Top 100 - The 100 most famous pastels
The 100 most famous pastels
From Rosalba Carriera to Degas, Redon, Cassatt, Schiele and Bellows: a hundred works to understand the light, speed and fragility of pastel
This classification brings together one hundred works by 51 artists, authenticated by the notices of the Musée d'Orsay, the Louvre, the National Gallery in London, the Gemäldegalerie Alte Meister in Dresden, the Art Institute of Chicago and the National Gallery of Art from Washington.
One hundred works to understand pastel
When color directly touches the paper
The word pastel first designates a material: a pigment reduced to powder, mixed with a small quantity of binder then shaped into a stick. Applied directly, it does not pass through the wet palette or the brush. This proximity between the hand, the color and the support explains the freshness of the line, but also the extreme vulnerability of the surface.
Pastel unites drawing and painting: it maintains the precision of the line while constructing the light with a colored material deposited on the support.Switch to images
Classification in images
Carriera, Degas, Redon, Manet, Cassatt, Renoir, La Tour, Liotard and Perronneau open the route with the strongest images of the medium.
#1
L'Etoile (Dancer on stage)
"The Star (Dancer on Stage)" by Edgar Degas, dated around 1876-1877. The official notice describes the technique as "pastel on one-design" and gives the format 58.4 × 42 cm. The presence of the one-design under the colored powder adds a dark and unpredictable matrix: the pastel corrects, illuminates or contradicts this first imprint. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these deviations explain the light specific to the work much better than a simple soft-colored label. The reference collection is Musée d'Orsay, Paris; the identifier RF 12258 and the Musée d'Orsay notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#2
The Tub
"The Tub" by Edgar Degas, dated 1886. The official notice describes the technique as "pastel on cardboard" and gives the format 60 × 83 cm. Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft colored label. The reference collection is Musée d'Orsay, Paris; the identifier RF 4046 and the Musée d'Orsay notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#3
Full-length portrait of the Marquise de Pompadour
"Foot portrait of the Marquise de Pompadour" by Maurice-Quentin de La Tour, dated 1752-1755. The official notice describes the technique as "pastel and gouache highlights on blue paper mounted on canvas" and gives the format 177.5 × 131 cm. Gouache provides opaque areas; pastel retains its velvety and dry transitions around them, creating a deliberately heterogeneous surface. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is the Louvre Museum, Paris; the identifier INV 27614 and the Louvre Museum notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#4
La Belle Chocolatière
"La Belle Chocolatière" by Jean-Étienne Liotard, dated around 1744. The official notice describes the technique as "parchment pastel" and gives the format 82.5 × 52.5 cm. Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is Gemäldegalerie Alte Meister, Dresden; the identifier Gal.-Nr. P 161 and the instructions by Staatliche Kunstsammlungen Dresden make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#5
Self-portrait with glasses
"Self-portrait with bésicles" by Jean Siméon Chardin, dated 1771. The official notice describes the technique as "pastel on gray-blue paper glued to a canvas frame" and gives the format 46.4 × 37.7 cm. Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is the Louvre Museum, Paris; the identifier INV 25206 and the Louvre Museum notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#6
After the Bath: Woman Drying Herself
"After the Bath: Woman Drying Herself" by Edgar Degas, dated c. 1900. The official notice describes the technique as "charcoal and pastel on tracing paper" and gives the sheet format: 78.11 × 37.15 cm (30 3/4 × 14 5/8 in.). Charcoal establishes the framework, while pastel covers it in places or lets it appear in order to maintain the tension between line and mass. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 219319 and the notice from National Gallery of Art allows you to check the title, dating, medium, dimensions, provenance and image.
View product →
#7
Portrait of Irma Brunner
"Portrait of Irma Brunner" by Édouard Manet, dated around 1880. The official notice describes the technique as "pastel on canvas and frame" and gives the format 53.5 × 44.1 cm. Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft colored label. The reference collection is Musée d'Orsay, Paris; the identifier RF 4101 and the Musée d'Orsay notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#8
Allegory of Painting
"Allegory of Painting" by Rosalba Carriera, dated 1730s. The official notice describes the technique as "pastel and red chalk on blue laid paper mounted on canvas (on strainer)" and gives the overall format: 44.3 × 34.1 cm (17 7/16 × 13 7/16 in.). Chalk shares a direct application with pastel: their grains and their different densities make it possible to alternate precision of the drawing and colored saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; Identifier 277 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#9
Dancers at the Old Opera House
"Dancers at the Old Opera House" by Edgar Degas, dated c. 1877. The official notice describes the technique as "pastel over monotype on ugly paper" and gives the overall format: 21.8 x 17.1 cm (8 9/16 x 6 3/4 in.) framed: 35.5 x 31.1 x 3.8 cm (14 x 12 1/4 x 1 1/2 in.). The presence of the monotype under the colored powder adds a dark and unpredictable matrix: the pastel corrects, illuminates or contradicts this first imprint. Pastel forces you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; identifier 52170 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#10
Ballet Dancers
"Ballet Dancers" by Edgar Degas, dated c. 1877. The official notice describes the technique as "pastel and gouache over monotype" and gives the format Overall: 29.7 x 26.9 cm (11 11/16 x 10 9/16 in.) framed: 46.6 x 43.5 x 6.3 cm (18 3/8 x 17 1/8 x 2 1/2 in.). The presence of the monotype under the colored powder adds a dark and unpredictable matrix: the pastel corrects, illuminates or contradicts this first imprint. Pastel forces you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; identifier 52171 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#11
Ophelia among the flowers
"Ophélie among the flowers" by Odilon Redon, dated around 1905-1908. The official notice describes the technique as "pastel on paper" and gives the format 64 × 91 cm. Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery, London; the identifier NG6438 and the National Gallery notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#12
Wildflowers
"Wildflowers" by Odilon Redon, dated c. 1905. The official notice describes the technique as "pastel on brown wool paper coated with sawdust" and gives the overall format: 64.1 x 50 cm (25 1/4 x 19 11/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; identifier 46299 and the National notice Gallery of Art allows you to check the title, dating, medium, dimensions, provenance and image.
View product →
#13
The Black Hat
"The Black Hat" by Mary Cassatt, dated c. 1890. The official notice describes the technique as "pastel on tan wool paper" and gives the overall format: 61 x 45.5 cm (24 x 17 15/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; the identifier 66479 and the National Gallery of Art notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#14
Young Woman Dressing Herself
"Young Woman Dressing Herself" by Edgar Degas, dated 1885. The official notice describes the technique as "pastel over charcoal on tan wool (?) paper mounted on board" and gives the overall format: 80.1 x 51.2 cm (31 9/16 x 20 3/16 in.) framed: 94.6 x 66 x 5.7 cm (37 1/4 x 26 x 2 1/4 in.). Charcoal establishes the framework, while pastel covers it in places or lets it appear in order to maintain the tension between line and mass. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft colored label. The reference collection is National Gallery of Art, Washington; identifier 53127 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#15
Mrs. Michel-Lévy
"Madame Michel-Lévy" by Edouard Manet, dated 1882. The official notice describes the technique as "pastel on canvas" and gives the overall format: 74.2 x 51 cm (29 3/16 x 20 1/16 in.) framed: 98.4 x 74.3 cm (38 3/4 x 29 1/4 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; the identifier 46636 and the notice from National Gallery of Art allows you to check the title, dating, medium, dimensions, provenance and image.
View product →
#16
After bathing, naked woman wiping her neck
"After the bath, naked woman wiping the back of her neck" by Edgar Degas, dated 1898. The official notice describes the technique as "pastel on fine vellum paper glued to cardboard" and gives the format 62.2 × 65 cm. Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft colored label. The reference collection is Musée d'Orsay, Paris; the identifier RF 4044 and the Musée d'Orsay notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#17
Pansies
"Pansies" by Odilon Redon, dated c. 1905. The official notice describes the technique as "pastel on brown paper" and gives the overall format: 55.7 x 47.1 cm (21 15/16 x 18 9/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; the identifier 46301 and the National Gallery of Art notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#18
Ophelia
"Ophélie" by Odilon Redon, dated 1906. The official notice describes the technique as "pastel on blue-gray vellum paper" and gives the format 63.5 × 44.3 cm. Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is Art Institute of Chicago, Chicago; the identifier 1973.512 and the instructions from Art Institute of Chicago make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#19
Waterloo Bridge
"Waterloo Bridge" by Claude Monet, dated 1901. The official notice describes the technique as "pastel on blue wool paper" and gives the overall format: 31.1 x 50.2 cm (12 1/4 x 19 3/4 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; the identifier 142268 and the National Gallery of Art notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#20
Calling Home the Cows
"Calling Home the Cows" by Jean-François Millet, dated c. 1866. The official notice describes the technique as "pastel and conté pencil on wove paper" and gives the Unframed format: 22 x 16 1/4 in. (55.9 x 41.3 cm). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; the identifier 168820 and the instructions for National Gallery of Art allows you to check the title, dating, medium, dimensions, provenance and image.
View product →Carriera, Perronneau, Copley, Labille-Guiard, Greuze, Rotari, Hamilton and Russell make pastel an art of courtship, intimacy and character.
#21
Claude Dupouch
In row 21, "Claude Dupouch" by Maurice-Quentin de La Tour, dated c. 1739, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on blue laid paper mounted on canvas (on stretch/strainer)" and gives the overall format: 59.4 x 49.4 cm (23 3/8 x 19 7/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 46175 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#22
An Elegant Young Woman in Maltese Costume
In rank 22, "An Elegant Young Woman in Maltese Costume" by Jean-Étienne Liotard, dated c. 1744, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel with touches of white gouache on parchment (stretched around wood)" and gives the overall format: 82.9 x 53.8 cm (32 5/8 x 21 3/16 in.). Gouache provides opaque areas; pastel preserves its velvety and dry transitions around them, creating a deliberately heterogeneous surface. THE pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 125692 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#23
A Young Lady in a Yellow Gown with Blue Ribbons
In rank 23, "A Young Lady in a Yellow Gown with Blue Ribbons" by Jean-Baptiste Perronneau, dated c. 1767, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on blue laid paper mounted to canvas" and gives the overall format: 61.4 x 50.5 cm (24 3/16 x 19 7/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 69464 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#24
Sir John Reade, Baronet
In rank 24, "Sir John Reade, Baronet" by Rosalba Carriera, dated 1739, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of pastel portraiture, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on blue laid paper mounted to canvas (on strainer)" and gives the overall format: 58 x 46 cm (22 13/16 x 18 1/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the faded passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 207 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#25
Portrait of a Man
In row 25, "Portrait of a Man" by Jean-Baptiste Perronneau, dated c. 1757, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on blue laid paper, mounted on canvas (on strainer/stretcher)" and gives the overall format: 55.4 x 45.5 cm (21 13/16 x 17 15/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 73847 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#26
A Fashionable Noblewoman Wearing a Plumed Hat
At rank 26, "A Fashionable Noblewoman Wearing a Plumed Hat" by Adélaïde Labille-Guiard, dated c. 1789, belongs to the chapter "the large pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on blue laid paper mounted on canvas (on strainer/stretcher)" and gives the overall (oval) format: 55 x 46 cm (21 5/8 x 18 1/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 110338 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#27
The Well-Loved Mother
In row 27, "The Well-Loved Mother" by Jean-Baptiste Greuze, dated 1765, belongs to the chapter "the large pastel portrait". The second chapter follows the great age of pastel portraiture, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel with colored chalks and stumping on light golden-brown ugly paper" and gives the overall format: 44 x 32.2 cm (17 5/16 x 12 11/16 in.). Chalk shares a direct application with pastel: their grains and their different densities allow the drawing to be alternated between precision and colorful saturation. Pastel requires look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 111508 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#28
An Elegant Young Lady with a Lace Cap
In rank 28, "An Elegant Young Lady with a Lace Cap" by Pietro Rotari, dated 1750/1756, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of pastel portraiture, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on beige prepared canvas (on a strainer)" and gives the sheet format: 46.8 × 36.1 cm (18 7/16 × 14 3/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the passages blurred and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 204150 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#29
John Temple
In row 29, "John Temple" by John Singleton Copley, dated 1765, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on tan laid paper mounted on canvas (on strainer)" and gives the overall format: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 128433 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#30
Charlotte, Lady Watkin Williams-Wynn
At rank 30, "Charlotte, Lady Watkin Williams-Wynn" by Daniel Gardner, dated c. 1775, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel with graphite and gouache on ugly paper prepared with white ground" and gives the sheet format: 27.9 × 22.2 cm (11 × 8 3/4 in.). Gouache provides opaque areas; pastel retains its velvety and dry transitions around them, creating a deliberately heterogeneous surface. Pastel forces you to look the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 208482 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#31
The Yorke Family
In row 31, "The Yorke Family" by Daniel Gardner, dated c. 1775, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "gouache, pastel paste, and pastel with graphite and possibly black chalk on prepared paper mounted to canvas (on a wooden stretcher)" and gives the sheet format: 92 × 70.4 cm (36 1/4 × 27 11/16 in.). The gouache provides opaque areas; pastel retains its velvety and dry transitions around them, creating a surface deliberately heterogeneous. Pastel requires us to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 219698 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#32
Frederick North, Later Fifth Earl of Guilford, in Rome
In rank 32, "Frederick North, Later Fifth Earl of Guilford, in Rome" by Hugh Douglas Hamilton, dated 1790, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of pastel portraiture, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel and gouache (?) with touches of graphite on paper mounted to canvas (on strainer/stretcher)" and gives the overall format: 95 x 68 cm (37 3/8 x 26 3/4 in.). Gouache provides opaque areas; pastel retains its velvety and dry transitions around them, creating a surface deliberately heterogeneous. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 72868 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#33
Lady Holland (Lady Mary Fitzpatrick)
At rank 33, "Lady Holland (Lady Mary Fitzpatrick)" by Hugh Douglas Hamilton, dated c. 1770, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel with touches of graphite on ugly paper" and gives the overall (oval) format: 25 x 20 cm (9 13/16 x 7 7/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the passages blurred and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 75769 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#34
Mary Wood
In rank 34, "Mary Wood" by John Russell, dated 1794, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on paper laid down on canvas" and gives the overall (oval) format: 60.5 x 45 cm (23 13/16 x 17 11/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the blurred passages and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 83670 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#35
Self-Portrait
In rank 35, "Self-Portrait" by Claude Hoin, dated c. 1780, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "red and black chalks, and pastel with stumping on gray-brown ugly paper" and gives the overall format: 51 x 37.5 cm (20 1/16 x 14 3/4 in.). Chalk shares a direct application with pastel: their grains and their different densities allow you to alternate drawing precision and colored saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 75865 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#36
Head and Bust of a Woman
In row 36, "Head and Bust of a Woman" by Sir Joshua Reynolds, dated, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "charcoal with pastel on ugly paper" and gives the overall format (approximate): 30.6 x 23.7 cm (12 1/16 x 9 5/16 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires looking at the grain of the support, the pressure of the stick, the faded passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft color label. The reference collection is National Gallery of Art, Washington; the identifier 33245 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#37
An Elderly Woman in a Striped Shawl
In rank 37, "An Elderly Woman in a Striped Shawl" by Giuseppe Nogari, dated c. 1743, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel and watercolor on two joined sheets of blue paper, mounted on white paper and on original strainer" and gives the sight size format: 51.5 × 40.5 cm (20 1/4 × 15 15/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few highlights secondary. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 65570 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#38
An Elderly Lady in a Mauve Silk Dress
In rank 38, "An Elderly Lady in a Mauve Silk Dress" by Claude Bornet, dated 1767, belongs to the chapter "the large pastel portrait". The second chapter follows the great age of pastel portraiture, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on ugly paper" and gives the overall (oval) format: 61.4 x 51.2 cm (24 3/16 x 20 3/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 112852 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#39
Caroline Rémy ("Séverine")
In row 39, "Caroline Rémy ("Séverine")" by Auguste Renoir, dated c. 1885, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel on paper" and gives the Overall format: 62.3 x 50.8 cm (24 1/2 x 20 in.) framed: 86.3 x 76.2 cm (34 x 30 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the passages blurred and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 46683 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#40
Sara Wearing a Bonnet and Coat
At rank 40, "Sara Wearing a Bonnet and Coat" by Mary Cassatt, dated c. 1904/1906, belongs to the chapter "the great pastel portrait". The second chapter follows the great age of the pastel portrait, when colored papers, powdery skin tones, fabrics and looks give the model a presence that is both official and close. The official notice describes the technique as "pastel over pastel counterproof on china glued" and gives the sheet format: 72.87 × 58.1 cm (28 11/16 × 22 7/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure from the stick, the passages blurred and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 57658 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →Degas, Whistler, Forain, Renoir, Bellows, Chase and Gauguin use pastel to capture scene, body, movement and urban experience.
#41
Café-Concert
In row 41, "Café-Concert" by Edgar Degas, dated 1876/1877, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries make pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from repeated layers without losing the energy of the drawing. The official notice describes the technique as "pastel over monotype and charcoal (in sticks of fan) on tan ugly paper and board" and gives the current format: 9 1/4 x 17 in. (23.5 x 43.2 cm) framed: 16 1/8 x 24 in. (41 x 61 cm). The presence of the monotype under the colored powder adds a dark and unpredictable matrix: pastel corrects, illuminates or contradicts this first imprint. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 126927 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#42
Three Dancers Resting
At rank 42, "Three Dancers Resting" by Edgar Degas, dated c. 1880, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "black chalk and pastel on tan wool paper" and gives the overall format: 47 x 61.9 cm (18 1/2 x 24 3/8 in.). Chalk shares a direct application with pastel: their grains and their different densities allow you to alternate drawing precision and colored saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 66488 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#43
The Ballet
At rank 43, "The Ballet" by Edgar Degas, dated c. 1880, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from repeated layers without losing the energy of the drawing. The official notice describes the technique as "pastel on light tan paper mounted on board" and gives the framed format: 20 x 17 in. (50.8 x 43.2 cm) sheet: 12 3/4 x 10 in. (32.4 x 25.4 cm). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 165301 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#44
Two Women
In rank 44, "Two Women" by Edgar Degas, dated c. 1878/1880, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "pastel over watercolor and charcoal on tan ugly paper, mounted to board" and gives the overall format: 29.21 × 44.45 cm (11 1/2 × 17 1/2 in.) framed: 47.63 × 63.5 × 6.35 cm (18 3/4 × 25 × 2 1/2 in.) framed: 47.63 × 63.5 × 6.35 cm (18 3/4 × 25 × 2 1/2 in.) framed: 47.63 × 63.5 × 6.35 cm (18 3/4 × 25 × 2 1/2 in.) framed: 47.63 × 63.5 × 6.35 cm (18 3/4 × 25 × 2 1/2 in.) framed: 47.63 × 63.5 × 6.35 cm (18 3/4 × 25 × 2 1/2 in. tension between line and mass. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 168819 and the National Gallery of Art notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#45
Mrs Dietz-Monnin
At rank 45, "Madame Dietz-Monnin" by Edgar Degas, dated 1879, belongs to the chapter "Degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from repeated layers without losing the energy of the drawing. The official notice describes the technique as "pastel on paper" and gives the Overall format: 60 x 45.1 cm (23 5/8 x 17 3/4 in.) framed: 79.4 x 64.7 x 8.8 cm (31 1/4 x 25 1/2 x 37/16 in.). The official notice describes the technique as "pastel on paper" and gives the Overall format: 60 x 45.1 cm (23 5/8 x 17 3/4 in.) framed: 79.4 x 64.7 x 8.8 cm (31 1/4 x 25 1/2 x 37/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 39742 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#46
Jockey
At rank 46, "Jockey" by Edgar Degas, dated c. 1898, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "washed pastel and transferred pastel" and gives the overall format: 27.9 x 21 cm (11 x 8 1/4 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the passages faded and accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 45976 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#47
Ballet Scene
At rank 47, "Ballet Scene" by Edgar Degas, dated c. 1907, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries make pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "pastel on greenish transparent tracing paper" and gives the overall format: 76.8 x 111.2 cm (30 1/4 x 43 3/4 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the blurred passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 46491 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#48
Horse
In rank 48, "Horse" by Edgar Degas, dated c. 1890, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "chalk and pastel counterproof on wool paper" and gives the sheet format: 35.3 x 53.9 cm (13 7/8 x 21 1/4 in.). Chalk shares a direct application with pastel: their grains and their different densities allow the precision of the drawing to be alternated with color saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the passages blurred and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 66580 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#49
Hortense Valpinçon
At rank 49, "Hortense Valpinçon" by Edgar Degas, dated 1883, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from repeated layers without losing the energy of the drawing. The official notice describes the technique as "pastel and graphite on wool paper; laid down" and gives the sheet format: 22.3 x 16 cm (8 3/4 x 6 5/16 in.) support: 28.9 x 22.4 cm (11 3/8 x 8 13/16 in.) support: 28.9 x 22.4 cm (11 3/8 x 8 13/16 in.) support: 28.9 x 22.4 cm (11 3/8 x 8 13/16 in.). support: 28.9 x 22.4 cm (11 3/8 x 8 13/16 in.). support: 28.9 x 22.4 cm (11 3/8 x 8 13/16 in.). support: 28.9 x 22.4 cm (11 3/8 x 8 13/16 in.). support: 28.9 x 22.4 cm (11 3/8 x 8 13/16 in.). look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 93011 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#50
Fallen Jockey (study for "Scene from the Steeplechase: The Fallen Jockey")
At rank 50, "Fallen Jockey (study for "Scene from the Steeplechase: The Fallen Jockey")" by Edgar Degas, dated c. 1866, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "black chalk and pastel on brown wool paper" and gives the overall format: 26.6 x 35.2 cm (10 1/2 x 13 7/8 in.). Chalk shares a direct application with pastel: their grains and their different densities allow the precision of the drawing to be alternated and colorful saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 94905 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#51
Two Studies of a Jockey
At rank 51, "Two Studies of a Jockey" by Edgar Degas, dated c. 1884, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "black chalk, charcoal, and pastel on brown ugly paper" and gives the overall format: 47 x 62.2 cm (18 1/2 x 24 1/2 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 102496 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#52
The Curtain
At rank 52, "The Curtain" by Edgar Degas, dated c. 1880, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "pastel over charcoal and monotype on ugly paper mounted on board" and gives the sheet format: 29 x 33.3 cm (11 7/16 x 13 1/8 in.). The presence of the monotype under the colored powder adds a dark and unpredictable matrix: pastel over charcoal and monotype on ugly paper mounted on board" and gives the sheet format: 29 x 33.3 cm (11 7/16 x 13 1/8 in.). The presence of the monotype under the colored powder adds a dark and unpredictable matrix: pastel over charcoal and monotype on ugly paper mounted on board" and gives the sheet format: 29 x 33.3 cm (11 7/16 x 13 1/8 in.). The official notice describes the technique as "pastel over charcoal and monotype on ugly paper mounted on board" and gives the sheet format: 29 x 33.3 cm (11 7/16 x 13 1/8 in.). The official notice describes the technique as "pastel over charcoal and monotype on ugly paper mounted on board" and gives the sheet format: 29 x 33.3 cm (1 support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 136026 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#53
Dancer Seen from Behind and Three Studies of Feet
At rank 53, "Dancer Seen from Behind and Three Studies of Feet" by Edgar Degas, dated c. 1878, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "black chalk and pastel on blue-gray ugly paper" and gives the overall format: 45.6 x 59.8 cm (17 15/16 x 23 9/16 in.). Chalk shares a direct application with pastel: their grains and their different densities allow the precision of the drawing to be alternated with color saturation. THE pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 32137 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →![Standing Female Nude Holding a Bowl [front], James McNeill Whistler, 1868/1873 - pastel, National Gallery of Art](https://cdn.shopify.com/s/files/1/0549/9656/6169/files/default_1a05b102-7fc3-4d7d-9dbb-0c7ec0d43a31.jpg?v=1784357105)
#54
Standing Female Nude Holding a Bowl [front]
At rank 54, "Standing Female Nude Holding a Bowl [front]" by James McNeill Whistler, dated 1868/1873, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "graphite, colored chalk and pastel on brown paper" and gives the sheet format (irregular shape): 23.3 × 13.4 cm (9 3/16 × 5 1/4 in.). Chalk shares a direct application with pastel: their grains and their different densities allow the precision of the drawing to be alternated and colorful saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 11302 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →![Nude Leaning on a Rail [front], James McNeill Whistler, 1871/1874 - pastel, National Gallery of Art](https://cdn.shopify.com/s/files/1/0549/9656/6169/files/default_a73e840b-55ee-4974-adfe-b126658cf7c1.jpg?v=1784357106)
#55
Nude Leaning on a Rail [front]
At rank 55, "Nude Leaning on a Rail [front]" by James McNeill Whistler, dated 1871/1874, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "chalk and pastel on brown wool paper" and gives the sheet format: 27.4 × 18.4 cm (10 13/16 × 7 1/4 in.). Chalk shares a direct application with pastel: their grains and their different densities allow the precision of the drawing to be alternated with color saturation. Pastel requires look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 11305 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#56
Seated Woman with Red Hair
At rank 56, "Seated Woman with Red Hair" by James McNeill Whistler, dated 1870/1873, belongs to the chapter "Degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "pastel and chalk on brown paper" and gives the sheet format: 26.3 × 18.2 cm (10 3/8 × 7 3/16 in.). Chalk shares a direct application with pastel: their grains and their different densities allow you to alternate drawing precision and colored saturation. Pastel requires you to look at it grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 11307 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#57
Harper Pennington
At rank 57, "Harper Pennington" by James McNeill Whistler, dated 1880/1882, belongs to the chapter "Degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from layers taken up without losing the energy of the drawing. The official notice describes the technique as "chalk and pastel on brown wool paper" and gives the sheet format: 21.4 × 13.7 cm (8 7/16 × 5 3/8 in.). Chalk shares a direct application with pastel: their grains and their different densities allow you to alternate drawing precision and colored saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 11311 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#58
The Palace; white and pink
At rank 58, "The Palace; white and pink" by James McNeill Whistler, dated 1879/1880, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from repeated layers without losing the energy of the drawing. The official notice describes the technique as "pastel and conté pencil on brown wool paper" and gives the sheet format: 19.7 × 30 cm (7 3/4 × 11 13/16 in.) framed: 42.23 × 52.39 × 5.4 cm (16 5/8 × 20 5/8 × 21 13/16 in.) framed: 42.23 × 52.39 × 5.4 cm (16 5/8 × 20 5/8 × 21 3/13/16 in.) framed: 42.23 × 52.39 × 5.4 cm (16 5/8 × 20 5/8 × 21 3/13/16 in.) framed: 42.23 × 52.39 × 5.4 cm (16 5/8 × 20 5/8 × 21 3/13/16 in.) framed: 42 secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 158809 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#59
The Church of San Giorgio Maggiore
At rank 59, "The Church of San Giorgio Maggiore" by James McNeill Whistler, dated 1880, belongs to the chapter "Degas and modern life". The third chapter shows how Degas and his contemporaries made pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from repeated layers without losing the energy of the drawing. The official notice describes the technique as "pastel and conté pencil on brown wool paper" and gives the sheet format: 20 × 29.69 cm (7 7/8 × 11 11/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 168823 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#60
Sketch of a Woman
At rank 60, "Sketch of a Woman" by Jean-Louis Forain, dated 1885/1890, belongs to the chapter "degas and modern life". The third chapter shows how Degas and his contemporaries make pastel a tool of speed: repetition, spectacle, nude, jockey, street and movement are born from repeated layers without losing the energy of the drawing. The official notice describes the technique as "pastel on canvas" and gives the overall format: 61.1 x 49.8 cm (24 1/16 x 19 5/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 3238 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →Monet, Boudin, Pissarro, Gauguin, Millet, Huet, Corinth and Chase show that pastel can contain sea, sky, light and season.
#61
Saint George and the Dragon
In rank 61, "Saint George and the Dragon" by Odilon Redon, dated 1880s and c. 1892, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "charcoal and pastel on tan wool paper" and gives the overall format: 53.7 x 37.5 cm (21 1/8 x 14 3/4 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires you to look at the grain of the support, the pressure of the stick, the passages faded and accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 111296 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#62
Léon Fayet (?)
In row 62, "Léon Fayet (?)" by Odilon Redon, dated 1910, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel and charcoal(?) on green prepared wool paper" and gives the overall format: 49.2 x 37.9 cm (19 3/8 x 14 15/16 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires looking at the grain of the support, the pressure of the stick, the faded passages and accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 93070 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#63
Clouds over the Sea
At rank 63, "Clouds over the Sea" by Eugène Boudin, dated 1860/1865, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on blue-gray wool paper" and gives the sheet format: 11.5 x 16 cm (4 1/2 x 6 5/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and the accents that remain clear : these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 143831 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#64
A Peasant Girl in a Straw Hat
In rank 64, "A Peasant Girl in a Straw Hat" by Camille Pissarro, dated c. 1892, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel over charcoal on beige ugly paper" and gives the overall format: 60.4 x 34.8 cm (23 3/4 x 13 11/16 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires looking at the grain of the support, the pressure of the stick, the passages faded and accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 106925 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#65
To Breton Gleaner
At rank 65, "A Breton Gleaner" by Paul Gauguin, dated 1886, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on ugly paper, squared in blue pastel" and gives the overall format: 46 x 37.8 cm (18 1/8 x 14 7/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 136028 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#66
Seated Nude Seen from Above
In rank 66, "Seated Nude Seen from Above" by Paul Gauguin, dated 1888/1889, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on yellow paper" and gives the overall format: 61.6 x 50.5 cm (24 1/4 x 19 7/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and the accents remaining clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 155591 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#67
Shepherd Returning with His Flock
At rank 67, "Shepherd Returning with His Flock" by Jean-François Millet, dated c. 1860, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pencil and pastel conté" and gives the Unframed format: 12 x 15 3/4 in. (30.5 x 40 cm). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 168821 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#68
Falling Leaves
In row 68, "Falling Leaves" by Jean-François Millet, dated c. 1866, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel and conté pencil on wool paper" and gives the Unframed format: 14 1/2 x 17 in. (36.8 x 43.2 cm). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the blurred passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 168822 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#69
A Meadow at Sunset
In rank 69, "A Meadow at Sunset" by Paul Huet, dated c. 1845, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on gray-blue paper" and gives the overall format: 13.5 x 19.5 cm (5 5/16 x 7 11/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and the accents that remain clear: these deviations explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 152342 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#70
An Abbey by a Wooded Lake at Twilight
At rank 70, "An Abbey by a Wooded Lake at Twilight" by Paul Huet, dated c. 1831, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on blue wool paper" and gives the sheet format: 23 x 37.5 cm (9 1/16 x 14 3/4 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 154148 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#71
Woodland Path
At rank 71, "Woodland Path" by Lovis Corinth, dated 1890s, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on ugly paper, ugly down on cardboard" and gives the overall format: 42.2 x 51.2 cm (16 5/8 x 20 3/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 131139 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#72
View of the Sea, Normandy
In row 72, "View of the Sea, Normandy" by Alexandre Desgoffe, dated 1852, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on buff wool paper" and gives the overall format: 22 x 32 cm (8 11/16 x 12 5/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and the accents remaining clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 131503 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#73
Wooded Landscape
At rank 73, "Wooded Landscape" by Lucien Ott, dated c. 1905, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on blue ugly paper" and gives the overall format: 41.6 x 46.2 cm (16 3/8 x 18 3/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and the accents that remain clear: these deviations explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 133452 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#74
A Seascape at Sunset
In row 74, "A Seascape at Sunset" by Ernest-Ange Duez, dated 1880s, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official instructions describe the technique as "pastel" and give the sheet format: 40.5 x 57 cm (15 15/16 x 22 7/16 in.) (measured through frame). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and the accents remaining clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 151040 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#75
Gathering Flowers, Shinnecock, Long Island
At rank 75, "Gathering Flowers, Shinnecock, Long Island" by William Merritt Chase, dated c. 1897, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on canvas" and gives the sheet format: 67.31 × 92.71 cm (26 1/2 × 36 1/2 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the faded passages and the accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 164914 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#76
A Hillside Path with Blooming Cherry Trees under an Overcast Sky
At rank 76, "A Hillside Path with Blooming Cherry Trees under an Overcast Sky" by Francesco Paolo Michetti, dated 1905, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel, charcoal, and stumping with touches of gouache on blue paper laid down on card" and gives the sheet format: 30.1 × 44.5 cm (11 7/8 × 17 1/2 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. THE pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 166128 and the National Gallery of Art notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#77
The Aqua Claudia in the Roman Campagna
At rank 77, "The Aqua Claudia in the Roman Campagna" by Félix-Hippolyte Lanoüe, dated c. 1840, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on paper laid down on board" and gives the sheet format: 48.58 × 64.14 cm (19 1/8 × 25 1/4 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the passages faded and accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 166129 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#78
At the Grand Prix de Paris (At the Grand Prix de Paris)
In rank 78, "Au Grand Prix de Paris (At the Grand Prix de Paris)" by Childe Hassam, dated 1887, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel over graphite on flipchart coated with sawdust" and gives the board format: 40.48 × 31.75 cm (15 15/16 × 12 1/2 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the passages blurred and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 166492 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#79
A Dock Harmony-Fishing Boats
At rank 79, "A Dock Harmony--Fishing Boats" by Charles Fromuth, dated 1897, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on dark brown wool paper" and gives the overall format: 60.8 x 45.9 cm (23 15/16 x 18 1/16 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 73894 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#80
Willows, Longpre, France
At rank 80, "Willows, Longpre, France" by Walter Griffin, dated 1911-1918, belongs to the chapter "landscape and symbolism". The fourth chapter extends pastel to landscape. Sky, sea, trees and season are constructed by hatching, friction and reserves where the color of the support remains active. The official notice describes the technique as "pastel on wool paper" and gives the sheet format: 32.54 × 40.96 cm (12 13/16 × 16 1/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and the accents remaining clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 194617 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →Bellows, Glackens, Shinn, Dewing, Sargent, Schiele, Davies, Vedder and Lhermitte moved the medium into the 20th century.
#81
Head of a Bearded Man
In rank 81, "Head of a Bearded Man" by Benedetto Luti, dated 1715, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel and colored chalks on ugly paper; laid down" and gives the sight size format: 32.2 x 26.4 cm (12 11/16 x 10 3/8 in.). Chalk shares a direct application with pastel: their grains and their different densities allow you to alternate drawing precision and colored saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 62985 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#82
Lady with Green Hat (Miss Dieterle?)
In rank 82, "Lady with Green Hat (Mlle. Dieterle?)" by Auguste Renoir, dated c. 1895-1905, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "counterproof of pastel on thin Japanese paper mounted on wool paper" and gives the sheet format (Japanese paper): 58.9 × 47.3 cm (23 3/16 × 18 5/8 in.) sheet (wove paper mount): 66.9 × 54.9 cm (23 3/16 × 18 5/8 in.) sheet (wove paper mount): 66.9 × 54.9 cm (23 3/16 × 18 5/8 in.). The official notice describes the technique as "counterproof of pastel on thin Japanese paper mounted on wool paper" and gives the sheet format (Japanese paper): 58.9 × 47.3 cm (23 3/16 × 18 5/8 in.) sheet (wove paper mount): 66.9 × 54.9 cm (23 3/16 × 18 5/8 in.) sheet (wove paper mount): 66.9 × 54.9 cm (23 3/16 × 18 5/ be reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 58936 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image. The card uses exactly the main image of the product "Lady with Green Hat (Miss.
View product →![Society Ball [verso], George Bellows, c. 1907 - pastel, National Gallery of Art](https://cdn.shopify.com/s/files/1/0549/9656/6169/files/default_6cd76c67-2266-4fbe-9485-b1d0955bb724.jpg?v=1784357145)
#83
Society Ball [back]
At rank 83, "Society Ball [back]" by George Bellows, dated c. 1907, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "charcoal and pastel on wool paper" and gives the sheet format: 54.61 × 61.91 cm (21 1/2 × 24 3/8 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires you to look at the grain of the support, the pressure of the stick, the passages faded and accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 95319 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#84
Study of Flesh Color and Gold
At rank 84, "Study of Flesh Color and Gold" by William Merritt Chase, dated 1888, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel on paper coated with mauve-gray grit (on strainer)" and gives the overall format: 45.7 x 33 cm (18 x 13 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the faded passages and the accents remained clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 103252 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →![Reclining Nude [front], Paul Gauguin, 1894/1895 - pastel, National Gallery of Art](https://cdn.shopify.com/s/files/1/0549/9656/6169/files/default_caad5957-5326-4608-ac3c-dc919c3612b3.jpg?v=1784357146)
#85
Reclining Nude [front]
In rank 85, "Reclining Nude [recto]" by Paul Gauguin, dated 1894/1895, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel and black pencil over charcoal, corrected with white gouache, on ugly paper" and gives the overall format: 30.6 x 62.1 cm (12 1/16 x 24 7/16 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires you to look at it grain of the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 71591 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →![Street Fight [front], George Bellows, 1907 - pastel, National Gallery of Art](https://cdn.shopify.com/s/files/1/0549/9656/6169/files/default_c9c6b5d1-de41-4178-bd5f-8e34c10a4131.jpg?v=1784357230)
#86
Street Fight [front]
At rank 86, "Street Fight [front]" by George Bellows, dated 1907, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pencil, pastel, graphite, and brush and black ink on wool paper" and gives the image format: 54.61 × 61.91 cm (21 1/2 × 24 3/8 in.) framed: 73 x 82.5 x 4.5 cm (28 3/4 x 32 1/2 × 24 3/8 in.) framed: 73 x 82.5 x 4.5 cm (28 3/4 x 32 1/2 × 24 3/8 in.) framed: 73 x 82.5 x 4.5 cm (28 3/4 x 32 1/2 × 24 3/8 in.) framed: 73 x 82.5 x 4.5 cm (28 3/4 x 32 1/2 × 24 3/8 in.) framed: 73 x 82.5 x 4.5 cm (28 3/4 x 32 1/2 × 24 3/8 in.) framed: 73 x 82.5 x 4.5 cm (28 3 Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 95318 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#87
Reclining Female Nude
At rank 87, "Reclining Female Nude" by William James Glackens, dated c. 1910, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "chalk and pastel on gray wool paper" and gives the sheet format: 26.67 × 40.01 cm (10 1/2 × 15 3/4 in.). Chalk shares a direct application with pastel: their grains and their different densities allow the precision of the design to be alternated with colored saturation. Pastel requires you to look at the grain of the support, the pressure of the stick, the passages blurred and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 169438 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#88
Cross Streets of New York
In rank 88, "Cross Streets of New York" by Everett Shinn, dated 1899, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel, watercolor, charcoal, and gouache on flipchart" and gives the sheet format: 55.09 × 74.93 cm (21 11/16 × 29 1/2 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires looking at the grain of the support, the pressure of the stick, the passages blurred and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 174964 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#89
The Green Dress
At rank 89, "The Green Dress" by Thomas Wilmer Dewing, dated c. 1910, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel on wool paper mounted to composition board" and gives the sheet format: 26.83 × 17.78 cm (10 9/16 × 7 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the faded passages and accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 180698 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#90
Watching the Bees
At rank 90, "Watching the Bees" by Julian Alden Weir, dated 1896, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel and charcoal on wool paper" and gives the sheet format: 40.16 × 27.78 cm (15 13/16 × 10 15/16 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires looking at the grain of the support, the pressure of the stick, the faded passages and accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 184147 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#91
Bacchus
In rank 91, "Bacchus" by John Singer Sargent, dated 1874-1880, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel over graphite with metallic paint on wool paper mounted to flipchart" and gives the overall format (two sheets): 63.82 × 42.86 cm (25 1/8 × 16 7/8 in.) mount: 66.99 × 49.53 cm (26 1/8 × 16 7/8 in.) mount: 66.99 × 49.53 cm (26 1/8 × 16 7/8 in.) mount: 66.99 × 49.53 cm (26 1/8 × 16 7/8 in.) mount: 66.99 × 49.53 cm (26 1/8 × 16 7/8 in.) mount: 66.99 × 49.53 cm (26 1/8 × 16 7/8 in.) mount: 66.99 × 49.53 cm (26 3/8 × 16 7/8 in.) mount: 66.99 × 49.53 cm (26 1 secondary. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 184328 and the National Gallery of Art notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#92
Head of a Woman
In rank 92, "Head of a Woman" by Egon Schiele, dated 1908, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "conté pencil and pastel on buff paper laid down on board" and gives the sheet format: 6.03 × 8.89 cm (2 3/8 × 3 1/2 in.) mount: 14.61 × 18.42 cm (5 3/4 × 7 1/4 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 206401 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#93
Study for "Music"
In rank 93, "Study for "Music"" by Elihu Vedder, dated c. 1890, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "charcoal and pastel over graphite on gray wool paper" and gives the overall format (diameter): 12.8 cm (5 1/16 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires you to look at the grain of the support, the pressure of the stick, the faded passages and accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 72921 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#94
Washerwomen Setting the Linens Out to Dry
In rank 94, "Washerwomen Setting the Linens Out to Dry" by Léon-Augustin Lhermitte, dated 1884, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "black charcoal with brown pastel on wool paper laid down on board" and gives the sheet format: 41.6 × 55.7 cm (16 3/8 × 21 15/16 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 144843 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#95
The Weaver's Cottage
In rank 95, "The Weaver's Cottage" by Léon-Augustin Lhermitte, dated c. 1903, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel, conté pencil, and charcoal on tan paper, mounted on canvas (on wooden stretcher)" and gives the sheet format: 38.3 × 48.5 cm (15 1/16 × 19 1/8 in.) (approximate dimensions, measured in housing. Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; Identifier 207623 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →
#96
Southern Italian Woman Dressed for Church
In rank 96, "Southern Italian Woman Dressed for Church" by Francesco Paolo Michetti, dated 1885/1888, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel on blue ugly paper, prepared with beige gouache (?)" and gives the sheet format: 64.5 × 46 cm (25 3/8 × 18 1/8 in.). Gouache provides opaque areas; pastel retains its velvety and dry transitions around them, creating a deliberately heterogeneous surface. Pastel requires look at the grain of the support, the pressure of the stick, the blurred passages and the accents that remain clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 159399 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#97
Luisa Carmignani, the Artist's Mother-in-Law
At rank 97, "Luisa Carmignani, the Artist's Mother-in-Law" by Francesco Paolo Michetti, dated c. 1881, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel and white tempera on gray paper" and gives the sheet format: 59.69 × 56.83 cm (23 1/2 × 22 3/8 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires looking at the grain of the support, the pressure of the stick, the passages blurred and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 198595 and the National Gallery of Art notice make it possible to verify the title, dating, medium, dimensions, provenance and image.
View product →
#98
Head of a Sheep
In rank 98, "Head of a Sheep" by Francesco Paolo Michetti, dated c. 1881, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel over black chalk and touches of gouache on light gray paper" and gives the sheet format: 42.7 × 29.3 cm (16 13/16 × 11 9/16 in.). Gouache provides opaque areas; pastel retains its velvety and dry transitions around them, creating a deliberately heterogeneous surface. Pastel requires you to look at the grain the support, the pressure of the stick, the blurred passages and the accents remaining clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 225437 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image.
View product →
#99
The First Snowfall
At rank 99, "The First Snowfall" by Arthur B. Davies, dated c. 1877-1887, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "watercolor and pastel on gray wool paper" and gives the sheet format: 31.59 × 48.26 cm (12 7/16 × 19 in.). Pastel really dominates the technique: the color is deposited directly on the support, without being reduced to a few secondary highlights. Pastel requires you to look at the grain of the support, the pressure of the stick, the blurred passages and accents that remain clear: these discrepancies explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 198218 and the National Gallery of Art notice allow you to check the title, dating, medium, dimensions, provenance and image. The map uses exactly the main image of the product "The First Snowfall - Arthur B".
View product →
#100
Capri
At rank 100, "Capri" by Elihu Vedder, dated 1914, belongs to the chapter "European and American modernities". The last chapter brings together European and American modernities which tend the pastel between urban observation, nudity, symbol, figure study and graphic experience. The official notice describes the technique as "pastel and charcoal on wool paper" and gives the image format: 24.5 × 11.3 cm (9 5/8 × 4 7/16 in.) sheet: 32.4 × 23.4 cm (12 3/4 × 9 3/16 in.). Charcoal establishes the framework, while pastel covers it in places or reveals it in order to maintain the tension between line and mass. Pastel requires you to look at the grain of the support, the pressure from the stick, the passages blurred and the accents remained clear: these differences explain the light specific to the work much better than a simple soft-colored label. The reference collection is National Gallery of Art, Washington; the identifier 83441 and the National Gallery of Art notice allow you to verify the title, dating, medium, dimensions, provenance and image.
View product →What the ranking reveals
One hundred pastels, three ways to hold the light together
Pastel can shape a face, capture movement or build an entire atmosphere. Its richness comes from the dialogue between grain of the support, pressure of the hand and superposition of colors.
Paper is an active color
Blue, beige, gray or brown remain visible between the lines and contribute to shadows, halftones and general unity.
The line and the mass coexist
The same work can juxtapose a clear outline, a nervous hatching, a soft and dense flat blend without losing its coherence.
Fragility conditions the gaze
The absence of varnish preserves the matte shine, but requires distance, protection and careful conservation of the colored powder.
A Western history of pastel
Five benchmarks to follow the emancipation of the medium
In Venice and then in European courts, Rosalba Carriera transformed a drawing practice into a prestigious portrait medium.
La Tour, Perronneau and their contemporaries exploit the freshness of the skin tones, the precision of the eyes and the velvety nature of the fabrics.
Monotype, charcoal, gouache and layers of pastel combine to capture dancers, bathers, jockeys and show stages.
Monet, Boudin, Pissarro, Millet and their contemporaries used colored paper and the direct touch to note the atmosphere.
Redon, Whistler, Schiele, Bellows, Davies and others make the medium a terrain of symbol, graphic tension and experimentation.
Pastel in depth
Why is pastel much more than a soft color?
The word pastel first designates a material: a pigment reduced to powder, mixed with a small quantity of binder then shaped into a stick. Applied directly, it does not pass through the wet palette or the brush. This proximity between the hand, the color and the support explains the freshness of the line, but also the extreme vulnerability of the surface.
In the 18th century, Rosalba Carriera, Maurice-Quentin de La Tour, Jean-Baptiste Perronneau and their contemporaries made pastel an autonomous portrait medium. Tinted paper provides halftone, skin tones are built in light layers, and fabrics gain a velvety feel that is difficult to obtain by the same means with oil.
Degas overturns this tradition. He combines pastel, monotype, charcoal, gouache and mounted paper to constantly take up poses, framing and surfaces. The material does not soften the modern world: it makes visible the fatigue of the dancers, the speed of the jockeys, the intimacy of the toilet and the artificial lights of the show.
Redon, Whistler, Cassatt, Monet, Pissarro, Gauguin and Schiele then show the amplitude of the medium. Symbolist flower, figure, nude, portrait or atmospheric landscape can be born from the same box of sticks, provided that each artist regulates the relationship between contour, friction, reserve and saturation differently.
Conservation finally belongs to the aesthetic experience of pastel. An unvarnished surface maintains an exceptional matte shine, but it fears touch, vibrations, humidity and excessive light. Assembly, glazing and distance are therefore not technical details: they condition what we can still see today.
Four reading keys
How to look at a pastel
Support, gesture, layer and conservation make it possible to distinguish the material construction of a pastel from its apparent softness.
Observe the paper
Identify its color, its grain and the reserves left visible: they act as a pictorial layer in their own right.
Follow hand pressure
Broken line, hatching, friction and blur indicate the speed, direction and density of each pass.
Compare dullness and saturation
Overlays can muffle or intensify color; the final accents often remain the brightest.
Read the surface without varnish
Glazing reflections, assembly and distance protect a material which remains vulnerable to contact, vibrations and light.
Pastels, products and references
Continue in the Famous Paintings collection
Frequently asked questions
Pastel without medium confusion
The essential benchmarks for distinguishing true pastel, understanding the mixed techniques used and monitoring each reproduction.
What was chosen as real pastel?
Pastel must construct the essence of the image. Mixed media are accepted when pastel remains dominant or plays a structural role clearly indicated by the museum notice; a few isolated highlights are not enough.
Are oil pastels included?
They can be when the institutional notice explicitly identifies them and the medium dominates. The corpus present, however, is mainly made up of historical dry pastel, sometimes associated with charcoal, chalk, gouache or monotype.
Why does Degas occupy several places?
Degas is one of the artists who most profoundly renewed pastel. The classification nevertheless limits rehearsals and divides his works between icons, modern stage, ballet, jockeys and figures in order to show truly different uses.
How were the works classified?
The first twenty places favor notoriety and importance in the history of the medium. The following four chapters construct a historical and thematic reading rather than an absolute measure of value.
Do the images really come from a museum?
Yes. The sources of work are the images and official notices of the museums cited.
Do the buttons open the correct reproductions?
Yes. Each button opens the product shown on the map.
Why is the reproduction in oil if the original is pastel?
The sheet explicitly distinguishes the two objects: it documents the museum's original pastel and offers an artisanal reproduction painted in oil on canvas, according to the operation of the Alpha Reproduction boutique.
Does the classification contain Asian works?
No. Asian works have been excluded in accordance with the requested scope. The route focuses on the European and American traditions represented in the controlled corpus.
0 comments