
Melancholy
A woman slumped back on a sofa, and Degas reads the whole state of mind off the slope of her shoulders.

A woman slumped back on a sofa, and Degas reads the whole state of mind off the slope of her shoulders.

One of the Impressionist canvases he owned hangs on the wall behind him. Caillebotte's money and his bequest kept the movement alive.

Young men lounging on a riverbank in dappled light, the oldest subject in painting given ordinary modern bodies and modern poses.

Degas turned from dancers to financiers, catching heads bent close over documents in the crush of the Paris exchange.

A woman sits on the bank and puts her bare feet in the water, the whole stream broken into flickering touches of color.

Eleven of the painter's family on a shaded terrace near Montpellier. Bazille was killed in the Franco-Prussian War at twenty-eight.

Plain village houses on a hillside, built in solid earthy blocks. Pissarro refused to prettify the countryside and gave it structural weight instead.

She stands in a garden in a blue dress holding a watering can, and Renoir spends the rest of the canvas on light.

Two girls walking under trees, the elder leading the younger, everything blurred into one shimmer of dappled light and pale dress.

Spartan girls taunt the boys into wrestling, and Degas made the bodies awkward rather than ideal, which is not how history painting was done.

Dancers stretch while a spiral staircase cuts the corner and the frame slices figures off. Degas cared about the practice, not the performance.

Monet went to Venice late and found a city already doing what he had spent fifty years trying to paint.

Monet's own father sits among the gladioli on a terrace, and the young painter tips the space up in flat bands like a Japanese print.

Two women with parasols on a clifftop in Normandy, the grass and their dresses going the same direction as the wind.

Monet painted Westminster across the river again and again because what he actually wanted was the fog, not the building.

Critics at the first Impressionist show in 1874 said it looked like palette scrapings. The furrows are streaked with blue, violet and gold.

A dark-suited oarsman fills the foreground with his back while the water rises behind with no horizon, a design taken from Japanese prints.

Pissarro painted these boulevards from a hotel window over and over, but only once after dark, the gaslight smeared across wet pavement.

Monet set his easel up inside the station and painted the steam until the roof and the city beyond it had dissolved into it.

A basket of colored wool sits in the front, the Seine glitters behind, and the whole thing is about how good an afternoon can be.