Provenance

Palais Galliera

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Théodore Chassériau, Victor-Auguste de Saint-Rémy, c. 1850, graphite heightened with white chalk on wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.28

Victor-Auguste de Saint-Rémy

Théodore Chassériau · c. 1850 · graphite heightened with white chalk on wove paper ·  Accession ID  1995.47.28

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Fête Champêtre with Game of Hot Cockles (La Main Chaude)

Jean-Pierre Norblin · before 1774 · graphite with pen and gray and brown ink with gray wash on laid paper ·  Accession ID  2018.174.2

Giovanni Domenico Tiepolo, Punchinellos Hunting Waterfowl, c. 1800, pen and brown ink with brown wash over charcoal on laid paper, Woodner Collection, Gift of Andrea Woodner, 2006.11.23

Punchinellos Hunting Waterfowl

Giovanni Domenico Tiepolo · c. 1800 · pen and brown ink with brown wash over charcoal on laid paper ·  Accession ID  2006.11.23

This vertical still life painting shows a display of dead pheasants, slabs of meat and ribs, and fruit, all arranged on a tabletop close to us. Five golden pears sit on a wooden stool in front of the table, to the left of center. More than a dozen pheasants are arranged belly up on a gold platter with pedestal foot on the table to our left. Their plucked bodies are covered with a layer of white, textured lard while the feathers on their heads and neck are left intact. Two of the three fully plucked birds stacked on a tousled white tablecloth to our right are wrapped in what looks like paper at first glance but turns out to be thin slices of meat, and tied with twine. A woven wicker basket with at least eight oranges rests on the opening of a tall copper cooking pot to our right, behind the plucked birds. A rack of ribs and slab of meat with some entrails hang from hooks in a horizontal rail that is cropped by the top edge of the painting. The palette is dominated with warm browns, ochre, and white, with touches of green, orange, and blue.
Alexandre-François Desportes, Still Life with Dressed Game, Meat, and Fruit, 1734, oil on canvas, Chester Dale Fund, 2012.11.1

Still Life with Dressed Game, Meat, and Fruit

Alexandre-François Desportes · 1734 · oil on canvas ·  Accession ID  2012.11.1

Edgar Degas, Fallen Jockey (study for "Scene from the Steeplechase: The Fallen Jockey"), c. 1866, black chalk and pastel on brown wove paper, Collection of Mr. and Mrs. Paul Mellon, 1999.79.11

Fallen Jockey (study for "Scene from the Steeplechase: The Fallen Jockey")

Edgar Degas · c. 1866 · black chalk and pastel on brown wove paper ·  Accession ID  1999.79.11

Edgar Degas, Study of a Jockey (M. de Broutelles), c. 1884, black crayon on cream paper, Collection of Mr. and Mrs. Paul Mellon, 1999.79.13

Study of a Jockey (M. de Broutelles)

Edgar Degas · c. 1884 · black crayon on cream paper ·  Accession ID  1999.79.13

Clouds hunker over a water-logged street that separates us from the end of a row of buildings in this horizontal painting. The scene is loosely painted, especially in the sky and water. The lowest level of the building across from us is apricot orange. The second story is pale peach, and dormered windows cut into the gray and then brown rooflines above. The words “AS’ NICOLAS” are painted in gray near the top of the second level, and more letters on the level below are illegible. The roofline drops down a level where it meets the structure next to it, along the left edge of the canvas. Two women in long skirts stand at a darkened, open doorway near the front corner of the structure. A sign on the side of the building hangs from a horizontal arm over three men in and near a shallow boat, which is being propelled by a man who stands in the stern with a long stick. The street is so wet that it first appears to be a canal or river. It is only when we notice dashes of mauve, pale pink, and gray to our left that we realize the cobblestone road is flooded. A band of buildings with tan walls and black or red roofs spans the right two-thirds of the horizon, which comes about a quarter of the way up this composition. A grove of cinnamon-brown trees and some open structures could be a submerged park in the near distance. Two poles and some spindly trees to our right are reflected in the water. Dark forms around these areas could be more people. Pale blue and very pale pink whip together in the sky, suggesting churning clouds veiling the blue sky. The artist signed and dated the work in the lower left corner, “Sisley 72.”
Alfred Sisley, Flood at Port-Marly, 1872, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.38

Flood at Port-Marly

Alfred Sisley · 1872 · oil on canvas ·  Accession ID  1985.64.38

From a sandy beach, we look across a sun-drenched body of water enclosed by a long, sand-colored, crenelated wall in this horizontal landscape painting. The scene is loosely painted, especially in the beach closer to us and in the water, which is a blend of aquamarine blue and honeydew green. The beach has a few areas of celery-green growth. The shoreline stretches away along the left side of the painting, back to an area with emerald-green trees. A few boats, painted with swipes of black and peanut brown, are pulled up to the beach near the trees. Spanning the right two-thirds of the composition, the wall angles away from us so the closest part of the wall is to our right. There is a round, stout tower at the end of the wall to our left and another near the right edge of the canvas, though the wall continues beyond that tower. There is an arched doorway about halfway long the length of the wall. The water is smoothly painted with only a few ripples where the tower to our right reflects in the surface. In the narrow space between the beach to our left and the wall to our right, a few buildings, a windmill, and more trees line the horizon in the distance. The top half of the painting is given over to a topaz-blue sky, with only a few puffy white clouds near the horizon.
Frédéric Bazille, The Western Ramparts at Aigues-Mortes, 1867, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.1

The Western Ramparts at Aigues-Mortes

Frédéric Bazille · 1867 · oil on canvas ·  Accession ID  1985.64.1

Two sailboats and a rowboat float on a glistening, azure-blue river spanned by a stone bridge to our right in this horizontal landscape painting. The scene is loosely painted with visible strokes and dashes throughout so some details are indistinct. An area of asparagus and moss-green dabs creates a patch of grassy riverbank in the lower right corner of the painting. The rippling, sun-dappled surface of the river is created with short parallel strokes of pale pink, caramel brown, white, sage green, and light blue. An empty sailboat, with its sails tightly furled or removed all together, floats near us to our left of center. It has a single tall, pale wood mast. A similar pole rises from the bottom edge of the picture, presumably the mast of another ship below us or out of our view. Farther out on the water and to our left is another sailboat with full white sails catching the sunlight. The final vessel is loosely painted with a few swipes of goldenrod yellow, black, white, and pink to suggest two people sitting in a rowboat, one of them holding a pink parasol. The gray stone bridge is shaded on our side with denim blue along the faces of the four arches we can see. Several people, painted with a few touches of peach and black, stand at the railing. The bridge angles from near the upper right corner of the canvas to almost the middle of the composition, where it meets a narrow, three-story coral-pink and light gray building. A two-story, white building sits a short distance to its left. They bask in warm sunlight against a row of emerald and olive-green trees. A baby-blue sky scattered with puffy white clouds spans the upper half of the composition. The artist signed the lower right with dark red letters, “Claude Monet.”
Claude Monet, The Bridge at Argenteuil, 1874, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1983.1.24

The Bridge at Argenteuil

Claude Monet · 1874 · oil on canvas ·  Accession ID  1983.1.24

A woman bends double to tend a garden that stretches before us in front of two houses in this horizontal landscape painting. The scene is painted with short, visible brushstrokes with a palette dominated by spring, pine, and celery green and earthy tan, peanut, and chestnut brown. Touches of canary yellow, pale pink, coral, and ruby red suggest sunflowers, roses, and other flowers. The woman wears a long, steel-gray skirt and a long-sleeved olive-green shirt. Her brown hair is bound up, and her face and hands, indicated with only a few short swipes of paint, are pale peach. She stoops over a light green patch to our right of center near a bundle of sticks or a group of tall dried stems, to our right. Leafy greens have been planted in rows to our left. Across from us, beyond the cultivated rows, masses of flowers grow in a band that nearly spans the width of the composition. Beyond, a gray stone house with a dark gray roof and a second brick red roof rise above the plants and trees. The pale blue sky above is dotted with cotton-white clouds. The artist signed and dated the work with dark paint in the lower left corner: “C. Pissarro 1898.”
Camille Pissarro, The Artist's Garden at Eragny, 1898, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.54

The Artist's Garden at Eragny

Camille Pissarro · 1898 · oil on canvas ·  Accession ID  1970.17.54