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Impressionism

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

53 works · hang 3924 ·

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

Walk this roomRehang this room

First room, north wall

  1. Dancers, by Edgar Degas, c. 1896
    DancersEdgar Degas, c. 1896Courtesy of the Cleveland Museum of Art
  2. This painting shows a young woman's upper body from the torso up. She is seated and facing the right, with her face seen in profile and one arm bent in front of her, seeming to rest on a brown table or surface. She has pale skin, round, rosy cheeks, a small nose, and pink lips that are slightly parted. Her brown hair is styled into a smooth, glossy bun at the nape of her neck. She is wearing a white garment with thin straps over her shoulders. The background features a yellow section on the bottom half, and on the top half is a colorful, abstract pattern with large, soft, swirling forms in shades of orange and red on a blue-gray background with hints of green.
    Head of a Young GirlPierre-Auguste Renoir, c. 1890Courtesy National Gallery of Art, Washington
  3. Impressionist painting of seated man, girl with brown, black hues.
    Henri Degas and His Niece Lucie Degas (The Artist's Uncle and Cousin)Edgar Degas, 1875–76Courtesy of the Art Institute of Chicago

First room, south wall

  1. Painting of a beach on a cloudy day with several sailboats on the water, a few rowboats on the shore, and two groupings of people on the sand.
    The Beach at Sainte-AdresseClaude Monet, 1867Courtesy of the Art Institute of Chicago
  2. Painting of a pond seen up close spotted with thickly painted pink and white water lilies and a shadow across the top third of the picture.
    Water LiliesClaude Monet, 1906Courtesy of the Art Institute of Chicago
  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

Second room, south wall

  1. Color pastel drawing of ballerinas in tutus on stage, watched by audience.
    Ballet at the Paris OpéraEdgar Degas, 1877Courtesy of the Art Institute of Chicago
  2. The Red Kerchief, by Claude Monet, c. 1868–73
    The Red KerchiefClaude Monet, c. 1868–73Courtesy of the Cleveland Museum of Art
  3. In the Omnibus, by Mary Cassatt, 1890–91
    In the OmnibusMary Cassatt, 1890–91Courtesy of the Cleveland Museum of Art

Second 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. Impressionist painting of woman wearing green dress trying on hats.
    The Millinery ShopEdgar Degas, 1879-86Courtesy of the Art Institute of Chicago

Third room, north wall

  1. Estérel Village, by Edgar Degas, c. 1890
    Estérel VillageEdgar Degas, c. 1890Courtesy of the Cleveland Museum of Art
  2. Two groups of people face off in front of a hilly landscape in this loosely painted, vertical scene. On our left, a pale young man in a white tunic looks with eyes wide and lips parted at a group of three people on our right. The young man's right hand, on our left, is raised to stroke the head of a reddish-brown horse at his right shoulder. He stands with feet planted wide, knees bent, and he curls his left hand into a fist. Behind him, a man holds up a fluttering, light blue cape. A mottled red wall forms a backdrop to this scene on our left. The tight group gathered under a tree on our right stares back at the young man. The trio is made up of a balding, older man, a light-skinned boy also wearing a white tunic, and, closest to us, a brown-skinned woman wearing a marigold-orange shirt and a maroon-red skirt. Behind this group, a pair of pale raised arms suggests a fourth person, but the head is missing or has been painted over. The ground under the people is saffron orange. In the center of the picture, beyond the people, a group of horses stands near a green bank by a river, its surface reflecting white. The far bank is lined with white buildings. Tan and olive-green slopes rise from the opposite riverbank under a pale blue sky with cream-white clouds sweeping along the top edge of the composition. The artist signed his name in red paint in the lower right corner: “Degas.”
    Alexander and BucephalusEdgar Degas, 1861/1862Courtesy National Gallery of Art, Washington
  3. In a dance studio, two ballerinas wearing knee-length tutus and ballet slippers sit on a bench and stretch to our right while four more pose at the back of the space, to our left, in this long, horizontal painting. The scene and dancers are loosely painted so many features are indistinct. All the women have light skin and dark brown hair. Each pale, robins’ egg-blue costume has a low-cut, tightly fitting, sleeveless bodice and a full skirt. Dabs of off white, teal, and blue suggest flowers lining the deep U of the neckline at the front and down the back of each bodice. Closest to us and nearly brushing the edges of the lower right corner of the canvas, one dancer sits on the end of a wooden bench and leans down between her legs, her feet widely planted. She rests her torso on an elbow folded onto one knee as she reaches for her left foot, farther from us, with her other hand. Her hair is pulled up and her face, looking downward, is deep in shadow. Sitting behind her on the bench, to our left, a second dancer lifts her right leg, toe pointing, as she pulls on her pale pink tights. Her other leg stretches straight, pointed toe brushing the floor, in front of her. This woman’s hair hangs loose around her shoulders. The pair is brightly lit from a source to our right, and an arched area of electric blue and mustard yellow behind them is difficult to interpret. The floor, which takes up about two-thirds of the composition, is painted with dabs of teal blue, pale fuchsia pink, and caramel brown. It leads us back to the upper left corner of the painting where four more four ballerinas stand in a line. The pair to our left stands with their backs to us, facing the wall with their right legs raised to shoulder height, toes pointed. The pair to our right faces us. They also stand with their right legs raised, creating a wide angle with their standing legs. All four ballerinas bend their arms gently at the elbow, and some tip their heads toward the raised legs. The rightmost dancer is illuminated by a pair of French doors at the back corner, at the top center of the painting. The wall behind the bench is streaked with mint green over honey brown, and the wall at the back of the room is leather brown. The visible, soft brushstrokes give the image a blurred, ethereal appearance in the dimmed studio. The artist signed the painting in the lower left corner, “Degas.”
    Before the BalletEdgar Degas, 1890/1892Courtesy National Gallery of Art, Washington

Third room, south wall

  1. After the Bath, by Mary Cassatt, 1901
    After the BathMary Cassatt, 1901Courtesy of the Cleveland Museum of Art
  2. Sheet of Studies and Sketches, by Edgar Degas, 1858
    Sheet of Studies and SketchesEdgar Degas, 1858Courtesy of the Cleveland Museum of Art