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Impressionism

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

53 works · hang 9943 ·

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. From a high perspective, we look beyond two overlapping, emerald-green hills to a body of powder-blue water dotted with sailboats in this loosely painted horizontal landscape. Closest to us, the hills create a shallow V that spans the lower third of the composition, with the right-hand hill rising to more than halfway up the right edge. The hills are painted with dashes and long strokes mostly in seafoam, shamrock, and celery green, with some swipes of peach, goldenrod yellow, and royal blue. On the hill to our left, one woman sits and the other stands next to her. They wear hats, long-sleeved, fitted jackets, and long skirts in tones of dusky pink and dove gray. A touch of peach on the seated woman, to our left, gives the impression of a pale face. A red veil or scarf at the back of the other woman’s hat is lifted, as if in the wind. The water is painted with blended strokes of pale blue, light turquoise, smoky mauve pink, and touches of soft peach. The horizon comes two-thirds of the way up the composition, and the sky is painted with the same tones of blue, green, and peach to suggest a screen of clouds. Triangles and dashes of slate blue suggest about three dozen sailboats, rowboats, and one steamship in the rippling water. Squiggles of teal and sage green create reflections for some of the boats. The brushstrokes are visible throughout. In some areas, the paint is so thinly applied that the texture of the canvas shows through, especially in the sky. The artist signed the work in the lower left corner: “Claude Monet 82.”
    Cliffs at PourvilleClaude Monet, 1882Courtesy National Gallery of Art, Washington
  3. Sheet of Studies and Sketches, by Edgar Degas, 1858
    Sheet of Studies and SketchesEdgar Degas, 1858Courtesy of the Cleveland Museum of Art
  4. 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

First room, south wall

  1. 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
  2. Impressionist painting of two girls on balcony, bright flower hat, knitting basket.
    Two Sisters (On the Terrace)Pierre-Auguste Renoir, 1881Courtesy of the Art Institute of Chicago
  3. 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

Second room, south wall

  1. Self-Portrait, by Edgar Degas, 1857
    Self-PortraitEdgar Degas, 1857Courtesy of the Cleveland Museum of Art
  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. 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

Second room, north wall

  1. Jalais Hill, Pontoise, by Camille Pissarro, 1867
    Jalais Hill, PontoiseCamille Pissarro, 1867Courtesy of The Metropolitan Museum of Art
  2. The Dance Class, by Edgar Degas, 1874
    The Dance ClassEdgar Degas, 1874Courtesy of The Metropolitan Museum of Art
  3. A work made of oil on canvas.
    Watering Place at MarlyAlfred Sisley, 1875Courtesy of the Art Institute of Chicago

Third room, north wall

  1. 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
  2. Estérel Village, by Edgar Degas, c. 1890
    Estérel VillageEdgar Degas, c. 1890Courtesy of the Cleveland Museum of Art
  3. Roses in a Vase, by Pierre-Auguste Renoir, c. 1890
    Roses in a VasePierre-Auguste Renoir, c. 1890Courtesy of the Cleveland Museum of Art