La dame au gant by Carolus Duran
The Young Girl and Death by Marianne Stokes玛丽安·斯托克斯。 这幅画给我的印象最深。它描绘一位少女面对死亡天使时的恐惧。为什么少女用手拉扯床单？ 应该是死神带来的毛骨耸然的冷酷感。死亡天使来自黑暗之处，故行走需要借助灯光的照明。那黑色的长袍和又黑又大的翅膀，给人阴森鬼怪的感觉。
Portrait de Madame Gaudibert by Claude Monet (1868)
Constantin Emile Meunier (1831-1905), Dark Landscape – In the Black Country, Museu D'Orsay
Peasant Girl Lighting a Fire. Frost by Camille Pissarro (1888)
War or The Cavalcade of Discord by Henri Rousseau
Sir Edward Burne-Jones. Princess Sabra (The King's Daughter). 1865-1866
The Birth of Venus by Alexandre Cabanel
Siesta [Rest], Hans Thoma, 1889 (1839-1924). Oil on canvas，H. 88; W. 117 cm.
Hans Thoma was one of Germany's outstanding painters in the late 19th century. Trained in Karlsruhe and Düsseldorf in the 1860s, he met Gustave Courbet during a long stay in Paris and was deeply influenced by him. Dividing his career between Munich, Frankfurt and Florence, he was one of the "German Romans" who found in the observation of Renaissance art a means of contemporary expression which played a major role in the genesis of European symbolism at the end of the century.
Reminiscences of Italy, as found in the tradition of classical landscapes initiated by Poussin, are particularly obvious in this painting. Close to Arnold Böcklin's dreamy pantheism, Thoma is nonetheless conspicuously different from the Swiss artist in his preference for prosaic country scenes over mythology. In its lyricism, Rest forges a link with the many peasant scenes that Thoma had already painted.
Pierre-Auguste RENOIR, Pont du chemin de fer à Chatou, en 1881.
Pierre-Auguste RENOIR, Dance at Le Moulin de la Galette, 1876
“Starry Night, Arles“ by Vincent van Gogh
Olympia is an oil on canvas painting by Édouard Manet that caused shock and astonishment when it was first exhibited at the 1865 Paris Salon. Painted in 1863, it measures 130.5 by 190 centimetres (51 x 74.8 in). The nation of France acquired the painting in 1890 with a public subscription organized by Claude Monet. It is now in the Musée d'Orsay, Paris.
What shocked contemporary audiences was not Olympia's nudity, nor even the presence of her fully clothed maid, but her confrontational gaze and a number of details identifying her as a demi-mondaine or prostitute. These include the orchid in her hair, her bracelet, pearl earrings and the oriental shawl on which she lies, symbols of wealth and sensuality. The black ribbon around her neck, in stark contrast with her pale flesh, and her cast-off slipper underline the voluptuous atmosphere. "Olympia" was a name associated with prostitutes in 1860s Paris.
A Box at the Theatre des Italiens by Eva GONZALES (1875-1878)
Edouard Manet was Gonzales's teacher and hence slight influence can be seen especially the woman holds a strong resemblance to manet's Bar at the folies bergere. The strong contrast in the light skin tone of the woman and the dark background together with the suit of the man, this makes the woman the focal point.
The Beach at Cabourg at High Tide, Rene'-Xavier PRINET (1910)
The Bedroom at ArIes by Vincent van Gogh (1889). Oil on canvas, 57.5 x 74.0 cm.
Paul Cézanne:The Card Players 1894-1895
Woman with a Parasol turned to the right by Claude Monet
La robe rose ou Vue de Castlenau by Frederic Bazille (1864)
"Spring" by Jean François Millet
The Hunted Roe Deer on the Alert Spring by Gustave Courbet
“Dancers Climbing the Stairs” by Edgar Degas
The Enigma (1871) by Gustave Dore weaving together scenes from the Franco Prussian War (1870-1871) in Paris and mythology.
Prima Ballerina, pastel by Edgar Degas, c. 1876
