Ochre Editions
SearchSign inCart (0)

Impressionism

Painters in 1870s Paris who worked quickly, often outdoors, to catch light as it changed.

53 works · hang 3318 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848–1904) and Her Children, Georgette-Berthe (1872–1945) and Paul-Emile-Charles (1875–1895), by Pierre-Auguste Renoir, 1878
    Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848–1904) and Her Children, Georgette-Berthe (1872–1945) and Paul-Emile-Charles (1875–1895)Pierre-Auguste Renoir, 1878Courtesy of The Metropolitan Museum of Art
  2. Fishmarket, by Camille Pissarro, 1902
    FishmarketCamille Pissarro, 1902Courtesy of the Cleveland Museum of Art
  3. A work made of oil on canvas.
    Alfred SisleyPierre-Auguste Renoir, 1876Courtesy of the Art Institute of Chicago

First room, south wall

  1. Loosely painted image of an open-air train station. On the right, a parked train gives off an enormous plumb of white smoke, making the scene look as though it were full of clouds. A huddled mass of barely discernible people crowd around the train on both sides of the tracks. Blue, green, and gray tones dominate.
    Arrival of the Normandy Train, Gare Saint-LazareClaude Monet, 1877Courtesy of the Art Institute of Chicago
  2. Édouard Manet, Seated, Holding His Hat, by Edgar Degas, ca. 1868
    Édouard Manet, Seated, Holding His HatEdgar Degas, ca. 1868Courtesy of The Metropolitan Museum of Art
  3. A Woman Seated at a Bench on the Avenue du Bois, by Berthe Morisot, 1885
    A Woman Seated at a Bench on the Avenue du BoisBerthe Morisot, 1885Courtesy of The Metropolitan Museum of Art
  4. A work made of oil on canvas.
    Fruits of the MidiPierre-Auguste Renoir, 1881Courtesy of the Art Institute of Chicago

Second room, south wall

  1. Landscape, by Edgar Degas, 1892
    LandscapeEdgar Degas, 1892Courtesy of The Metropolitan Museum of Art
  2. Self-Portrait, by Edgar Degas, 1857
    Self-PortraitEdgar Degas, 1857Courtesy of the Cleveland Museum of Art
  3. Sheet of Studies and Sketches, by Edgar Degas, 1858
    Sheet of Studies and SketchesEdgar Degas, 1858Courtesy of the Cleveland Museum of Art
  4. A row of spire-like structures of different heights is silhouetted in azure blue against a soft pink, yellow, peach, and lavender-purple sunset and reflected in a rippling river in this nearly square landscape painting. Along the horizon, the buildings stretch from our right, almost fully across the canvas, and are painted with vertical brushstrokes in cool shades of blue. The sky behind the towers seems hazy with intermingling, pastel-colored clouds. The buildings are reflected in the river, which fills the bottom third of the painting. The surface of the water is painted with short, horizontal brushstrokes in azure blue for the buildings, and apricot, rose, and marigold orange for the sky’s reflection. A streak and smudge of olive-green paint on the water represents a person in a boat near the center of the painting. The artist signed and dated the work in the same olive color at the lower right: “Claude Monet 1903.”
    The Houses of Parliament, SunsetClaude Monet, 1903Courtesy National Gallery of Art, Washington

Second room, north wall

  1. Estérel Village, by Edgar Degas, c. 1890
    Estérel VillageEdgar Degas, c. 1890Courtesy of the Cleveland Museum of Art
  2. Conversation: Ludovic Halévy and Madame Cardinal (The Conversation) for "La Famille Cardinal" by Ludovic Halévy, by Edgar Degas, c. 1880–83
    Conversation: Ludovic Halévy and Madame Cardinal (The Conversation) for "La Famille Cardinal" by Ludovic HalévyEdgar Degas, c. 1880–83Courtesy of the Cleveland Museum of Art
  3. We look down onto a landscape where several laundry lines have been draped mostly with white sheets or cloth to dry in a flat, grassy yard in front of a rustic house and a distant town in this horizontal painting. The scene is created entirely with thick, visible brushstrokes that creates a sense of texture on the canvas’s surface and makes many details difficult to make out. The forms of at least three women wearing skirts hang laundry out along the lines, and a person wearing trousers tends to a flat piece of green ground near the lower left corner. A few pieces of white cloth have been draped over the wooden fence that runs along the bottom edge of the canvas. A dove-gray cart with wooden carriage wheels rests, tipped forward, at the center of the laundry lines. To our right and just beyond the laundry lines, a two-story ivory and slate-blue house with a gray peaked roof sits behind a grove of emerald-green trees. The laundry field and the grassy plane beyond is painted with a pale celery green with long, horizontal strokes. Dabs of moss green and a white streak interrupt the field in the distance. Beyond that, touches of steel and silvery-gray paint suggest smokestacks and smoke in a town along the horizon, which comes about three-quarters of the way up this composition. A few patches of vivid blue sky peek through a screen of shell-pink and cream-white clouds above. The artist signed the work in brick-red paint in the lower left corner, “Berthe Morisot.”
    Hanging the Laundry out to DryBerthe Morisot, 1875Courtesy National Gallery of Art, Washington

Third room, north wall

  1. Two Young Girls at the Piano, by Pierre-Auguste Renoir, 1892
    Two Young Girls at the PianoPierre-Auguste Renoir, 1892Courtesy of The Metropolitan Museum of Art
  2. Water Lilies (Agapanthus), by Claude Monet, c. 1915–26
    Water Lilies (Agapanthus)Claude Monet, c. 1915–26Courtesy of the Cleveland Museum of Art