{"pagination":{"total":133169,"limit":15,"offset":0,"total_pages":8878,"current_page":1,"next_url":"https:\/\/api.artic.edu\/api\/v1\/artworks?page=2&limit=15"},"data":[{"id":2848,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/2848","is_boosted":false,"title":"Scene from Bohemian Life","alt_titles":[],"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBQAFAPQAAG1kV3tsV3hsW4FwWI97X4h5Y41+aJGBapSDbKeOaqWPcq2Uc6qUdpWMga6fjKyfj6+hj7alkL6rkr+tlsOymuPf3eTg3+Pg4OXh4AAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAFAAUAAAUVYCUtkeUkxTABxiEgTaAQzwUxFBYCADs=","width":5306,"height":5326,"alt_text":"A work made of pen and black ink and black watercolor over graphite, with touches of white opaque paint (discolored), on tan laid paper laid down on cream board."},"main_reference_number":"1956.350","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1855,"date_end":1857,"date_display":"1855\/57","date_qualifier_title":null,"date_qualifier_id":null,"artist_display":"James McNeill Whistler\nAmerican, 1834-1903","place_of_origin":"United States","description":null,"short_description":null,"dimensions":"22.4 \u00d7 24 cm (8 7\/8 \u00d7 9 1\/2 in.)","dimensions_detail":[{"depth":null,"width":24,"height":22,"diameter":null,"clarification":null}],"medium_display":"Pen and black ink and black watercolor over graphite, with touches of white opaque paint (discolored), on tan laid paper laid down on cream board","inscriptions":"Signed recto, lower right, in image, in ink: \"J. Whistler\"","credit_line":"Gift of John F. O'Connell","catalogue_display":"

MacDonald 213<\/p>","publication_history":"Nancy D. Pressly, \"Whistler in America: An Album of Early Drawings,\" Metropolitan Museum Journal V (1972), fig. 33.\n\nFrances Spalding, Whistler (Oxford, 1979), pp. 9-12 (ill.).\n\nMargaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours: A Catalogue Raisonn\u00e9 (New Haven, 1995), p. 65, no. 213 (ill.).\n\nThe Lithographs of James McNeill Whistler: A Catalogue Raisonne, ed. Harriet K. Stratis and Martha Tedeschi (Chicago, 1998), p. 35.\n\nDaniel Sutherland, Whistler: A Life for Art\u2019s Sake (New Haven and London, 2014), p. 41.\n\nMeg Hausberg and Victoria Sancho Lobis. Whistler and Roussel: Linked Visions. Department of Publishing of The Art Institute of Chicago, 2015 (https:\/\/publications.artic.edu\/whistler\/reader\/linkedvisions; Accessed August 24, 2013), checklist para. 10, cat. 9.1 (ill.).","exhibition_history":"Art Institute of Chicago, \"James McNeill Whistler,\" 1968, pp. 20, 98-99, cat. 75 (ill.); also Utica, NY, Munson-Williams-Procter Institute, 1968.\n\nBerlin, Nationalgalerie, \"James McNeill Whistler,\" 1969, cat. 62.\n\nArt Gallery of Ontario, \"The Etchings of James McNeill Whistler,\" Nov. 24, 1984-Jan. 11, 1985.\n\nParis, Grand Palais, \"Boh\u00e8mes: De L\u00e9onard de Vinci \u00e0 Picasso,\" Sept. 26, 2012- Jan. 14, 2013, p. 266, cat. 119 (ill.).\n\nArt Institute of Chicago, \"Whistler and Roussel: Linked Visions,\" June 20-Sept. 27, 2015, checklist para. 10, cat. 9.1 (ill.).\n\nTate Britain, London, \"James McNeill Whistler\", May 21 - September 27, 2026, traveled to Amsterdam, Van Gogh Museum, October 16, 2026 - January 10, 2027, Washington, National Museum of Asian Art, February 6 - July 5, 2027, p. 13 (ill.), cat. by Carol Jacobi, et. al.","provenance_text":"Given by John F. O'Connell, Chicago, to the Art Institute of Chicago, 1956.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":3,"fiscal_year":1957,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":30.7702,"color":{"h":303,"l":91,"s":4,"percentage":0.3607794968437052,"population":2573},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"

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In this panoramic landscape, Georgia O\u2019Keeffe captured the massive Gasp\u00e9 Peninsula mountains in Quebec, Canada, as they rise sharply from the water\u2019s edge. O\u2019Keeffe traveled to the region in the summer of 1932, accompanied by fellow artist (and husband Alfred Stieglitz\u2019s niece) Georgia Engelhard. The old barns and crosses built by the Peninsula\u2019s French settlers fascinated O\u2019Keeffe, as did the lush green terrain. She painted the mountains and sun-streaked sky with texture and depth, while the water in the foreground moves in flat, zig-zag swaths that accentuate color over representational depth. Although she enjoyed her trip to Canada, and returned again that year, ultimately O\u2019Keeffe preferred the New Mexican landscape, specifically its brilliant sunshine.<\/p>\n","short_description":"O\u2019Keeffe traveled to the Gasp\u00e9 Peninsula in Quebec, Canada, in the summer of 1932. The old barns and crosses built by the region\u2019s French settlers fascinated her, as did the lush green terrain. In this panoramic landscape, she captured this greenery as well as the massive appearance of the mountains as they rise sharply from the water\u2019s edge.","dimensions":"30.5 \u00d7 91 cm (12 \u00d7 36 in.)","dimensions_detail":[{"depth":null,"width":91,"height":30,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Alfred Stieglitz Collection, gift of Georgia O'Keeffe","catalogue_display":"

Lynes 1999 818<\/p>","publication_history":"Edwina Spencer, \u201cAround the Galleries,\u201d Creative Art 12 (April 1933), p. 315 ill.\n\nJames W. Lane and Leo Katz, The Work of Georgia O\u2019Keeffe: A Portfolio of 12 Paintings (New York, 1939), pl. 3.\n\nPaintings in the Art Institute of Chicago, Chicago, 1961, p. 346. (corrected in 1971 Supplement to Paintings in the Art Institute of Chicago).\n\nMitchell A. Wilder, ed., Georgia O\u2019Keeffe: An Exhibition of the Work of the Artist from 1915 to 1966<\/em>, exh. cat. (Fort Worth, TX: Amon Carter Museum of Western Art, 1966), 29.\n\n\u201cPanorama,\u201d Chicago Daily News, Saturday\/Sunday, January 9\/10, 1971, p. 5 ill. \n\nBarbara Buhler Lynes, \"Georgia O'Keeffe: Catalogue Raisonn\u00e9,\" (National Gallery of Art\/Georgia O'Keeffe Foundation\/Yale University Press, 1999) no. 818 (vol. 1).","exhibition_history":"New York, An American Place, Georgia O\u2019Keeffe Paintings, New and Some Old, Jan. 7\u2013Feb. 22, 1933 (extended to Mar. 27), no. 11.\n\nArt Institute of Chicago, Georgia O\u2019Keeffe, Jan. 21\u2013Feb. 22, 1943, cat. 48 (ill. p. 33).\n\nPhiladelphia Museum of Art, History of an American: Alfred Stieglitz, 291 and After, July 1\u2013Nov. 1, 1944, p. 35.\n\nFort Worth, TX, Amon Carter Museum of Western Art, Georgia O\u2019Keeffe: An Exhibition of the Work of the Artist from 1915 to 1966<\/em>, Mar. 17\u2013May 8, 1966, cat.; Houston, Museum of Fine Arts, May 26\u2013July 3, 1966.\n\nCanada, Ottawa, Art in Embassies Program, Jan. 13, 2010\u2013Oct. 31, 2012.","provenance_text":"Georgia O\u2019Keeffe (1887\u20131986), New York and New Mexico, then Abiqui\u00fa, NM, from 1949 [on loan to the Art Institute of Chicago from 1949; letter from O\u2019Keeffe to Daniel Catton Rich, Mar. 15, 1957; copy in curatorial object file]; given through the Alfred Stieglitz Collection to the Art Institute of Chicago, 1956.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":21,"fiscal_year":1957,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 The Art Institute of Chicago","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":49.7649,"color":{"h":173,"l":52,"s":58,"percentage":0.009221650759319107,"population":22},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":36062,"artist_title":"Georgia O'Keeffe","alt_artist_ids":[],"artist_ids":[36062],"artist_titles":["Georgia O'Keeffe"],"category_ids":["PC-825","PC-154","PC-827","PC-3"],"category_titles":["Women artists","Chicago Artists","SAIC Alumni and Faculty","Arts of the Americas"],"term_titles":["oil on canvas","oil paint (paint)","Modernism","landscapes","canvas","painting","modern and contemporary art"],"style_id":"TM-5981","style_title":"Modernism","alt_style_ids":[],"style_ids":["TM-5981"],"style_titles":["Modernism"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-9","TM-155"],"classification_ids":["TM-66","TM-9","TM-155"],"classification_titles":["oil on canvas","painting","modern and contemporary art"],"subject_id":"TM-8657","alt_subject_ids":[],"subject_ids":["TM-8657"],"subject_titles":["landscapes"],"material_id":"TM-2451","alt_material_ids":["TM-3124"],"material_ids":["TM-2451","TM-3124"],"material_titles":["oil paint (paint)","canvas"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":["Women artists","Chicago Artists","SAIC Alumni and Faculty"],"image_id":"e358588d-f0b2-69a2-5b26-7d8594687a29","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1956.365"],"contexts":{"groupings":["accession"]}},{"input":["Green Mountains, Canada"],"weight":9399,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-11-02T00:30:14-06:00","updated_at":"2026-11-02T03:32:50-06:00","timestamp":"2026-11-02T04:01:00-06:00"},{"id":14837,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/14837","is_boosted":false,"title":"Netting the Fish","alt_titles":[],"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAADAqKTAsLDgxMDs0Mj04Nz04OEc\/PUU\/PkhAPklDQVFJRlNKR1ZOTFdPTFdPTV1VUl5VUl1WU19XU19XVGlhXmxiX2tiYG1kYG5lYXVrZ3pyb350cH92cYB3cod+epiOipmRjcC1rgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwIECgslsFgDDhZKpIAoRh8UjaWhABMGkwwkwEofHJxQEADs=","width":11135,"height":7811,"alt_text":"A work made of transparent watercolor, heightened with opaque white watercolor, with rewetting, blotting, and scraping, over graphite, on moderately thick, slightly textured, cream wove paper."},"main_reference_number":"1933.526","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1889,"date_end":1889,"date_display":"1889","date_qualifier_title":null,"date_qualifier_id":null,"artist_display":"Winslow Homer\nAmerican, 1836-1910","place_of_origin":"United States","description":"

An avid angler and sportsman, Homer often depicted fishing and hunting scenes in his artwork. Many of his watercolors that explore these subjects were painted on frequent trips to the Adirondack Mountains. Netting the Fish<\/em> is unusual in its focus on a gentleman sportsman. Young, well groomed, and neatly attired, the fisherman in this watercolor stands in contrast to the rustic guides featured in many of the artist\u2019s other Adirondacks works. Homer\u2019s fluid brushstrokes describe the smooth surface of the water, and his background washes evoke the wooded shoreline seen at a distance. Netting the Fish<\/em> is one of Homer\u2019s few grisaille, or monochrome, watercolors, painted as a study of values in preparation for the etching Fly Fishing, Saranac Lake<\/em><\/a>.<\/p>\n","short_description":null,"dimensions":"35.3 \u00d7 50.8 cm (13 15\/16 \u00d7 20 in.)","dimensions_detail":[{"depth":null,"width":50,"height":35,"diameter":null,"clarification":null}],"medium_display":"Transparent watercolor, heightened with opaque white watercolor, with rewetting, blotting, and scraping, over graphite, on moderately thick, slightly textured, cream wove paper","inscriptions":"Signed recto, lower right, in pen and brown ink: \"Winslow Homer 1890, Copyright 1889\"","credit_line":"Olivia Shaler Swan Memorial Collection","catalogue_display":null,"publication_history":"Theodore Bolton, \u201cWater Colors by Homer: Critique and Catalogue,\u201d The Fine Arts 18: 5 (April 1932), p. 54, as 'Man Fishing'.\n\nGordon Hendricks, The Life and Work of Winslow Homer (New York, 1979), pp. 200\u201301 and 286, fig. 302.\n\nDavid Tatham, Winslow Homer in the Adirondacks (Syracuse, 1996), pp. 99\u2013100 and 140, fig. 34.","exhibition_history":"Art Institute of Chicago, \"Watercolors lent by Mrs. L. 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A stylized red jungle cat and black wild boar drink at bottom right. Red water wheel at left, angular blue and white cityscape top at left, tree top at right."},"main_reference_number":"1931.522","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1913,"date_end":1913,"date_display":"1913","date_qualifier_title":null,"date_qualifier_id":null,"artist_display":"Franz Marc\nGerman, 1880\u20131916","place_of_origin":"Germany","description":"

On loan to Kunstsammlung Nordrhein-Westfalen (Germany) in D\u00fcsseldorf for Franz Marc \u2013 The Quest for a Better World<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Modern Art","department_id":"PC-11","artist_id":16157,"artist_title":"Franz Marc","alt_artist_ids":[],"artist_ids":[16157],"artist_titles":["Franz Marc"],"category_ids":["PC-11"],"category_titles":["Modern Art"],"term_titles":["oil on canvas","Century of Progress","painting","modern and contemporary art","world's fairs","Chicago World's Fairs","deers","animals","birds","trees","cities","mechanical","mills","rivers","water"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-9","TM-155"],"classification_ids":["TM-66","TM-9","TM-155"],"classification_titles":["oil on canvas","painting","modern and contemporary art"],"subject_id":"TM-12169","alt_subject_ids":["TM-11299","TM-12176","TM-12684","TM-12218","TM-11211","TM-11205","TM-12657","TM-12655","TM-12683","TM-12423","TM-8681"],"subject_ids":["TM-12169","TM-11299","TM-12176","TM-12684","TM-12218","TM-11211","TM-11205","TM-12657","TM-12655","TM-12683","TM-12423","TM-8681"],"subject_titles":["Century of Progress","world's fairs","Chicago World's Fairs","deers","animals","birds","trees","cities","mechanical","mills","rivers","water"],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"6829aab0-8d0e-9438-aebf-a1a379572951","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1931.522"],"contexts":{"groupings":["accession"]}},{"input":["The Bewitched Mill"],"weight":14018,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-11-02T00:30:14-06:00","updated_at":"2026-11-02T03:32:49-06:00","timestamp":"2026-11-02T04:01:00-06:00"},{"id":16571,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/16571","is_boosted":true,"title":"Arrival of the Normandy Train, Gare Saint-Lazare","alt_titles":[],"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAADU8QkROS0ZPU0hSVk1YXVFWUlBXXlFaWVNcWFFkV1plVVtjWmBnWmFqXmRrX05ZYFFaYlljbF5qbGNsY2ZydmlzdWRxeGdze2l1fWx3fG16enJ4fH+KioWOkZeam5yjqZ2lqrG1ubS6vwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhQIKmYslQDoONp8ORBECi0OfyKEAMmAhAgFhMHA2GIhEEADs=","width":6786,"height":5092,"alt_text":"Loosely painted image of an open-air train station. On the right, a parked train gives off an enormous plumb of white smoke, making the scene look as though it were full of clouds. A huddled mass of barely discernible people crowd around the train on both sides of the tracks. Blue, green, and gray tones dominate."},"main_reference_number":"1933.1158","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1877,"date_end":1877,"date_display":"1877","date_qualifier_title":null,"date_qualifier_id":null,"artist_display":"Claude Monet (French, 1840\u20131926)","place_of_origin":"France","description":"

One of the most avant-garde aspects of the Impressionists was their choice of subject matter, which frequently included scenes derived from modern, industrial Paris, from iron bridges to exhibition halls to train sheds. The train station at Saint-Lazare would have been a familiar, meaningful sight to Claude Monet in the 1870s. The terminal linked Paris to Normandy, where the artist developed his technique of painting outdoors in the 1860s. It was also the point of departure for the towns and villages west and north of Paris that the Impressionists frequently visited. Monet completed eight of his twelve known paintings of the Gare Saint-Lazare in time for the third Impressionist exhibition, in 1877, probably displaying them in the same gallery.<\/p>\n

Monet chose to focus his attention here on the glass-and-iron train shed, where he found an appealing combination of arti\ufb01 cial and natural effects\u2014the rising steam of locomotives trapped within the structure and the daylight penetrating large, glazed sections of the roof, for instance. Monet\u2019s depictions of the station inaugurated what was to become for him an established pattern of painting a speci\ufb01c motif repeatedly in order to capture subtle and temporal atmospheric changes, as in his famous series of stacks of wheat<\/a>. But the Saint-Lazare paintings also represented his last attempt to capture urban life: from this point on in his career, Monet largely devoted himself to landscapes.<\/p>\n","short_description":"The Impressionists frequently paid tribute to the modern aspects of Paris, depicting scenes of grand boulevards and modern constructions. Monet made 12 paintings of the Gare Saint-Lazare. Here, he focused on the glass-and-iron train shed, where he found an appealing combination of artificial and natural effects: the rising steam of locomotives trapped within the structure and daylight penetrating the large, glazed sections of the roof.","dimensions":"60.3 \u00d7 80.2 cm (23 3\/4 \u00d7 31 1\/2 in.); Framed: 80.7 \u00d7 100.4 \u00d7 10.2 cm (31 3\/4 \u00d7 39 1\/2 \u00d7 4 in.)","dimensions_detail":[{"depth":null,"width":80,"height":60,"diameter":null,"clarification":null},{"depth":10,"width":100,"height":80,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower left: Claude Monet 77","credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":"

On loan to Nationalmuseum in Stockholm for To the Sea! Coastal Tourism and the Visual Arts<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":35809,"artist_title":"Claude Monet","alt_artist_ids":[],"artist_ids":[35809],"artist_titles":["Claude Monet"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["painting","Impressionism","landscapes","oil painting","oil paint (paint)","travel","trains","train station","smoke","France","figures","building","nineteenth century","19th century","painting techniques","painting","painting","paint","canvas","paint","oil on canvas","oil paintings (visual works)","french","european painting","painting (image making)","urban life","transportation","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-15636","TM-13203"],"style_ids":["TM-7543","TM-15636","TM-13203"],"style_titles":["Impressionism","nineteenth century","19th century"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-10387","TM-66","TM-78","TM-14976","TM-54"],"classification_ids":["TM-9","TM-10387","TM-66","TM-78","TM-14976","TM-54"],"classification_titles":["painting","paint","oil on canvas","oil paintings (visual works)","french","european painting"],"subject_id":"TM-8657","alt_subject_ids":["TM-9201","TM-8741","TM-13683","TM-12755","TM-12288","TM-15161","TM-14683","TM-10126","TM-8668","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-8657","TM-9201","TM-8741","TM-13683","TM-12755","TM-12288","TM-15161","TM-14683","TM-10126","TM-8668","TM-12169","TM-11299","TM-12176"],"subject_titles":["landscapes","travel","trains","train station","smoke","France","figures","building","urban life","transportation","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-13502","TM-2577","TM-3124"],"material_ids":["TM-2451","TM-13502","TM-2577","TM-3124"],"material_titles":["oil paint (paint)","painting","paint","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-3971","TM-14210","TM-3891"],"technique_ids":["TM-4273","TM-3971","TM-14210","TM-3891"],"technique_titles":["oil painting","painting techniques","painting","painting (image making)"],"theme_titles":[],"image_id":"0f1cc0e0-e42e-be16-3f71-2022da38cb93","alt_image_ids":[],"document_ids":["b0f825a6-e1e9-8607-b925-fd4d2e3b70f2","ec7cf803-7d44-ff3c-ad45-79cb5dc5f820"],"sound_ids":["ec7cf803-7d44-ff3c-ad45-79cb5dc5f820"],"video_ids":[],"text_ids":["b0f825a6-e1e9-8607-b925-fd4d2e3b70f2"],"section_ids":[36725107186],"section_titles":["Cat. 16 \u00a0Arrival of the Normandy Train, Gare Saint-Lazare, 1877"],"site_ids":[],"suggest_autocomplete_boosted":"Arrival of the Normandy Train, Gare Saint-Lazare","suggest_autocomplete_all":[{"input":["1933.1158"],"contexts":{"groupings":["accession"]}},{"input":["Arrival of the Normandy Train, Gare Saint-Lazare"],"weight":86286,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-11-02T00:30:14-06:00","updated_at":"2026-11-02T03:32:48-06:00","timestamp":"2026-11-02T04:01:00-06:00"},{"id":16648,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/16648","is_boosted":false,"title":"Woman in Front of a Still Life by Cezanne","alt_titles":[],"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAACY3NztJRDxOTzdeXzteYEZGUFFJUVdMWlRQVFdTVFJZUmBSXFddYVxlZVhtZGl0b3uDd3+HioKPg4qMigAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURoCQQAwM5wTFFj7EgTZEoQAgAOw==","width":11416,"height":13538,"alt_text":"A work made of oil on linen canvas."},"main_reference_number":"1925.753","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1890,"date_end":1890,"date_display":"1890","date_qualifier_title":null,"date_qualifier_id":null,"artist_display":"Paul Gauguin (French, 1848\u20131903)","place_of_origin":"France","description":"

The seated woman here remains unidentified, but the still-life painting dominating the background is well known: Paul Cezanne\u2019s<\/a> Still Life with Fruit Dish<\/em> (1879\u201380; Museum of Modern Art, New York). Gauguin\u2019s version is nearly the same scale as the original. In certain aspects of the compo-sition, Gauguin emulated Cezanne\u2019s style, like the way he flattened the picture plane so that the woman appears to tip forward out of her chair.<\/p>\n

Before becoming an artist, Gauguin was an art collector. Cezanne\u2019s Still Life<\/em>\u2014one of five or six works by the artist in Gauguin\u2019s collection\u2014was a touchstone in his artistic education. It is possible that Cezanne referred to this work when he accused Gauguin of stealing his style, which he called his \u201cpetite sensation.\u201d<\/p>\n

This is one of thirty-five works that comprise the Winterbotham Collection. Click here to learn more about the collection.<\/a><\/p>\n","short_description":null,"dimensions":"65.3 \u00d7 54.9 cm (25 11\/16 \u00d7 21 5\/8 in.); Framed: 82.9 \u00d7 73.4 \u00d7 10.5 cm (32 5\/8 \u00d7 28 7\/8 \u00d7 4 1\/8 in.)","dimensions_detail":[{"depth":null,"width":54,"height":65,"diameter":null,"clarification":null},{"depth":10,"width":73,"height":82,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on linen canvas","inscriptions":"Inscribed right: P. Go. \/ 90","credit_line":"Joseph Winterbotham Collection","catalogue_display":"

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On loan to The Cleveland Museum of Art in Cleveland for The Ten Kings of Hell and the Afterlife in Medieval Korea<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Vessel","artwork_type_id":23,"department_title":"Arts of Asia","department_id":"PC-7","artist_id":null,"artist_title":null,"alt_artist_ids":[],"artist_ids":[],"artist_titles":[],"category_ids":["PC-7"],"category_titles":["Arts of Asia"],"term_titles":["stoneware","vase","Korean (culture or style)","vessel","stoneware","asian art","ceramics","decorative arts"],"style_id":"TM-5182","style_title":"Korean (culture or style)","alt_style_ids":[],"style_ids":["TM-5182"],"style_titles":["Korean (culture or style)"],"classification_id":"TM-11826","classification_title":"vase","alt_classification_ids":["TM-27","TM-279","TM-26","TM-46","TM-1678"],"classification_ids":["TM-11826","TM-27","TM-279","TM-26","TM-46","TM-1678"],"classification_titles":["vase","vessel","stoneware","asian art","ceramics","decorative arts"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2484","alt_material_ids":[],"material_ids":["TM-2484"],"material_titles":["stoneware"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"41ff85a8-4f36-53c6-9dca-f0ccc3185344","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1964.968"],"contexts":{"groupings":["accession"]}},{"input":["Plum Vase (Maebyeong) with Lotus Motif"],"weight":968,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-11-02T00:30:14-06:00","updated_at":"2026-11-02T03:32:46-06:00","timestamp":"2026-11-02T04:01:00-06:00"},{"id":24306,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/24306","is_boosted":true,"title":"Blue and Green Music","alt_titles":[],"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAADdAPzpDPDxFPD9RPkFKTkRKT0RRSkdRV1trXkNddGR1YWVxcG+Fa3GFfW2EiH2MmICSkpqug4eloperpwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAUR4CE5ifBMzVBACxMgRKQARggAOw==","width":6411,"height":7803,"alt_text":"Abstract painting in predominant shades of blue, green, and black, featuring diagonal bands of color and undulating lines."},"main_reference_number":"1969.835","has_not_been_viewed_much":false,"boost_rank":60,"date_start":1919,"date_end":1921,"date_display":"1919\u201321","date_qualifier_title":"c.","date_qualifier_id":60,"artist_display":"Georgia O'Keeffe (American, 1887\u20131986)","place_of_origin":"United States","description":"

Around 1920 Georgia O\u2019Keeffe painted a number of oils exploring, as she later recalled, \u201cthe idea that music could be translated into something for the eye.\u201d In Blue and Green Music<\/em>, O\u2019Keeffe\u2019s colors and forms simultaneously suggest the natural world and evoke the experience of sound. She was drawn to the theories of the Russian Expressionist painter Vasily Kandinsky, who, in his 1912 text Concerning the Spiritual in Art<\/em>, argued that visual artists should emulate music in order to achieve pure expression free of literary references.<\/p>\n","short_description":"Around 1920 O\u2019Keeffe painted a number of oils exploring, as she later recalled, \u201cthe idea that music could be translated into something for the eye.\u201d She was drawn to the theories of the Russian Expressionist painter Vasily Kandinsky, who, in his 1912 text Concerning the Spiritual in Art<\/em>, argued that visual artists should emulate music in order to achieve pure expression free of literary references.","dimensions":"58.4 \u00d7 48.3 cm (23 \u00d7 19 in.)","dimensions_detail":[{"depth":null,"width":48,"height":58,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Alfred Stieglitz Collection, gift of Georgia O'Keeffe","catalogue_display":"