's gesture towards Matthew in a room close to Caravaggio's contemporary world; the spiritual call arises in the middle of a table, coins and surprised looks. Today kept at the Saint-Louis-des-Français church, Rome, "The Vocation of Saint Matthew" is dated 1599-1600 and measures 322 x 340 cm. Today kept at the Saint-Louis-des-Français church, Rome, "The Vocation of Saint Matthew" is dated 1599-1600 and measures 322 x 340 cm. Today kept at the Saint-Louis-des-Français church, Rome, "The Vocation of Saint Matthew" is dated 1599-1600 and measures 322 x 340 cm. Today kept at the Saint-Louis-des-Français church, Rome, "The Vocation of Saint Matthew" is dated 1599-1600 and measures 322 x 340 cm. For Caravaggio's "The Vocation of Saint Matthew", it is dated 1599-1600 and measures 322 x 340 cm. For Caravaggio's "The Vocation shore, a profile or contrast which gives the painting its little authority. In Caravaggio's "The Vocation of Saint Matthew", here, the story counts as much as the atmosphere; caravaggio lets in the legend, then adjusts his voice to preserve the strength of the image. Caravaggio's "The Vocation of Saint Matthew" has its own mood; the canvas breathes, but it did not come just to open the window.
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#24
Aurora
In 1614, "Aurore" included Guido Reni in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "Aurore", Guido Reni gives the gaze a clear entry point; light distributes roles with quiet authority; the composition usefully delays the first reading. For "Aurore" by Guido Reni, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Aurore" by Guido Reni, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Aurore" by Guido Reni, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Aurore" by Guido Reni, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Aurore" by Guido Reni, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Aurore" by Guido Reni, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Aurore" by In "Aurore", the variation really shifts the gaze instead of repeating a formula in new clothes. The interest of "Aurore" in Guido Reni lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#25
Christ in the house of Martha and Mary
In 1618, "Christ in the House of Martha and Mary" inscribed Diego Velázquez in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "Christ in the House of Martha and Mary", Diego Velázquez constructs a scene with an immediately sensitive character; the contours alternate precision and freedom with beautiful aplomb; the line maintains a clear decorative tension. For "Christ in the House of Martha and Mary" by Diego Velázquez, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of too much looking. In "Christ in the House of Martha and Mary" by Diego Velázquez, the mythological or religious subject provides a clear narrative framework: Diego Velázquez advances the story without stifling the painting. In "Christ in the House of Martha and Mary", Diego Velázquez gives it another speed of gaze: less immediate effect, more hold. We can love "Christ in the House of Martha and Mary" for its calm or its brilliance, but its hold comes mainly from the way in which Diego Velázquez organizes the gaze.
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#26
And in Arcadia ego
In 1622, "Et in Arcadia ego" included Le Guerchin in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "Et in Arcadia ego", Le Guerchin retains a moment whose painting extends its duration; secondary gestures tell almost as much as the main subject; the color maintains a clear decorative tension. For "Et in Arcadia ego" by Le Guerchin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Et in Arcadia ego" by Le Guerchin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Et in Arcadia ego" by Le Guerchin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Et in Arcadia ego" by Le Guerchin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Et in Arcadia ego" by Le Guerchin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Et in Arcadia ego" by Le Guerchin, the composition is read in stages: first the motif, then simple decorative variation. In "Et in Arcadia ego", the figure, place or action retain enough precision so that the color never floats without subject. "Et in Arcadia ego" by Le Guercin thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#27
The Triumph of Bacchus
In 1629, "The Triumph of Bacchus" included Diego Velazquez in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "The Triumph of Bacchus", Diego Velazquez gives the gaze a clear entry point; voids count as much as figures and avoid any heaviness; the rhythm maintains a clear decorative tension. For "The Triumph of Bacchus" by Diego Velazquez, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. For "The Triumph of Bacchus" by Diego Velazquez, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. For "The Triumph of Bacchus" by Diego Velazquez, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Triumph of Bacchus" by Diego Velazquez, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Triumph of Bacchus" by Diego Velazquez, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Triumph of Bacchus" by Diego Velazquez, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Triumph of Bacchus" by Diego Velazquez real reason to stay in front of the work. In "The Triumph of Bacchus", the variation really shifts the gaze instead of repeating a formula in new clothes. The interest of "The Triumph of Bacchus" in Diego Velázquez lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#28
Doctor Tulp's Anatomy Lesson
In 1632, "The Anatomy Lesson of Doctor Tulp" inscribed Rembrandt van Rijn in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "The Anatomy Lesson of Doctor Tulp", Rembrandt van Rijn transforms a recognizable motif into a viewing experience; the contours alternate precision and freedom with beautiful aplomb; the framing maintains a clear decorative tension. "Doctor Tulp's Anatomy Lesson" is dated 1632; it measures precision and freedom with beautiful plumbness; the framing maintains a clear decorative tension. "Doctor Tulp's Anatomy Lesson" is dated 1632; it measures 169.5 x 216.5 cm; it maintains a clear decorative tension. "Doctor Tulp's Anatomy Lesson" is dated 1632; it measures 169.5 x 216.5 cm; the framing maintains a clear decorative tension. "Doctor Tulp's Anatomy Lesson" is dated 1632; it measures 169.5 x 216.5 cm; it maintains a clear decorative tension. "Doctor Tulp's Anatomy Lesson" is dated 1632; it measures 169.5 x 216.5 cm; it is preserved in Mauritshuis, The Hague. For "Doctor Tulp's Anatomy Lesson then the masses, then the passages of light which give the painting its true tempo. In "The Anatomy Lesson of Doctor Tulp" by Rembrandt van Rijn, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "The Anatomy Lesson of Doctor Tulp" by Rembrandt van Rijn thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#29
The Surrender of Breda
In 1635, "La Reddition de Bréda" included Diego Velázquez in the chronology at a time when chiaroscuro, movement and baroque staging brought the action closer to the spectator. In "La Reddition de Bréda", Diego Velázquez puts the subject to the test with a very personal framing; the light distributes roles with quiet authority; the surface maintains a clear decorative tension. Today kept at the Prado Museum, "La Reddition de Bréda" is dated 1635 and measures 307 x 367 cm. For "La Reddition de Bréda" by Diego Velázquez, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of looks too rushed. In "The Surrender of Bréda" by Diego Velázquez, the scene is built around an identifiable action; the framing chooses the moment when the story ceases to be a date to become a visible experience. The interest of "The Surrender of Bréda" in Diego Velázquez lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#30
The Night Watch
In 1642, "The Night Watch" included Rembrandt in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "The Night Watch", Rembrandt establishes a discreet tension from the first glance; the masses give the composition its internal rhythm; the contrast maintains a clear decorative tension. Dated 1642, "The Night Watch" is kept at the Rijksmuseum and measures 363 x 437 cm. For Rembrandt's "The Night Watch", the balance between observation and memory remains decisive; Rembrandt adjusts the distance until presence and memory are held in the same surface. In Rembrandt's "The Night Watch", the dosage between observation and memory remains decisive; Rembrandt adjusts the distance until he maintains presence and memory in the same surface. In Rembrandt's "The Night Watch", the balance between observation and memory remains decisive; Rembrandt adjusts the distance until he maintains presence and memory in the same surface. In Rembrandt's "The Night Watch", the balance between observation and memory remains decisive; Rembrandt adjusts the distance until he maintains presence and memory in the same surface. In Rembrandt's "The Night Watch", the balance between observation and memory remains decisive; Rembrandt adjusts the distance until he maintains presence and memory in the same surface. In Rembrandt's "The Night Watch", the balance between observation and memory remains decisive; Rembrandt adjusts the distance until he maintains presence and light becomes the main subject: it transforms a simple motif into an experience of duration, as if the painting kept the exact time in its pocket. We can love "The Night Watch" for its calm or its brilliance, but its outfit comes mainly from the way in which Rembrandt organizes the look.
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#31
Suzanne and the Old Men
In 1647, "Suzanne and the Old Men" included Rembrandt in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "Suzanne and the Old Men", Rembrandt transforms the pose or gesture into real architecture; the palette brings the shots together without flattening the scene; the motif maintains a clear decorative tension. "Suzanne and the Old Men" is dated 1647; it is kept at the Gemäldegalerie (Berlin). For "Suzanne and the Old Men" is dated 1647; it is kept at the Gemäldegalerie (Berlin). For "Suzanne and the Old Men" is dated 1647; it is kept at the Gemäldegalerie (Berlin). For "Suzanne and the Old Men" is dated 1647; it is kept at the Gemäldegalerie (Berlin). For "Suzanne and the Old Men" is dated 1647; it is kept at the Gemäldegalerie (Berlin). For "Suzanne and the Old Men" is dated 1647; it is kept at the Gemäldegalerie (Berlin). For "Suzanne and the Old Men" is dated 1647; it is kept at the Gemäldegalerie (Berlin). For "Suzanne and the Old Men" is dated 1647; it Old Men" by Rembrandt, the subject retains enough presence and light to avoid the impression of a simple decorative variant. The interest of "Suzanne and the Old Men" in Rembrandt lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#32
The Meninas
In 1656, "Les Ménines" included Diego Velázquez in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "Les Ménines", Diego Velázquez moves a concrete subject towards a more ambiguous image; the framing tightens what really deserves attention; the composition maintains a clear decorative tension. In "Les Ménines", the work is dated 1656; it is kept at the Prado Museum; it measures 318 x 276 cm. For "Les Ménines", the work is dated 1656; it is kept at the Prado Museum; it measures 318 x 276 cm. For "Les Ménines" by Diego Velázquez, the balance between observation and memory remains decisive; Diego Velázquez adjusts the distance until presence and memory are held in the same surface. In "Les Meninas" by Diego Velázquez, the strength of the image lies in the fact that it isolates a moment or a motif without reducing it to one more formula. The interest of "Les Ménines" in Diego Velázquez lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#33
The Girl with a Pearl Earring
In 1665, "The Girl with the Pearl Earring" included Johannes Vermeer in the chronology at a time when chiaroscuro, movement and baroque staging brought the action closer to the spectator. For "The Girl with the Pearl Earring": Produced around 1665, The Girl with the Pearl Earring is not an official portrait but a fantasy figure; the line organizes the details without stifling them. For this version of "The Girl with the Pearl Earring": Vermeer concentrates everything in the light, her mouth half open and this pearl which does her diva work very well. About "The Girl with the Pearl Earring": Vermeer concentrates everything in the light, her mouth half open and this pearl which does its diva work very well. About "The Girl with the Pearl Earring": Vermeer concentrates everything in the light, her mouth half open and this pearl which does its diva work very well. About "The Girl with the Pearl Earring": Vermeer concentrates everything in the light, her mouth half open and this pearl which does its diva work very well. About "The Girl with the Pearl Earring": Vermeer concentrates everything in the light, her mouth half open and this pearl which does its diva work very well. About "The Girl with the Pearl Earring": Vermeer concentrates everything in the light, her mouth half open and this pearl which does its diva work very well. About "The Girl with the Pearl Earring": its contrasts and this little silent authority that a good painting keeps even when no one asks its opinion.
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#34
Self-portrait with two circles
In 1669, "Self-portrait with two circles" inscribed Rembrandt van Rijn in the chronology at the moment when chiaroscuro, movement and baroque staging bring the action closer to the spectator. In "Self-portrait with two circles", Rembrandt van Rijn gives the eye a clear entry point; the framing tightens what really deserves attention; color organizes details without stifling them. "Self-portrait with two circles" is dated around 1665-1669 and kept at Kenwood House, London; it measures 114.3 x 94 cm. For "Self-portrait with two circles" is dated around 1665-1669 and kept at Kenwood House, London; it measures 114.3 x 94 cm. For "Self-portrait with two circles" is dated around 1665-1669 and kept at Kenwood House, London; it measures 114.3 x 94 cm. For "Self-portrait with two circles" is dated around 1665-1669 and kept at Kenwood House, London; it measures 114.3 x 94 cm. For "Self-portrait with two circles" is dated around 1665-1669 and kept at Kenwood House, London; it measures 114.3 x 94 cm. For "Self-portrait with maintain presence and memory in the same surface. In "Self-portrait with two circles" by Rembrandt van Rijn, it is not only a silhouette placed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. The interest of "Self-portrait with two circles" in Rembrandt van Rijn lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#35
The Pilgrimage to the Island of Kythera
In 1717, "The Pilgrimage to the Island of Cythera" included Antoine Watteau in the chronology at a time when painting oscillated between rococo pleasure, dark imagination and neoclassical discipline. In "The Pilgrimage to the Island of Cythera", Antoine Watteau chooses a precise situation and pushes it beyond the anecdote; the diagonals give the subject an energy that does not hold in place; the rhythm organizes the details without stifling them. "The Pilgrimage to the Island of Cythera" is dated 1717; it measures 129 x 194 cm; it is kept at the Louvre Museum, Paris. For "The Pilgrimage to the Island of Cythera" is dated 1717; the diagonals give the subject an energy that does not hold in place; the rhythm organizes the details without stifling them. "The Pilgrimage to the Island of Cythera" is dated 1717; it measures 129 x 194 cm; it is kept at the Louvre Museum, Paris. For "The Pilgrimage to the Island of Cythera" is dated 1717; it measures 129 x 194 cm; it is kept at the Louvre Museum, Paris. For "The Pilgrimage to the Island of Cythera" is dated 1717; it measures 129 x 194 cm; it is kept at the Louvre Museum, Paris. For "The Pilgrimage to the shore, a profile or a contrast which gives the painting its little authority. In "The Pilgrimage to the Island of Cythera" by Antoine Watteau, this work is as valuable for its precise motif as for its light and its atmosphere; no area is there to simply fill the frame. "The Pilgrimage to the Island of Cythera" by Antoine Watteau thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#36
The escarpolette
In 1767, "L'escarpolette" included Jean-Honoré Fragonard in the chronology at a time when painting oscillated between rococo pleasure, dark imagination and neoclassical discipline. In "L'escarpolette", Jean-Honoré Fragonard chooses a precise situation and pushes it beyond the anecdote; voids count as much as figures and avoid any heaviness; the framing organizes the details without stifling them. In "L'escarpolette", the work is dated around 1767-1768; it is preserved at the Wallace Collection, London; it measures 81 x 64.2 cm. In "L'escarpolette", the work is dated around 1767-1768; it is kept at the Wallace Collection, London; it measures 81 x 64.2 cm. In "L'escarpolette", the work is dated around 1767-1768; it is kept at the Wallace Collection, London; it measures 81 x 64.2 cm. In "L'escarpolette", the work is dated around 1767-1768; it is kept at the Wallace Collection, London; it measures 81 x 64.2 cm. In "L'escarpolette", the work is dated around 1767-1768; it is kept at the Wallace Collection, London; it measures 8 who gives the painting its little authority. In "L'escarpolette" by Jean-Honoré Fragonard, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "L'escarpolette" by Jean-Honoré Fragonard thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#37
The lock
In 1778, "Le Verrou" included Jean-Honoré Fragonard in the chronology at a time when painting oscillated between rococo pleasure, dark imagination and neoclassical discipline. In "Le Verrou", Jean-Honoré Fragonard makes the motif a visual event rather than a simple label; the diagonals give the subject an energy that does not hold in place; the surface organizes the details without stifling them. "Le Verrou" is dated around 1777-1778 and kept at the Louvre Museum, Paris; it measures 73 x 93 cm. For "Le Verrou" is dated around 1777-1778 and kept at the Louvre Museum, Paris; it measures 73 x 93 cm. For "Le Verrou" by Jean-Honoré Fragonard, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In " Le Verrou" by Jean-Honoré Fragonard, the strength of the image lies in the fact that it isolates a moment or a motif without reducing it to one more formula. "Le Verrou" by Jean-Honoré Fragonard has its own mood; the canvas breathes, but it did not come only to open the window.
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#38
The Nightmare
In 1781, "The Nightmare" included Johann Heinrich Füssli in the chronology at a time when painting oscillated between rococo pleasure, dark imagination and neoclassical discipline. In "The Nightmare", Johann Heinrich Füssli constructs a scene with an immediately sensitive character; the contrast organizes the scene before the details are even read; the contrast organizes the details without stifling them. Dated 1781, "The Nightmare" is kept at the Detroit Institute of Arts and measures 101.6 x 127 cm. For "The Nightmare" by Johann Heinrich Füssli, the balance between observation and memory remains decisive; Johann Heinrich Füssli adjusts the distance until presence and memory are maintained in the same surface. In "The Nightmare" by Johann Heinrich Füssli, the strength of the image lies in the fact that it isolates a moment or a motif without reducing it to one more formula. We can love "The Nightmare" for its calm or its brilliance, but its hold comes mainly from the way in which Johann Heinrich Füssli organizes the look.
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#39
The Oath of the Horatii
In 1784, "The Oath of the Horaces" included Jacques-Louis David in the chronology at a time when painting oscillated between rococo pleasure, dark imagination and neoclassical discipline. For "The Oath of the Horaces", Three brothers extend their arms towards their father's swords while the women retreat under another arcade; David separates public duty and private pain with a geometry that has become manifest from neoclassicism. Dated 1784, "The Oath of the Horaces" is kept at the Louvre Museum, Paris and measures 330 x 425 cm. For "The Oath of the Horaces" by Jacques-Louis David, the painting is not only preserved at the Louvre Museum, Paris and measures 330 x 425 cm. For "The Oath of the Horaces" by Jacques-Louis David, the painting is not only intended to seduce; it affirms a way of seeing where matter, distance and light work together. In "Le Oath of the Horaces" by Jacques-Louis David, the subject specifies the tone, then the light and the composition give the real reason to stay in front of the work. The interest of "Le Oath of the Horaces" in Jacques-Louis David lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#40
The death of Socrates
In 1787, "The Death of Socrates" included Jacques-Louis David in the chronology at a time when painting oscillated between rococo pleasure, dark imagination and neoclassical discipline. In "The Death of Socrates", Jacques-Louis David establishes a discreet tension at first glance; the contrast organizes the scene before we even read the details; the composition organizes the details without stifling them. In "The Death of Socrates", the work is dated 1787; it is organized in the scene before the details are even read; the composition organizes the details without stifling them. In "The Death of Socrates", the work is dated 1787; it is kept at the Metropolitan Museum of Art, New York; it measures 129.5 x 196.2 cm. For "The Death of Socrates", the work is dated 1787; it is kept at the Metropolitan Museum of Art, New York; it measures 129.5 x 196.2 cm. In "The Death of Socrates", the work is dated 1787; it is kept at the Metropolitan Museum of Art, New York; it measures 129.5 x 196.2 cm. In "The Death of Socrates", the work is dated 1787; it is kept at the Metropolitan Museum of Art, New York; it measures 129.5 x 196.2 cm. In "The Death of Socrates", the work is dated 1787; it distance to the point of maintaining presence and memory in the same surface. In "The Death of Socrates" by Jacques-Louis David, a clear motif, a clean atmosphere and a flexible way of conducting the eye give the painting its presence. We can love "The Death of Socrates" for its calm or its brilliance, but its hold comes mainly from the way in which Jacques-Louis David organizes the gaze.
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#41
The Death of Marat
In 1793, "The Death of Marat" included Jacques-Louis David in the chronology at a time when painting oscillated between rococo pleasure, dark imagination and neoclassical discipline. For "The Death of Marat", David reduces the scene to the bathtub, the cash register, the letter and Marat's murdered body; sobriety transforms the contemporary political event into a martyr's image without adding a crowd to underline the message. "The Death of Marat" is dated 1793; it measures 165 x 128 cm; it is preserved at the Royal Museums of Fine Arts of Belgium, Brussels. For "The Death of Marat" is dated 1793; it measures 165 x 128 cm; it is kept at the Royal Museums of Fine Arts of Belgium, Brussels. For "The Death of Marat" is dated 1793; it measures 165 x 128 cm; it is kept at the Royal Museums of Fine Arts of Belgium, Brussels. For "The Death of Marat" is dated 1793; it measures 165 x 128 cm; it is kept at the Royal Museums of Fine Arts of Belgium, Brussels. For "The Death of Marat" is dated 1793; it measures 165 x 128 cm; it is kept at the Royal Museums of Fine Arts of Belgium, Brussels. For "The Death of Marat" is dated 1793; matter, distance and light work together. In "The Death of Marat" by Jacques-Louis David, the angle of gaze transforms the motif; even without much spectacular effect, the light deserves better than a hurried overview. The interest of "The Death of Marat" in Jacques-Louis David lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#42
The Sabines
In 1799, "Les Sabines" included Jacques-Louis David in the chronology at a time when painting oscillated between rococo pleasure, dark imagination and neoclassical discipline. In "Les Sabines", Jacques-Louis David makes the motif a visual event rather than a simple label; the point of view transforms a familiar observation into a lasting surprise; color transforms the ornament into structure. "Les Sabines" is dated 1799 and kept at the Louvre Museum, Paris; it measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David, it measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David, the eye measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David, the eye measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David, the eye measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David, the eye measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David, the eye measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David, the eye measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David, the eye measures 385 x 522 cm. For "Les Sabines" by Jacques-Louis David Les Sabines" by Jacques-Louis David, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Les Sabines" by Jacques-Louis David has its own mood; the canvas breathes, but it did not come only to open the window.
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#43
Portrait of a black woman
In 1800, "Portrait of a Black Woman" included Marie-Guillemine Benoist in the chronology at a time when revolution, sublime and contemporary history shift the ambitions of the large painting. In "Portrait of a Black Woman", Marie-Guillemine Benoist makes the motif a visual event rather than a simple label; the framing tightens what really deserves attention; rhythm transforms ornament into structure. "Portrait of a Black Woman" is dated 1800 and kept at the Louvre Museum, Paris; it measures 81 x 65 cm. For "Portrait of a Black Woman" is dated 1800 and kept at the Louvre Museum, Paris; it measures 81 x 65 cm. For "Portrait of a Black Woman" is dated 1800 and kept at the Louvre Museum, Paris; it measures 81 x 65 cm. For "Portrait of a Black Woman" is dated 1800 and kept at the Louvre Museum, Paris; it measures 81 x 65 cm. For "Portrait of a Black Woman" is dated 1800 and kept at the Louvre Museum, Paris; it measures 81 x 65 cm. For "Portrait of a Black Woman" is dated 1800 and kept at the Louvre Museum, Paris; it measures 81 x 65 cm. For "Portrait of a Black Woman" is dated 1800 and kept at the Louvre Museum, Paris; it measures 81 x 65 the eye, enough breathing to let the scene live. In "Portrait of a Black Woman" by Marie-Guillemine Benoist, it is not only a silhouette placed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. "Portrait of a Black Woman" by Marie-Guillemine Benoist has its own mood; the canvas breathes, but it did not come just to open the window.
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#44
May 3, 1808 in Madrid
In 1814, "May 3, 1808 in Madrid" included Francisco de Goya in the chronology at a time when revolution, sublime and contemporary history shifted the ambitions of the great painting. In "May 3, 1808 in Madrid", Francisco de Goya puts the subject to the test of a very personal framing; the details delay reading just enough to make it interesting; the framing transforms the ornament into structure. "May 3, 1808 in Madrid" is dated 1814; the details delay reading just enough to make it interesting; the framing transforms the ornament into a structure. "May 3, 1808 in Madrid" is dated 1814; the details delay reading just enough to make it interesting; the framing transforms the ornament into a structure. "May 3, 1808 in Madrid" is dated 1814; the details delay reading just enough to make it interesting; the framing transforms the ornament into a structure. "May 3, 1808 in Madrid" is dated 1814; it measures 268 x 347 cm; it is kept at the Prado Museum, Madrid. For "May 3, 1808 in Madrid" is dated 1814; it measures 268 x 347 cm; it is kept at the Prado Museum, Madrid. For "May 3, 1808 in Madrid" is dated 181 illness of too eager glances. In "May 3, 1808 in Madrid" by Francisco de Goya, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "May 3, 1808 in Madrid" by Francisco de Goya is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#45
The Traveler contemplating a sea of clouds
In 1818, "The Traveler Contemplating a Sea of Clouds" included Caspar David Friedrich in the chronology at a time when revolution, sublime and contemporary history shift the ambitions of the great painting. In "The Traveler Contemplating a Sea of Clouds", Caspar David Friedrich remembers a moment whose painting extends its duration; light distributes roles with quiet authority; the surface transforms the ornament into structure. In "The Traveler Contemplating a Sea of Clouds", the work is dated around 1818; the light distributes roles with quiet authority; the surface transforms the ornament into structure. In "The Traveler Contemplating a Sea of Clouds", the work is dated around 1818; it is preserved at the Hamburger Kunsthalle, Hamburg; it measures 94.8 x 74.8 cm. For "The Traveler Contemplating a Sea of Clouds", the work is dated around 1818; the light distributes roles with quiet authority; the surface transforms the ornament into structure. In "The Traveler Contemplating a Sea of Clouds", the work is dated around 1818; the light distributes roles with quiet authority; the surface transforms the ornament into structure. In "The Traveler Contemplating a Sea of Clouds", the work is dated around 1818; it is preserved at the Hamburger Kunsthalle, Hamburg; it measures 94.8 x 74.8 cm. For "The Traveler Contemplating a Sea composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Traveler Contemplating a Sea of Clouds" by Caspar David Friedrich, a clear motif, a clean atmosphere and a flexible way of conducting the eye give the painting its presence. "The Traveler contemplating a sea of clouds" by Caspar David Friedrich, a clear motif, a clean atmosphere and a flexible way of conducting the eye give the painting its presence. "The Traveler contemplating a sea of clouds" by Caspar David Friedrich thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#46
The Raft of the Medusa
In 1819, "Le Radeau de la Méduse" included Théodore Géricault in the chronology at a time when revolution, sublime and contemporary history shifted the ambitions of the great painting. For "Le Radeau de la Méduse", Géricault chose the moment when the castaways saw a ship on the horizon; two diagonals oppose dead and survivors, despair and signal, on a sea which refuses to provide the minimum service. "Le Radeau de la Méduse" is dated 1818-1819 and kept at the Louvre Museum, Paris; it measures 491 x 716 cm. For "Le Radeau de la Méduse" is dated 1818-1819 and kept at the Louvre Museum, Paris; it measures 491 x 716 cm. For "Le Radeau de la Méduse" is dated 1818-1819 and kept at the Louvre Museum, Paris; it measures 491 x 716 cm. For "Le Radeau de la Méduse" is dated 1818-1819 and kept at the Louvre Museum, Paris; it measures 491 x 716 cm. For "Le Radeau de la Méduse" is dated 1818-1819 and kept at the Louvre Museum, Paris; it measures 491 x 716 cm. For "Le Radeau de la Médu the painting has its true tempo. In "The Raft of the Medusa" by Théodore Géricault, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "The Raft of the Medusa" by Théodore Géricault has its own mood; the canvas breathes, but it did not come only to open the window.
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#47
The Hay Cart
In 1821, "The Hay Cart" included John Constable in the chronology at a time when revolution, sublime and contemporary history shift the ambitions of the great painting. In "The Hay Cart", John Constable leads the eye through a series of perfectly visible decisions; the contours alternate precision and freedom with beautiful aplomb; the motif transforms the ornament into structure. In "The Hay Cart", the work is dated 1821; it is kept in detail at the National Gallery, London; it measures 130.2 x 185.4 cm. For "The Hay Cart", the work is dated 1821; it is kept at the National Gallery, London; it measures 130.2 x 185.4 cm. For "The Hay Cart", the work is dated 1821; it is kept at the National Gallery, London; it measures 130.2 x 185.4 cm. For "The Hay Cart" by John Constable, the work is dated 1821; it is kept at the National Gallery, London; it measures 130.2 x 185.4 cm. For "The Hay Cart" by John Constable, the composition is read in stages: first the pattern, then the masses, then the passages of light which give on the board its true tempo. In "The Hay Cart" by John Constable, the motif remains distinct and the atmosphere identifiable, without being satisfied with a pretty name on a label. John Constable's "The Hay Cart" has its own mood; the canvas breathes, but it did not come just to open the window.
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#48
Scenes from the Scio massacres
In 1824, "Scenes from the Scio Massacres" included Eugène Delacroix in the chronology at a time when revolution, sublime and contemporary history shifted the ambitions of the great painting. For "Scenes from the Scio Massacres": Delacroix responds to the massacre of Greek populations on the island of Chios with an immense painting without a victorious hero; the composition transforms the ornament into structure. For this version of "Scenes from the Scio Massacres": The prisoners, the dying and the Ottoman horseman occupy an open composition where the landscape continues beyond the frame as if the catastrophe refused to be contained. "Scenes from the Scio Massacres" is dated 1824 and kept at the Louvre Museum, Paris; it measures 419 x 354 cm. For "Scenes from the Scio Massacres" by Eugène Delacroix, strength comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Scenes from the Scio Massacres" belongs to Delacroix's great historical laboratory, where the event serves to experience the color, space and responsibility of the gaze. The composition of "Scenes from the Scio Massacres" belongs to Delacroix's great historical laboratory, where the event serves to experience the color, space and responsibility of the gaze. The composition of "Scenes from the Scio Massacres" does not seek to calm the event; it gives it a shape strong enough to stand the test of time.
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#49
The Death of Sardanapalus
In 1827, "The Death of Sardanapalus" included Eugène Delacroix in the chronology at a time when revolution, sublime and contemporary history shifted the ambitions of the great painting. For "The Death of Sardanapalus": Inspired by Byron, Sardanapalus contemplates from his bed the destruction of his property, his horses and his loved ones; the line prevents the image from being content to be pretty. For this version of "The Death of Sardanapalus": The red, the diagonals and the accumulation of bodies make up a very calculated disorder, proof that pictorial chaos can have an excellent sense of organization. In "The Death of Sardanapalus", the work is dated 1827; it is kept in the museum of Louvre, Paris; she measures 392 x 496 cm. For "The Death of Sardanapalus" by Eugène Delacroix, the balance between observation and memory remains decisive; Eugène Delacroix adjusts the distance until presence and memory are held in the same surface. "The Death of Sardanapalus" belongs to the great historical laboratory of Delacroix, where the event serves to test the color, space and responsibility of the gaze. "The Death of Sardanapalus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Death of Sardanapalus" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. "The Death of Sardanapalus" thus gains depth as the gaze distinguishes the construction behind the momentum.
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#50
Freedom guiding the people
In 1830, "Liberty Leading the People" included Eugène Delacroix in the chronology at a time when revolution, sublime and contemporary history shifted the ambitions of the great painting. For "Liberty Leading the People": Painted after the Three Glorious Years of July 1830, the canvas mixes an ancient allegory and contemporary fighters on a Parisian barricade; color prevents the image from being content to be pretty. For this version of "Liberty Leading the People": The flag, the triangular march and the smoke transform current events into collective images without cleaning the paving stones of their dead. Dated 1830, "Liberty Leading the People" is preserved in the museum Louvre, Paris and measures 260 x 325 cm. For "Liberty Leading the People" by Eugène Delacroix, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Liberty Leading the People" belongs to the great historical laboratory of Delacroix, where the event serves to experience the color, space and responsibility of the gaze. Delacroix gives "Liberty Leading the People" enough air to breathe and enough tension so that no one falls asleep during the visit.
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#51
Jewish wedding in Morocco
In 1839, "Jewish Wedding in Morocco" included Eugène Delacroix in the chronology at a time when revolution, sublime and contemporary history shifted the ambitions of the great painting. For "Jewish Wedding in Morocco": Delacroix remembers a festival observed in Tangier and organizes musicians, dancers, guests and architecture around a bright courtyard; the rhythm prevents the image from being content to be pretty. For this version of "Jewish Wedding in Morocco": The groups, shadows and colorful touches give the ceremony a precise social rhythm, reconstructed several years after the trip. In "Jewish Wedding in Morocco": The groups, shadows and colorful touches give the ceremony a precise social rhythm, reconstructed several years after the trip. In "Jewish Wedding in Morocco": The groups, shadows and colorful touches give the ceremony a precise social rhythm, reconstructed several years after the trip. In "Jewish Wedding in Morocco": The groups, shadows and colorful touches give the ceremony a precise social rhythm, reconstructed several years after the trip. In "Jewish Wedding in Morocco": The groups, shadows and colorful touches give the ceremony a precise social rhythm, reconstructed several years after the trip. In "Jewish Wedding in Morocco", the work is dated 1839; it is kept at the Louvre Museum; She measures 105 x 140 cm. For "Jewish Wedding in Morocco" by Eugène Delacroix, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "Jewish Wedding in Morocco", the memory of the North African trip mixes with the reconstruction of a workshop; the pictorial brilliance remains linked to the orientalist gaze and the colonial context of the 19th century. The gaze returns to "Jewish Wedding in Morocco" because its balance remains active: stable from afar, much less peaceful as soon as you approach.
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#52
The Slave Ship
In 1840, "The Slave Ship" included Turner in the chronology at a time when revolution, sublime and contemporary history shift the ambitions of the large painting. In "The Slave Ship", Turner seeks a presence that resists the simple title; the gaze circulates between structure, material and small expressive gaps; the framing prevents the image from being content to be pretty. "The Slave Ship" is dated 1840 and kept at the Museum of Fine Arts, Boston; it measures 91 x 123 cm. For Turner's "The Slave Ship", the painting not only seeks to seduce; it asserts a way of seeing where matter, distance and light work together. In Turner's "The Slave Ship", the painting is not only seeking to seduce; it asserts a way of seeing where matter, distance and light work together. In Turner's "The Slave Ship", the painting is not only seeking to seduce; it asserts a way of seeing where matter, distance and light work together. In Turner's "The Slave Ship", the painting is not only seeking to seduce; it measures 91 x 123 cm. For Turner's "The Slave Ship", the painting is dated 1840 and kept at the Museum of Fine Arts, Boston; it measures 91 x 123 cm. For Turner's "The Slave Ship", the painting is not only seeking to seduce; it asserts a way of seeing where matter, distance and light work together. In Turner's "The Slave Ship", the painting is not only seeking to seduce; it asserts a way of seeing where matter, distance distinct and the atmosphere identifiable, without settling for a pretty name on a label. You might like "The Slave Ship" for its calm or shine, but its hold comes mainly from the way Turner organizes the look.
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#53
Rain, Steam and Speed
In 1844, "Rain, Steam and Speed" included JMW Turner in the chronology at a time when revolution, sublime and contemporary history shift the ambitions of the great painting. In "Rain, Steam and Speed", J; the surface prevents the image from being simply pretty. In "Rain, Steam and Speed", M. In "Rain, Steam and Speed", W. In "Rain, Steam and Speed", Turner avoids the interchangeable image and asserts a clean tone; the painted surface retains a tension that the subject alone would not explain. Dated 1844, "Rain, Steam and Speed", M. In "Rain, Steam and Speed", W. In "Rain, Steam and Speed", Turner avoids the interchangeable image and asserts a clean tone; the painted surface retains a tension that the subject alone would not explain. Dated 1844, "Rain, Steam and Speed", M. In "Rain, Steam and Speed", W. In "Rain, Steam and Speed", Turner avoids the interchangeable image and asserts a clean tone; the painted surface retains a tension that the subject alone would not explain. Dated 1844, "Rain, Steam and Speed", M. In "Rain, Steam and Speed", Turner avoids the interchangeable image and asserts a clean tone; the painted surface retains a tension that the subject alone would not explain. Dated 1844, "Rain, Steam and Speed", M. In "Rain, Steam and Speed", Turner avoids the interchangeable image and asserts a clean tone; the painted surface retains a tension that the subject alone would not explain. Dated 1 strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In J.'s "Rain, Steam and Speed." In Turner's "Rain, Steam and Speed", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Rain, Steam and Speed" by J. In "Rain, Steam and Speed", Turner, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Rain, Steam and Speed" by J. In "Rain, Steam and Speed", Turner thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#54
The stone breakers
In 1849, "The Stone Breakers" included Gustave Courbet in the chronology at a time when revolution, sublime and contemporary history shifted the ambitions of the large painting. In "The Stone Breakers", Gustave Courbet puts the subject to the test of a very personal framing; the palette brings the shots together without flattening the scene; the contrast prevents the image from being content to be pretty. "The stone breakers" is dated 1849; it measures 165 x 257 cm; it prevents the image from being simply pretty. "The stone breakers" is dated 1849; it measures 165 x 257 cm; it is preserved at the work destroyed in 1945, formerly preserved in Dresden. For "The Stone Breakers" is dated 1849; it measures 165 x 257 cm; it is preserved at the work destroyed in 1945, formerly preserved in Dresden. For "The Stone Breakers" is dated 1849; it measures 165 x 257 cm; it is preserved at the work destroyed in 1945, formerly preserved in Dresden. For "The Stone Breakers" by Gustave Courbet, the balance between observation and memory remains decisive; Gustave Courbet adjusts the distance up to maintain presence and memory in the same surface. In "The Stone Breakers" by Gustave Courbet, the motif remains distinct and the atmosphere identifiable, without being satisfied with a pretty name on a label. The interest of "The Stone Breakers" by Gustave Courbet lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#55
The horse market
In 1853, "The Horse Market" included Rosa Bonheur in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "The Horse Market", Rosa Bonheur gives everyday life a density that it had not requested; the palette brings the shots together without flattening the scene; the pattern prevents the image from being simply pretty. "The horse market" is dated 1853 and kept at the Metropolitan Museum of Art; it measures 244.5 x 506.7 cm. For "The Horse Market" is dated 1853 and kept at the Metropolitan Museum of Art; it measures 244.5 x 506.7 cm. For "The Horse Market" by Rosa Bonheur, the balance between observation and memory remains decisive; Rosa Bonheur adjusts the distance until presence and memory are maintained in the same surface. In "The Horse Market" by Rosa Bonheur, the angle of view transforms the pattern; even without much spectacular effect, the light deserves better than a hurried overview. We can love "The Horse Market" for its calm or its brilliance, but its hold comes mainly from the way in which Rosa Bonheur organizes the look.
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#56
The Painter's Workshop
In 1855, "The Painter's Workshop" included Gustave Courbet in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "The Painter's Workshop", Gustave Courbet seeks a presence that resists the simple title; the tone relationships establish a depth without noise; the composition prevents the image from being content to be pretty. "The Painter's Workshop" is dated 1855 and kept at the Musée d'Orsay (Paris); it measures 361 x 598 cm. For Gustave Courbet's "The Painter's Workshop" is dated 1855 and kept at the Musée d'Orsay (Paris); it measures 361 x 598 cm. For "The Painter's Workshop" is dated 1855 and kept at the Musée d'Orsay (Paris); it measures 361 x 598 cm. For "The Painter's Workshop" is dated 1855 and kept at the Musée d'Orsay (Paris); it measures 361 x 598 cm. For "The Painter's Workshop" is dated 1855 and kept at the Musée d'Orsay (Paris); it measures 361 x 598 cm. For "The Painter's Workshop" is dated 1855 and kept at the Musée d'Orsay (Paris); it measures 361 x 598 Gustave Courbet's L'Atelier du Peinture, a clear pattern, a clean atmosphere and a flexible way of conducting the eye give the painting its presence. We can love "L'Atelier du Peinture" for its calm or its brilliance, but its hold comes mainly from the way in which Gustave Courbet organizes the look.
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#57
Gleaners
In 1857, "Des gleaners" included Jean-François Millet in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "Des gleaners", Jean-François Millet transforms a recognizable motif into a viewing experience; the pictorial material gives weight to the quietest areas; the line retains a very personal presence there. Today kept at the Musée d'Orsay, Paris, "Des gleaners" is dated 1857 and measures 83.5 x 110 cm. For "Des gleaners" by Jean-François Millet, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Des gleaners" by Jean-François Millet, a clear motif, a clean atmosphere and a flexible way of conducting the eye give the painting its presence. "Des gleaners" by Jean-François Millet thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#58
The Old Musician
In 1862, "Le Vieux Musicien" included Édouard Manet in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "Le Vieux Musicien", Édouard Manet retains a moment whose painting extends its duration; the pictorial material gives weight to the quietest areas; color retains a very personal presence. Today kept at the National Gallery of Art (Washington), "Le Vieux Musicien" is dated 1862 and measures 187.4 x 248.3 cm. For "Le Vieux Musicien" by Édouard Manet, the look is dated 1862 and measures 187.4 x 248.3 cm. For "Le Vieux Musicien" by Édouard Manet, the look is dated 1862 and measures 187.4 x 248.3 cm. For "Le Vieux Musicien" by Édouard Manet, the look is dated 1862 and measures 187.4 x 248.3 cm. For "Le Vieux Musicien" by Édouard Manet, the look is dated 1862 and measures 187.4 x 248.3 cm. For "Le Vieux Musicien" by Édouard Manet, the look is dated 1862 and measures 187.4 x 248.3 cm. For "Le Vieux Musicien" by Édouard Manet, the look is dated 1862 and measures 187.4 x small authority. In "The Old Musician" by Édouard Manet, the subject retains enough presence and light to avoid the impression of a simple decorative variant. "The Old Musician" by Édouard Manet thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#59
Lunch on the Grass
In 1863, "Le Déjeuner sur l'herbe" included Édouard Manet in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. For "Le Déjeuner sur l'herbe", Manet places a naked woman next to two men dressed in undergrowth built by ancient references, frank contrasts and unstable depth; the scandal comes as much from the painting as from the picnic. "Le Déjeuner sur l’herbe" is dated 1863 and kept at the Musée d’Orsay (Paris); it measures 208 x 264.5 cm. For "Le Déjeuner sur l’herbe" by Édouard Manet, the balance between observation and memory remains decisive; Édouard Manet's "Le Déjeuner sur l'herbe" measures 1863 and is kept at the Musée d'Orsay (Paris); it measures 208 x 264.5 cm. For "Le Déjeuner sur l’herbe" by Édouard Manet, the balance between observation and memory remains decisive; Édouard Manet adjusts the distance until it holds presence and memory in the same surface. In "Le Déjeuner sur l'herbe" by Édouard Manet, the subject clarifies the tone, then the light and the composition give the real reason to stay in front of the work. The interest of "Le Déjeuner sur l'herbe" by Édouard Manet lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#60
A third class wagon
In 1864, "A Third Class Wagon" included Honoré Daumier in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "A Third Class Wagon", Honoré Daumier transforms a recognizable motif into a viewing experience; the pictorial material gives weight to the quietest areas; the framing maintains a very personal presence. For "A Third Class Wagon" by Honoré Daumier, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "A Third Class Wagon" by Honoré Daumier, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "A Third Class Wagon" by Honoré Daumier, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "A Third Class Wagon" by Honoré Daumier, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "A Third Class Wagon" by Honoré Daumier, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "A Third Class Wagon" by Honoré Daumier, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "A Third Class Wagon" by concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "A Third Class Wagon", the figure, place or action retains enough precision so that the color never floats without subject. "A Third Class Wagon" by Honoré Daumier thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#61
The Origin of the World
In 1866, "The Origin of the World" included Gustave Courbet in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "The Origin of the World", Gustave Courbet transforms pose or gesture into true architecture; the palette brings the shots together without flattening the scene; the surface retains a very personal presence. "The Origin of the World" is dated 1866; the palette brings the shots together without flattening the scene; the surface retains a very personal presence. "The Origin of the World" is dated 1866; it measures 55 x 46 cm; it is kept at the Musée d’Orsay (Paris). For "The Origin of the World" is dated 1866; it measures 55 x 46 cm; it is kept at the Musée d’Orsay (Paris). For "The Origin of the World" is dated 1866; it measures 55 x 46 cm; it is kept at the Musée d’Orsay (Paris). For "The Origin of the World" is dated 1866; it measures 55 x 46 cm; it is kept at the Musée d’Orsay (Paris). For "The Origin of the World" is dated 1866; it measures 55 x 46 cm; it is kept at the Musée d’Orsay (Paris). For "The Origin of the World" is dated 1866; it measures 55 x world" by Gustave Courbet, the painting avoids anonymity because it carries a recognizable subject; the light, the framing and the material then give it its own personality. The interest of "The Origin of the World" in Gustave Courbet lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#62
Execution of Emperor Maximilian of Mexico
In 1867, "Execution of Emperor Maximilian of Mexico" included Édouard Manet in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "Execution of Emperor Maximilian of Mexico", Édouard Manet constructs a scene with an immediately sensitive character; the gaze circulates between structure, material and small expressive gaps; the contrast retains a very personal presence. "Execution of Emperor Maximilian of Mexico" is dated 1867; it measures 193 x 284 cm; it retains a very personal presence. "Execution of Emperor Maximilian of Mexico" is dated 1867; it measures between structure, material and small expressive gaps; the contrast retains a very personal presence. "Execution of Emperor Maximilian of Mexico" is dated 1867; it measures 193 x 284 cm; it is kept at the National Gallery. "Execution of Emperor Maximilian of Mexico" is dated 1867; it measures 193 x 284 cm; it is kept at the National Gallery. "Execution of Emperor Maximilian of Mexico" is dated 1867; it measures 193 x 284 cm; it remains in the National Gallery. "Execution of Emperor Maximilian of Mexico" is dated 1867; it measures 193 x 284 cm; it remains in the National Gallery. "Execution of Emperor Maximilian of Mexico" is dated 1867; it measures 193 x 284 only to seduce; it affirms a way of seeing where matter, distance and light work together. In "Execution of Emperor Maximilian of Mexico" by Édouard Manet, Édouard Manet does not transform history into a solemn setting: the figures, silences and balance of power give the event a human measure. We can like "Execution of Emperor Maximilian of Mexico" for its calm or brilliance, but its outfit comes mainly from the way in which Édouard Manet organizes the look.
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#63
Max Schmitt in a Single Scull
In 1871, "Max Schmitt in a Single Scull" included Thomas Eakins in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "Max Schmitt in a Single Scull", Thomas Eakins gives the gaze a clear entry point; the contrast organizes the scene before we even read the details; the motif retains a very personal presence. Today kept at the Metropolitan Museum of Art, "Max Schmitt in a Single Scull" is dated 1871 and measures 81.9 x 117.5 cm. For "Max Schmitt in a Single Scull" by Thomas Eakins, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. In "Max Schmitt in a Single Scull" by Thomas Eakins, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Max Schmitt in a Single Scull" in Thomas Eakins lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#64
Impression, Rising Sun
In 1872, "Impression, Soleil levant" included Claude Monet in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. For "Impression, Soleil levant": Painted in Le Havre in 1872 then shown in 1874, Impression, soleil levant gives its name to the impressionist movement despite itself; the composition retains a very personal presence. For this version of "Impression, Soleil levant": The port becomes mist, orange and vibration: a little visual weather with an enormous historical CV. About "Impression, Soleil levant": The port becomes mist, orange and vibration: a little visual weather with a huge historical CV. About "Impression, Soleil levant": The port becomes mist, orange and vibration: a little visual weather with a huge historical CV. About "Impression, Soleil levant": The port becomes mist, orange and vibration: a little visual weather with a huge historical CV. About "Impression, Soleil levant": The port becomes mist, orange and vibration: a little visual weather with a huge historical CV. About "Impression, Soleil levant": The port becomes mist, orange and vibration: a little visual weather with a huge historical CV. About "Impression, Soleil levant": The port becomes mist, orange and vibration: a little visual weather with a huge historical CV. About "Impression, Soleil levant": The port becomes mist, orange and vibration: color work; it is rarely spectacular on the megaphone, but often formidable in a low voice.
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#65
The Poppies
In 1873, "Les Coquelicots" included Claude Monet in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. For "Les Coquelicots": Exhibited in 1874, Les Coquelicots keeps the Argenteuil countryside in almost immediate freshness; the line leads the eye there without rigidity. For this version of "Les Coquelicots": The red spots guide the eye like a walk, without signposts or obligatory new shoes. About "Les Coquelicots": The red spots guide the eye like a walk, without signposts or obligatory new shoes. About "Les Coquelicots", in reproduction, these nuances remain precious: they allow you to feel the rhythm of the canvas, its contrasts and this little silent authority that a good painting keeps even when no one asks its opinion.
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#66
The Lodge
In 1874, "La Loge" included Pierre-Auguste Renoir in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. For "La Loge": With La Loge, Renoir paints the theater as a social scene as well as a spectacle; color leads the gaze without rigidity. For this version of "La Loge": The couple looks and knows they are being looked at: worldly modernity fits here in binoculars, flowers and a slight scent of representation. About "La Loge", this painting reminds us that the fame of a work does not always come from a great clap of thunder; sometimes, it is due to an exact balance between memory, style and visual intensity.
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#67
Parquet planers
In 1875, "Les Raboteurs de parquet" included Gustave Caillebotte in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. For "Les Raboteurs de parquet": Refused at the Salon then shown in 1876, Les Raboteurs de parquet gives manual work a monumental dignity; the rhythm leads the gaze without rigidity. For this version of "Les Raboteurs de parquet": Caillebotte keeps the precision of the drawing and lets the light slide over the wood like a second subject. About "Les Raboteurs de parquet": Caillebotte keeps the precision of the drawing and lets the light slide over the wood like a second subject. About "Les Raboteurs de parquet": Caillebotte keeps the precision of the drawing and lets the light slide over the wood like a second subject. About "Les Raboteurs de parquet": Caillebotte keeps the precision of the drawing and lets the light slide over the wood like a second subject. About "Les Raboteurs de parquet": Caillebotte keeps the precision of the drawing and lets the light slide over the wood like a second subject. About "Les Raboteurs de parquet": Caillebotte keeps the precision of the drawing and lets the light slide over the wood like a second subject. About "Les Raboteurs de parquet": Caillebotte keeps the precision of the drawing and lets the light slide over the wood like a second subject. About "Les Raboteurs de parquet"
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#68
Galette mill ball
In 1876, "Bal du moulin de la Galette" included Pierre-Auguste Renoir in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. For "Bal du moulin de la Galette": Presented in 1877, Bal du moulin de la Galette transformed Montmartre into a popular bath of light; the framing leads the gaze without rigidity. For this version of "Bal du moulin de la Galette": Renoir not only paints a party: he fixes a society which dances, chats and lets the blue shadows act as extras. About "Bal du moulin de la Galette": Renoir does not only paint a party: he fixes a society which dances, chats and lets the blue shadows act as extras. About "Bal du moulin de la Galette", in reproduction, these nuances remain precious: they allow you to feel the rhythm canvas, its contrasts and that little silent authority that a good painting keeps even when no one asks its opinion.
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#69
Rue de Paris, rainy weather
In 1877, "Rue de Paris, temps de rain" included Gustave Caillebotte in the chronology at a time when realism and modern life challenged the hierarchies of the Salon before the impressionist blossoming. In "Rue de Paris, temps de rain", Gustave Caillebotte makes the motif a visual event rather than a simple label; the painted surface retains a tension that the subject alone would not explain; the surface leads the gaze without rigidity. "Rue de Paris, rainy weather" is dated 1877 and kept at the Art Institute of Chicago; it measures 2122 x 2762 cm. For "Rue de Paris, rainy weather" is dated 1877 and kept at the Art Institute of Chicago; it measures 2122 x 2762 cm. For "Rue de Paris, rainy weather" is dated 1877 and kept at the Art Institute of Chicago; it measures 2122 x 2762 cm. For "Rue de Paris, rainy weather" is dated 1877 and kept at the Art Institute of Chicago; it measures 2122 x 2762 cm. For "Rue de Paris, rainy weather" is dated 1877 and kept at the Art Institute of Chicago; it measures 2122 x 2762 cm. For "Rue de Paris, rainy weather" is dated 1877 and kept at the Art Institute of Chicago; it measures the passages of light which give the painting its true tempo. In "Rue de Paris, temps de rain" by Gustave Caillebotte, this work is as valuable for its precise motif as for its light and its atmosphere; no area is there to simply fill the frame. "Rue de Paris, temps de rain" by Gustave Caillebotte has its own mood; the canvas breathes, but it did not come just to open the window.
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#70
A bar at Folies-Bergère
In 1882, "Un bar aux Folies-Bergère" included Édouard Manet in the chronology at the moment when color, touch and structure gradually emancipate themselves from imitation alone. In "A bar at Folies-Bergère", Édouard Manet chooses a precise situation and pushes it beyond the anecdote; the gaze circulates between structure, material and small expressive gaps; the contrast leads the gaze without rigidity. "A bar at Folies-Bergère" is dated 1882; it measures 96 x 130 cm; it is preserved at the Courtauld Institute (London). For "A bar at Folies-Bergère" is dated 1882; it measures 96 x 130 cm; it is preserved at the Courtauld Institute (London). For "A bar at Folies-Bergère" is dated 1882; it measures 96 x 130 cm; it is kept there without rigidity. "A bar at Folies-Bergère" is dated 1882; it measures 96 x 130 cm; it is kept there at the Courtauld Institute (London). For "A bar at Folies-Bergère" by Édouard Manet, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Un bar aux Folies-Bergère" by Édouard Manet, the subject specifies the tone, then the light and composition give the real reason to stay in front of the work. "A bar at the Folies-Bergère" by Édouard Manet thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#71
Religious procession in Kursk province
In 1883, "Religious Procession in the Province of Kursk" inscribed Ilya Repin in the chronology at the moment when color, touch and structure gradually emancipate themselves from imitation alone. In "Religious Procession in the Province of Kursk", Ilya Repin gives the daily life a density that he had not requested; voids count as much as figures and avoid any heaviness; the motif leads the gaze there without rigidity. Dated 1880-1883, "Religious Procession in the Province of Kursk" is kept at the Tretyakov Gallery, Moscow and measures 175 x 280 cm. For "Religious Procession in the Province of Kursk" by Ilya Repin, on the scale of the image, this singularity matters a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Religious Procession in the Province of Kursk" by Ilya Repin, the scene is built around an identifiable action; the framing chooses the moment when the story ceases to be a date to become a visible experience. We can like "Religious Procession in the Province of Kursk" for its calm or brilliance, but its hold comes mainly from the way in which Ilya Repin organizes the gaze.
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#72
A Sunday afternoon on the Île de la Grande Jatte
In 1884, "A Sunday afternoon on the Île de la Grande Jatte" included Georges Seurat in the chronology at the moment when color, touch and structure gradually emancipated themselves from imitation alone. For "A Sunday afternoon on the Île de la Grande Jatte": A Sunday on the Grande Jatte makes modern leisure an experience of points, calculation and strange silence; the composition leads the gaze without rigidity. For this version of "A Sunday afternoon on the Île de la Grande Jatte": Seurat transforms the park into a luminous laboratory, with very patient walkers. About "A Sunday afternoon on the Île de la Grande Jatte": Seurat transforms the park into a luminous laboratory, with very patient walkers. About "A Sunday afternoon on the Île de la Grande Jatte": Seurat transforms the park into a luminous laboratory, with very patient walkers. About "A Sunday afternoon on the Île de la Grande Jatte": Seurat transforms the park into a luminous laboratory, with very patient walkers. About "A Sunday afternoon on the Île de la Grande Jatte": Seurat transforms the park into a luminous laboratory, with very patient walkers. About "A Sunday afternoon on the Île de la Grande Jatte": Seurat transforms the park into a luminous laboratory, with very patient walkers. About "A Sunday afternoon on the Île de la Grande Jatte": Seurat transforms the park into a luminous laboratory, with very patient walkers. About "A Sunday afternoon on the Île de la from the outset, but the real outfit comes from the construction: lines, values, gestures retained and general balance; in short, the painting works while we only think we are looking at it.
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#73
Potato Eaters
In 1885, "The Potato Eaters" included Vincent van Gogh in the chronology at the moment when color, touch and structure gradually emancipated themselves from imitation alone. In "The Potato Eaters", Vincent van Gogh organizes the pattern without reducing it to a pretext; the tone ratios establish a depth without noise; the line gives its temperature to the whole. "The Potato Eaters" is dated 1885; the tone ratios establish a depth without noise; the line gives its temperature to the whole. "The Potato Eaters" is dated 1885; it measures 82 x 114 cm; it is kept at the Van-Gogh museum. For "The Potato Eaters" is dated 1885; it measures 82 x 114 cm; it is kept at the Van-Gogh museum. For "The Potato Eaters" is dated 1885; it measures 82 x 114 cm; it is kept at the Van-Gogh museum. For "The Potato Eaters" is dated 1885; it measures 82 x 114 cm; it is kept at the Van-Gogh museum. For "The Potato Eaters" is dated 1885; it measures 82 x 114 cm; it is kept at the Van-Gogh museum. For "The Potato Eaters" is dated 1885; it measures 82 x 1 breathing to let the scene live. In "The Potato Eaters" by Vincent van Gogh, this work is as valuable for its precise motif as for its light and its atmosphere; no area is there to simply fill the frame. "The Potato Eaters" by Vincent van Gogh has its own mood; the canvas breathes, but it did not come just to open the window.
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#74
The Poseuses
In 1886, "Les Poseuses" included Georges Seurat in the chronology at the moment when color, touch and structure gradually emancipated themselves from imitation alone. In "Les Poseuses", Georges Seurat retains a moment whose painting extends its duration; the framing tightens what really deserves attention; the color gives its temperature to the whole. Dated 1886, "Les Poseuses" is kept at the Barnes Foundation and measures 200 x 249.9 cm. For "Les Poseuses" by Georges Seurat, the force comes less from a burst of brilliance than from a balance: for "Les Poseuses" by Georges Seurat, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Les Poseuses" by Georges Seurat, the force comes less from a burst of brilliance than from a balance: for "Les Poseuses" by Georges Seurat, the force comes less from a burst of brilliance than from a balance: for "Les Poseuses" by Georges Seurat, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Les Poseuses" by Georges Seurat, the subject specifies the tone, then the light and the composition give the real reason to stay in front of the work. "Les Poseuses" by Georges Seurat thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#75
Vision after the sermon
In 1888, "Vision after the sermon" included Paul Gauguin in the chronology at the moment when color, touch and structure gradually emancipated themselves from imitation alone. For "Vision after the sermon": Breton women in headdresses see Jacob wrestling with the angel after the sermon; the rhythm gives its temperature to the whole. For this version of "Vision after the sermon": The red ground, the diagonal tree and the circled shapes break with the naturalistic depth and make mental vision the true space of the painting. In "Vision after the Sermon", the work is dated 1888; it is kept at the National Galleries of Scotland, Edinburgh; it measures 72.2 x 91 cm. For " Vision after the sermon" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Vision after the sermon", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. Gauguin gives "Vision after the sermon" real decorative authority, but the painting gains especially when we observe what its forms simplify, invent or silence.
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#76
Starry Night
In 1889, "Starry Night" included Vincent van Gogh in the chronology at the moment when color, touch and structure gradually emancipated themselves from imitation alone. For "Starry Night": Painted in Saint-Rémy in 1889, Starry Night transforms sight and memory into a swirling sky; the framing gives its temperature to the whole. For this version of "Starry Night": Van Gogh does not copy the night: he makes it speak louder than expected, as is often the case. About "Starry Night": Van Gogh does not copy the night: he makes it speak louder than expected, as is often the case. About "Starry Night": Van Gogh does not copy the night: he makes it speak louder than expected, as is often the case. About "Starry Night": Van Gogh does not copy the night: he makes it speak louder than expected, as is often the case. About "Starry Night", the painting establishes a presence slower than the immediate icons, but no less memorable.
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#77
The Church of Auvers-sur-Oise
In 1890, "The Church of Auvers-sur-Oise" included Vincent van Gogh in the chronology at the moment when color, touch and structure gradually emancipated themselves from imitation alone. In "The Church of Auvers-sur-Oise", Vincent van Gogh gives the eye a clear entry point; the contours alternate precision and freedom with beautiful aplomb; the surface gives its temperature to the whole. Dated 1890, "The Church of Auvers-sur-Oise" is preserved at the Musée d'Orsay and measures 94 x 74 cm. For "The Church of Auvers-sur-Oise" by Vincent van Gogh, the balance between observation and memory remains decisive; Vincent van Gogh adjusts the distance until presence and memory are held in the same surface. In "The Church of Auvers-sur-Oise" by Vincent van Gogh, the architectural landmark gives the painting a backbone: monument, bridge, village or house stabilize the composition and prevent the effect of vague mist. The interest of "The Church of Auvers-sur-Oise" in Vincent van Gogh is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#78
The cry
In 1893, "The Scream" included Edvard Munch in the chronology at the moment when color, touch and structure gradually emancipate themselves from imitation alone. In "The Scream", Edvard Munch seeks a presence that resists the simple title; the drawing maintains the whole while the atmosphere takes some liberties; the contrast gives its temperature to the whole. Dated 1893, "The Scream" is kept at the Munch Museum, Oslo, Norway. For "The Scream" by Edvard Munch, the painting is not only kept at the Munch Museum, Oslo, Norway. For "The Scream" by Edvard Munch, the painting is not only intended to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Scream" by Edvard Munch, the painting is not only intended to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Scream" by Edvard Munch, the painting is not only intended to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Scream" by Edvard Munch, the painting is not only intended to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Scream" by Edvard Munch, the painting is not only intended to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Scream" by Edvard Munch, the painting is not only intended to seduce; it affirms a way of a pattern without reducing it to one more formula. We can love "Le Cri" for its calm or its brilliance, but its hold comes mainly from the way in which Edvard Munch organizes the look.
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#79
Caresses
In 1896, "Des caresses" included Fernand Khnopff in the chronology at the moment when color, touch and structure gradually emancipated themselves from imitation alone. In "Des caresses", Fernand Khnopff puts the subject to the test of a very personal framing; secondary gestures tell almost as much as the main subject; the motif gives its temperature to the whole. Dated 1896, "Des caresses" is kept at the Fin-de-Siècle Museum and measures 50.5 x 151 cm. For "Des caresses" by Fernand Khnopff, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much attention. Fernand Khnopff, the subject specifies the tone, then the light and the composition give the real reason to stay in front of the work. The interest of "Des caresses" by Fernand Khnopff lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#80
Apples and Oranges
In 1899, "Pommes et Oranges" included Paul Cézanne in the chronology at the moment when color, touch and structure gradually emancipated themselves from imitation alone. In "Apples and Oranges", Paul Cézanne gives everyday life a density that he had not asked for; the masses give the composition its internal rhythm; the composition gives its temperature to the whole. Today kept at the Musée d'Orsay, "Pommes et Oranges". For "Pommes et Oranges" by Paul Cézanne, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Pommes et Oranges" by Paul Cézanne, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Pommes et Oranges" by Paul Cézanne, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Pommes et Oranges" by Paul Cézanne, a clear motif, an atmosphere clean and a flexible way of conducting the eye give the painting its presence. We can love "Apples and Oranges" for its calm or its brilliance, but its hold comes mainly from the way in which Paul Cézanne organizes the look.
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#81
The Quarter State
In 1901, "The Quarter State" included Giuseppe Pellizza da Volpedo in the chronology at the moment when color, touch and structure gradually emancipate themselves from imitation alone. In "The Quarter State", Giuseppe Pellizza da Volpedo starts from a clearly identified subject; the painted surface retains a tension that the subject alone would not explain; the line usefully delays the first reading. Today kept at the Museo del Novecento, Milan, "The Quarter State" is dated 1898-1901 and measures 293 x 545 cm. For "The Quarter State" by Giuseppe Pellizza da Volpedo, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Quarter State" by Giuseppe Pellizza da Volpedo, this work is as valuable for its precise motif as for its light and its atmosphere; no area is there to simply fill the frame. Giuseppe Pellizza da Volpedo's "The Quarter State" has its own mood; the canvas breathes, but it did not come just to open the window.
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#82
Portrait of Emilie Flöge
In 1902, "Portrait of Emilie Flöge" included Gustav Klimt in the chronology at the moment when color, touch and structure gradually emancipate themselves from imitation alone. In "Portrait of Emilie Flöge", Gustav Klimt leads the eye through a series of perfectly visible decisions; the palette brings the shots together without flattening the scene; color usefully delays the first reading. For "Portrait of Emilie Flöge" by Gustav Klimt, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Portrait of Emilie Flöge" by Gustav Klimt, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Portrait of Emilie Flöge" by Gustav Klimt, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Portrait of Emilie Flöge" by Gustav Klimt, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Portrait of Emilie Flöge" by Gustav Klimt, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Portrait of Emilie Flöge" by from a presence that looks, reads, waits or stays at a distance. In "Portrait of Emilie Flöge", the motif retains a precise identity instead of dissolving into an interchangeable atmosphere. "Portrait of Emilie Flöge" by Gustav Klimt has its own mood; the canvas breathes, but it did not come just to open the window.
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#83
Woman in hat
In 1905, "Woman in the Hat" included Henri Matisse in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. In "Woman in the Hat", Henri Matisse gives the gaze a clear entry point; the diagonals give the subject an energy that does not hold in place; the rhythm usefully delays the first reading. In "Woman in the Hat", the work is dated 1905; it is kept at the San Francisco Museum of Modern Art; it measures 79.4 x 59.7 cm. For "Woman in the Hat" by Henri Matisse, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of looks too rushed. In "Woman in the Hat" by Henri Matisse, the human subject allows Henri Matisse to be followed as close as possible to a presence that watches, reads, waits or stays at a distance. The interest of "Woman in the Hat" in Henri Matisse lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#84
Portrait of Adèle Bloch-Bauer I
In 1907, "Portrait of Adèle Bloch-Bauer I" included Gustav Klimt in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. For "Portrait of Adèle Bloch-Bauer I": Commissioned in Vienna at the beginning of the 20th century, this portrait of Adèle Bloch-Bauer mixes real face and almost Byzantine golden surface; the framing usefully delays the first reading. For this version of "Portrait of Adèle Bloch-Bauer": Its story of dispossession then restitution adds to the painting a heavy memory under gold. About "Portrait of Adèle Bloch-Bauer I": Its story of spoliation then restitution adds to the painting a heavy memory under gold. About "Portrait of Adèle Bloch-Bauer I": Its story of spoliation then restitution adds to the painting a heavy memory under gold. About "Portrait of Adèle Bloch-Bauer I": Its story of spoliation then restitution adds to the painting a heavy memory under gold. About "Portrait of Adèle Bloch-Bauer I": Its story of spoliation then restitution adds to the painting a heavy memory under gold. About "Portrait of Adèle Bloch-Bauer I": Its story of spoliation then restitution adds to the painting a heavy memory under gold. About "Portrait of Adèle Bloch-Bauer I": Its story of spoliation then restitution adds to the painting a heavy small bright accents with a precision that is better noticed on the second look than on the first.
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#85
Murnau
In 1908, "Murnau" included Kandinsky in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. In "Murnau", Kandinsky establishes a discreet tension at first glance; the contrast organizes the scene before we even read the details; the surface usefully delays the first reading. Today kept at the Lenbachhaus, Munich, "Murnau" is dated 1908 and measures 32.8 x 41 cm. For Kandinsky's "Murnau", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed glances. For Kandinsky's "Murnau", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed glances. For Kandinsky's "Murnau", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed glances. For Kandinsky's "Murnau", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed glances. For Kandinsky's "Murnau", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much then the light and the composition give the real reason to stay in front of the work. We can love "Murnau" for its calm or its brilliance, but its hold comes mainly from the way in which Kandinsky organizes the look.
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#86
The dance
In 1909, "La Danse" included Henri Matisse in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. In "La Danse", Henri Matisse organizes the motif without reducing it to a pretext; the point of view transforms a familiar observation into a lasting surprise; the contrast usefully delays the first reading. Dated 1909, "La Danse" is kept at the Museum of Modern Art and measures 260 x 390 cm. For "La Danse" by Henri Matisse, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Danse" by Henri Matisse, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Danse" by Henri Matisse, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Danse" by Henri Matisse, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Danse" by Henri Matisse, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Danse" by Henri Matisse, the composition can be read anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "La Danse" by Henri Matisse has its own mood; the canvas breathes, but it did not come only to open the window.
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#87
The dream
In 1910, "Le Rêve" included Henri Rousseau in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. In "Le Rêve", Henri Rousseau chooses a precise situation and pushes it beyond the anecdote; the palette brings the shots together without flattening the scene; the motif usefully delays the first reading. "The Dream" is dated 1910; it measures 204.5 x 298.5 cm; it is usefully delayed at the Museum of Modern Art, New York. For "Le Rêve" by Henri Rousseau, it is dated 1910; it measures 204.5 x 298.5 cm; it is kept at the Museum of Modern Art, New York. For "Le Rêve" by Henri Rousseau, the force comes less from a burst of brilliance than from a balance: For "Le Rêve" by Henri Rousseau, the force comes less from a burst of brilliance than from a balance: for "Le Rêve" by Henri Rousseau, the force comes less from a burst of brilliance than from a balance: for "Le Rêve" by Henri Rousseau, the force comes less from a burst of brilliance than from a balance: for "Le Rêve" by Henri Rousseau, the force comes less from a burst of brilliance than from a balance: for "Le Rêve" by Henri Rousseau, the force comes less from a burst of brilliance than Rousseau, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. "Le Rêve" by Henri Rousseau thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#88
The Red Workshop
In 1911, "L'Atelier rouge" included Henri Matisse in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. In "L'Atelier rouge", Henri Matisse chooses a precise situation and pushes it beyond the anecdote; the contours alternate precision and freedom with beautiful aplomb; the composition usefully delays the first reading. "L’Atelier rouge" is dated 1911 and kept at the Museum of Modern Art; it measures 162 x 130 cm. For "L’Atelier rouge" is dated 1911 and kept at the Museum of Modern Art; it measures 162 x 130 cm. For "L’Atelier rouge" by Henri Matisse, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "The Workshop red" by Henri Matisse, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "L’Atelier rouge" by Henri Matisse thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#89
Simultaneous windows n°2
In 1912, "Simultaneous Windows n°2" included Robert Delaunay in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. In "Simultaneous Windows n°2", Robert Delaunay avoids the interchangeable image and asserts a clean tone; secondary gestures tell almost as much as the main subject; the line maintains a clear decorative tension. For "Simultaneous Windows n°2" by Robert Delaunay, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Simultaneous Windows n°2" by Robert Delaunay, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Simultaneous Windows n°2" by Robert Delaunay, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Simultaneous Windows n°2" by Robert Delaunay, a clear pattern, an atmosphere clean and a flexible way of conducting the eye give the painting its presence. In "Simultaneous Windows n°2", the figure, place or action retain enough precision so that the color never floats without subject. "Simultaneous Windows n°2" by Robert Delaunay thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#90
Composition VII
In 1913, "Composition VII" included Wassily Kandinsky in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. For "Composition VII", painted in 1913, this large composition accumulates lines, swirls and colored areas in a continuous movement; Kandinsky treats the canvas as a rhythmic construction rather than as a scene to be identified. Dated 1913, "Composition VII" is kept at the Tretyakov Gallery, Moscow and measures 200 x 300 cm. For "Composition VII" by Wassily Kandinsky, the force comes less from a burst of brilliance than from a scene to be identified. Dated 1913, "Composition VII" is kept at the Tretyakov Gallery, Moscow and measures 200 x 300 cm. For "Composition VII" by Wassily Kandinsky, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing for let the scene live. In "Composition VII" by Wassily Kandinsky, the title announces formal research rather than a story; each form counts by its position, its visual weight and the way in which it moves the others. "Composition VII" by Wassily Kandinsky thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#91
Black square
In 1915, "Black Square" included Kazimir Malevich in the chronology at a time when the avant-gardes made color, rhythm and surface subjects in their own right. For "Black Square", Presented in 1915, the slightly irregular black quadrilateral refuses the illusionist window; Malevich concentrates the image on the surface, the limit and the raw presence of the form. "Black Square" is dated 1900 and kept at the National Museum of Modern Art; it measures 36.7 x 36.7 cm. For "Black Square" by Kazimir Malevich, the balance between observation and memory remains decisive; Kazimir Malevich measures 36.7 x 36.7 cm. For "Black Square" by Kazimir Malevich, the balance between observation and memory remains decisive; Kazimir Malevich adjusts the distance until presence and memory are held in the same surface. In "Black Square" by Kazimir Malevich, this work can be read in relation to masses, lines and colors; space no longer imitates a scene; it becomes the very place of the pictorial experience. The interest of "Black Square" in Kazimir Malevich lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#92
Senecio
In 1922, "Senecio" included Paul Klee in the chronology at a time when modern painting pushed further the autonomy of form, space and gesture. In "Senecio", Paul Klee avoids the interchangeable image and asserts a clean tone; the painted surface retains a tension that the subject alone would not explain; the framing maintains a clear decorative tension. For "Senecio" by Paul Klee, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Senecio" by Paul Klee, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Senecio" by Paul Klee, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Senecio" by Paul Klee, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Senecio" by Paul Klee, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Senecio" by Paul Klee, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Senecio" by Paul Klee, own personality. In "Senecio", the figure, place or action retain enough precision so that the color never floats without subject. "Senecio" by Paul Klee thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#93
Composition VIII
In 1923, "Composition VIII" included Wassily Kandinsky in the chronology at a time when modern painting pushed the autonomy of form, space and gesture further. For "Composition VIII", painted in 1913, this large composition accumulates lines, swirls and colored areas in a continuous movement; Kandinsky treats the canvas as a rhythmic construction rather than as a scene to be identified. "Composition VIII" is dated 1923; it measures 140 x 201 cm; it is kept at Solomon R. In "Composition VIII" is dated 1923; it measures 140 x 201 cm; it is kept at Solomon R. In "Composition VIII", Guggenheim Museum, New York. For "Composition VIII" by Wassily Kandinsky, the painting is not only intended to seduce; he asserts a way of seeing where matter, distance and light work together. In "Composition VIII" by Wassily Kandinsky, shape and color become subjects in their own right here: Wassily Kandinsky organizes their tensions without asking a landscape or a portrait to serve as an alibi. We can love "Composition VIII" for its calm or its brilliance, but its hold comes mainly from the way in which Wassily Kandinsky organizes the look.
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#94
American Gothic
In 1930, "American Gothic" included Grant Wood in the chronology at a time when modern painting pushed the autonomy of form, space and gesture further. In "American Gothic", Grant Wood transforms a recognizable motif into a viewing experience; details delay reading just enough to make it interesting; the contrast maintains a clear decorative tension. For Grant Wood's "American Gothic", the gaze finds a specific reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Grant Wood's "American Gothic", the gaze finds a specific reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Grant Wood's "American Gothic", the gaze finds a specific reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Grant Wood's "American Gothic", the gaze finds a specific reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Grant Wood's "American Gothic", the gaze finds a specific reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Grant Wood's "American Gothic", the gaze finds a specific reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Grant Wood's "American Gothic", the gaze finds a specific reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little decorative variant. In "American Gothic", the figure, place or action retain enough precision so that the color never floats without subject. Grant Wood's "American Gothic" thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#95
Ad Parnassum
In 1932, "Ad Parnassum" included Paul Klee in the chronology at a time when modern painting pushed further the autonomy of form, space and gesture. In "Ad Parnassum", Paul Klee moves a concrete subject towards a more ambiguous image; the framing tightens what really deserves attention; the motif maintains a clear decorative tension. "Ad Parnassum" is kept at the Museum of Fine Arts. For "Ad Parnassum" by Paul Klee, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed looks. In Paul Klee's "Ad Parnassum", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In Paul Klee's "Ad Parnassum", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In Paul Klee's "Ad Parnassum", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In Paul Klee's "Ad Parnassum", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In Paul Klee's "Ad Parnassum", on the scale of the impression of a simple decorative variant. The interest of "Ad Parnassum" at Paul Klee lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#96
The Electricity Fairy
In 1937, "La Fée Électrcité" included Raoul Dufy in the chronology at a time when modern painting pushed the autonomy of form, space and gesture further. In "La Fée Électrcité", Raoul Dufy transforms the pose or gesture into true architecture; color then adjusts the temperature of the whole; the composition maintains a clear decorative tension. For "La Fée Électrcité" by Raoul Dufy, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. For "La Fée Électrcité" by Raoul Dufy, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "La Fée Électrcité" by Raoul Dufy, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "La Fée Électrcité" by Raoul Dufy, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "La Fée Électrcité" by Raoul Dufy, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "La Fée Électrcité" by Raoul Dufy, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and more. In "The Electricity Fairy", the variation really shifts the gaze instead of repeating a formula in new clothes. The interest of "The Electricity Fairy" by Raoul Dufy lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#97
Nighthawks
In 1942, "Nighthawks" included Edward Hopper in the chronology at a time when modern painting pushed the autonomy of form, space and gesture further. In "Nighthawks", Edward Hopper establishes a discreet tension at first glance; the color then adjusts the temperature of the whole; the line organizes the details without stifling them. For "Nighthawks" by Edward Hopper, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much looking. In Edward Hopper's "Nighthawks", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much looking. In Edward Hopper's "Nighthawks", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In Edward Hopper's "Nighthawks", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much looking. In Edward Hopper's "Nighthawks", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In Edward Hopper's "Nighthawks", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances In "Nighthawks", Edward Hopper gives him another speed of gaze: less immediate effect, more hold. We can love "Nighthawks" for its calm or its brilliance, but its outfit comes mainly from the way in which Edward Hopper organizes the gaze.
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#98
Broadway Boogie Woogie
In 1943, "Broadway Boogie Woogie" included Piet Mondrian in the chronology at a time when modern painting pushed the autonomy of form, space and gesture further. In "Broadway Boogie Woogie", Piet Mondrian organizes the motif without reducing it to a pretext; the masses give the composition its internal rhythm; color organizes details without stifling them. For "Broadway Boogie Woogie" by Piet Mondrian, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Broadway Boogie Woogie" by Piet Mondrian, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Broadway Boogie Woogie" by Piet Mondrian, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Broadway Boogie Woogie" by Piet Mondrian, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Broadway Boogie Woogie" by Piet Mondrian, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Broadway Boogie Woog light deserves better than a hurried flyover. In "Broadway Boogie Woogie", the pattern retains a precise identity instead of dissolving into an interchangeable atmosphere. Piet Mondrian's "Broadway Boogie Woogie" has its own mood; the canvas breathes, but it did not come just to open the window.
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#99
The Broken Column
In 1944, "The Broken Column" included Frida Kahlo in the chronology at a time when modern painting pushed the autonomy of form, space and gesture further. In "The Broken Column", Frida Kahlo puts the subject to the test of a very personal framing; the contrast organizes the scene even before we read the details; the rhythm organizes the details without stifling them. "The Broken Column" is dated 1944; it measures 40 x 30.7 cm; it is kept at the Dolores-Olmedo museum. For "The Broken Column" is dated 1944; it measures 40 x 30.7 cm; it is kept at the Dolores-Olmedo museum. For "The Broken Column" by Frida Kahlo, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed looks. In "The Broken Column" by Frida Kahlo, here the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "The Broken Column" in Frida Kahlo lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#100
Convergence
In 1952, "Convergence" included Jackson Pollock in the chronology at a time when modern painting pushed the autonomy of form, space and gesture further. In "Convergence", Jackson Pollock organizes the motif without reducing it to a pretext; the contours alternate precision and freedom with beautiful aplomb; the framing organizes the details without stifling them. Now kept at the Albright-Knox Art Gallery, "Convergence" is dated 1952 and measures 93.5 x 155 cm. For Jackson Pollock's "Convergence", "Convergence" is dated 1952 and measures 93.5 x 155 cm. For Jackson Pollock's "Convergence", "Convergence" is dated 1952 and measures 93.5 x 155 cm. For Jackson Pollock's "Convergence", the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In Jackson's "Convergence" Pollock, the subject specifies the tone, then the light and the composition give the real reason to stay in front of the work. Jackson Pollock's "Convergence" has its own mood; the canvas breathes, but it did not come just to open the window.
Discover →What the frieze reveals
One hundred dates, three long-term transformations
The history of painting does not progress by properly replacing one style with the next. Inventions return, migrate and change function: Caravaggio light nourishes cinema, Delacroix's color works with moderns, and the resurgent space remains present even in works that claim to abolish it.
The subject descends into the present
Saints and rulers gradually give way to workers, cafes, train stations, cities and personal experience.
The surface gains its autonomy
From the visible touch to the flat then to abstraction, the canvas gradually ceases to hide the fact that it is an organized material.
Art centers are moving
Italy, Flanders, Spain, France, Russia and the United States show a history of circulation rather than an eternal capital.
Six centuries in five thresholds
Five dates to keep the compass
In Padua, the figures of the Scrovegni chapel share a space and emotions whose intensity announces a new Western painting.
The precision of the oil, the light and the ambition of the Flemish polyptych redefine what a painted surface can contain.
The chiaroscuro, popular models and gestures captured in the moment bring the viewer into the heart of the action.
The port of Le Havre became an experience of light whose title would soon give its name to impressionism.
Painting claims the possibility of existing without representing an object and transforms a minimal form into a radical beginning.
The in-depth timeline
How to read a history of painting in 100 dates?
A date sets a benchmark, but a work may have been prepared, reprinted or completed over several years. We retain here the reference year most commonly associated with painting or its completion, in order to construct a frieze without duplicates.
The journey begins with Giotto, when the sacred figures gain a more physical space and emotion. It then follows the rise of Flemish oil, the Italian perspective, the humanist portrait and the great settings of the Renaissance.
The 17th century transformed light into dramaturgy. Caravaggio, Rubens, Velazquez, Rembrandt and Vermeer bring the viewer closer to the action, power, intimacy or uncertainty of the visible.
In the 19th century, revolution, industry, work and modern leisure shook up subjects. Romantics, realists and impressionists do not form a peaceful march: their solutions overlap, clash and circulate between countries.
Finally, from Gauguin to Pollock, color and surface take on increasing autonomy. Abstraction does not erase the previous story; it reuses its rhythms, its contrasts and its monumental ambition differently.
Four wires to connect dates
Read the weather other than through cartels
Space, light, subject and material make it possible to follow transformations without reducing each work to its year. The date sets a benchmark; the table explains why this benchmark deserves to stay.
Observe the depth
Perspective, framing, superimposed planes or flat surface indicate the way in which each era organizes the visible.
Identify its function
It can reveal the divine, shape a body, record an hour or become a standalone color.
Look who is entering the image
Sponsors, heroes, anonymous people, workers and artists themselves tell the story of the social expansion of painting.
Follow the hand
Glaze, impasto, divided touch, flatness and dripping gradually make the painter's gesture more visible.
Verifiable chronological atlas
Continue after 1952
Museum notices, catalogs raisonnés, institutional chronologies, Wikipedia and Wikidata allow you to check dates, versions and collections. A frieze benefits from remaining readable; it benefits even more from remaining accurate.
In Alpha Reproduction
01Jan van EyckThe masters of 100 paintings in 100 dates: the great chronology of painting02Leonardo da VinciThe masters of 100 paintings in 100 dates: the great chronology of painting03Sandro BotticelliThe masters of 100 paintings in 100 dates: the great chronology of painting04GiorgioneThe masters of 100 paintings in 100 dates: the great chronology of painting05Matthias GrünewaldThe masters of 100 paintings in 100 dates: the great chronology of painting06Raphael SanzioThe masters of 100 paintings in 100 dates: the great chronology of painting07Albrecht DurerThe masters of 100 paintings in 100 dates: the great chronology of painting08Hans Holbein the YoungerThe masters of 100 paintings in 100 dates: the great chronology of painting09MichelangeloThe masters of 100 paintings in 100 dates: the great chronology of painting10Paul VeroneseThe masters of 100 paintings in 100 dates: the great chronology of painting11All reproductions of paintingsCollections & guidesMuseums and references
01Wikipedia - art and context for Art HistoryMuseum & reference02Wikidata - visual arts for Art HistoryMuseum & reference03Wikimedia Commons - art for Art HistoryMuseum & reference04The Met - Heilbrunn Timeline of Art HistoryMuseum & reference05Tate - Art termsMuseum & reference06Musée d'Orsay - collectionsMuseum & referenceFrequently asked questions
The timeline without misleading shortcuts
The essential answers to understanding the choice of dates, works produced over several years, overlapping styles and inevitable absences.
What is a painting 100 paintings in 100 dates: the great chronology of famous painting?
It is a work recognized for its historical importance, its visual force, its influence or its lasting presence in artistic culture.
Why 100 paintings in 100 dates: does the great chronology of painting mark the history of art so much?
Because this theme concentrates strong visual choices: composition, light, subject, style and this rare ability to remain in memory without politely asking permission.
How to read a famous painting without jargon?
Start with what is obvious: the light, the movement, the colors, the looks. The scholarly vocabulary can wait two minutes, it will not escape.
Why do some paintings seem more alive than others?
Often because the artist lets the scene breathe: a diagonal, a contrast, a visible touch, an almost discreet detail. Painting sometimes works better when it doesn't put everything in capital letters.
How to choose a work for a piece?
Look at the artist, the format, the palette and the general atmosphere. The right painting is often the one that makes you want to reorganize the living room around it.
Should you always choose the most famous painting?
Not necessarily. Masterpieces are reassuring, but a less anticipated work can sometimes better match a room, a color, or your Tuesday mood.
How to extend the discovery?
Compare the artists, look at the light variations, then return to the painting that remains in your mind. He is often the one who won, even if he didn't sign anything.
Can a painting really change a room?
Yes, sometimes faster than a piece of furniture. A strong image imposes a rhythm, a dominant color, a mood. The wall says nothing, but he knows very well when he has just received company.
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