#French Impressionism

[lionofchaeronea]

Rooftops in the Snow (Snow Effect), Gustave Caillebotte, 1878

[galleryofart]

Chrysanthemums

Artist: Berthe Morisot (French, 1841-1895)

Date: 1885

[the-cricket-chirps]

Claude Monet, The Studio Boat, 1874

(Monet’s floating “studio” in Argenteuil)

[historyguide]

Vincent van Gogh - The Stevedores in Arles.

[collectionstilllife]

Pierre Auguste Renoir (French, 1841-1919) • Still Life with Bouquet • 1871

[amicus-noctis]

“I must have flowers, always, and always.” ― Claude Monet

Painting: "White Clematis" by Claude Monet

[mary-maud]

Monet 💐

[skf-fineart]

Claude Monet (1840-1926)

Weeping Willow, 1921-1922

Oil on canvas

[lionofchaeronea]

Morning Awakening, Eva Gonzalès, 1876

[galleryofart]

Woman at the Piano

Artist: Pierre-Auguste Renoir (French, 1841–1919)

Date: 1875–1876

Medium: Oil on canvas

Collection: Art Institute of Chicago, Chicago, IL, United States

[the-cricket-chirps]

Camille Pissarro, Charing Cross Bridge, London, 1890

Camille Pissarro, Hampton Court Green, 1891

[historyguide]

Paul Signac - Port-en-Bessin.

Explore our visual guides and documentaries about art & history.

[plastycznyonline]

Claude Monet Victor Jacquemont Holding a Parasol

[collectionstilllife]

Claude Monet (French, 1840 - 1926) • Still Life with Mellon • 1872

[justdreamsandmusic]

1 ; Eponna Meridiana Wojciechowski

2 ; Meridiane Eponine Wojciechowski

3 ; Altros Hercs Clef once Francis Gallo Wojciechowski

[portrait-paintings]

Edmondo and Thérèse Morbilli

Artist: Edgar Degas (French, 1834–1917)

Date: ca. 1865

Medium: Oil on canvas

Collection: Museum of Fine Arts, Boston, Massachusetts, United States

Description

Degas’s sister Thérèse married her cousin Edmondo Morbilli in Naples in 1863. About two years later, Degas painted this intriguing double portrait of the couple. Though they are united through touch and dress - her hand placed on his shoulder, his tie matching the hue of her ensemble - a palpable tension radiates from the painting. Edmondo physically dominates the composition, casting a shadow on his wife’s face. Thérèse’s disconcerting and piercing gaze imparts a sense of unease, and the divided background further separates the couple. Combining traditional elements of Italian Renaissance portraiture and visual elements of the modern daguerreotype photograph, the result is a penetrating likeness. Degas never sold his family portraits, and this one remained with descendants until 1927.