Floor plan

East wing: The Nineteenth CenturyPost-Impressionism

Post-Impressionism

Painting of four women with blue shawls walking near red fence.
A work made of oil on panel.
A work made of pastel and graphite on cream wove paper.
A work made of reed pen and black-brown ink, with black chalk on off-white wove paper.
Painting of a performance inside a circus ring. A man wearing a suit holds a whip in his hand and looks towards a woman with red hair riding a gray horse and wearing a green dress. Audience members wearing suits and top hats watch from red and white benches on the side.
In the Waves (Dans les Vagues), by Paul Gauguin, 1889
Nursemaids’ Promenade, Frieze of Carriages, by Pierre Bonnard, 1895

The works in this room are listed below.

Works in this room

Artists who kept Impressionism's colour but pushed towards structure, symbol and feeling.

Section 1, north wall

  1. Painting of four women with blue shawls walking near red fence.
    Arlésiennes (Mistral)Paul Gauguin, 1888Courtesy of the Art Institute of Chicago
  2. A work made of oil on panel.
    Final Study for "Bathers at Asnières"Georges Seurat, 1883Courtesy of the Art Institute of Chicago
  3. A work made of pastel and graphite on cream wove paper.
    At the Circus: Trained Pony and BaboonHenri de Toulouse-Lautrec, 1899Courtesy of the Art Institute of Chicago
  4. A work made of reed pen and black-brown ink, with black chalk on off-white wove paper.
    Weeping TreeVincent van Gogh, 1889Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. Painting of a performance inside a circus ring. A man wearing a suit holds a whip in his hand and looks towards a woman with red hair riding a gray horse and wearing a green dress. Audience members wearing suits and top hats watch from red and white benches on the side.
    Equestrienne (At the Cirque Fernando)Henri de Toulouse-Lautrec, 1887–88Courtesy of the Art Institute of Chicago
  2. In the Waves (Dans les Vagues), by Paul Gauguin, 1889
    In the Waves (Dans les Vagues)Paul Gauguin, 1889Courtesy of the Cleveland Museum of Art
  3. Nursemaids’ Promenade, Frieze of Carriages, by Pierre Bonnard, 1895
    Nursemaids’ Promenade, Frieze of CarriagesPierre Bonnard, 1895Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. Painting, heavy in tones of blue-green and burnt orange, depicting a bar scene at night. The men wear top hats and many are bearded; the women are dressed in voluminous gowns and decorative hats. Five people converse in the center of the composition and a woman with a green face dominates the right foreground.
    At the Moulin RougeHenri de Toulouse-Lautrec, 1892–95Courtesy of the Art Institute of Chicago
  2. Mount Sainte-Victoire, by Paul Cézanne, c. 1904
    Mount Sainte-VictoirePaul Cézanne, c. 1904Courtesy of the Cleveland Museum of Art

Section 2, north wall

  1. Large painting of people in a crowded park, brushstrokes are dots.
    A Sunday on La Grande Jatte — 1884Georges Seurat, 1884–86, border added 1888–89Courtesy of the Art Institute of Chicago
  2. Road in Etten, by Vincent van Gogh, 1881
    Road in EttenVincent van Gogh, 1881Courtesy of The Metropolitan Museum of Art
  3. Orpheus, by Odilon Redon, c. 1903–10
    OrpheusOdilon Redon, c. 1903–10Courtesy of the Cleveland Museum of Art

Section 3, north wall

  1. Landscape with Wheelbarrow, by Vincent van Gogh, 1883
    Landscape with WheelbarrowVincent van Gogh, 1883Courtesy of the Cleveland Museum of Art
  2. Homage to Goya, by Odilon Redon, 1885
    Homage to GoyaOdilon Redon, 1885Courtesy of the Cleveland Museum of Art
  3. Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress, by Paul Cézanne, 1888–90
    Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red DressPaul Cézanne, 1888–90Courtesy of The Metropolitan Museum of Art
  4. Painted in muted lime green, plum purple, buttercup yellow, slate and royal blue, the head and shoulders of a man with peach-colored skin sitting in front of a window looks at us in this stylized, vertical portrait. His body and face are angled to our right but he looks at us from the corners of his eyes, which are grass-green with touches of yellow. One cobalt-blue eyebrow is cocked, and shading in denim blue, butter yellow, and fern green create hollows under both eyes. His flat nose has a broad bridge, and his pale pink lips are closed, the far corner pulled slightly up. His mustache is painted with visible strokes of forest green and his ginger-orange beard is trimmed along his prominent, jutting chin. His short, dark hair is brushed back from his temples and is painted with strokes of pine green, navy blue, and coral orange. His shirt has a wide, golden yellow stripe along the collar above indigo blue, under a grayish-violet purple jacket. The wall over his shoulder, in the upper left corner, is painted vivid lime green with long, vertical brushstrokes. The view through the window beyond his other shoulder is of vegetation and mountains. The portrait is painted with visible brushstrokes throughout, and is especially loose in the background, hair, and jacket. An inscription in dark green script in the upper left reads, “a l'ami Carriere PGauguin.” A second inscription in the lower left is written with dark brown paint: “l'ami Laval PGo.”
    Self-Portrait Dedicated to CarrièrePaul Gauguin, 1888 or 1889Courtesy National Gallery of Art, Washington