Norbert Goeneutte (French, 1854-1894) – Elegant company on the riverbank (Oil on panel) – Goeneutte frequented the Père Lathuille, a cabaret, where he met Manet and was introduced to the artistic circle at the Café de la Nouvelle Athènes. He soon began exhibiting at the Salon. Here, the lady puts aside her reading to enjoy the river or perhaps she is awaiting a suitor, for which she will be the “elegant company.”
Frederick Carl Frieseke (American, 1874-1939) – In the Library, c.1917 (Oil on canvas. Hood Museum of Art – Dartmouth College) – Frieseke’s early figures most clearly show his academic training and draughtsmanship. Gradually these evolve into the most common images of the next decade, comprised of loosely-applied blotches of bright color. The vast majority of these show their subjects in the garden. Others include models in colorful, light-filled interiors.
Raoul Dufy (French, 1877-1953) – Le Bal, 1920 (Oil on canvas) – Brilliant and direct colors are combined with simplified figures and schematic compositions, which vividly evoke the lively of dancers at the ball. His short, parallel brushstrokes lend a dynamic quality to the flat construction of geometrical forms, revealing his investigation of form and space in a brightly saturated variation of the cubist style.
Franz Xavier Winterhalter (German, 1805-1873) – Princess Elizabeth Esperovna Belosselsky-Belosenky, Princess Troubetskoi, 1859 (Oil on canvas) – The Princess wears a dome crinoline with black lace trim and a flounced under-skirt. She has a beauty of any fictitious princess. Her eyes are big, lips are thin and face is just faultless. Her bearing and posture enhances her grace.
Harry Mitton Wilson (British, 1877-1923) – The girl in the pink dress, the artist’s wife, on Hastings Beach (Oil on canvas) – The woman, presumably Wilson’s wife, appears to have put down her reading in order to take a nap. In the background are sandstone cliffs which rise up steeply from the beach…
Vincent van Gogh (Dutch, 1853-1890) – Self-Portrait as a Painter, 1887-88 (Oil on canvas. Van Gogh Museum, Amsterdam) – Van Gogh depicts himself as an artist, with all the necessary equipment: palette, brushes, and a canvas on a wooden easel. Contrasting colors, such as the blue of the smock and the orange-red of the beard, are set right next to each other in order to strengthen their effect…
Piet Mondrian (Dutch, 1872-1944) – House on the Gein, 1900 (Watercolor and gouache on paper) – Is a good instance of Mondrian’s manner and ideas around 1900, when he was twenty-eight and had just started painting landscapes in the surroundings of Amsterdam… Typical of the early Mondrian is the loose brush stroke, giving the impression of a direct oil sketch of the subject in the open air. This picturesque touch is characteristic of most of Mondrian’s work during these years, not only the studies but also the finished paintings, it is probably one of his earliest accomplishments as a painter. A free flexible stroke was to remain a distinctive feature of his work down to his last pictures, his brushwork, mark of the experienced painter, always gave Mondrian’s canvases their special vividness… In this approach, in this conception of nature, young Mondrian shows his individuality and independence.