[DB] Artworks

Antonio Gisbert Pérez

After 1888

Oil on panel (47 x 71 cm)

prado-antonio-gisbert-execution-of-torrijos-malaga

Once considered a sketch, this work is actually an unfinished reduced replica of the original masterpiece. The artist reused a panel previously containing another composition, as revealed by X-ray analysis. The quality of the painting on this support allows for a unique appreciation of the artist's careful brushwork and pictorial values, reflecting Gisbert's practice of creating smaller versions of his major historical works.

Location📍  Museo Del Prado, Room 075

간략, 설명, 태그 검수 요망 / 위치 확인완료

Fusilamiento de Torrijos y sus compañeros en las playas de Málaga

말라가 해변에서의 토리호스와 동료들의 처형

Berthe Morisot

1875

Oil on canvas

au_ball_berthe_morisot

Exhibited at the second Impressionist exhibition in 1876, this portrait features an unknown model in Morisot's apartment on Avenue d'Eylau, identifiable by the lush plants in the background. The artist focuses on the textures of the ball gown, where the white muslin bodice, gloves, and fan contrast sharply with the dark hair and eyes. The work is characterized by the restricted palette of 1875, accented by touches of yellow, red, blue, and green.

Location📍  -

Au bal

무도회에서

Chaïm Soutine

c 1923

Oil on canvas (73,5 x 92 cm)

musee-de-l-orangerie-chaim-soutine-the-village

Le Village is considered the most radical and unusual of Chaim Soutine's landscapes. While the subject—comprising houses, trees, and the sky—appears classical, the treatment reveals a tormented character and an affirmation of great modernity. Soutine dramatically distorted and intertwined every element, effectively eliminating any traditional sense of perspective or balance. This "mental landscape" eclipses the strict observation of nature to make way for a profound expression of feeling. Despite its distorted appearance, the painting is modeled after a real location: La Basse Gaude, a village near Cagnes. This work belongs to a series of nine paintings produced in 1923-1924, featuring houses and a mill clinging to a rocky hillside at varying heights. Soutine created this piece during a period of emotional contradiction; in late 1923, he wrote to the Parisian gallery owner Zborowski, "I would like to leave Cagnes. This landscape that I can no longer stand..." This anguished and subjective reinterpretation of his environment firmly places Soutine within the Expressionist tradition that was particularly marked before and after the First World War.

Location📍  Orangerie Museum (Level -2, Room 15)

Le Village

마을

Chaïm Soutine

1922–1923

Oil on canvas

the-little-pastry-cook-soutine

This portrait of a pastry cook marked a decisive moment in Chaïm Soutine’s career. In 1923, after Paul Guillaume acquired a version of the subject—now in the Barnes Foundation Collection—it was immediately hailed by Albert Barnes as "a peach!", transforming Soutine overnight into a recognized hero of Montparnasse. Soutine produced six versions of this same subject that are known today. Likely inspired by Jean Fouquet’s Portrait of Charles VII in the Louvre, the model’s pose—featuring an elongated face, fragile neck, and distorted features—exudes a strong expressive power. The flat, vivid red of the cloth creates a striking contrast against the white jacket rendered with touches of grey and green. Paul Guillaume purchased this exceptionally accomplished version in the early 1930s as a tribute to the first "Pastry Cook" that he had liked so much. This painting is now held in the Musée de l’Orangerie, preserving the legacy of the work that so significantly changed Soutine’s fortunes.

Location📍  Orangerie Museum, Level -2, Room 9

Le Petit Pâtissier

어린 제과사

Claude Monet

1880

Oil on canvas

claude-monet-sunset-lavacourt

Following the particularly harsh winter of 1879, Claude Monet produced twenty or so paintings during the early months of 1880, observing the Seine’s ice slowly thawing. Driven by a lack of money, he sought reentry into the official Salon with this landscape of Lavacourt—a village on the left bank of the Seine, opposite his base in Vétheuil. While a deliberately toned down version was accepted, this work was rejected as Monet gave freer rein to pictorial experimentation. The painting barely figures the topographical aspects, instead emphasizing the importance of air and water through colour. Monet used fine, fluid strokes in the upper third for the cold mist, while the water and banks feature wider strokes with impasto highlights. The orange sunset at the composition's center recalls the 1872 work, Impression, Sunrise (Paris, Marmottan Museum), providing an impression of haste, instability, and transience fitting for the twilight hour. This masterpiece was gifted to the Petit Palais in 1906 by Edward Brandus.

Location 📍 Petit Palais, Room 8

Soleil couchant sur la Seine à Lavacourt, effet d'hiver

라바쿠르 세느 강의 일몰, 겨울 효과

Claude Monet

1872

Oil on canvas

impression-sunrise

During a stay at the Hôtel de l'Amirauté in Le Havre around November 1872, Claude Monet painted his most famous work, Impression, Sunrise. From his bedroom window, he captured a southeastern view of the avant-port at dawn. The composition is structured by the Quai au Bois on the left and the Quai Courbe—then under construction—on the right. A central opening reveals the location of the transatlantic lock leading to the Bassin de l'Eure. Cranes, chimneys, and masts are enveloped in the mist of an autumnal dawn, while the ferrymen's boats, the vivid orange sun, and its reflections were added as Monet finished the canvas. Painted in just a few hours, this evanescent image is remarkable for its uncommon freedom of execution. For the 1874 exhibition at Nadar's former studios, Monet titled the work simply "Impression." This term, a part of painters' jargon since the mid-19th century, signified a growing interest in capturing an atmosphere rather than a meticulous description of nature. While conservative critic Louis Leroy used the title to mockingly label the group in Le Charivari, a few days later, defender Jules Castagnary adopted the term "impressionists" with a positive meaning. It has since designated the group formed by Monet and his friends, with this painting serving as their ultimate symbol. Donated by Eugène and Victorine Donop de Monchy in 1940, this work remains a global icon.

Location 📍 Level -1 (Monet Gallery)

Impression, soleil levant

인상, 일출

Claude Monet

1892

Oil on canvas (100 x 65 cm)

marmottan-monet-rouen-cathedral-sun-effect-inv5174

In 1892, Monet stayed in apartments facing Rouen Cathedral to undertake a large-scale project painting the western portal from various angles and at different times of the day, a task that occupied him from February to April for two consecutive years. Working on as many as nine canvases a day, Monet was deeply immersed in this endeavor. Critics highly praised the artist's experimentation and desire to push the boundaries of painting through unprecedented research. This version, held at the Musée Marmottan Monet, does not yet possess the thicker texture seen in other canvases of the series. Monet interpreted the stone in contact with the sun through a harmony of pink, beige, and yellow, contrasting with the shaded areas suggested by mauve and blue tints.

Location📍 Marmottan Monet Museum (Level -1, Monet Gallery)

태그 맞춰야함, 최종 검수 해야함

Cathédrale de Rouen, effet de soleil, fin de journée

루앙 대성당, 일몰, 일과 끝의 효과

Claude Monet

1881

Oil on canvas

claude-monet-view-of-vetheuil-1881

Monet lived and worked in Vétheuil, a small village on the Seine northwest of Paris, from 1878 to 1882. Although this period was marked by financial difficulties and the illness and death of his wife Camille, he continued to produce numerous light-filled landscapes of the idyllic river valley using his studio boat and working along the banks. Throughout his life, he pursued "Pleinairmalerei" painting—the spontaneous rendering of nature as a phenomenon of light and colour—and in this work, he captured the atmosphere of a hot summer day and the air glistening in the sunlight with brilliant colours and nervous brushstrokes. In this particular painting, Monet was primarily interested in the sudden change in colour intensity from nearness to distance. He applied vigorous yellows and greens to the foreground consisting of a ripe grain field and an embankment. For the middle ground, he used a light blue brightened with white to depict the town and its characteristic church tower. The background hills and the sky above are rendered in delicate, blurred pastel hues. This work, painted from a slope south of the village, captures the transition of light and colour across the landscape toward the soft blue summer sky.

Location📍  The ALBERTINA Museum, Level 2(The Batliner Collection)

Blick auf Vétheuil

베퇴유의 풍경

Claude Monet

c.1917-1919

Oil on canvas (100 × 200 cm)

claude-monet-the-water-lily-pond-albertina

Late works by Claude Monet were created in seclusion at his estate in Giverny and focus on a limited number of motifs, particularly the flower garden and the Japanese-inspired water lily pond. While earlier compositions presented scenic views with the pond and bridge at the center, his final years concentrated on selected aspects, especially the surface of the water and its reflections. The special character of these paintings lies in the abandonment of symmetry, the absence of a horizon line, and the merging of reflection and reality. This created a play between objectivity and abstraction that goes far beyond Impressionism. From 1914 onward, Monet produced large-scale panels intended for a specific architectural setting. After the Armistice in 1918, he dedicated these “grandes décorations” to the French state, which were installed posthumously in the oval rooms of the Musée de l'Orangerie. The present painting is one of the works prepared for this monumental decoration. In 1918, Monet ordered twenty canvases measuring 100 × 200 cm and painted them over the next two years. The composition features a unique asymmetrical distribution: dark reflections occupy nearly three-quarters of the right side, while sky light reflections are shifted to the left. This motif was later translated into a much larger format for the monumental triptych now housed at the Museum of Modern Art in New York.

Location📍  The ALBERTINA Museum (Level 2 - The Batliner Collection)

Le Bassin aux nymphéas

수련 연못

Claude Monet

1903

Oil on canvas

water-lilies-marmottan

Location📍 

Nymphéas

수련

Claude Monet

1914–1926

Oil on canvas (200 x 850 cm)

water-lilies-claude-monet

A monumental set of eight compositions designed as a unique environment in two elliptical rooms. Gifted to the French State as a symbol of peace after the 1918 Armistice, it is described as the "Sistine Chapel of Impressionism.”

Location📍  Orangerie Museum (Ground floor, Room 03 Water Lilies 2)

연속 그림 넣어야함 / 내부 사진도

Nymphéas

수련

Claude Monet

1892

Oil on canvas (107,0 x 74,0 cm)

claude-monet-rouen-cathedral-portal-front-view-1892

Also titled 'Brown Harmony,' this 1892 work is part of Claude Monet's series capturing the frontal view of the Rouen Cathedral portal.

Location📍 Musée d'Orsay (Upper level, Room 34)

오피셜 설명 없음, 다시 쓸것, 검수해야함, 사진 패드에서 업로드함

La Cathédrale de Rouen. Le Portail vu de face

루앙 대성당, 서쪽 입구, 구름낀 날씨

Claude Monet

1893

Oil on canvas (92,2 x 63,0 cm)

claude-monet-rouen-cathedral-morning-sunlight-1893

Also titled 'Blue Harmony,' this 1893 work is part of Claude Monet's series capturing the fleeting effects of morning sunlight on the portal of Rouen Cathedral.

Location📍  Musée d'Orsay, Artwork not currently exhibited in the museum

오피셜 설명 부족, 보완해야함, 태그 다른작품이랑 맞출것

La Cathédrale de Rouen. Le Portail, soleil matinal

루앙 대성당, 정문, 아침 햇살의 파랑빛 조화

Claude Monet

1893

Oil on canvas (107,0 x 73,5 cm)

claude-monet-rouen-cathedral-full-sunlight-1893

Also known as 'Blue and Gold Harmony,' this 1893 work captures the Rouen Cathedral's portal and the Tour Saint-Romain under the brilliance of full sunlight.

Location📍  Musée d'Orsay, Artwork not currently exhibited in the museum

오피셜 설명 없어서 보완해야함

La Cathédrale de Rouen. Le Portail et la Tour Saint-Romain, plein soleil

루앙 대성당 : 정문과 생 로맹 탑, 햇살 가득한 파랑빛과 금빛 조화

Département des Antiquités grecques, étrusques et romaines, Musée du Louvre

marbre de Paros (lychnites) / ronde-bosse (sculpture)

venus-de-milo-louvre

This sculpture is composed of two elements joined at the hips. It originally featured an attached left arm and bronze elements, including a tiara and a bracelet on the right arm.

Location📍  Musée du Louvre, Sully wing, Level 0, Salle 345

Vénus de Milo

밀로에 비너스

Edgar Degas

1874

Oil on canvas

the-dance-class-edgar-degas-1874

One of Degas's most ambitious dance-themed paintings, this work depicts about twenty-four women—ballerinas and their mothers—attending a class conducted by ballet master Jules Perrot. The scene is set in a rehearsal room of the old Paris Opéra, featuring a poster for Rossini’s Guillaume Tell on the wall, which pays tribute to the singer Jean-Baptiste Faure who commissioned the piece.

Location📍  The Met Fifth Avenue in Gallery 815

무용 수업

Edgar Degas

c.1905

Pastel on paper

edgar-degas-two-dancers-1905

Ballet became a central theme in Degas’s art for several decades following his discovery of the theatrical world around 1870. Trained by Louis Lamothe, a pupil of the famous French Classicist Ingres, Degas had free access as a preferred subscriber of the Paris Opera to the 'Foyer de la Danse,' the dancers' practice room. He obsessively observed and sketched not only the stars or the corps de ballet on and behind the stage but especially the young dancers in training, known as the 'petits rats.' What fundamentally fascinated Degas was the stylized art form of dance and the artificiality of movements that in no way corresponded to reality. This included not only their hard training at the barre but also ordinary gestures like tying shoes or adjusting a costume during breaks. Degas believed that "nothing in art must look like an accident, not even movement." Accordingly, he first studied anatomically correct body postures using nude models before concerning himself with costumes and scenery. The pastel "Two Dancers" is a characteristic example of Degas’s late style. The number of figures is reduced, yet they are conceived as larger and space-filling, with the surrounding environment simplified into a neutral background. Forms are radically simplified, and the luminosity of the colors is intensified. The masterful interplay of multi-layered strokes, which allows the underlying pastel layers and paper to shimmer through, creates a sparkling, mosaic-like impression that brilliantly expresses the glamorous illusory world of the theater.

Location📍  The ALBERTINA Museum, Level 2(The Batliner Collection)

리뉴얼 완료

Zwei Tänzerinnen

Édouard Manet

1863

Oil on canvas

luncheon-on-the-grass-manet

Rejected by the 1863 Salon, this painting became a scandal at the Salon des Refusés for its bold departure from tradition. Manet combined classical references with a provocative scene of a nude woman among contemporary clothed men, abandoning subtle gradations in favor of brutal contrasts. By excluding traditional depth and perspective, this work initiated a new freedom in representation and is considered the departure point for Modern Art.

Location 📍 Niveau supérieur, Salle 29

Le Déjeuner sur l'herbe (Original title: Le Bain)

풀밭 위의 점심 식사

Egon Schiele

1918

Oil on canvas (150 × 160.8 cm)

belvedere-egon-schiele-the-family

This 1918 masterpiece depicts a naked man, woman, and child huddled in the dark. The man, bearing Schiele's facial features, crouches protectively behind the woman, whose soft curves contrast with his bony physique. Although physically close, the figures appear isolated. Tragically, Schiele's own family never existed; his wife Edith died while six months pregnant on October 28, 1918, followed by the artist three days later. The title "The Family" was first used by art critic Berta Zuckerkandl following these events.

Location📍  Upper Belvedere

긴 설명 완료 / 네비 삽입 완료

Kauerndes Menschenpaar (Die Familie)

앉아 있는 커플 (가족)

Egon Schiele

1915

Oil on canvas (150 × 180 cm)

belvedere-egon-schiele-death-and-the-maiden

In this existential work, Egon Schiele explores themes of transience and death through a biographical lens. The painting depicts a couple in an unstable posture; the young woman, Schiele's long-time partner and model Wally Neuzil, clings to her lover with both arms, while the man—a self-portrait of Schiele—stares into space. Created during the period when Schiele left Neuzil to marry Edith Harms, the fragile balance of the figures suggests a moment on the verge of shattering.

Location📍  Upper Belvedere

긴 설명 완료 / 네비 삽입 완료

Tod und Mädchen

죽음과 소녀

Francisco Pradilla y Ortiz

1877

Oil on canvas (340 x 500 cm)

prado-masterpiece-juana-la-loca-francisco-pradilla

An absolute masterpiece of historical painting, this work depicts Queen Joanna I of Castile watching over the coffin of her husband, Philip the Handsome. Painted in Rome, it achieved international fame for its "Pradilla style," blending vigorous realism with a romantic vision. The composition masterfully captures the Queen's intense passion, jealousy, and madness amidst a desolate landscape, reinforced by dramatic atmospheric elements like smoke and wind.

Location📍  Museo Del Prado, Room 075

간략, 설명, 태그 검수 요망 / 위치 확인완료

Juana la Loca

미친 사랑의 후아나 (후아나 라 로카)

Georges Clairin

1876

Oil on canvas

georges-clairin-sarah-bernhardt

At the 1876 Salon, this large-scale portrait of the 32-year-old rising star Sarah Bernhardt captured the attention of Parisian critics. Painted by Georges Clairin, her lover and official portraitist for fifty years, the work depicts the bohemian splendour of her new mansion near Monceau Park. Wearing a white satin dress with a studied nonchalance, her sinuous figure and the painting's pearlescent tones heralded the Art Nouveau aesthetic. This portrayal, capturing a feminine presence that is both seductive and disquieting, was a personal favorite of Bernhardt, who kept it throughout her life. Following her death, her son Maurice Bernhardt donated the painting in 1923 to the Petit Palais, where it continues to keep the myth of the great actress alive.

Location📍  Petit Palais, Room 3

Portrait de Sarah Bernhardt

사라 베르나르의 초상

Gustav Klimt

1901

Oil and gold leaf on canvas

belvedere-gustav-klimt-judith

Gustav Klimt reinterprets the biblical heroine Judith as an erotic femme fatale and a seductive icon of femininity. In this 1901 masterpiece, Judith is depicted with a lascivious gaze, half-closed eyes, and a slightly open mouth. She holds the severed head of Holofernes almost tenderly, as if to push it out of the frame. By focusing on Judith’s triumph and the "battle of the sexes," Klimt leaves no room for the male aggressor, transforming the traditional tale of political resistance into a powerful display of dangerous charm. The top of the frame bears the inscription "JUDITH UND HOLOFERNES

Location📍  Upper Belvedere

긴 설명 완료 / 네비 삽입 완료

Judith

유디트

Gustav Klimt

1908 (completed 1909)

Oil resin with gold, silver, and platinum leaf on primed canvas; background includes brass (Schlagmetall) and metal leaf flakes. (180 × 180 cm)

belvedere-gustav-klimt-the-kiss

Painted at the height of his Golden Period, this is Gustav Klimt's most famous work. It depicts a couple fused into a single unity at the edge of a flowery meadow, embraced by a shimmering golden halo. Klimt used genuine gold, silver, and platinum leaf to create the intricate patterns that distinguish the two figures. First exhibited in 1908 under the title "Liebespaar" (Lovers), it was immediately purchased by the Ministry of Art for a high sum and has been known by its world-famous title "The Kiss" since 1909.

Location📍 Upper Belvedere

긴 설명 완료 / 네비 삽입 완료

Der Kuss (Liebespaar)

키스 (연인)

Gustave Caillebotte

1877

Oil on canvas

paris-street-rainy-day-caillebotte

This preparatory study for the famous painting now in the Art Institute of Chicago was gifted by Caillebotte to Claude Monet. Capturing the intersection of Rue de Turin and Rue de Moscou in Haussmann’s "New Paris," the sketch features a freer and less smooth style than the final version. The composition is divided by a lamppost, with a couple under a large umbrella on the right, utilizing cold tones and strong perspective to reflect Caillebotte’s modernity. This cherished work remained in Monet's bedroom until his death.

Location📍  Level -1 (Monet Gallery)

Rue de Paris. Temps de pluie

파리의 거리, 비 오는 날

Gustave Courbet

1857

Oil on canvas

gustave-courbet-young-ladies-seine

Exhibited at the 1857 Salon, where it unleashed a critical scandal, this work depicts young women who have come out from the city on a hot summer's day to cool off by the waterside. The realism of this highly sensual scene is manifest in the frankness of the faces and postures. Unique for its combination of a modern subject and an unusually large format for a genre scene, the work broke away from the conventions of the day. This modern subject, presented by the ever-provocative Courbet, prefigures the future popularity of the banks of the Seine, which would be celebrated by the Impressionists a generation later.

Location📍  Petit Palais, Room 5

Les demoiselles des bords de la Seine (été)

세느 강변의 젊은 여인들 (여름)

Henri Matisse

1917

oil on canvas

musee-de-l-orangerie-henri-matisse-the-three-sisters

This portrait of three sisters is one of Henri Matisse's masterworks, featuring three young brunettes seated before a bistre background. While two of the young women look out at the viewer, the third is absorbed in her reading, showcasing their different attitudes. The painter successfully creates a perfect balance between seemingly incompatible elements, such as discordant colors and the impression of juxtaposed levels of perspective. The work was inspired by multiple sources, including Manet's paintings, Japanese engraving, and the painting Les dames de Gand (The Three Gand Ladies) conserved at the Louvre, which was attributed to Jacques-Louis David at the time. Matisse's interest in this subject was expressed many times, leading to several versions; notably, three other paintings of the three sisters are conserved at the Barnes Foundation in Philadelphia. This particular version in the Musée de l'Orangerie was one of the few works Paul Guillaume purchased at a public sale. It is highly likely he acquired it in memory of the other paintings of the sisters he had previously ceded to Doctor Barnes while helping build his collection.

Location📍  Orangerie Museum, Level -2, Room 11

Les Trois Soeurs

세 자매

Jacques-Louis David (Main Artist), Georges Rouget (Participation), Ignazio Eugenio Degotti (Participation)

1807

Oil on canvas

coronation-of-napoleon-louvre

Commissioned by Napoleon I, this monumental painting (6.21m x 9.79m) captures the moment the Emperor prepares to place the crown on Empress Josephine's head. It features approximately 190 figures, including Pope Pius VII, and was painted in David’s studio at the former Cluny College.

Location📍  Musée du Louvre, Denon Wing, Level 1, Salle 702 (Salle Daru)

Le Couronnement de l'empereur Napoléon Ier et de l'impératrice Joséphine dans la cathédrale Notre-Dame de Paris, le 2 décembre 1804.

나폴레옹 1세의 대관식 (또는 황제 나폴레옹 1세와 황후 조제핀의 대관식)

Jean-François Millet

1857

Oil on canvas

the-gleaners-millet-orsay

This painting depicts three women from the rural working class performing the back-breaking task of gleaning. Millet juxtaposes the three phases of their movement—bending, picking up, and straightening—accentuating their sculptural forms with the slanting light of the setting sun. Their stark austerity contrasts with the abundant harvest, haystacks, and busy crowd of harvesters visible in the hazy golden distance.

Location📍  Rez-de-chaussée, Salle 4

Des glaneuses

이삭 줍는 사람들

Joaquín Sorolla y Bastida

1894

Oil on canvas

prado-masterpiece-sorolla-fish-is-expensive

Produced in 1894, this emblematic work is a masterpiece of Spanish social realism, earning Sorolla a First Medal at the 1895 National Exhibition. The subject and title were inspired by the tragic concluding scene of Vicente Blasco Ibáñez’s novel Flor de mayo, reflecting the harsh reality of seafaring life. Set in the confined interior hold of a fishing boat, the composition depicts a young fisherman lying on the floor after a maritime accident. While two older sailors—one in a traditional barretina—tenderly treat his wound, the scene transcends mere reportage to evoke the dramatic solemnity of a secular pietà. Sorolla imbues the figures with a noble gravity, a quality critics later compared to the influence of Velázquez. The painting’s power lies in its daring spatial design and mastery of luminosity. Light streams through the boat’s hatch, softly illuminating the hold and culminating in the silvery reflections of freshly caught fish piled in the background. A modern, sharp-angled framing shifts the perspective, revealing the stairs down which the boy was carried and heightening the spatial tension of the enclosed setting. Although adhering to the formal rigors of strict naturalism with firm, descriptive drawing, the powerful presence of the figures, who dominate the composition relative to the canvas size, creates a profound sense of solemnity that anticipates the innovative painterly language of Sorolla's later oeuvre.

Location📍  Museo Del Prado, Room 061A

간략, 설명, 태그 검수 요망 / 위치 확인완료

Aún dicen que el pescado es caro!

그래도 그들은 생선이 비싸다고 말한다!

Joaquín Sorolla y Bastida

1909 (Signed in 1910)

Oil on canvas

prado-masterpiece-joaquin-sorolla-boys-on-the-beach

Between late June and late September 1909, during a fruitful three-month stay in Valencia, Joaquín Sorolla produced several masterpieces, including The Horse’s Bath. While this work is signed "1910," it must have been painted in the summer of 1909, as it was already reproduced in a book printed in December of that year. Reflecting his Mediterranean fascination, Sorolla drew on the motif of nude children favored by Mariano Fortuny and Sargent, but distinguished his work by removing the horizon and bringing the sea’s edge into the immediate foreground, turning the water's movement into a purely pictorial subject. Despite the canvas's size, he painted it from life without previous studies, achieving a perfect balance between static postures and dynamism. The composition strategically guides the viewer’s gaze: the diagonal position of the boy in the foreground draws us into the canvas, while his turned face carries our gaze back to the second boy and finally to the abandoned posture of the third, who lies parallel to the upper edge. There is a gradual increase in relaxation and chromatic intensity according to the distance from the viewer; the white flesh of the nearest boy transitions through the tanned shades of the second to the reddish-bronze of the soaked boy in the background. Sorolla meticulously rendered the sun’s intensity through highlights that evolve from matte white impastos on the driest boy to very luminous reflections on the fully wet skin of the third. The artist captured the movement of the water using very broad brushstrokes with turquoise, blue, violet, and mauve tones, also reflecting the small hollow created by the undertow near the central figure's feet. Of special interest is the double silhouette cast by the figures, which the artist observed under Valencia’s intense midday sun: their lower silhouettes correspond to their reflections on the water, while those directly below their bodies are their shadows, colored in a shade of violet.

Location📍  Museo Del Prado, Room 060A

Chicos en la playa

해변의 아이들

Johannes Vermeer

ca. 1665–67

Oil on canvas

study-of-a-young-woman-vermeer-1665

This work is a "tronie," a portrayal of an intriguing individual in exotic or imaginary costume rather than a commissioned portrait. Often compared to Vermeer’s Girl with a Pearl Earring due to their similar size and subject, the painting highlights the artist's power of invention through motifs like the blue silk draped over the model's shoulder and the soft, illuminating light.

Location📍  The Met Fifth Avenue in Gallery 614

Een Tronie in Antique Klederen, ongemeen konstig (1696 Amsterdam auction description)

Léonard de Vinci

c. 1503–1506

Oil on poplar panel

mona-lisa-louvre

Historically known as the world's most iconic and expensive artwork, it was valued at $100 million in 1962. After a high-profile theft in 1911, it gained immense fame and has been on permanent display at the Louvre since 1797.

Location📍  Musée du Louvre, Salle 711 (Salle des Etats), Aile Denon, Niveau 1

Portrait de Lisa Gherardini, épouse de Francesco del Giocondo, dit La Joconde ou Monna Lisa

모나리자

Paul Cézanne

1899

Oil on canvas

paul-cezanne-ambroise-vollard

Painted in 1899, this portrait is part of a project detailed in Ambroise Vollard’s Memories of a Picture Dealer (1937). Cézanne, the first to undertake the task, required the model to remain as motionless as an "apple." Other artists including Louis Valtat, Pablo Picasso, Émile Bernard, Jean-Louis Forain, Raoul Dufy, and Georges Rouault also engaged in this exercise. The portraits by Cézanne and Picasso stand out as significant artistic manifestos. Vollard was conscious of working for posterity by associating his effigy with the names of the artists he was helping to make known, aiming to leave behind a lasting artistic legacy. This vision is confirmed by his 1945 bequest to the Petit Palais of numerous paintings, sculptures, ceramics, books, drawings, and prints.

Location📍  Petit Palais, This work is not currently on display

현재 전시X

Portrait d'Ambroise Vollard

암브루아즈 볼라르의 초상

Paul Cézanne

vers 1899

Oil on canvas

apples-and-oranges-cezanne

Produced in 1899, this is the most important still life from Cézanne's late period. It features a complex spatial construction and the artist's subjective perception of everyday objects like earthenware dishes and a floral-motif jug. While the draped cloth reflects 17th-century Flemish traditions, the painting illustrates Cézanne's modern and essentially pictorial approach to the genre.

Location📍  Not currently exhibited

Pommes et oranges

사과와 오렌지

Paul Signac

1909

Oil on canvas

paul-signac-venice-the-pink-cloud-1909

In 1884, Paul Signac joined Georges Seurat to form the core of the Neo-Impressionist movement. Following Seurat's early death in 1891, Signac became the chief ideologue of Neo-Impressionism, systematizing Divisionism through his 1899 treatise D'Eugène Delacroix au néo-impressionnisme. A passionate sailor, he discovered port towns such as La Rochelle and Saint-Tropez. Captured by the charm of Venice during his second visit in March 1908, Signac created this large-format work. Due to its significant dimensions, it was not painted en plein air but was completed in his studio the following year, based on studies made on-site. The viewer is positioned on the Giudecca (or Fondamenta delle Zattere), looking towards the Isola di San Giorgio Maggiore bathed in evening light. Palladio’s characteristic church façade and the slender tower—reminiscent of the campanile on St. Mark's Square—glow in the soft light of the setting sun. A pink cloud hovering above reflects brightness, enveloping the sailing ships in the foreground in emerald green shadows. Like Claude Monet in his Venetian pictures of the same period, Signac allows cold and warm colors to resonate simultaneously.

Location📍  The ALBERTINA Museum, Level 2(The Batliner Collection)

Venedig, die rosa Wolke (Ankerplatz bei der Giudecca)

Paula Modersohn-Becker

1907

Oil on canvas

moma-paula-modersohn-becker-self-portrait-with-two-flowers

In this emblematic self-portrait painted the year of her death, a pregnant Paula Modersohn-Becker stares at the viewer with a steady, compelling gaze. Holding two flowers as symbols of fertility, she upends traditional standards of femininity. As a pioneering figure of the 20th-century German avant-garde, she is believed to be the first modern woman artist to paint herself nude and pregnant.

Location📍  MoMA, Floor 5, Floor 5

Self-Portrait with Two Flowers in Her Raised Left Hand

Pierre-Auguste Renoir

1892

Oil on canvas

young-girls-at-the-piano-renoir

One of Renoir's most beloved works, depicting a domestic scene with soft colors and a warm, lyrical atmosphere.

Location📍  Level -5 (Room 30)

2026 현재 전시되지 않음

Jeunes filles au piano

피아노 치는 소녀들

Unknown

190 BC경

Parian marble (statue), Lartos marble (ship, base) / ronde-bosse (sculpture)

winged-victory-of-samothrace-louvre

The statue is made of Parian marble, while the ship and base are carved from Lartos marble. The bust and wings were worked separately and attached, and the base consists of 16 blocks distributed over three layers. Greek letters (alpha, beta, gamma, etc.) are engraved on the plinth for slab positioning.

Location📍  Musée du Louvre, Denon Wing, Level 1, Salle 703 (Palier Samothrace)

Victoire de Samothrace

사모트라케의 니케

Vincent van Gogh

1888

Oil on canvas

starry-night-orsay

From the moment of his arrival in Arles on 8 February 1888, Van Gogh was constantly preoccupied with "night effects." In April, he wrote to Theo about needing a starry night with cypresses or maybe above a field of ripe wheat, and in June, he confided to the painter Emile Bernard about longing to paint the "Starry Sky" that kept haunting him. In September, he told his sister, "Often it seems to me night is even more richly coloured than day." During the same month, he finally realised his obsessive project in Arles. This view of the Rhône marvellously transcribed the colours he perceived in the dark. Blues prevail—Prussian blue, ultramarine and cobalt—while city gas lights glimmer an intense orange and reflect in the water. The stars sparkle like gemstones. Unlike the later version in New York, the Musée d'Orsay’s Starry Night is more serene, an atmosphere reinforced by the presence of a couple of lovers at the bottom of the canvas.

Location 📍 Niveau supérieur, Salle 36

La Nuit étoilée

별이 빛나는 밤

Vincent van Gogh

1889

Oil on canvas (65 × 54.2 cm)

van-gogh-self-portrait-orsay

Like Rembrandt and Goya, Vincent van Gogh often used himself as a model and produced over forty-three self-portraits in ten years, observing himself critically in a mirror. Thus he wrote to his sister: "I am looking for a deeper likeness than that obtained by a photographer. "He also mentioned to his brother the difficulty of painting oneself, noting that Rembrandt's portraits are "more like a revelation". In this 1889 head-and-shoulders view, the artist wears a suit instead of his usual pea jacket. Attention is focused on the face, where his features are hard and emaciated, and his green-rimmed eyes appear intransigent and anxious. The dominant colour, a mix of absinth green and pale turquoise, finds a counterpoint in its complementary colour, the fiery orange of the beard and hair. The model's immobility contrasts with the undulating hair and beard, echoed and amplified in the hallucinatory arabesques of the background.

Location 📍 Musée d'Orsay, Upper level, Room 36

Portrait de l'artiste

고흐의 자화상

Vincent van Gogh

June 1889

Oil on canvas

moma-vincent-van-gogh-the-starry-night

Created in mid-June 1889 at the Saint-Paul asylum in Saint-Rémy, this mid-scale oil painting is a masterful blend of direct observation and imagination. The turbulent sky, dominated by a crescent moon and Venus, sits above a quiet village with a Dutch-style church steeple. Using thick paint and expressive brushstrokes, van Gogh assigned an emotional language to nature, creating a bridge between the physical world and his internal feelings.

Location📍  MoMA, Floor 5, 501 (The Alfred H. Barr, Jr. Galleries)

The Starry Night

별이 빛나는 밤

Vincent van Gogh

1889

Oil on canvas

wheat-field-with-cypresses-van-gogh-1889

Regarded by Van Gogh as one of his "best" summer landscapes, this work is his initial study from nature of a composition he later repeated in studio variants. Painted in Saint-Rémy, it features exuberant, thick impasto with vigorous brushstrokes that vary by texture—from curving strokes in the white clouds to flickering marks for the towering cypresses.

Location📍  The Met Fifth Avenue in Gallery 822

Vincent van Gogh 

1887

Oil on canvas (40.6 x 31.8 cm)

self-portrait-with-a-straw-hat-1887

One of more than twenty self-portraits produced by Van Gogh during his Parisian sojourn (1886–88). Determined to hone his skills as a figure painter but short of funds, he bought a mirror to work from himself in the absence of a model. This painting reveals the artist's awareness of Neo-Impressionist technique and color theory. It is one of several works painted on the reverse of an earlier peasant study.

Location📍 The Met Fifth Avenue, Gallery 825

Autoportrait au chapeau de paille (avers : L'éplucheur de pommes de terre)

밀짚모자를 쓴 자화상 (앞면: 감자 깎는 사람)

Vincent van Gogh

1889

oil on canvas

vincent-van-gogh-bedroom-in-arles-1889-orsay

Vincent van Gogh explored his personal sanctuary through three nearly identical canvases. While the 1888 original suffered flood damage in Arles, this Musée d'Orsay version was created nearly a year later as a smaller gift for his family in Holland. Writing to his brother Theo, the artist detailed how a symbolic palette—including lilac walls, a faded red floor, and lime green bedding—was chosen to evoke a sense of tranquillity and bring out the simplicity of his room. From the blood-red blanket to the blue wash basin and green window, every hue served his goal of portraying a space of absolute repose. This aesthetic was deeply influenced by the Japanese lifestyle and its minimalist interiors. By combining a rigid structure of straight lines with intense color surfaces, Van Gogh successfully stabilized the shifting perspective, achieving a profound sparseness despite the room's modest furnishings.

Location📍  Niveau supérieur, Salle 36

La Chambre de Van Gogh à Arles

아를의 반 고흐의 방

Vincent van Gogh

1889

Oil on canvas (60 x 49 cm)

van-gogh-self-portrait-bandaged-ear-1889

Painted in January 1889 in Arles, south of France, this work was created a week after Van Gogh left the hospital following a heated argument with Paul Gauguin. Upon his return, Van Gogh found Gauguin gone and with him, the dream of setting up a 'studio of the south' where like-minded artists could work side by side. Due to the use of a mirror, the bandage appears on his right ear despite the self-mutilation of his left ear. The fur cap, a recent purchase to secure his bandage and ward off the winter cold, reflects the harsh working conditions he faced, serving as powerful proof of Van Gogh’s determination to continue painting. The objects behind him—a newly begun canvas and a Japanese print—symbolize his determination and inspiration, while his powerful handling of color and brushwork declares his ambition as a painter.

Location📍  Courtauld Gallery ↗

그림크기 및 넘버는 위키에서 가져옴

귀에 붕대를 감은 자화상

Vincent van Gogh

December 1886-January 1887

Oil on canvas (41.5 x 32.5 cm)

van-gogh-self-portrait-felt-hat-1887

In this self-portrait, Van Gogh presents himself as a respectable gentleman, wearing a black felt hat, an overcoat, and a tie (cravat). X-ray analysis reveals that this work was painted over an earlier study of a standing nude woman, which he had created in Fernand Cormon’s atelier in Paris during the spring of 1886. Instead of scraping off the original study, he covered it with a new ground layer before painting the self-portrait.

Location📍  Van Gogh Museum

Zelfportret met vilthoed

어두운 펠트모자를 쓴 자화상

Vincent van Gogh

September-October 1887

Oil on cotton (44.5 × 37.2 cm)

vincent-van-gogh-self-portrait-grey-felt-hat-1887

Painted in Paris, this self-portrait from the winter of 1887–88 demonstrates Vincent van Gogh’s study and original application of the Pointillists’ technique. He utilized short stripes of paint directed in various ways, forming a halo-like effect where they follow the outline of his head. This work stands as one of his boldest colour experiments, featuring complementary colours applied with long brushstrokes: blue and orange in the background, and red and green in the beard and eyes. Although the red pigment has faded, resulting in purple strokes appearing blue and reducing the contrast with the yellow, the work remains a testament to his experimentation with intensifying colours.

Location📍  Van Gogh Museum

전시 위치 정확 X

Zelfportret met grijze vilthoed

회색 펠트 모자를 쓴 자화상

Vincent van Gogh

April-May 1885

Oil on canvas

vincent-van-gogh-the-potato-eaters-1885

Created in Nuenen, this painting depicts rural life through five figures in earth colours, emphasizing the honest labour of peasants who tilled the earth themselves.

Location📍 Van Gogh Museum

전시 위치 정확x

De aardappeleters

감자 먹는 사람들

Vincent van Gogh

February 1890

Oil on canvas

vincent-van-gogh-almond-blossom-1890

A gift for his newborn nephew, this painting by Vincent van Gogh features almond blossoms against a blue sky, inspired by Japanese printmaking.

Location📍  Van Gogh Museum

전시 위치 정확x

Amandelbloesem

아몬드 꽃

Vincent van Gogh

1889

Oil on canvas

sunflowers-vincent-van-gogh

Painted in Arles, this masterpiece is one of five large canvases by Vincent van Gogh featuring sunflowers in a vase, showcasing three shades of yellow.

Location📍 Currently on display in the exhibition Yellow. Beyond Van Gogh’s Colour (until 17 May 2026).

2026년 전시 기준으로 위치 작성됨

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