Shishkin Ivan Ivanovich
Rye (1878)
Oil on canvas. The Tretyakov Gallery, Moscow, Russia. Rye is one of this artist's best canvasses. By embellishing it, Shishkin transfigured the actual landscape that inspired the painting. Nevertheless, the painter remained faithful to reality and accurately depicted the details of the landscape: the flowers, trees and grain.
Shishkin Ivan Ivanovich
Morning in a Pine Forest (1889)
Oil on canvas. The Tretyakov Gallery, Moscow, Russia. "Russia - country of landscapes", - asserted Shishkin. He creates many art landscapes-symbols of Russia, and picture Morning in a Pine Forest is for many generations of the people on all planet one of such symbols.
Ivan Aivazovsky
The Black Sea (1881)
Oil on canvas. The Tretyakov Gallery, Moscow, Russia. Aivazovsky's greatest achievement in this period is The Black Sea. Here the artist created a generalized image of the marine elements in their ever-changing manifestations. The distant horizon is calm, but towards the foreground the sea gets rougher and waves break the smooth surface of the water.
Ivan Aivazovsky
The Coast at Amalfi (1841)
Oil on canvas. The State Russian Museum, St. Petersburg, Russia. A picture might be accurate and exact, but it would be sterile without the pulse of life within it. The viewer would see familiar places and painstakingly reproduced details, but would remain indifferent to what he saw. Instead of copying direct from nature, then, Aivazovsky tried to create a picture of the shimmering, leaping sea from memory in his studio.
Louis-Léopold Boilly
The Card Sharp on the Boulevard (1806)
Oil on wood. The National Gallery of Art, USA. Cardsharp on the Boulevard shows several episodes on the boulevard du Temple, where, to the right, the scene is dominated by a cardsharp or conjurer, offering cards to a group of attractive young women and children.
Rosa Bonheur
The Horse Fair (1855)
Oil on canvas. This, Bonheur’s best-known painting, shows the horse market held in Paris on the tree-lined Boulevard de l’Hôpital, near the asylum of Salpêtrière, which is visible in the left background. For a year and a half Bonheur sketched there twice a week, dressing as a man to discourage attention.
Camille Pissarro
The Garden of the Tuileries on a Spring Morning (1899)
Oil on canvas. This picture, like the two winter views of the Jardin des Tuileries by Pissarro in the Museum's collection (66.36 and 1979.414), belongs to a series that he painted from his apartment in the rue de Rivoli in 1899. Here, spring has arrived: underneath the blooming trees and soft blue sky, a woman can be seen at lower center, pushing a brightly-attired baby in a carriage.
Claude Monet
Garden at Sainte-Adresse (1867)
Oil on canvas. He painted this buoyant, sunlit scene of contemporary leisure, enlisting his father (shown seated in a panama hat) and other relatives as models. By adopting an elevated viewpoint and painting the terrace, sea, and sky as three distinct bands of high-keyed color, Monet emphasized the flat surface of the canvas. His approach—daring for its time—reflects his admiration for Japanese prints.
