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🎨 Berthe Morisot, c. 1869 – 1873 by Manet 🇫🇷 Oil on canvas. 74 x 60 cm. Cleveland Museum of Art, USA About the work: In this portrait, Morisot is portrayed with a delicate but confident touch, reflecting both her personal relationship with Manet and her status as an influential artist in her own right. Manet's style, characterized by loose brushstrokes, a vivid play of light and shadow, and an unorthodox use of color, helps convey Morisot's personality and artistic sensibility.

🎨 The Astronomer, ca. 1668 by Vermeer 🇳🇱 Oil on canvas. 50 x 45 cm. Louvre Museum, Paris About the work: In this painting, Vermeer depicts an astronomer absorbed in the study of the sky. The astronomer is usually seated at a table on which rests an open book, possibly an astronomical text or atlas, suggesting his quest for knowledge about the stars. The figure is often portrayed with tools of his trade, such as a celestial globe or astrolabe, emphasizing his scholarly pursuits.

🎨 Bathers at Asnière, 1884 - 1887 by Georges Seurat 🇫🇷 Oil on canvas. 201 x 300 cm. National Gallery, England About the work: "Bathers at Asnières" depicts a group of young people relaxing and bathing on the banks of the River Seine at Asnières, a suburban area of ​​Paris. This painting is significant not only for its impressive scale, but also for the revolutionary technique Seurat employed, which came to define the Neo-Impressionist movement. Seurat's method was to apply paint in small dots or strokes of contrasting colors, which blended before the viewer's eye to create luminous and vibrant effects. This technique is based on contemporary theories of color and optical perception.

🎨 Study for "Bathers at Asnières", c. 1883–84 by Georges Seurat 🇫🇷 Oil on wood panel. 15.7 x 24.9 cm. Cleveland Museum of Art, USA About the artwork: "Bathers at Asnières" is one of Seurat's major works, depicting young men relaxing on the banks of the River Seine in Asnières, a suburb of Paris. The study captures a preliminary view of this scene, focusing on composition and the distribution of light and shadow, rather than the intricate color contrasts that would characterize his later pointillist technique.

🎨 La Montagne Sainte-Victoire vue de la carrière Bibémus, c. 1897 by Cézanne 🇫🇷 Oil on canvas. 65.1 × 81.3 cm. Baltimore Museum of Art, USA About the artwork: In this particular painting, Cézanne depicts the view from the Bibémus quarry, a site of ochre-colored rock that provided a unique geological and chromatic perspective of the mountain. This location offered Cézanne a view that emphasizes the rugged, solid forms of the mountain, in contrast to the austere, silhouetted forms of the quarry.

🎨 Thomas Carlyle, 1795 - 1881. Historian and Essayist, 1879 by Helen Allingham 🏴󠁧󠁢󠁳󠁣󠁴󠁿 Watercolour on paper. 19.4 x 28 cm. Scottish National Gallery, Scotland About the work: In this portrait, Allingham likely captured Carlyle in a way that reflects his intellectual and contemplative nature. The composition would focus closely on Carlyle's face and upper body, possibly depicting him in his study or in an equally intimate setting that hints at his scholarly life. This setting might include books or articles, subtly included to underline his literary and intellectual contributions.

🎨 June, c. 1911 by John White Alexander 🇺🇸 Oil on canvas. 12415.5 x 9177.0 cm. Smithsonian American Art Museum, USA About the artwork: “June” likely depicts a figure or figures against a lush, green background, typical of the vibrant growth of early summer. Alexander’s style was characterized by fluid linearity and a soft, almost ethereal handling of paint, qualities that would be well suited to capturing the soft, abundant aspects of June’s natural beauty.

🎨 Wheat Field with Crows, 1890 by van Gogh 🇳🇱 Oil on canvas. 50 x 103 cm. Van Gogh Museum, Amsterdam About the work: The composition of "Wheat Field with Crows" features a path leading nowhere, bisecting the wheat field beneath a stormy sky. This path, flanked by the golden wheat, draws the viewer's eye into the painting, creating a sense of depth and movement. The crows add a dynamic element to the scene, often interpreted as a symbol of death or foreboding, reflecting van Gogh's troubled state of mind.