Mediterranean Landscape
1952 · Albertina, Vienna
The whole coast reduced to a few flat zones of color and some quick line. Picasso old, settled in the south, and enjoying himself.
★ 4.4
The Art canon
Sourced and hung.
Every work chosen by hand and annotated for why it matters.
Browse all 704 works or filter by movement, subject, place, and artist.
Browse all 704 works or filter by movement, subject, place, and artist.
Landscape at La Ciotat
1907 · Museum of Modern Art, New York City
Hot pinks and oranges laid on freely, a year before Cézanne and Picasso's Demoiselles sent Braque off toward Cubism instead.
★ 4.8
The Elephants
1948 · Private collection
Two elephants carrying obelisks on legs far too spindly to hold them, which is the entire effect and it works.
★ 4.8
The Parable of the Sower
1557 · Timken Museum of Art, San Diego
You take in the whole river valley before you notice the sower at the bottom corner, or Christ preaching from a boat behind him.
★ 5.2
The Sermon on the Mount (Lorrain)
1656 · The Frick Collection, New York City
Christ preaches from a hilltop and is almost too small to find. Claude was really painting the hills, the water and the distance.
★ 5.2
In the Vanilla Grove, Man and Horse
1891 · Guggenheim, New York City
A man and a white horse in a Tahitian grove, painted on Gauguin's first stay, flat and warm and looking for a paradise.
★ 5.2
Tahitian Mountains
1893 · Minneapolis Institute of Arts, Minneapolis
Green and rose slopes flattened into bold shapes, with rather less interest in what the island actually looked like than in the color.
★ 5.2
Train Smoke
1900 · The Munch Museum, Oslo
One puff of steam drifts across a curving shoreline, the modern world putting a small mark on a landscape that had none.
★ 5.2
Little Harbor in Normandy
1909 · Art Institute of Chicago, Chicago
Boats and masts broken into tilting green and brown planes, painted while Braque and Picasso were building Cubism out of Cézanne.
★ 5.2
Red Hills with Flowers
1937 · Art Institute of Chicago, Chicago
Red New Mexico hills roll across the canvas with a few flowers brought right up close, the vast and the fragile in one frame.
★ 5.2
Figure in a Landscape
1945 · Tate Modern, London
Bacon started from a snapshot of a friend dozing in a park and then removed the head, the identity and the ease.
★ 5.2
The Disintegration of the Persistence of Memory
1954 · Salvador Dali Museum, St. Petersburg, Florida
Dalí went back to his own melting watches and broke the ground beneath them into floating bricks, for the atomic age.
★ 5.2
Expulsion from the Garden of Eden (Cole)
1828 · Museum of Fine Arts (Boston), Boston
Eden on one side of the rock arch, blasted wilderness on the other, and Cole lets the landscape carry the entire moral argument.
★ 5.4
The Hermitage at Pontoise
1867 · Guggenheim, New York City
Plain village houses on a hillside, built in solid earthy blocks. Pissarro refused to prettify the countryside and gave it structural weight instead.
★ 5.4
The Last of the Buffalo
1888 · Corcoran Gallery of Art, Washington, District of Columbia
Bierstadt painted this vast hunt as the herds were nearing extinction, with skulls and bones already lying across the foreground.
★ 5.4
Prisoners from the Front
1866 · Metropolitan Museum of Art, New York City
A Union officer faces three captured Confederates and the two halves of the country study each other. Homer had covered the war as an illustrator.
★ 5.6
Cutting the Stone
1494 · El Prado, Madrid
A quack in a funnel hat cuts the stone of madness out of a man's head, and what comes out is a flower.
★ 5.7
The Judgment of Paris
1527 · Statens Museum for Kunst, Copenhagen
Paris turns up as a German knight in plate armor and the three goddesses wear nothing but jewels and improbable hats.
★ 5.7
Rest during the Flight into Egypt
1423 · Uffizi Gallery, Florence
A gilded low sun hangs over the road and the orange trees are heavy with fruit, an early attempt at real morning light across a landscape.
★ 5.7
Annunciation to the Shepherds
1338 · Basilica di Santa Croce, Florence
A shepherd twists onto his back and throws up a hand against the glare. One of the first real night scenes in Western art.
★ 6.1