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Post-Impressionism

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

62 works · hang 8641 ·

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

Walk this roomRehang this room

First room, north wall

  1. Still-Life with a Watermelon and Pomegranates, by Paul Cézanne, 1900–1906
    Still-Life with a Watermelon and PomegranatesPaul Cézanne, 1900–1906Courtesy of The Metropolitan Museum of Art
  2. Self-Portrait with a Straw Hat (obverse: The Potato Peeler), by Vincent van Gogh, 1887
    Self-Portrait with a Straw Hat (obverse: The Potato Peeler)Vincent van Gogh, 1887Courtesy of The Metropolitan Museum of Art
  3. Tahitian Faces (Frontal View and Profiles), by Paul Gauguin, ca. 1899
    Tahitian Faces (Frontal View and Profiles)Paul Gauguin, ca. 1899Courtesy of The Metropolitan Museum of Art
  4. A scene in brown and green tones of people dancing indoors. In the foreground, three women stand near boothed tables while a man sits.
    Moulin de la GaletteHenri de Toulouse-Lautrec, 1889Courtesy of the Art Institute of Chicago

First room, south wall

  1. The Card Players, by Paul Cézanne, 1890–92
    The Card PlayersPaul Cézanne, 1890–92Courtesy of The Metropolitan Museum of Art
  2. Pastel drawing of two figures in a sailboat, bright multi-colored clouds.
    Flower CloudsOdilon Redon, c. 1903Courtesy of the Art Institute of Chicago
  3. Irises, by Vincent van Gogh, 1890
    IrisesVincent van Gogh, 1890Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. A work made of oil on canvas.
    The Vase of TulipsPaul Cézanne, c. 1890Courtesy of the Art Institute of Chicago
  2. A work made of graphite on cream laid paper (pieced).
    Bather With Outstretched Arms (recto); Study of a Tree (verso)Paul Cézanne, 1874/77Courtesy of the Art Institute of Chicago
  3. At the Circus: The Spanish Walk (Au Cirque: Le Pas espagnol), by Henri de Toulouse-Lautrec, 1899
    At the Circus: The Spanish Walk (Au Cirque: Le Pas espagnol)Henri de Toulouse-Lautrec, 1899Courtesy of The Metropolitan Museum of Art
  4. Symbolic Head, by Odilon Redon, c. 1890
    Symbolic HeadOdilon Redon, c. 1890Courtesy of the Cleveland Museum of Art

Second room, north wall

  1. Painting of a red-haired, bearded man with light skin, painted in short brushstrokes and multicolored dots. The background is likewise a mass of small, closely spaced colored dots, these in green, blue, and red-orange.
    Self-PortraitVincent van Gogh, 1887Courtesy of the Art Institute of Chicago
  2. 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
  3. A work made of transfer drawing in brownish-black ink (recto); graphite and blue crayon pencil with brush and solvent washes in ocher on cream wove paper.
    Woman with a CatPaul Gauguin, c. 1900Courtesy of the Art Institute of Chicago

Third room, north wall

  1. Heavy daubs of pigment form a crowded scene of roughly defined, finely dressed individuals in a brightly color park along a riverbank.
    Oil Sketch for "A Sunday on La Grande Jatte — 1884"Georges Seurat, 1884Courtesy of the Art Institute of Chicago
  2. A work made of reed pen and iron-gall ink on tan laid paper.
    Avenue of Pollard Birches and PoplarsVincent van Gogh, March 1884Courtesy of the Art Institute of Chicago