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    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

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Open today 10:00–5:00

National Gallery of Art

  • Visit

    • Plan Your Visit
    • Accessibility
    • Visiting with Kids
    • Food and Drink
    • Shops
    • Tours, Guides, and Maps

    Open today 10:00 a.m.–5:00 p.m.
    Admission is always free

    6th and Constitution Ave NW 
    Washington, DC 20565

    Celebrating American art and artists

    Join us as we explore 250 years of American creativity from across the nation.

    Learn more

  • Exhibitions & Events

    • Exhibitions
    • Calendar
    • Kid-Friendly Events
    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

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    Play Artle

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    • Plan Your Visit
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    • Visiting with Kids
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    • Tours, Guides, and Maps

    Open today 10:00 a.m.–5:00 p.m.
    Admission is always free

    6th and Constitution Ave NW 
    Washington, DC 20565

    Celebrating American art and artists

    Join us as we explore 250 years of American creativity from across the nation.

    Learn more

  • Exhibitions & Events

    • Exhibitions
    • Calendar
    • Kid-Friendly Events
    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

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    • Games and Interactives
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    • Research

    Play Artle

    Test your knowledge with a new puzzle every day.

    Play now

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    Louis W. Hill

    American, 1872 - 1948

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    Set in a valley carpeted in sage green, about a dozen armed men, on foot and horseback, close to us, line up and face off against an attack advancing from the back left in this vertical painting. The men, clothing, and horses closest to us are painted with dashes and swirling brushstrokes, which contrasts with the soft look of the approaching crowd and landscape beyond, which are painted indistinctly with loose and blended brushstrokes. All the men we can see have medium brown skin and are armed with rifles. The men close to us wear long tunics and boots in shades of teal blue, ivory white, crimson red, earth brown, and golden yellow. Most of them wear turbans and some have straight or curved daggers hanging from their waists. Closest to us in the bottom left, a chestnut-brown horse with a black mane collapses on its rider, who sprawls along the ground with arms overhead. The horse lifts its head and twists back toward us facing our left, so the white blazes down its nose are visible. Near the horse’s legs and along the left edge of the painting, a man wearing a mustard-yellow tunic kneels and leans his forehead against the barrel of his rifle, which he braces like a walking stick. His other hand rests on the hilt of his dagger at his waist. To our right of the fallen horse, six men line up along a low rise that angles to our right and into the distance, where it meets a grove of green trees. At the front of that group, near the lower center of the composition, a rider on a dark horse charges the approaching men. Those men emerge from a line of emerald-green trees and growth at the foot of a steep, rocky hill. These men are more loosely painted so details are difficult to make out, but several are backlit by white smoke, presumably from firing their rifles. The hill above is mottled with warm taupe, light gray, cinnamon-brown, and moss-green growth. Atop the hill and to our left, a walled building complex with thick, square towers faces a row of sheer cliffs that march in from the upper right to enclose the space. Their jagged faces are shadowed with cool tones of slate blue, pewter gray, and touches of rust red. An azure-blue sky, scattered with thin layers of steel-gray and white clouds, spans the top of the composition. Bright sunlight flows in from the upper right, illuminating the fallen horse and the men near it. Sunlight also warms the face of the terracotta building and the hill, as well as the peaks of the mountains on the right. The artist signed and dated the work in black in the lower center: “Eug. Delacroix 1863.”
    Eugène Delacroix, Arabs Skirmishing in the Mountains, 1863, oil on canvas, Chester Dale Fund, 1966.12.1

    Arabs Skirmishing in the Mountains

    Arabs Skirmishing in the Mountains

    Eugène Delacroix · 1863 · oil on canvas ·  Accession ID  1966.12.1

    Bibliography

    1948

    • "Louis W. Hill Sr., Rail Official, 75." The New York Times (28 April 1948): 27:3.

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