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Impressionism

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

53 works · hang 7700 ·

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

Walk this roomRehang this room

First room, north wall

  1. Shown from the knees up, a young girl with pale skin, wearing a coral-peach dress, sits facing and looking at us in this loosely painted, vertical portrait. Her knees are angled slightly to our left, and her hands rest in her lap. She has a round face and smooth, lightly flushed cheeks. She has brown eyes under arched brows, a delicate, snub nose, and her rose-pink lips are closed. Her hair, which is painted with broad strokes of caramel brown and moss green, is parted on one side and pulled smoothly back, presumably tied behind her head. Tendrils fall over her shoulders. Her dress is gathered around her neck and tied with a bow at the back. The loose sleeves fall to just below her elbows, and the dress is belted around the waist. A curving swipe of canary-yellow paint could be a buckle at the front. The fabric of the dress is painted with long, visible strokes of shell and rose pink, butter yellow, and ivory white, and a few touches of sage green and periwinkle blue for shadows. She wears a ring on the middle finger of her right hand. The space around her is loosely painted with strokes of electric and cobalt blue, with unpainted canvas visible at some of the edges. To our left, over the girl's shoulder, a wooden bird cage holds an emerald-green parakeet. The bird is streaked with royal blue along its back, and the area around its hooked beak is apple red. The cage has a mint-green bow and ribbon along the top. The artist signed the painting in green on the lower right corner: “Berthe Morisot.”
    The Artist's Daughter with a ParakeetBerthe Morisot, 1890Courtesy National Gallery of Art, Washington
  2. A work made of oil on canvas.
    Fruits of the MidiPierre-Auguste Renoir, 1881Courtesy of the Art Institute of Chicago
  3. Self-Portrait, by Edgar Degas, 1857
    Self-PortraitEdgar Degas, 1857Courtesy 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

First room, south wall

  1. The Dance Class, by Edgar Degas, 1874
    The Dance ClassEdgar Degas, 1874Courtesy 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

Second room, south wall

  1. A work made of oil on canvas.
    VétheuilClaude Monet, 1901Courtesy of the Art Institute of Chicago
  2. A work made of oil on canvas.
    Rabbit Warren at Pontoise, SnowCamille Pissarro, 1879Courtesy of the Art Institute of Chicago

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. Shown from the chest up, a pale-skinned man in a suit sits in a high-backed chair, looking slightly to our right in this vertical portrait painting. His eyes and head are both turned slightly to our right, with only one ear visible on our left. His shoulder on our right and the right side of the chair are slightly cut off by the edge of the painting. He has a straight nose, high cheekbones, and pale pink closed lips. His eyes are dark, with small shadows beneath them. His black, wavy hair is parted on our right and cropped short on the sides of his head, with thick, defined waves on top. He has a light brown mustache that extends past the edge of his lips and flips up at the ends and a small, thin goatee. Beneath his chin, the collar of his white shirt is visible. The man wears an open suit jacket with a black vest, which folds slightly just below his chest, revealing a glimpse of his white shirt beneath it in a gap between buttons. The chair is only visible from the man’s shoulders up and ends at his forehead. It has a curved, round top back with a red frame and dark green upholstery. The part of the red frame on the right side of the painting has white and yellow highlights. The background is dark gray with visible brushstrokes. The artist signed and dated the painting at the top left, “F. Bazille. 1866.”
    Edouard BlauFrédéric Bazille, probably 1869Courtesy National Gallery of Art, Washington

Third room, north wall

  1. Life-size painting of an urban scene in Paris. A man in a top hat holding an umbrella and a woman in a long fashionable dark dress walk arm in arm toward the viewer as other city dwellers with umbrellas walk in various directions across cobblestone roads and sidewalks.
    Paris Street; Rainy DayGustave Caillebotte, 1877Courtesy of the Art Institute of Chicago
  2. A work made of oil on canvas.
    Landscape at ChaillyFrédéric Bazille, 1865Courtesy of the Art Institute of Chicago

Third room, south wall

  1. In the Omnibus, by Mary Cassatt, 1890–91
    In the OmnibusMary Cassatt, 1890–91Courtesy of the Cleveland Museum of Art
  2. A work made of oil on canvas.
    The Place du Havre, ParisCamille Pissarro, 1893Courtesy of the Art Institute of Chicago
  3. Painting composed of short, dense brushstrokes depicts two domed stacks of wheat that cast long shadows on a field. The angled light indicates either a rising or setting sun.
    Stacks of Wheat (End of Summer)Claude Monet, 1890–91Courtesy of the Art Institute of Chicago
  4. Dancers, by Edgar Degas, c. 1896
    DancersEdgar Degas, c. 1896Courtesy of the Cleveland Museum of Art