Provenance

Galerie Georges Petit

French, est. 1846 - closed 1933

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Edgar Degas, Woman Reading a Book, c. 1879, charcoal and black chalk with stumping and erasing, heightened with white chalk, on blue wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.35

Woman Reading a Book

Edgar Degas · c. 1879 · charcoal and black chalk with stumping and erasing, heightened with white chalk, on blue wove paper ·  Accession ID  1995.47.35

Shown from the chest up, a pale-skinned, clean-shaven man wearing a cloth wrapped around his head looks at us in this vertical painting. The man’s shoulders are angled to our right, but he turns his round face to us to gaze out of the corners of his blue eyes under furrowed brows. His head tips slightly to our right, and his pink lips are parted. He has a rounded nose, full checks, and a slight double chin. The cloth wrapped around his head is white striped with pale blue. He wears a coral-orange and white neckerchief tied in a knot at his throat and a slate-blue collarless jacket. The background is pale, asparagus-green near his face and deepens to moss green at the edges. There are some white or light blue streaks and spots where paint has been lost or damaged.
Anonymous Artist, Portrait of a Man, 18th century, oil on canvas, Chester Dale Collection, 1943.7.3

Portrait of a Man

Anonymous Artist · 18th century · oil on canvas ·  Accession ID  1943.7.3

Edgar Degas, Study of a Jockey, c. 1884, charcoal on brown paper, Collection of Mr. and Mrs. Paul Mellon, 1999.79.12

Study of a Jockey

Edgar Degas · c. 1884 · charcoal on brown paper ·  Accession ID  1999.79.12

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.”
Edgar Degas, Alexander and Bucephalus, 1861/1862, oil on canvas, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1997.57.1

Alexander and Bucephalus

Edgar Degas · 1861/1862 · oil on canvas ·  Accession ID  1997.57.1

A young girl with pale skin and long brown hair looks at us as she braces a tall, wooden hoop with one hand by her hip in this vertical painting. The girl stands close to us with her body angled to our right, and she looks at us from the corners of her dark blue eyes. Her delicate nose, rosy cheeks, and closed, rose-pink lips are set in a heart-shaped face. She has wavy, chestnut-brown hair that falls loosely around her shoulders. Bangs brush across her forehead, and her hair is pulled back in half, tied in a pale blue ribbon. She wears a sky-blue dress with a ruffle around the wide collar. The long sleeves are rolled back over her wrists, and the dress is tied at the waist with an aquamarine-blue sash tied into a bow at her lower back. The knee-length skirt flares out from the waist. She wears ice-blue socks pulled halfway up her shins and black, low-heeled Mary Jane-style shoes tied with bows over the arches. One foot turns to rest on the bottom edge of the wooden hoop she braces with her left hand, farther from us. She holds a short stick by her side with the other hand. The ground around her is painted with blended areas of muted topaz blue, peach, and canary yellow. The top third of the background is a loosely painted garden, with lime and spring-green leaves, and a cluster of shell-pink flowers to our right. The artist signed and dated the painting in the lower left corner, “Renoir. 85.”
Auguste Renoir, Girl with a Hoop, 1885, oil on canvas, Chester Dale Collection, 1963.10.58

Girl with a Hoop

Auguste Renoir · 1885 · oil on canvas ·  Accession ID  1963.10.58

This painting displays an outdoor scene with a large tree to the left and a low horizon with a few buildings and what look like boats floating on blue water on the right. Closer to us on the right, several people are walking along a path towards us. One of them appears to be a woman in a brown dress with a yellow sash, carrying a basket on her head. The other two people appear to be adults with children, one adult wearing a blue dress and the other draped in a red cloak. The people have light brown skin. The sky above is light blue with fluffy white clouds The color palette includes greens, browns, and blues.
Jean-Baptiste-Camille Corot, Souvenir of Terracina, 1864, reworked slightly later, oil on canvas, Corcoran Collection (William A. Clark Collection), 2014.136.26

Souvenir of Terracina

Jean-Baptiste-Camille Corot · 1864, reworked slightly later · oil on canvas ·  Accession ID  2014.136.26

Jean-Jacques Henner, Madame Uhring, 1890, oil on wood, Chester Dale Collection, 1963.10.33

Madame Uhring

Jean-Jacques Henner · 1890 · oil on wood ·  Accession ID  1963.10.33

A young woman wearing a white robe and teal-blue cape is held aloft on the shoulders of three floating angels, surrounded by clouds crowded with cherubs above a group of people looking up from below in this vertical painting. All the people have light skin. The woman, Mary, lifts her arms, palms open. Her pink lips are parted, and her brown eyes look up toward light shining through a patch of blue sky from the top left corner of the painting. Her white robe has voluminous, long sleeves and is belted and tied with a strip of cloth. A gold clasp secures her cape, which is rimmed at the neck with gold. Her long, blond hair and her cape swirl around her. Above her, in the top right corner, four winged faces with round, chubby cheeks and tousled hair look around the scene. Other winged angels are faintly outlined in a coral-pink cluster in the white clouds beyond the woman. One of these angels strums the strings of a harp. The sky around them swirls with patches of hazy of sapphire and celestial blue mixed with wispy, white clouds. Three winged angels support Mary’s legs with their arms intertwined. The angels have chin-length, wavy blond hair and they wear robes in rose pink, mint, or moss green. Their hair and drapery flutters as if in a breeze as they look down onto the crowd of people below. In the lower right corner and closest to us, a balding man with a gray beard and hair is shown from about the waist up, facing away from us. He wears a dark blue robe with mustard-brown fabric draped over his left elbow and across his back. He looks up at Mary with his right hand raised to shield his eyes. He reaches down with his left hand to touch a book on a brown rock beside him. A slip of paper under the book reads, “BALDSLEA,” with the “BAL” intertwined as a monogram. Just beyond him to our right, a young woman with long, curly brown hair clutches her breast as she stares up. Beyond this pair, a group of people robed in muted pastel yellow, green, blue, or pink, gather around a white stone box, a tomb. On the side of the tomb facing us, a sculpted frieze shows a child-like cherub among stylized waves and swirls. To our left, two bearded men stand looking at the people leaning over and gathered near the tomb. The man closer to us gestures with his left hand and holds a large book or tablet tucked along his right side. The head of a third man, white-bearded and stooped, appears behind them. The scene is loosely painted so some details are indistinct, especially in the group gathered around the tomb and the onlookers below.
Juan de Valdés Leal, The Assumption of the Virgin, c. 1658/1660, oil on canvas, Samuel H. Kress Collection, 1961.9.46

The Assumption of the Virgin

Juan de Valdés Leal · c. 1658/1660 · oil on canvas ·  Accession ID  1961.9.46

Shown from the shins up, a woman with medium-toned skin plays a mandolin in this loosely painted vertical composition. The woman’s body faces us but her head tips to our left and she looks down in that direction with dark eyes. She has a short nose, and her full lips are closed over a rounded chin. Her brown hair falls loosely around her shoulders and is covered by a pumpkin-orange head cloth. Glints at her ears suggest earrings. She wears a beige jacket with puffy, voluminous sleeves over a shell-pink shirt with a high, ruffled collar above a red band. A rose-pink sash is tied around her waist and falls down the front of her long, beige skirt, and red cloth hangs along her right side, to our left. She holds a mandolin in both hands. The background is painted with dabs and mottled tones of earth green, golden brown, and muted blue and white for the sky. Brushstrokes are visible or blended throughout and are especially broad in the clothing and background. The artist signed the lower left corner, “COROT.”
Jean-Baptiste-Camille Corot, Gypsy Woman with Mandolin, c. 1870, oil on canvas, Gift of Count Cecil Pecci-Blunt, 1951.21.1

Gypsy Woman with Mandolin

Jean-Baptiste-Camille Corot · c. 1870 · oil on canvas ·  Accession ID  1951.21.1

This painting shows a woman sitting, her body facing the left and her head turned to look at us, with one arm resting on a wooden surface on the right. She has dark hair partially covered by a bright yellow scarf or cap, light skin, deep-set eyes, pale eyebrows, and thin lips set in a neutral expression. She wears a white blouse with wide sleeves that is partially covered by a black bodice with a wide red neckline. Her skirt is black, although in the front she appears to be covered by a blanket or apron with colorful abstract designs in red, tan, and green, with some horizontal black stripes. She also wears large silver hoop earrings, multiple silver necklaces, and a silver ring on her hand. The background is a blend of muted green and brown tones, with a hint of pale blue in the upper left corner.
Jean-Baptiste-Camille Corot, Italian Woman (La Morieri), c. 1872, oil on canvas, Gift of the Avalon Foundation, 1954.6.1

Italian Woman (La Morieri)

Jean-Baptiste-Camille Corot · c. 1872 · oil on canvas ·  Accession ID  1954.6.1