id,title,description,link,image_link,availability,price,google_product_category,brand,gtin,mpn,identifier_exists,condition,item_group_id 27622,"Mark Catesby : ""Wampum Snake with Red Lily"" (1771) 16"" x 20"" (Image: 12.75"" x 17"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-wampum-snake-with-red-lily-1771/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27622,https://www.theibis.net/wp-content/uploads/2019/12/cates11_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27610,"Mark Catesby : ""Blue Jay with Bay-leaved Smilax"" (1771) 16"" x 20"" (Image: 13"" x 16.81"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-blue-jay-with-bay-leaved-smilax-1771/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27610,https://www.theibis.net/wp-content/uploads/2019/12/cates10_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27598,"Mark Catesby : ""Chatterer, Shrub"" (1771) 16"" x 20"" (Image: 13"" x 16.81"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-chatterer-shrub-1771/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27598,https://www.theibis.net/wp-content/uploads/2019/12/cates9_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27539,"Mark Catesby : ""The Bull-frog, Ladys Slipper of Pennsylvania"" (1771) 16"" x 20"" (Image: 13"" x 17"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-the-bull-frog-ladys-slipper-of-pennsylvania-1771/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27539,https://www.theibis.net/wp-content/uploads/2019/12/cates8_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27525,"Mark Catesby : ""Largest Crested Heron with Spotted Eft, Insects"" (1771) 16"" x 20"" (Image: 13"" x 16.5"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-largest-crested-heron-with-spotted-eft-insects-1771/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27525,https://www.theibis.net/wp-content/uploads/2019/12/cates7_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27501,"Mark Catesby : ""Brown Viper with Arum Lily"" (1771) 16"" x 20"" (Image: 13"" x 17"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-brown-viper-with-arum-lily-1771/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27501,https://www.theibis.net/wp-content/uploads/2019/12/cates5_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27453,"Mark Catesby : ""Land Crab with Tapia Trifolia Plant"" (1771) 16"" x 20"" (Image: 13"" x 17"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-land-crab-with-tapia-trifolia-plant-1771/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27453,https://www.theibis.net/wp-content/uploads/2019/12/cates2_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27437,"Mark Catesby : ""Parrot of Carolina on Cypress Tree"" (1771) 16"" x 20"" (Image: 13"" x 16.25"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-parrot-of-carolina-on-cypress-tree-1771/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27437,https://www.theibis.net/wp-content/uploads/2019/12/cates6_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27419,"Mark Catesby : ""The Great Hog-fish"" (1771) 16"" x 20"" (Image: 13"" x 16.31"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-the-great-hog-fish-1771/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27419,https://www.theibis.net/wp-content/uploads/2019/12/cates1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27407,"Mark Catesby : ""Flamingo with Keratophyton Plant, Bahamas"" (1771) 16"" x 20"" (Image: 12.88"" x 17"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-flamingo-with-keratophyton-plant-bahamas-1771/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27407,https://www.theibis.net/wp-content/uploads/2019/12/cates3_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27392,"Mark Catesby : ""Ivory-billed Woodpecker"" (1771) 16"" x 20"" (Image: 12"" x 17"")","Mark Catesbys The Natural History of Carolina, Florida and the Bahama Islands was the first published book to provide illustrations and descriptions of North American flora and fauna. It contained 220 plates of birds, fish, insects, plants, mammals, reptiles and amphibians, mostly etched by Catesby himself, who visited the region from 1722 to 1726. It was originally issued in 11 sections, which were sold by subscription from 1734-1747, and later republished as a two-volume set.",https://www.theibis.net/product/mark-catesby-ivory-billed-woodpecker-1771/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27392,https://www.theibis.net/wp-content/uploads/2019/12/cates4_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27246,"Antoine Caron : ""Dionysius the Areopagite Converting the Pagan Philosophers"" (1570s) 16"" x 20"" (Image: 13"" x 16.63"")","In 1571 a dramatic solar eclipse occurred: this event probably served as the subject of this painting by Antoine Caron. He painted it at the court of Catherine de Medici, queen of France, who, like many rulers of the time, was extremely superstitious and fascinated by astronomical phenomena, often seeing eclipses and natural disasters as foreboding omens. In the painting, astronomers gather in a town square beneath the shadowed sun. A bearded Greek philosopher in the foreground looks at the sky and points to an armillary sphere on the ground. Next to him, the central figure, Dionysius the Areopagite, holds a book, points to the sky, and looks at the celestial globe carried by the figure running up the steps at the right. Dionysius preaches the Christian message of salvation to pagan Greek philosophers. A putto, seated on the steps between a square and straight edge, writes on a tablet, recording the event. In the background on the right, a statue representing Urania, the muse of Astronomy, stands on a twisted column. Near the statue, figures run and point towards the heavens while seeking cover. Above, an ominous red sun glows and lightning streaks the stormy, cloud-filled sky. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/antoine-caron-dionysius-the-areopagite-converting-the-pagan-philosophers-1570s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27246,https://www.theibis.net/wp-content/uploads/2019/11/caron_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27233,"Francois Gerard : ""Belisarius"" (1797) 16"" x 20"" (Image: 13"" x 16.5"")","Along a winding dirt path, the blind Belisarius carries his young guide. The boy has been bitten by a snake, which remains coiled around his bleeding leg. With his right arm wrapped limply around Belisariuss neck and his eyes closed, the youth balances precariously between life and death. Belisariuss eyes are also closed, but guided by his stick he moves forward with determination and purpose. He rises heroically against the spectacular sunset, a monumental figure creating a powerful outline against the sky. But the flaring sunset also signals a chill night and the uncertainty of the path ahead. Belisarius was a popular Byzantine general of the Roman Empire whose promising career was sabotaged by the jealous Emperor Justinian I. In 1767, a novel by Jean-François Marmontel revived interest in Belisarius. In Marmontels novel, the emperor has the heroic general blinded, reducing Belisarius to begging. He is eventually rediscovered and aided by former officers and his family. This dramatic tale of patriotism, injustice, and redemption was widely embraced in revolutionary and post-revolutionary France and was a popular subject for artists—including Jacques-Louis David (François Gérards teacher), Jean-Antoine Houdon, and Jean-Baptiste Stouf. For this painting, Gérard both drew and departed from Marmontels retelling of Belisariuss life. The generals young companion is present in Marmontels novel. But to stress the bravery and pathos of the subject, Gérard introduced the incapacitating snakebite. While Belisarius was typically depicted in the act of begging, Gérard shows him standing and erect, his muscular form in sharp contrast to his guides weakening body. The prominent helmet hanging from Belisariuss belt emphasizes the generals heroic past and underscores the injustice of his fall from favor. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/francois-gerard-belisarius-1797/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27233,https://www.theibis.net/wp-content/uploads/2019/11/gerbel_web_3a-2-scaled.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27211,"Gerard ter Borch : ""A Maid Milking a Cow in a Barn"" (c. 1652-1654) 16"" x 20"" (Image: 13"" x 13.69"")","In a barn, a young maid squats while milking a brown and white spotted cow. Standing nearby, another cow seems to be waiting its turn. Gerard ter Borch treated the routine chore of milking in a straightforward manner, rejecting the humorous themes often favored by seventeenth-century Dutch genre painters. He was especially skilled at rendering the textures and surfaces of objects like those found in the foreground: the roughly hewn stool, the wooden basin filled with water, the chipped ceramic crock, and the shiny metal hinges of the buckets. The paintings muted colors and subtle play of light are characteristic of Ter Borchs work. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/gerard-ter-borch-a-maid-milking-a-cow-in-a-barn-c-1652-1654/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27211,https://www.theibis.net/wp-content/uploads/2019/11/borch1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27153,"Henri Fantin-Latour : ""Roses in a Vase"" (1878) 16"" x 20"" (Image: 13"" x 13.5"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-roses-in-a-vase-1878/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27153,https://www.theibis.net/wp-content/uploads/2019/11/fant13_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27138,"Jehan-Georges Vibert : ""A Night Class"" (c. 1881) 16"" x 20"" (Image: 12.63"" x 17"")","The artist himself described his painting of a night class: ""Under smoldering electric lights, a model in historical costume poses for eager, ambitious art students. A few of them might have real talent, some could become commercial artists, but most, unfortunately, have no future in art at all."" Although trained in a conservative academic style, Vibert here pokes fun at his own artistic tradition. Vibert was fond of caricaturing the pretentious elements of 19th-century French society. The work was shown at the 1881 Salon exhibition. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/jehan-georges-vibert-a-night-class-c-1881/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27138,https://www.theibis.net/wp-content/uploads/2019/11/vibert1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27127,"Amedeo Modigliani : ""Alice"" (c. 1918) 16"" x 20"" (Image: 8.31"" x 17"")","Amedeo Modigliani had a signature style. His elongated figures, with their expressive contours and rich, juxtaposed colors, leave no question as to their authorship. Though his weirdly distorted compositions were sometimes attributed to his copious diet of hashish and absinthe, his true source of inspiration was African sculpture. On the contrary, his charade persona and conspicuous substance abuse may have been cultivated to mask the effects of tuberculous, a highly contagious disease that would take his life at the age of 35. A quintessential tragic artist, he enjoyed little success during his lifetime, only to be recognized as a genius after his death.",https://www.theibis.net/product/amedeo-modigliani-alice-c-1918/?attribute_size=16%22+x+20%22+%28Image%3A+8.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27127,https://www.theibis.net/wp-content/uploads/2019/11/modi5_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27072,"John Wootton : ""Riders Pausing by the Ruins of Rievaulx Abbey"" (c. 1745) 16"" x 20"" (Image: 13"" x 13.38"")","The ruins of Rievaulx Abbey are situated near Helmsley, in the North York Moors. Established in 1132, it was the first Cistercian monastery in the north of England. It was confiscated and stripped of its valuables in 1538 as part of Henry VIII’s dissolution of the monasteries. When John Wootton painted this scene in or about 1745, picturesque ruins featured so prominently in the popular imagination that aristocrats were having ersatz ruins constructed on their estates. Gothic ruins such as those at Rievaulx provided the inspiration for the Gothic literary genre, originating with Horace Walpole’s 1764 novel The Castle of Otranto .",https://www.theibis.net/product/john-wootton-riders-pausing-by-the-ruins-of-rievaulx-abbey-c-1745/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27072,https://www.theibis.net/wp-content/uploads/2019/11/woot3_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27058,"John Wootton : ""Releasing the Hounds"" (c. 1745) 16"" x 20"" (Image: 7.44"" x 17"")","John Wootton was one of England’s earliest native painters. He painted battle scenes and landscapes, but is best-known for his sporting subjects; a lucrative genre in an era when well-bred animals served as important status symbols for wealthy aristocrats. His patrons included several members of the Royal family, including Queen Caroline, who visited his studio in 1732. Wootton’s paintings recall the beauty of agrarian Britain as it stood on the cusp of the Industrial Revolution.",https://www.theibis.net/product/john-wootton-releasing-the-hounds-c-1745/?attribute_size=16%22+x+20%22+%28Image%3A+7.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27058,https://www.theibis.net/wp-content/uploads/2019/11/woot2_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 27044,"John Wootton : ""A Grey Spotted Hound"" (1738) 16"" x 20"" (Image: 13"" x 16.25"")","John Wootton was one of England’s earliest native painters. He painted battle scenes and landscapes, but is best-known for his sporting subjects; a lucrative genre in an era when well-bred animals served as important status symbols for wealthy aristocrats. His patrons included several members of the Royal family, including Queen Caroline, who visited his studio in 1732. Wootton’s paintings recall the beauty of agrarian Britain as it stood on the cusp of the Industrial Revolution.",https://www.theibis.net/product/john-wootton-a-grey-spotted-hound-1738/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=27044,https://www.theibis.net/wp-content/uploads/2019/11/woot1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26981,"John Wootton : ""Portrait of a Man on Horseback"" (c. 1720) 16"" x 20"" (Image: 13"" x 16"")","John Wootton was one of England’s earliest native painters. He painted battle scenes and landscapes, but is best-known for his sporting subjects; a lucrative genre in an era when well-bred animals served as important status symbols for wealthy aristocrats. His patrons included several members of the Royal family, including Queen Caroline, who visited his studio in 1732. Wootton’s paintings recall the beauty of agrarian Britain as it stood on the cusp of the Industrial Revolution.",https://www.theibis.net/product/john-wootton-portrait-of-a-man-on-horseback-c-1720/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26981,https://www.theibis.net/wp-content/uploads/2019/11/morse_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26967,"Cornelis Bloemaert : ""Owl with Glasses and Books"" (c. 1625) 16"" x 20"" (Image: 13"" x 15.81"")","Upton Sinclair wrote that “It is difficult to get a man to understand something, when his salary depends on his not understanding it.” This is precisely the sentiment expressed in this 17th century engraving by Cornelis Bloemaert, captioned, “What good is a candle or glasses when the owl does not wish to see?” A bespectacled owl is perched atop a book. Inside is a folded paper inscribed, “It concerns profit.” For the sake of this profit, the owl overlooks the candlelit Bible, at right, with its injunctions, “Thou shalt not kill. Thou shalt not steal.” During Bloemaert’s lifetime, the Dutch had grown ever more prosperous through the expansion of their trading empire, but their commercial success came part and parcel with warfare, slavery and colonialism.",https://www.theibis.net/product/cornelis-bloemaert-owl-with-glasses-and-books-c-1625/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26967,https://www.theibis.net/wp-content/uploads/2019/11/owlg_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26952,"Indian Art : ""Celebrations of Krishnas Birth, from a Bhagavata Purana"" (c. 1730) 16"" x 20"" (Image: 12.38"" x 17"")","The Hindu kingdom of Mankot in the western foothills of the Himalayas developed a bold style of painting in which figures in strict profile stand out against an intense yellow ground. Musicians enthusiastically proclaim the arrival of infant Krishna at the village of Vraj, where he was brought as a newborn to grow to maturity in safety among the cowherders. He was secreted away from the evil king Kamsa who wanted to murder the child on account of a prophecy that foretold his own death by Krishna. Krishna’s adoptive father Nanda, the village headmaster, receives tufts of grass as tokens of congratulations from a well-wisher, while a soldier salutes him. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/indian-art-celebrations-of-krishnas-birth-from-a-bhagavata-purana-c-1730/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26952,https://www.theibis.net/wp-content/uploads/2019/11/ind1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26896,"James Tissot : ""Seaside (July: Specimen of a Portrait)"" (1878) 16"" x 20"" (Image: 11.75"" x 17"")","This painting belongs to a series of allegories representing various months of the year. The sitter’s relaxed pose and the distant beach suggest a summer vacation by the sea. Bright sunlight is reflected off the sand and filtered through the awning into the room, where it rebounds from the woman’s ruffled dress onto her face. The model has been identified as Kathleen Newton, Tissot’s British mistress from 1876 until her death in 1882. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/james-tissot-seaside-july-specimen-of-a-portrait-1878/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26896,https://www.theibis.net/wp-content/uploads/2019/11/tissot2_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26882,"William-Adolphe Bouguereau : ""Temptation"" (1880) 16"" x 20"" (Image: 13"" x 17"")","William-Adolphe Bouguereau has been described as ""the quintessential salon painter of his generation."" His best-known works emphasized the female nude in the guise of shepherdesses, goddesses, Madonnas, nymphs and bathers. Their highly finished style exemplifies the academic realists pursuit of technical perfection. He reviled, and was in turn reviled by, the Impressionist avant-garde, but to traditionalists his name was synonymous with taste and refinement. ""Whoever gets a picture by ,"" wrote one critic,"" gets the full worth of his money, in finished painting, first-rate drawing, and a subject and treatment that no well bred person can...fault.""",https://www.theibis.net/product/william-adolphe-bouguereau-temptation-1880/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26882,https://www.theibis.net/wp-content/uploads/2019/11/boug6_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26864,"Okabe Ko : ""Vase of Flowers with Grasshopper, Marine Life, and Garden Rock"" (late 1800s) 16"" x 20"" (Image: 7.75"" x 17"")","A great interest in Western scientific studies developed in Japan during the late Edo period (1615-1868) and into the Meiji era (1868-1912). One outcome of this phenomenon in the visual arts was the detailed portrayal of plant, animal, and marine life. This painting is an assemblage of objects carefully observed from nature, but not usually seen together. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/okabe-ko-vase-of-flowers-with-grasshopper-marine-life-and-garden-rock-late-1800s/?attribute_size=16%22+x+20%22+%28Image%3A+7.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26864,https://www.theibis.net/wp-content/uploads/2019/11/ko1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26708,"Frederic Edwin Church : ""The Monastery of San Pedro (Our Lady of the Snows)"" (1879) 16"" x 20"" (Image: 10.88"" x 17"")","Although the location that inspired the painting has been subject to scholarly debate, many believe it derives from Church’s travels through the Ecuadorean Andes nearly a quarter century earlier. The composition reads as an allegory of spiritual salvation: perched atop a dramatic cliff, a brilliantly backlit monastery overlooks a shadowed foreground where a solitary figure navigates a rugged path. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/frederic-edwin-church-the-monastery-of-san-pedro-our-lady-of-the-snows-1879/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26708,https://www.theibis.net/wp-content/uploads/2019/11/church1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26695,"William-Adolphe Bouguereau : ""Rest"" (1879) 16"" x 20"" (Image: 12"" x 17"")","One of the most celebrated academic painters of his time, Bouguereau underscores the moral virtues of the Italian peasants in this painting by depicting the dome of St. Peters in the distance. The idealized figures and their triangular grouping recall the Holy Family paintings by Renaissance master Raphael 400 years earlier. The painting was purchased directly from the artist by Cleveland banker and philanthropist Hinman B. Hurlbut in July 1879. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/william-adolphe-bouguereau-rest-1879/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26695,https://www.theibis.net/wp-content/uploads/2019/11/boug5_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26681,"Albert Besnard : ""Madeleine Lerolle and Her Daughter Yvonne"" (c. 1879-1880) 16"" x 20"" (Image: 11.88"" x 17"")","This double portrait, exhibited at the Paris Salon of 1883, depicts the wife and daughter of Besnards friend and fellow artist Henri Lerolle. Besnard emphasized their close relationship by placing Madeleine Lerolle and her daughter Yvonne in the familiar setting of the artists studio, reflecting the artists stated ambition of portraying figures in the natural setting of the world in which they live. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/albert-besnard-madeleine-lerolle-and-her-daughter-yvonne-c-1879-1880/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26681,https://www.theibis.net/wp-content/uploads/2019/11/besnard1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26623,"Camille Pissarro : ""Edge of the Woods Near LHermitage, Pontoise"" (1879) 16"" x 20"" (Image: 13"" x 17"")","Pissarro painted this monumental landscape when he was desperately poor and struggling to sell his paintings. It depicts a man slumbering in the sun-dappled backwoods of the Hermitage, a rural village near Pontoise, where the artist had been living since 1872. Restricting his palette to pure hues, Pissarro applied brushstrokes in systematic diagonal patterns, producing an effect that he likened to knitting. This canvas was included in the fourth Impressionist exhibition of 1879. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/camille-pissarro-edge-of-the-woods-near-lhermitage-pontoise-1879/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26623,https://www.theibis.net/wp-content/uploads/2019/11/pissarro3_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26560,"Philippe Rousseau : ""Still Life with Asparagus"" (c. 1880) 16"" x 20"" (Image: 9.31"" x 17"")","Rousseau was profoundly influenced by the atmospheric still lifes of Jean Siméon Chardin (1699-1779), whom the artist and other French painters like François Bonvin (1817-1877) rediscovered in the mid-1800s. A comparison with Chardins work indicates that Rousseau similarly depicted foodstuffs on a simple kitchen table, concentrating on rich textures and restrained colors. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/philippe-rousseau-still-life-with-asparagus-c-1880/?attribute_size=16%22+x+20%22+%28Image%3A+9.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26560,https://www.theibis.net/wp-content/uploads/2019/11/philrous1_web_3a-1-scaled.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26547,"Jean-Leon Gerome : ""Lion on the Watch"" (c. 1885) 16"" x 20"" (Image: 12.19"" x 17"")","In addition to his fascination with the classical past, Gérôme was one of the leading painters of ""orientalist"" subjects—exotic and romantic themes inspired by Napoleonic adventures abroad, romantic literature, and European colonialism. From 1855, Gérôme travelled regularly in Turkey, Egypt, and Asia Minor. Long fascinated by African animals, he sketched lions in the Paris zoo as a student and later hunted them on safari in North Africa. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/jean-leon-gerome-lion-on-the-watch-c-1885/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26547,https://www.theibis.net/wp-content/uploads/2019/11/gerome11_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26533,"Elizabeth Shippen Green : ""The Journey"" (1903) 16"" x 20"" (Image: 11.19"" x 17"")","Depicting a boy staring out the window of a railway car, Elizabeth Shippen Green’s illustration The Journey was published in the December 1903 issue of Harper’s Magazine . It accompanied a series of poems titled The Little Past , by Josephine Preston Peabody, which relate the experiences of childhood from a child’s perspective. Curator Martha H. Kennedy cites it as an example of Green’s “unusual ability to incorporate complex landscape views into her drawings,” noting the contrast between the boy’s “quiet form in subdued colors and the vivid spectacle of hills and clouds that become castles.”",https://www.theibis.net/product/elizabeth-shippen-green-the-journey-1903/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26533,https://www.theibis.net/wp-content/uploads/2019/11/thejour_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26512,"Currier and Ives : ""Perspective Map of the City of St. Louis"" (1874) 16"" x 20"" (Image: 11.63"" x 17"")","Published in 1874, this perspective map of St. Louis looks west from the Mississippi River. It is not drawn completely to scale, but emphasizes points of interest, which are indicated above the map title on the bottom margin. During the 19th century, pictorial maps such these were a popular way for American towns and cities to attract business and immigration. (Image restoration by Adam Cuerden).",https://www.theibis.net/product/currier-and-ives-perspective-map-of-the-city-of-st-louis-1874/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26512,https://www.theibis.net/wp-content/uploads/2019/11/stlou_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26466,"Jan Augustin van der Goes : ""Owlet Moth"" (1690-1700) 16"" x 20"" (Image: 13"" x 14.81"")","Roughly spanning the 17th century, the Dutch Golden Age saw an explosion of interest in the natural world, inclusive of its lowliest creatures. Dutch trading vessels returned from the far-flung corners of the globe with exotic specimens destined for the display cabinets of stately homes. Painted miniatures such as this, one of a series by Jan Augustin van der Goes, were designed to be assembled into albums. Rendered in gouache on vellum, its life-size, realistic detail and shadow effects create the illusion of a mounted specimen.",https://www.theibis.net/product/jan-augustin-van-der-goes-owlet-moth-1690-1700/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26466,https://www.theibis.net/wp-content/uploads/2019/11/goes1_web_3a-1-scaled.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26453,"Jan Augustin van der Goes : ""Crab"" (1690-1700) 16"" x 20"" (Image: 13"" x 16.88"")","Roughly spanning the 17th century, the Dutch Golden Age saw an explosion of interest in the natural world, inclusive of its lowliest creatures. Dutch trading vessels returned from the far-flung corners of the globe with exotic specimens destined for the display cabinets of stately homes. Painted miniatures such as this, one of a series by Jan Augustin van der Goes, were designed to be assembled into albums. Rendered in gouache on vellum, its life-size, realistic detail and shadow effects create the illusion of a mounted specimen.",https://www.theibis.net/product/jan-augustin-van-der-goes-crab-1690-1700/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26453,https://www.theibis.net/wp-content/uploads/2019/11/goes6_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26437,"Jan Augustin van der Goes : ""Shrimp"" (1690-1700) 16"" x 20"" (Image: 12.5"" x 17"")","Roughly spanning the 17th century, the Dutch Golden Age saw an explosion of interest in the natural world, inclusive of its lowliest creatures. Dutch trading vessels returned from the far-flung corners of the globe with exotic specimens destined for the display cabinets of stately homes. Painted miniatures such as this, one of a series by Jan Augustin van der Goes, were designed to be assembled into albums. Rendered in gouache on vellum, its life-size, realistic detail and shadow effects create the illusion of a mounted specimen.",https://www.theibis.net/product/jan-augustin-van-der-goes-shrimp-1690-1700/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26437,https://www.theibis.net/wp-content/uploads/2019/11/goes5_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26423,"Jan Augustin van der Goes : ""Beetle"" (1690-1700) 16"" x 20"" (Image: 13"" x 16.75"")","Roughly spanning the 17th century, the Dutch Golden Age saw an explosion of interest in the natural world, inclusive of its lowliest creatures. Dutch trading vessels returned from the far-flung corners of the globe with exotic specimens destined for the display cabinets of stately homes. Painted miniatures such as this, one of a series by Jan Augustin van der Goes, were designed to be assembled into albums. Rendered in gouache on vellum, its life-size, realistic detail and shadow effects create the illusion of a mounted specimen.",https://www.theibis.net/product/jan-augustin-van-der-goes-beetle-1690-1700/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26423,https://www.theibis.net/wp-content/uploads/2019/11/goes2_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26369,"Jan Augustin van der Goes : ""Grasshopper"" (1690-1700) 16"" x 20"" (Image: 13"" x 16.5"")","Roughly spanning the 17th century, the Dutch Golden Age saw an explosion of interest in the natural world, inclusive of its lowliest creatures. Dutch trading vessels returned from the far-flung corners of the globe with exotic specimens destined for the display cabinets of stately homes. Painted miniatures such as this, one of a series by Jan Augustin van der Goes, were designed to be assembled into albums. Rendered in gouache on vellum, its life-size, realistic detail and shadow effects create the illusion of a mounted specimen.",https://www.theibis.net/product/jan-augustin-van-der-goes-grasshopper-1690-1700/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26369,https://www.theibis.net/wp-content/uploads/2019/11/goes3_web_3a-1-scaled.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26354,"Jan Augustin van der Goes : ""Spider"" (1690-1700) 16"" x 20"" (Image: 13"" x 17"")","Roughly spanning the 17th century, the Dutch Golden Age saw an explosion of interest in the natural world, inclusive of its lowliest creatures. Dutch trading vessels returned from the far-flung corners of the globe with exotic specimens destined for the display cabinets of stately homes. Painted miniatures such as this, one of a series by Jan Augustin van der Goes, were designed to be assembled into albums. Rendered in gouache on vellum, its life-size, realistic detail and shadow effects create the illusion of a mounted specimen.",https://www.theibis.net/product/jan-augustin-van-der-goes-spider-1690-1700/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26354,https://www.theibis.net/wp-content/uploads/2019/11/goes4_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26340,"Adriaen van de Venne : ""Fishing for Souls"" (1614) 16"" x 20"" (Image: 8.88"" x 17"")","Fishing for Souls was produced during the Twelve Years’ Truce between the Calvinist Dutch Republic and the Catholic Southern Netherlands, controlled by Spain. From opposite sides of a river, Catholics and Protestants compete to save drowning souls, but whereas the austere Protestants fishing from the left bank take on passengers with ease, the Catholics, at right, are encumbered by their flashy icons, vestments and music. Above hangs a rainbow, symbolizing humankind’s reunification with God.",https://www.theibis.net/product/adriaen-van-de-venne-fishing-for-souls-1614/?attribute_size=16%22+x+20%22+%28Image%3A+8.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26340,https://www.theibis.net/wp-content/uploads/2019/11/fsoul_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26183,"Jean-Leon Gerome : ""Leaving the Oasis"" (1880s) 16"" x 20"" (Image: 10.31"" x 17"")","Leaving the Oasis repeats several themes in Gérômes art—camel caravans, oases, and expansive desert landscapes. As an academic realist, Gérôme painted everyday scenes in a meticulous and polished style. Here he carefully rendered the unique forms of the figures dress and the camels physical features, as well as the colors of the changing sky and the violet shadows cast by the airborne dogs and the legs of the camels. Although the pictures smoothness and detail suggest a photographic image, Gérôme actually composed his paintings in the studio, basing them on memories and sketches from his visits to the Near East. Following his first trip to Egypt in 1856, he developed into a major figure among 19th-century ""Orientalists""—artists who specialized in representing Near Eastern life, culture, and landscapes. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/jean-leon-gerome-leaving-the-oasis-1880s/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26183,https://www.theibis.net/wp-content/uploads/2019/11/gerome10_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26168,"Adriaen van de Venne : ""How Well We Go Together"" (c. 1614-1662) 16"" x 20"" (Image: 11.63"" x 17"")","Two owls wearing human clothes: one sports the blue woolen cap worn by fishermen and peasants in the Netherlands at this time, the other wears the ruffs fashionable among the merchant classes and a black cloak of the kind worn by women in winter. The two birds skate across the ice against the backdrop of a winter landscape. A banner above their heads reads “How well we go together,” possibly a reference to the familiar saying “Birds of a feather flock together”. The painting was part of a series depicting animals in human garb. The other paintings are now only known through print reproductions. In the sixteenth and seventeenth centuries the owl was associated with winter. Perhaps that fact offers some aid in interpreting the symbolism of this enigmatic painting. (Text courtesy of the National Gallery of Denmark).",https://www.theibis.net/product/adriaen-van-de-venne-how-well-we-go-together-c-1614-1662/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26168,https://www.theibis.net/wp-content/uploads/2019/11/venne1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26154,"Adriaen van de Venne : ""Skating Owls"" (1620-1660) 16"" x 20"" (Image: 11.75"" x 17"")","Two owls wearing human clothes: one sports the blue woolen cap worn by fishermen and peasants in the Netherlands at this time, the other wears the ruffs fashionable among the merchant classes and a black cloak of the kind worn by women in winter. The two birds skate across the ice against the backdrop of a winter landscape. A banner above their heads reads “How well we go together,” possibly a reference to the familiar saying “Birds of a feather flock together”. (Text courtesy of the National Gallery of Denmark).",https://www.theibis.net/product/adriaen-van-de-venne-skating-owls-1620-1660/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26154,https://www.theibis.net/wp-content/uploads/2019/11/skowl_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26130,"Currier and Ives : ""Perspective Map of the City of San Francisco"" (1878) 16"" x 20"" (Image: 12.25"" x 17"")","Published in 1878, this perspective map of San Francisco looks southwest from the bay. It is not drawn completely to scale, but emphasizes points of interest, which are indicated above the map title on the bottom margin. During the 19th century, pictorial maps such these were a popular way for American towns and cities to attract business and immigration. (Image restoration by Adam Cuerden).",https://www.theibis.net/product/currier-and-ives-perspective-map-of-the-city-of-san-francisco-1878/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26130,https://www.theibis.net/wp-content/uploads/2019/11/citysan_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26084,"Jules Adolphe Aime Louis Breton : ""The Tired Gleaner"" (1880) 16"" x 20"" (Image: 11.5"" x 17"")","Gleaning—or picking up what little grain remains after a wheat field has been harvested—was usually the job of the poor, especially women and children. Breton shows a single gleaner stretching against a backdrop of the setting sun, while behind her others still labor in the field. Her bare feet and worn, simple clothing immediately identify her as a peasant. At the same time, however, her expansive gesture and the subdued tones of her skin and clothes link her to the surrounding landscape, both visually and symbolically. This painting not only suggests the hardships of peasant life, but also the grand link between humanity and the land. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/jules-adolphe-aime-louis-breton-the-tired-gleaner-1880/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26084,https://www.theibis.net/wp-content/uploads/2019/11/breton2_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26069,"William Michael Harnett : ""Memento Mori, To This Favour"" (1879) 16"" x 20"" (Image: 12.63"" x 17"")","The Latin term memento mori describes a traditional subject in art that addresses mortality. In Harnett’s example, the extinguished candle, spent hourglass, and skull symbolize death. A quote from William Shakespeare’s Hamlet , inscribed on the inside cover of a tattered book, reinforces the theme. It comes from the play’s famed graveyard scene where Hamlet discovers a skull and grimly ponders his beloved Ophelia, ironically unaware that she is already dead. The ""paint"" in the quote not only refers to Ophelia’s makeup, but also wittily evokes the artifice of Harnett’s picture. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/william-michael-harnett-memento-mori-to-this-favour-1879/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26069,https://www.theibis.net/wp-content/uploads/2019/11/harn7_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26056,"Edward Hicks : ""The Falls of Niagara"" (c. 1825) 16"" x 20"" (Image: 13"" x 15.5"")","According to the Metropolitan Museum of Art, “Hicks visited Niagara Falls in 1819, but…based this composition on a vignette of the falls from a map of North America published by Henry S. Tanner in 1822.” Inscribed around the view of Niagara is an excerpt from Alexander Wilson’s The Foresters , reading “With uproar hideous first the Falls appear, / The stunning tumult thundering on the ear. / Above, below, whereer the astonished eye / Turns to behold, new opening wonders lie, / This great o’erwhelming work of awful Time / In all its dread magnificence sublime, / Rises on our view, amid a crashing roar / That bids us kneel, and Times great God adore.” Hicks learned to paint as a coachmaker but found his vocation as a Quaker minister. For much of his life he experienced dissonance between his artistic talents and the austerity demanded by his faith. He is best known for his 62 variations of The Peaceable Kingdom , in which children, livestock and predators gather together in peace and harmony.",https://www.theibis.net/product/edward-hicks-the-falls-of-niagara-c-1825/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26056,https://www.theibis.net/wp-content/uploads/2019/11/ehicks1_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 26032,"Edward Hicks : ""The Peaceable Kingdom"" (c. 1834) 16"" x 20"" (Image: 13"" x 15.5"")","Edward Hicks learned to paint as a coachmaker but found his vocation as a Quaker minister. For much of his life he experienced dissonance between his artistic talents and the austerity demanded by his faith. This piece is one of his 62 variations of The Peaceable Kingdom , inspired by the prophecy in Isaiah 11:6-8: “The wolf will live with the lamb, the leopard will lie down with the goat, the calf and the lion and the yearling together; and a little child will lead them. The cow will feed with the bear, their young will lie down together, and the lion will eat straw like the ox. The infant will play near the cobra’s den, and the young child will put its hand into the viper’s nest.” Based upon a painting by Benjamin West, the scene in the background depicts William Penn entering a peace treaty with the Lenape, thereby realizing a peaceable kingdom on Earth.",https://www.theibis.net/product/edward-hicks-the-peaceable-kingdom-c-1834/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=26032,https://www.theibis.net/wp-content/uploads/2019/11/pking_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25984,"Edward Hicks : ""The Cornell Farm"" (1848) 16"" x 20"" (Image: 12.69"" x 17"")","The outstanding feature of The Cornell Farm is the marked individuality with which the artist has described each cow, pig and sheep, reflecting his patron’s pride of ownership. In this late work, Hicks has also grown more sophisticated in his use of perspective. In the middle distance, the tree line and fences draw closer together to create the illusion of depth, while the blurred horizon suggests the existence of space beyond the range of vision. The inscription along the bottom of the canvas reads, “An Indian summer view of the Farm & Stock OF JAMES C. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, October the 12, 1848 Painted by E. Hicks in the 69th year of his age.” Hicks learned to paint as a coachmaker but found his vocation as a Quaker minister. For much of his life he experienced dissonance between his artistic talents and the austerity demanded by his faith. He is best known for his 62 variations of The Peaceable Kingdom , in which children, livestock and predators gather together in peace and harmony.",https://www.theibis.net/product/edward-hicks-the-cornell-farm-1848/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25984,https://www.theibis.net/wp-content/uploads/2019/11/corf_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25963,"Alphonse Mucha : ""JOB Cigarette Papers"" (1898) 16"" x 20"" (Image: 11.31"" x 17"")","Proponents of the Art Nouveau movement of the late 1800s sought escape from the limitations of past traditions, and they achieved it by creating a new style. By applying this style to all forms of creativity, they hoped to eliminate the separation between art and craft. Alphonse Mucha did just that by treating the poster, humbly temporary and commercial, like a canvas. The JOB cigarette paper being advertised also represents literal escape. Despite Muchas use of an idealized female in this poster, respectable women of the nineteenth century did not smoke. This pleasure belonged to men, who could use it as an excuse to retreat into smoking rooms and the company of male friends. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0).",https://www.theibis.net/product/alphonse-mucha-job-cigarette-papers-1898/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25963,https://www.theibis.net/wp-content/uploads/2019/11/jobpos_web_big.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25904,"Alphonse Mucha : ""Sarah Bernhardt - Lorenzaccio"" (1896-1900) 16"" x 20"" (Image: 6.5"" x 17"")","Sarah Berhnardt played Lorenzino de’ Medici in Alfred de Musset’s Loranzacchio . In the play, Lorenzino plots to assassinate his cousin, Duke Alessandro de’ Medici, in order reestablish the Republic of Florence. Though the assassination is ultimately carried out, the conspiracy accomplishes nothing. Lorenzino’s reputation is tarnished, and the ducal crown is passed to Cosimo de Medici. Loranzacchio was staged not long after the overthrow of Charles X by Louis Philippe I, whose ascendance likewise represented a missed opportunity for French republicans. Alphonse Mucha’s first poster for Bernhardt, advertising an extended run of the play Gismonda , created an immediate sensation. Enamored of his work, she signed him to a six-year contract, during which he designed six more posters, all of which feature the full-standing figure of the actress against the backdrop of an elongated alcove.",https://www.theibis.net/product/alphonse-mucha-sarah-bernhardt-lorenzaccio-1896-1900/?attribute_size=16%22+x+20%22+%28Image%3A+6.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25904,https://www.theibis.net/wp-content/uploads/2019/11/bernh2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25889,"Alphonse Mucha : ""Sarah Bernhardt - La Dame aux Camelias"" (1896) 16"" x 20"" (Image: 6"" x 17"")","Based upon a semi-autobiographical novel by Alexandre Dumas, La Dame aux Camélias (“The Lady with the Camelias”) is the story of an ill-fated romance between a young bourgeois, Armand, and a courtesan, Marguerite, who suffers from consumption. Their love is shattered when Armand’s father, concerned with the scandal created by their illicit relationship, convinces Marguerite to leave. Alphonse Mucha’s first poster for Sarah Bernhardt, advertising an extended run of the play Gismonda , created an immediate sensation. Enamored of his work, she signed him to a six-year contract, during which he designed six more posters, all of which feature the full-standing figure of the actress against the backdrop of an elongated alcove.",https://www.theibis.net/product/alphonse-mucha-sarah-bernhardt-la-dame-aux-camelias-1896/?attribute_size=16%22+x+20%22+%28Image%3A+6%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25889,https://www.theibis.net/wp-content/uploads/2019/11/bernh_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25874,"Johann Bernhard Fischer von Erlach : ""The Statue of Zeus at Olympia"" (1721) 16"" x 20"" (Image: 12.19"" x 17"")","Spanning world history, Entwurf einer historischen Architektur , or ""A Plan of Civil and Historical Architecture,"" was the first great work of comparative architecture. Its engravings included some of the finest archaeological reconstructions ever produced. Johann Bernhard Fischer von Erlach completed the work near the end of his career, having designed some of the Habsburg’s Empire’s most splendid palaces, churches and libraries.",https://www.theibis.net/product/johann-bernhard-fischer-von-erlach-the-statue-of-zeus-at-olympia-1721/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25874,https://www.theibis.net/wp-content/uploads/2019/11/ojup_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25850,"Johann Bernhard Fischer von Erlach : ""The Colossus of Rhodes"" (1721) 16"" x 20"" (Image: 12.19"" x 17"")","Spanning world history, Entwurf einer historischen Architektur , or ""A Plan of Civil and Historical Architecture,"" was the first great work of comparative architecture. Its engravings included some of the finest archaeological reconstructions ever produced. Johann Bernhard Fischer von Erlach completed the work near the end of his career, having designed some of the Habsburg’s Empire’s most splendid palaces, churches and libraries.",https://www.theibis.net/product/johann-bernhard-fischer-von-erlach-the-colossus-of-rhodes-1721/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25850,https://www.theibis.net/wp-content/uploads/2019/11/colossus_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25804,"Johann Bernhard Fischer von Erlach : ""The Pyramids of Egypt"" (1721) 16"" x 20"" (Image: 12.19"" x 17"")","Spanning world history, Entwurf einer historischen Architektur , or ""A Plan of Civil and Historical Architecture,"" was the first great work of comparative architecture. Its engravings included some of the finest archaeological reconstructions ever produced. Johann Bernhard Fischer von Erlach completed the work near the end of his career, having designed some of the Habsburg’s Empire’s most splendid palaces, churches and libraries.",https://www.theibis.net/product/johann-bernhard-fischer-von-erlach-the-pyramids-of-egypt-1721/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25804,https://www.theibis.net/wp-content/uploads/2019/11/pyra_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25790,"Johann Bernhard Fischer von Erlach : ""The Lighthouse of Alexandria"" (1721) 16"" x 20"" (Image: 12.19"" x 17"")","Spanning world history, Entwurf einer historischen Architektur , or ""A Plan of Civil and Historical Architecture,"" was the first great work of comparative architecture. Its engravings included some of the finest archaeological reconstructions ever produced. Johann Bernhard Fischer von Erlach completed the work near the end of his career, having designed some of the Habsburg’s Empire’s most splendid palaces, churches and libraries.",https://www.theibis.net/product/johann-bernhard-fischer-von-erlach-the-lighthouse-of-alexandria-1721/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25790,https://www.theibis.net/wp-content/uploads/2019/11/ptol_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25773,"Johann Bernhard Fischer von Erlach : ""Mount Athos as a Colossal Statue"" (1721) 16"" x 20"" (Image: 12.19"" x 17"")","Spanning world history, Entwurf einer historischen Architektur , or ""A Plan of Civil and Historical Architecture,"" was the first great work of comparative architecture. Its engravings included some of the finest archaeological reconstructions ever produced. Johann Bernhard Fischer von Erlach completed the work near the end of his career, having designed some of the Habsburg’s Empire’s most splendid palaces, churches and libraries.",https://www.theibis.net/product/claude-monet-spring-flowers-1864-2/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25773,https://www.theibis.net/wp-content/uploads/2019/11/atho_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25617,"Claude Monet : ""Spring Flowers"" (1864) 16"" x 20"" (Image: 13"" x 17"")","This early work reveals Monets fascination with capturing the transitory effects that became the primary focus of his later innovations. Painted with almost scientific accuracy, this still life has a freshness and immediacy derived partly from its composition. Isolated against a dark background, the fully mature peonies, potted hydrangeas, and basketed lilacs spill downward and outward from the geraniums at the rear. At the same time, Monets energetic brushwork conveys the sparkling play of light on leaves and petals. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/claude-monet-spring-flowers-1864/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25617,https://www.theibis.net/wp-content/uploads/2019/11/monet39_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25596,"Claude Monet : ""The Red Kerchief"" (c. 1868-1873) 16"" x 20"" (Image: 13"" x 16.19"")","This painting depicts Monets first wife, Camille, outside on a snowy day passing by the French doors of their home at Argenteuil. Her face is rendered in a radically bold Impressionist technique of mere daubs of paint quickly applied, just as the snow and trees are defined by broad, broken strokes of pure white and green. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/claude-monet-the-red-kerchief-c-1868-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25596,https://www.theibis.net/wp-content/uploads/2019/11/monet38_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25549,"William Merritt Chase : ""The Old Road to the Sea"" (c. 1893) 16"" x 20"" (Image: 13"" x 16.25"")","One of the most influential of the American Impressionists, William Merritt Chase established his own summer school at Shinnecock, on the eastern tip of Long Island, New York. Attracted to the low-lying dunes and beaches, Chase and his students were among the first American artists to pursue open-air painting. With its varied brushwork and warm colors, this painting is among the finest works Chase produced at Shinnecock. The panoramic scene glows with the light of a summer day. The Chase school at Shinnecock, active from 1891-1902, was instrumental in expanding the influence of Impressionism in the United States. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/william-merritt-chase-the-old-road-to-the-sea-c-1893/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25549,https://www.theibis.net/wp-content/uploads/2019/11/mchase9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25534,"Claude Monet : ""Gardeners House at Antibes"" (1888) 16"" x 20"" (Image: 12"" x 17"")","During the winter of 1888, Monet visited Antibes in southern France. Under the Mediterranean sun his colors became lighter and brighter, and his paint surfaces more thickly impastoed. ""What I bring back from here,"" he wrote, ""will be sweetness itself, white, pink, and blue, all enveloped in a magical air."" The brilliant colors—warm pinks, corals, cool greens, and blues—embody the sun-soaked atmosphere of the Mediterranean coast. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/claude-monet-gardeners-house-at-antibes-1888/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25534,https://www.theibis.net/wp-content/uploads/2019/11/monet37_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25475,"Francois Boucher : ""The Fountain of Love"" (1748) 16"" x 20"" (Image: 13"" x 14.63"")","A young man with a flute gazes languidly at his companion, a rosy-cheeked, barefoot woman dressed in red silk who returns his gaze longingly. Another youth offers a shell full of fresh water to a dainty maiden in a diaphanous gown of purple-gold and red satin. These amorous couples, accompanied by young children frolicking with goats, appear in an idyllic setting of lush, green, leafy trees under a pale blue sky with gray-pink clouds. By blending sensuality, covert eroticism, and refinement, pastoral paintings such as these brought the world of aristocratic society and amorous games to the countryside. The pastoral genre in which François Boucher excelled delighted his patrons, answering the contemporary nostalgia for nature and excluding coarse reality. The Fountain of Love , dated 1748, originally served as a finished cartoon for a tapestry, one of a series of six known as the Noble Pastorales . Beginning in 1755, the Beauvais tapestry manufactory wove the tapestries directly over the cartoons. Eventually, the cartoons were cut up into sections and sold separately. Some of the tapestries survive, and their extended compositions reveal that the cartoons were originally even larger. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/francois-boucher-the-fountain-of-love-1748/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25475,https://www.theibis.net/wp-content/uploads/2019/11/flove_web_3a-1.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25460,"Francois Boucher : ""The Bird Catchers"" (1748) 16"" x 20"" (Image: 13"" x 14.81"")","Responding to the contemporary rage for pastoral scenes depicting amorous countryside games, François Boucher here exhibited young, fashionable couples in the act of catching birds. In the 1700s, small birds played an important symbolic role in courtship ritual: the gift of a caged bird from a man to a woman signified her capture of his heart. Posed in front of the ruins of the Temple of Vesta, young women dressed in exquisite finery play with small birds; some tether them with strings while others daintily hold them on their fingers. The Bird Catchers and its pendant, The Fountain of Love , were finished cartoons or models for a series of tapestries known as the Noble Pastorales . Eventually, the cartoons were cut into sections and sold separately. In the surviving tapestries these scenes contain additional sections that are now missing from the cartoons, revealing that Bouchers paintings were originally even larger. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/francois-boucher-the-bird-catchers-1748/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25460,https://www.theibis.net/wp-content/uploads/2019/11/bcatch_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25446,"Aubrey Beardsley : ""The Dream"" (1869) 16"" x 20"" (Image: 11.63"" x 17"")","Twas he has summond to her silent Bed The Morning Dream that hoverd oer her Head. A Youth more glittring than a Birth-Night Beau. . . . Carrying a long baton tipped with a glittering star, an elegant suitor of the 1700s peers through an opening in the bed-curtains to spy on Belinda, the protagonist in Alexander Popes poem, The Rape of the Lock . According to the passage from the poem, the suitor probably represents the ""Morning Dream"" sent to Belinda by her guardian to populate her fantasies. In his typically sensuous and inventive way, Aubrey Beardsley did not illustrate the passage literally; rather, he chose suggestive, fantastic imagery replete with allusions. Long, lacy bed-curtains embroidered with womens busts and feminine motifs, such as the peacock, symbolize Belinda. Beardsleys unique manner of drawing includes elaborate layering of patterns, such as the delicate dotting that resembles textile embroidery. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/aubrey-beardsley-the-dream-1869/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25446,https://www.theibis.net/wp-content/uploads/2019/11/bdream_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25389,"Giovanna Garzoni : ""Still Life with Bowl of Citrons"" (late 1640s) 16"" x 20"" (Image: 13"" x 17"")","Robust citrons with their leafy branches still attached fill a worn ceramic bowl to overflowing in this meticulous still life. Giovanna Garzonis acute observation of nature and refined handling of paint are evident in the carefully rendered citron skin, and in the wasps delicate wings. With its central bowl of fruit, this painting is characteristic of Garzonis style; a single flower or insect placed in front of the picture plane adds interest to the composition. Garzoni deliberately manipulated textures and shapes, contrasting the citrons rough skin and rounded weightiness with the sharp-edged branches, the glistening, green leaves, and the delicate, star-like blossoms. Scientific research and illustration were of great interest to those who participated in court life in the 1600s. As a result, paintings of natura sospesa , ""nature suspended,"" were quite fashionable. Garzonis skillful depictions of natural objects, usually fruits and insects arranged in pleasing ensembles, were among the paintings most coveted by wealthy patrons. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/giovanna-garzoni-still-life-with-bowl-of-citrons-late-1640s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25389,https://www.theibis.net/wp-content/uploads/2019/11/garz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25375,"Paulus Potter : ""The Piebald Horse"" (c. 1650-1654) 16"" x 20"" (Image: 13"" x 14.5"")","Silhouetted against rolling, stormy, clouds, a gray, spotted horse stands, turning its head slightly to suggest its alertness to its surroundings. Paulus Potter, the finest Dutch animal painter of his day, described the horse with scrupulous attention to physical detail: the glossy sheen of its coat and mane, the watery moistness of its eye, and the sleekly elegant lines of the animals body. At the same time, the artist imbued the horse with an individualized personality that combines wildness with acute sensitivity. Indeed, the animal seems to respond to the distant sound of the hunt transpiring in the middle distance. The meaning of the painting is twofold. It is probably a horse portrait, perhaps commissioned by the owner of the country house at the right. The closely observed rendering of this domestic animal implies the pride of ownership that a wealthy Dutch landowner might have taken in the possession of such livestock. On the other hand, the horse is untethered and seems to roam free. His immaculate grooming and position before cultivated fields, however, imply that the source of Dutch prosperity lay in the control that humans were able to exert over brute nature. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/paulus-potter-the-piebald-horse-c-1650-1654/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25375,https://www.theibis.net/wp-content/uploads/2019/11/pieb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25362,"Gabriel Perelle : ""A General View of Versailles as Seen in the Present Year 1682"" (1682) 16"" x 20"" (Image: 12.25"" x 17"")","This detailed perspective map looks northwest over Versailles from the Court of Honor. The view extends beyond the palace to the gardens, their fountains and the Grand Canal, where the Ancien Régime once held boating parties. It was published in 1682, the year Versailles became the principal royal residence of France, as part of a volume titled Perelle Engravings of Paris, Royal Residences, Chateaux of France with Additional Engravings by Silvestre and Aveline .",https://www.theibis.net/product/gabriel-perelle-a-general-view-of-versailles-as-seen-in-the-present-year-1682-1682/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25362,https://www.theibis.net/wp-content/uploads/2019/11/ver1682_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25302,"George Schlegel and George Degen : ""Perspective Map of New York City"" (c. 1873) 16"" x 20"" (Image: 12.5"" x 17"")","Published circa 1873, this perspective map of New York City looks northeast over Manhattan from Battery Park. It is not drawn completely to scale, but emphasizes points of interest, such as City Hall, St. Patrick’s Cathedral, and the newly constructed Brooklyn Bridge. During the 19th century, pictorial maps such these were a popular way for American towns and cities to attract business and immigration. (Image restoration by Adam Cuerden).",https://www.theibis.net/product/george-schlegel-and-george-degen-perspective-map-of-new-york-city-c-1873/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25302,https://www.theibis.net/wp-content/uploads/2019/11/ny1873_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25290,"Thaddeus Mortimer Fowler : ""Perspective Map of Pittsburgh, Pennsylvania"" (1902) 16"" x 20"" (Image: 11.31"" x 17"")","Published in 1902, this perspective map of Pittsburgh looks east over the confluence of the Allegheny and Monongahela rivers; the site of present-day Point State Park. The streets and rivers are labeled. Points of interest, including the courthouse, banks and railway stations, are indexed along the bottom margin. Pictorial maps such these were once a popular way for American towns and cities to attract business and immigration. (Image restoration by Adam Cuerden).",https://www.theibis.net/product/thaddeus-mortimer-fowler-perspective-map-of-pittsburgh-pennsylvania-1902/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25290,https://www.theibis.net/wp-content/uploads/2019/11/pitts1902_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25138,"Suzanne Valadon : ""The Circus"" (1889) 16"" x 20"" (Image: 13"" x 16"")","The Circus is an early work by Suzanne Valadon, whose youthful career as an acrobat ended with a fall from the trapeze. A self-taught artist, she modelled for the likes of Pierre-Auguste Renoir, Berthe Morisot, and Henri de Toulouse-Lautrec, taking full advantage of the opportunity to observe their techniques. She sold her first drawings to Edgar Degas, who introduced her to Paul Durand-Ruel, Ambroise Vollard and other collectors. She is best-known for her figure paintings, which challenged contemporary audiences to experience the nude through a female, rather than male gaze.",https://www.theibis.net/product/suzanne-valadon-the-circus-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25138,https://www.theibis.net/wp-content/uploads/2019/11/valadon1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25124,"Vincent van Gogh : ""Irises"" (1889) 16"" x 20"" (Image: 13"" x 16.63"")","In May 1889, after episodes of self-mutilation and hospitalization, Vincent van Gogh chose to enter an asylum in Saint-Rémy, France. There, in the last year before his death, he created almost 130 paintings. Within the first week, he began Irises , working from nature in the asylums garden. The cropped composition, divided into broad areas of vivid color with monumental irises overflowing its borders, was probably influenced by the decorative patterning of Japanese woodblock prints. There are no known drawings for this painting; Van Gogh himself considered it a study. His brother Theo quickly recognized its quality and submitted it to the Salon des Indépendants in September 1889, writing Vincent of the exhibition: "" strikes the eye from afar. It is a beautiful study full of air and life."" Each one of Van Goghs irises is unique. He carefully studied their movements and shapes to create a variety of curved silhouettes bounded by wavy, twisting, and curling lines. The paintings first owner, French art critic Octave Mirbeau, one of Van Goghs earliest supporters, wrote: ""How well he has understood the exquisite nature of flowers!"" (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/vincent-van-gogh-irises-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25124,https://www.theibis.net/wp-content/uploads/2019/11/viris_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25067,"Camillo Miola : ""The Oracle"" (1880) 16"" x 20"" (Image: 12.81"" x 17"")","The Pythia, a virgin from the local village selected in ceremonies that established her as Apollos choice, sits atop the sacred tripod as the Delphic oracle. To the left is the omphalos , the most sacred object at Delphi, regarded as the center of the earth. A plinth on the right bears an inscription describing Apollos conquest of Delphi with the Cretans, who became his first priests. The prophetess went to the tripod on the sacred seventh day of each month, the day of Apollos birth, nine months of the year, to await the gods inspiration; her inspired utterances were later interpreted by a priest. The ancient Greeks considered the Delphic oracle—both Apollos divine prophecy and the prophetess through whom it was spoken—the final authority on almost any matter, whether religious, political, or social. Camillo Miola merged academic and classical traditions to construct his view of the classical past. He filled the canvas with seemingly archaeologically accurate costume, architecture, and furnishings, and painted in a highly detailed style to create an ancient world that appears fully real. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/camillo-miola-the-oracle-1880/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25067,https://www.theibis.net/wp-content/uploads/2019/10/miola_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25051,"Eustache Le Sueur : ""Marine Gods Paying Homage to Love"" (c. 1636-1638) 16"" x 20"" (Image: 11.88"" x 17"")","Classically proportioned sea gods and goddesses, partially clad in intensely colored drapery, form a dramatic procession against a light blue sky. This painting illustrates an episode in Francesco Colonnas Hypnerotomachia Poliphili (Strife of Love in a Dream of Polyphilus), an extravagant Renaissance tale of a dream-journey through antiquity. To the left, the lovers Polyphilus and Polia are ferried to Cythera, the island of love. The sea goddess Amphitrite, reclining in a shell at the lower right, and Neptune, seated high on a shell and holding his triton, watch the boat depart from amid a crowd of figures. Although it was first published in 1499, Colonnas book enjoyed immense popularity in seventeenth-century France. Marine Gods Paying Homage to Love is one of Eustache Le Sueurs eight canvases illustrating the Hypnerotomachia Poliphili ; it was painted as a model for a Gobelins tapestry that was never executed. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/eustache-le-sueur-marine-gods-paying-homage-to-love-c-1636-1638/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25051,https://www.theibis.net/wp-content/uploads/2019/10/homa_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25036,"Cornelis Cornelisz. van Haarlem : ""The Fall of the Titans (Titanomachia)"" (1588-1590) 16"" x 20"" (Image: 13"" x 16.81"")","There is plenty of oomph in Cornelis Cornelisz. van Haarlem’s huge, 2.5 by 3-meter canvas full of naked male bodies falling down in heaps. In addition to allowing Cornelis Cornelisz. van Haarlem to express all his artistic ideals about how to depict the nude, muscular human form, The Fall of the Titans is also the story of the battle fought by the titans, cyclopes and giants against the Olympian gods, headed by Zeus. As is clearly apparent from this scene, the titans suffered a crushing defeat: Zeus cast them down into the underworld of Tartarus, from whence they cause earthquakes and volcanic eruptions. “This painting was cutting-edge modern back in its own day. The sheer ability to paint figures in such difficult poses—and human bodies in free-fall—would have been very impressive,” explains curator and senior researcher Eva de la Fuente Pedersen. The manner of painting is typical of its time, with figures in the foreground framing the scene, followed by several different planes in the centre of the composition. “They’re falling down into Hell, and we see the light of the sun shining down into the abyss. The artist has used an almost science-fiction-like mode of expression. They seem to be tumbling straight out at us, and his use of colours and space sucks us into an infinitely deep space.” (Text courtesy of the National Gallery of Denmark).",https://www.theibis.net/product/cornelis-cornelisz-van-haarlem-the-fall-of-the-titans-titanomachia-1588-1590/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25036,https://www.theibis.net/wp-content/uploads/2019/10/haar1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 25024,"Ture Nikolaus Cederstrom : ""The Sunlight"" (1890s) 16"" x 20"" (Image: 12"" x 17"")","In The Sunlight , Swedish genre painter Ture Nikolaus Cederström contrasts religious study with direct experience of the divine. The subject, a monk, has paused from his reading to contemplate the light outside his window, metaphorical of the inner light that is the true wellspring of spiritual inspiration. He is learned, but not so fixated upon scholarship that he is no longer attuned to the ineffable.",https://www.theibis.net/product/ture-nikolaus-cederstrom-the-sunlight-1890s/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=25024,https://www.theibis.net/wp-content/uploads/2019/10/ceder1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24965,"Albert Joseph Moore : ""Canaries"" (1875-1880) 16"" x 20"" (Image: 7"" x 17"")","Deeply inspired by classical sculpture, Albert Joseph Moore’s mature works elaborated the harmonies of pose, color and tonality. A passage in his entry for the 1911 Encyclopedia Britannica recounts that: “Artistically he lived in a world of his own creation, a place peopled with robust types of humanity of Greek mould, and gay with bright-coloured draperies and brilliant-hued flowers. As an executant he was careful and certain; he drew finely, and his colour-sense was remarkable for its refinement and subtle appreciation. Few men have equaled him as a painter of draperies, and still fewer have approached his ability in the application of decorative principles to pictorial art.” An artist’s artist, Moore’s works had little appeal with the general public, but sold off the easel to a handful of connoisseur collectors.",https://www.theibis.net/product/albert-joseph-moore-canaries-1875-1880/?attribute_size=16%22+x+20%22+%28Image%3A+7%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24965,https://www.theibis.net/wp-content/uploads/2019/10/ajmoore1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24947,"Albert Joseph Moore : ""Dreamers"" (1882) 16"" x 20"" (Image: 9.81"" x 17"")","Deeply inspired by classical sculpture, Albert Joseph Moore’s mature works elaborated the harmonies of pose, color and tonality. A passage in his entry for the 1911 Encyclopedia Britannica recounts that: “Artistically he lived in a world of his own creation, a place peopled with robust types of humanity of Greek mould, and gay with bright-coloured draperies and brilliant-hued flowers. As an executant he was careful and certain; he drew finely, and his colour-sense was remarkable for its refinement and subtle appreciation. Few men have equaled him as a painter of draperies, and still fewer have approached his ability in the application of decorative principles to pictorial art.” An artist’s artist, Moore’s works had little appeal with the general public, but sold off the easel to a handful of connoisseur collectors.",https://www.theibis.net/product/albert-joseph-moore-dreamers-1882/?attribute_size=16%22+x+20%22+%28Image%3A+9.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24947,https://www.theibis.net/wp-content/uploads/2019/10/mdream_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24889,"Ford Madox Brown : ""Pretty Baa-Lambs"" (1851-1859) 16"" x 20"" (Image: 13"" x 16.31"")","This inspired painting by Ford Madox Brown is rendered in vibrant colors evocative of childhood memory. It was Brown’s first piece painted entirely en plein air . The models are his mistress and future wife, Emma, and their daughter Cathy. The sheep were hired from a local farmer. Brown was a Franco-British artist was associated with the Pre-Raphaelite Brotherhood. He was an influence upon by Dante Gabriel Rossetti and Frederick Sandys, and was, in turn, influenced by William Holman Hunt and John Everett Millais, yet chose to work independently of the movement. His late career was dedicated fully to a series of twelve murals for Manchester Town Hall.",https://www.theibis.net/product/ford-madox-brown-pretty-baa-lambs-1851-1859/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24889,https://www.theibis.net/wp-content/uploads/2019/10/baa_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24875,"Kate Elizabeth Bunce : ""Melody (Musica)"" (1895/1897) 16"" x 20"" (Image: 10.75"" x 17"")","A young woman plays the lute against a backdrop of apple blossoms and a gilded mirror, inscribed “Musica,” which reflects her view of the window opposite. Kate Elizabeth Bunce was a Birmingham artist whose work reflects the shared medievalism of the Pre-Raphaelites and the Arts and Crafts Movement. The model for this piece may have been her sister, Myra, a metalworker with whom she would go on to produce decorative work for British churches.",https://www.theibis.net/product/kate-elizabeth-bunce-melody-musica-1895-1897/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24875,https://www.theibis.net/wp-content/uploads/2019/10/bunce1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24817,"Kate Elizabeth Bunce : ""The Keepsake"" (1898/1901) 16"" x 20"" (Image: 10"" x 17"")","Kate Elizabeth Bunce was a Birmingham artist whose work reflects the shared medievalism of the Pre-Raphaelites and the Arts and Crafts Movement. The Keepsake is based upon The Staff and the Scrip , a narrative poem by Dante Gabriel Rossetti in which a lowly pilgrim gives his life to the deliver the lands of Queen Blanchelys from an evil duke. The painting was exhibited with the quotation: ""Then stepped a damsel to her side, / And spoke and needs must weep / For his sake, lady, if he died / He prayed of thee to keep / This staff and scrip."" The staff and scrip (pouch) were the standard equipment of the Christian pilgrim and are kept by queen as painful mementos of his sacrifice.",https://www.theibis.net/product/kate-elizabeth-bunce-the-keepsake-1898-1901/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24817,https://www.theibis.net/wp-content/uploads/2019/10/bunce2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24802,"Dante Gabriel Rossetti : ""Proserpine"" (1882) 16"" x 20"" (Image: 8.13"" x 17"")","The piece is the eighth and final version of Rossettis Proserpine , completed just a few days before his death. In his correspondence, he described the piece as follows: ""She is represented in a gloomy corridor of her palace, with the fatal fruit in her hand. As she passes, a gleam strikes on the wall behind her from some inlet suddenly opened, and admitting for a moment the sight of the upper world; and she glances furtively towards it, immersed in thought. The incense-burner stands beside her as the attribute of a goddess. The ivy branch in the background may be taken as a symbol of clinging memory."" All versions of the work are inscribed with a sonnet, which reads: ""Afar away the light that brings cold cheer / Unto this wall, — one instant no more / Admitted at my distant palace-door / Afar the flowers of Enna from this drear / Dire fruit, which, tasted once, must thrall me here. / Afar those skies from this Tartarean grey / That chills me: and afar how far away, / The nights that shall become the days that were. / Afar from mine own self I seem, and wing / Strange ways in thought, and listen for a sign: / And still some heart unto some soul doth pine. / (Whose sounds mine inner sense in fain to bring, / Continually together murmuring) — / Woe me for thee, unhappy Proserpine.""",https://www.theibis.net/product/dante-gabriel-rossetti-proserpine-1882/?attribute_size=16%22+x+20%22+%28Image%3A+8.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24802,https://www.theibis.net/wp-content/uploads/2019/10/proser_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24646,"Unknown Artist : ""A Dappled Gray Stallion Tethered in a Landscape"" (late 16th century) 16"" x 20"" (Image: 12"" x 17"")","In this meticulously executed drawing, a light gray stallion with dappled markings stands tethered to a tree stump in the midst of a verdant landscape. The well-groomed horse appears calm yet aware of the viewer, as if posing for its portrait. Many finely executed details in this drawing command the viewers attention: not only the animals direct gaze, but also its textured mane and tail, the carefully tied knot of the bridle, the dappled pattern on its hind quarters, the small nails embedded in its shoes. And in the landscape: white clouds, undulating green hills, and distinctive elements such as a stream, tree stump, and roads. It is quite likely that the same aristocratic person who once proudly owned the stallion also commissioned this drawing. Two similar depictions of magnificent horses in other collections appear to be created by the same as-yet-unknown artist, presumably for the same patron. Small stitching holes in the sheets suggest that they were once bound together in an album. And even the medium used, gouache on vellum—in addition to the fine painting style—reflects a tradition of manuscript illumination. Evidence points to the possibility that the drawings patron was Moravian Baron Jan Sembera of Bucovice and that the highly accomplished artist was associated with the court of Holy Roman Emperor Rudolf II in Prague. The horse itself offers a hint, resembling the Lipizzan breed prized by Renaissance aristocrats associated with the imperial Habsburg court. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/unknown-artist-a-dappled-gray-stallion-tethered-in-a-landscape-late-16th-century/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24646,https://www.theibis.net/wp-content/uploads/2019/10/dapple1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24634,"Jan Brueghel the Elder : ""The Sermon on the Mount"" (1598) 16"" x 20"" (Image: 12.5"" x 17"")","In this small painting, the figure of Christ is almost lost amid the dense, multi-colored crowd. Identified by a pale yellow halo, Christ stands on a rustic podium near the crowds center. He presents his sermon on the conditions of blessedness. Behind Christ, his disciples pay rapt attention, but many in the diverse throng prefer to socialize with one another. In the foreground, a gnarled gypsy tells fortunes and a vendor sells pretzels. To the right, below a distant vista, a man in a long coat and dark hat directs two women in elegant gowns toward the crowd. Jan Brueghel the Elder painted this festive scene on a thin sheet of copper. The works bright colors, fine details, and enamel-like finish are accentuated by the hard copper support. Brueghels unmatched ability to describe figures and landscape in great detail transforms the painting into a jewel-like object intended for close scrutiny. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jan-brueghel-the-elder-the-sermon-on-the-mount-1598/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24634,https://www.theibis.net/wp-content/uploads/2019/10/semou_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24608,"Arnold Bocklin : ""Ruin by the Sea"" (1881) 16"" x 20"" (Image: 12.38"" x 17"")","The dark, ruined villa in this painting is made especially mysterious by the strange cypress trees tossed by the wind. A nervous green light flickers through the scene. Influenced by German Romantic art of the early 1800s, Böcklin was preoccupied with dreamlike images suggestive of death. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/arnold-bocklin-ruin-by-the-sea-1881/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24608,https://www.theibis.net/wp-content/uploads/2019/10/bocklin1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24593,"William Merritt Chase : ""Portrait of Dora Wheeler"" (1882-1883) 16"" x 20"" (Image: 13"" x 13.5"")","This is one of several views Monet painted of the cliffs and sand flats of Pourville, a small fishing village on the Normandy coast of France. The title indicates a momentary stage in the continuous cycle of nature, just as the quick, spontaneous application of paint reflects Monets efforts to capture shifting effects of light, weather, and tide. The paint layers under the beach indicate that this part of the composition originally depicted water, as would have been appropriate for a depiction of high rather than low tide. Similar changes were made in the clouds during the painting process. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/william-merritt-chase-portrait-of-dora-wheeler-1882-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24593,https://www.theibis.net/wp-content/uploads/2019/10/mchase8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24557,"Claude Monet : ""Low Tide at Pourville, near Dieppe, 1882"" (1882) 16"" x 20"" (Image: 12.5"" x 17"")","This is one of several views Monet painted of the cliffs and sand flats of Pourville, a small fishing village on the Normandy coast of France. The title indicates a momentary stage in the continuous cycle of nature, just as the quick, spontaneous application of paint reflects Monets efforts to capture shifting effects of light, weather, and tide. The paint layers under the beach indicate that this part of the composition originally depicted water, as would have been appropriate for a depiction of high rather than low tide. Similar changes were made in the clouds during the painting process. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/claude-monet-low-tide-at-pourville-near-dieppe-1882-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24557,https://www.theibis.net/wp-content/uploads/2019/10/monet36_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24525,"George Butler : ""Capri Lace Maker"" (1884) 16"" x 20"" (Image: 8.63"" x 17"")","George Butler studied with the American artist Thomas Hicks in New York City before going to Paris in 1859 to study with Thomas Couture, whose most famous pupils included Édouard Manet and Puvis de Chavannes. He returned to the United States and served in the Union Army during the Civil War, at which point he lost his right arm. He went to Italy in 1875, where he remained for a number of years. During his stay abroad, Butler painted Capri Lace Maker . Although to a contemporary viewer this work may seem to be a fairly traditional, conservative composition, the bravura of the brushwork and the thick layers of pigment mark the European influence on Butlers style. An accomplished academic painter, Butler was elected to the National Academy of Design in 1873 and exhibited this work there in 1884. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/george-butler-capri-lace-maker-1884/?attribute_size=16%22+x+20%22+%28Image%3A+8.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24525,https://www.theibis.net/wp-content/uploads/2019/10/butler1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24466,"Abbott Handerson Thayer : ""Hebe"" (c. 1890) 16"" x 20"" (Image: 11"" x 17"")","Toward the end of the 1880s, just as Abbott Handerson Thayers success as a portrait painter reached its peak, his beloved first wife, Kate, was diagnosed with acute melancholia. First hospitalized in early 1888, she died in an asylum in May 1891. In response to this tragedy, Thayer began to make paintings explaining the ideal role of women, both in a spiritual and moral sense. Thayer believed the high moral nature of women was constantly threatened by their participation in worldly affairs. The ideal women in his canvases are depicted wearing vaguely Grecian costumes, as in this unfinished painting. Here, Thayer portrayed Hebe, the goddess of youth and spring, as the cupbearer of the gods. As a divine being, Hebe was kept safe from the influence of the outside world, providing Thayer some relief in regard to his anxiety about the changing role of women. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/abbott-handerson-thayer-hebe-c-1890/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24466,https://www.theibis.net/wp-content/uploads/2019/10/thayer1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24451,"Pierre-Auguste Renoir : ""The Apple Seller"" (c. 1890) 16"" x 20"" (Image: 13"" x 15.63"")","This painting depicts a young country girl offering apples to Renoirs wife, Aline. The boy in the straw hat may be the artists nephew, Edmond, but the young girl with the ribbon in her hair has not been identified. Bathed in soft, dappled sunlight, the figures are united through the fluid brushstrokes that cover the canvas. The leaping dog provides an accent of humor and motion in an otherwise tranquil scene. The picture was probably completed at Essoyes, in eastern France. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/pierre-auguste-renoir-the-apple-seller-c-1890/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24451,https://www.theibis.net/wp-content/uploads/2019/10/renpor16_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24340,"Odilon Redon : ""Symbolic Head"" (c. 1890) 16"" x 20"" (Image: 12"" x 17"")","One of Redons favorite themes of the 1880s and 1890s was a human head depicted in profile. This motif came from his representations of severed heads, often carried aloft on wings, published in the artists first album of prints, Dans le rêve (1879). In these images, the separation of the head from the body symbolizes the spirit released from the material world. It also suggests a metaphor for abandoning physical reality for the inner realm of dreams, fantasy, and poetic reverie. This painting conveys the idea of inward-turning vision by framing the head in a series of collapsing rectangles. Redon isolated the head even further by painting a horizontal rectangle or ""ledge"" over the lower part of the figures body, which originally extended to the bottom edge of the composition. Conservation analysis confirms that the figure is a woman wearing a helmet and holding a green staff in her right hand. However, her exact identity is not known, largely because after altering the crest and other aspects of the helmet, Redon abandoned the painting in an unresolved state. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/odilon-redon-symbolic-head-c-1890/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24340,https://www.theibis.net/wp-content/uploads/2019/10/redon2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24326,"George Inness : ""Landscape"" (1888) 16"" x 20"" (Image: 13"" x 16.13"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-landscape-1888/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24326,https://www.theibis.net/wp-content/uploads/2019/10/ginness2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24173,"John George Brown : ""Boat Builder"" (c. 1904) 16"" x 20"" (Image: 13"" x 16.63"")","A British citizen by birth, John George Brown emigrated to the United States in 1853, where he became one of the most successful genre painters of the 19th century. He is best-known for his pictures of New York City street children; entrepreneurial newsboys and bootblacks who embodied, for him, the American spirit of optimism. He also painted sentimentalized rural and domestic scenes that resonated with audiences traumatized by the Civil War and discombobulated by industrialization. His works were so widely reproduced that, toward the end of his of life, he earned an average income of $40,000/year (equivalent to roughly $1 million/year adjusted for inflation).",https://www.theibis.net/product/john-george-brown-boat-builder-c-1904/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24173,https://www.theibis.net/wp-content/uploads/2019/10/jgbrown3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24159,"John George Brown : ""Meditation"" (c. 1900-1910) 16"" x 20"" (Image: 13"" x 15.5"")","A British citizen by birth, John George Brown emigrated to the United States in 1853, where he became one of the most successful genre painters of the 19th century. He is best-known for his pictures of New York City street children; entrepreneurial newsboys and bootblacks who embodied, for him, the American spirit of optimism. He also painted sentimentalized rural and domestic scenes that resonated with audiences traumatized by the Civil War and discombobulated by industrialization. His works were so widely reproduced that, toward the end of his of life, he earned an average income of $40,000/year (equivalent to roughly $1 million/year adjusted for inflation).",https://www.theibis.net/product/john-george-brown-meditation-c-1900-1910/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24159,https://www.theibis.net/wp-content/uploads/2019/10/jgbrown2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24100,"John George Brown : ""The Music Lesson"" (1870) 16"" x 20"" (Image: 13"" x 15.75"")","A British citizen by birth, John George Brown emigrated to the United States in 1853, where he became one of the most successful genre painters of the 19th century. He is best-known for his pictures of New York City street children; entrepreneurial newsboys and bootblacks who embodied, for him, the American spirit of optimism. He also painted sentimentalized rural and domestic scenes that resonated with audiences traumatized by the Civil War and discombobulated by industrialization. His works were so widely reproduced that, toward the end of his of life, he earned an average income of $40,000/year (equivalent to roughly $1 million/year adjusted for inflation).",https://www.theibis.net/product/john-george-brown-the-music-lesson-1870/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24100,https://www.theibis.net/wp-content/uploads/2019/10/jgbrown1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24085,"Vincent van Gogh : ""The Poplars at Saint-Remy"" (1889) 16"" x 20"" (Image: 12.75"" x 17"")","Van Gogh painted this autumnal landscape while at an asylum near Saint-Rémy in southern France. Although at first limited to painting from memory in his room, he soon resumed working outdoors. This painting reveals the full power of his mature style. Trees twist and lean against a darkening sky, while the intense colors applied with charged brushstrokes convey his emotional reaction to the subject. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/vincent-van-gogh-the-poplars-at-saint-remy-1889/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24085,https://www.theibis.net/wp-content/uploads/2019/10/vang3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24023,"Vincent van Gogh : ""The Large Plane Trees (Road Menders at Saint-Remy)"" (1889) 16"" x 20"" (Image: 13"" x 16.25"")","In May 1889, Van Gogh voluntarily committed himself to an asylum near the small town of Saint-Rémy in Provence. His doctors soon gave him permission to paint on day excursions to surrounding fields. While walking through Saint-Rémy that November, he was impressed by the sight of men repairing a road beneath immense plane trees. ""In spite of the cold,"" he wrote to his brother, ""I have gone on working outside till now, and I think it is doing me good and the work too."" Rushing to capture the yellowing leaves, he painted this composition on an unusual cloth with a pattern of small red diamonds visible in the pictures many unpainted areas. (Text courtesy of The Cleveland Museum of Art).",https://www.theibis.net/product/vincent-van-gogh-the-large-plane-trees-road-menders-at-saint-remy-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24023,https://www.theibis.net/wp-content/uploads/2019/10/vang2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 24009,"Edward Burne-Jones : ""The Wizard"" (1896/1898) 16"" x 20"" (Image: 10"" x 17"")","In this unfinished painting by Edward Burne-Jones, a wizard reveals the image of a shipwreck in his magic mirror. Though the artist merely referred to it as his “Maiden and Necromancer picture,” the subjects are reminiscent of Prospero and his daughter Miranda, of Shakespeare’s The Tempest . Burne-Jones himself is believed to have been the model for the wizard. Frances Graham Horner, the daughter of his primary patron, was the model for the young woman. Observing that “Shakespeare’s late play…is concerned with the problems of art and legacy,” Thomas Knowles has suggested that “perhaps the wizard of this painting symbolizes the artist in the act of revealing the power of his art to a young woman.” Together with Dante Gabriel Rossetti and William Morris, Burne-Jones was one of the leading members of medievalist faction of the Pre-Raphaelites. Inspired by medieval romances and Arthurian legends, they sought to revive the enchantment and chivalric ideals of the Middle Ages.",https://www.theibis.net/product/edward-burne-jones-the-wizard-1896-1898/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=24009,https://www.theibis.net/wp-content/uploads/2019/10/thewiz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23903,"Edward Burne-Jones : ""The Star of Bethlehem"" (1885/1890) 16"" x 20"" (Image: 11.25"" x 17"")","Edward Burne-Jones was a partner in William Morris’s decorative art firm. In 1886 it was commissioned to produce a tapestry of the Adoration of the Magi as a gift to Exeter College. Based upon Burne-Jones’s design, it became Morris & Co.’s most commercially successful tapestry, woven in a total of ten versions. In 1887 Burne-Jones revisited the tapestry design as a large-scale watercolor painting, rendered in more vibrant colors and intricate detail than the original. Titled The Star of Bethlehem , it measured 101 1/8 x 152 inches, making it the largest watercolor of the 19th century.",https://www.theibis.net/product/edward-burne-jones-the-star-of-bethlehem-1885-1890/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23903,https://www.theibis.net/wp-content/uploads/2019/10/betstar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23889,"Edward Burne-Jones : ""The Merciful Knight"" (1881) 16"" x 20"" (Image: 11.38"" x 17"")","Edward Burne-Jones was a divinity student at Exeter College when he met Dante Gabriel Rossetti, one of the founding members of the Pre-Raphaelite Brotherhood. Under Rossetti’s influence, he and his future collaborator, William Morris, left college to pursue careers in the arts. Having had no regular training as a draftsman, Burne-Jones stated that he had “found himself at five-and-twenty what he ought to have been at fifteen,” but in time succeeded in developing an artistic style distinct from Rossetti’s. The Merciful Knight is regarded as the first mature expression of this style. His wife Georgiana observed that it seemed “to sum up and seal the ten years that had passed since Edward first went to Oxford.” It was also the artist’s favorite of his own early works. Its inspiration is the legend of Giovanni Gualberto, an 11th-century knight who, on Good Friday, spared the life of a man who had killed his brother, when that man begged for mercy in the name of Christ. Afterward, Gualberto prayed at the Benedictine Church at San Miniato, where he witnessed the figure on the crucifix bowing his head in recognition. Gualberto became the founder of the Vallumbrosan Order and was canonized in 1193. Together, Rossetti, Morris and Burne-Jones led the medievalist faction of the Pre-Raphaelites. Inspired by medieval romances and Arthurian legends, they sought to revive the enchantment and chivalric ideals of the Middle Ages.",https://www.theibis.net/product/edward-burne-jones-the-merciful-knight-1881/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23889,https://www.theibis.net/wp-content/uploads/2019/10/merknight_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23733,"Edward Burne-Jones : ""A Sea-Nymph"" (1881) 16"" x 20"" (Image: 13"" x 13"")","Edward Burne-Jones became a founding member of William Morris’s decorative art firm in 1861, where he produced countless designs and illustrations for books, tapestries, ceramic tiles, mosaics and stained glass. In 1862, he traveled to Italy where he was introduced to Botticelli, whose formal patterning profoundly influenced his subsequent development as a painter. His typical subject matter derived from medieval and classical legends charged with symbolism. In fact, he was pre-eminent in the Aesthetic movement in England and the Symbolist movement in Europe. A defining characteristic of Burne-Jones as an artist was his willful blurring of the boundaries between his painting and his decorative work, something quite evident in the conception of Sea-Nymph . Sea-Nymph was conceived as a pendant to another painting, Wood-Nymph , both of which were purchased from the artist shortly after they were painted. They were separated in 1908 and the Wood-Nymph was eventually bequeathed in 1944 to the South African Museum in Cape Town. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/edward-burne-jones-a-sea-nymph-1881/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23733,https://www.theibis.net/wp-content/uploads/2019/10/burne1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23720,"Edward Robert Hughes : ""Night with Her Train of Stars"" (1912) 16"" x 20"" (Image: 10.19"" x 17"")","The evocative title of this work is a quotation from William Ernest Henley’s poem Margaritae Sorori , which describes night falling upon an “old, gray city.” The significant passage reads as follows: “In the valley / Shadows rise. The lark sings on. The sun, / Closing his benediction, / Sinks, and the darkening air / Thrills with a sense of the triumphing night / Night with her train of stars / And her great gift of sleep. / So be my passing! / My task accomplishd and the long day done, / My wages taken, and in my heart / Some late lark singing, / Let me be gatherd to the quiet west, / The sundown splendid and serene, / Death.” Sentimentalized by its widespread use on merchandise, the painting’s literary inspiration reveals a darker aspect, for “the figure of night bringing sleep,” writes curator Victoria Jean Osborne, “is thus also a personification of Death bringing oblivion, and the child she cradles in her arms represents the departing soul. She scatters poppies from her hand, reinforcing the association between sleep, oblivion and death…Hughes’s personification of Night/Death is enigmatic yet reassuring, holding the sleeping child tenderly to her breast and smiling a soft, mysterious smile.” Edward Robert Hughes was associated with the Pre-Raphaelites through his uncle, Arthur Hughes, and through William Holman Hunt, for whom he worked as a studio assistant.",https://www.theibis.net/product/edward-robert-hughes-night-with-her-train-of-stars-1912/?attribute_size=16%22+x+20%22+%28Image%3A+10.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23720,https://www.theibis.net/wp-content/uploads/2019/10/nighttrain_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23662,"Frans Huys and Cornelis Floris : ""Mask with Eight Acorns in the Hair"" (1555) 16"" x 20"" (Image: 13"" x 14.5"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. This monster mask was engraved by Frans Huys after a design by Cornelis Floris, who studied in Rome and is credited with developing this Flemish variation of the grotesque in about 1541. It was originally published by the Antwerp publisher and print-seller Hans Liefrinck as part of a volume of templates for use by craftsmen and artists, titled Pourtraicture ingenieuse de plusieurs façons de masques, forts utile aulx painctres, orseures, taillieurs de pierres, voirriers, & tailleurs d’images (1555). The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/frans-huys-and-cornelis-floris-mask-with-eight-acorns-in-the-hair-1555/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23662,https://www.theibis.net/wp-content/uploads/2019/10/mask8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23647,"Frans Huys and Cornelis Floris : ""Mask in Profile with Two Horns of Scrollwork and a Laurel Wreath"" (1555) 16"" x 20"" (Image: 13"" x 14"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. This monster mask was engraved by Frans Huys after a design by Cornelis Floris, who studied in Rome and is credited with developing this Flemish variation of the grotesque in about 1541. It was originally published by the Antwerp publisher and print-seller Hans Liefrinck as part of a volume of templates for use by craftsmen and artists, titled Pourtraicture ingenieuse de plusieurs façons de masques, forts utile aulx painctres, orseures, taillieurs de pierres, voirriers, & tailleurs d’images (1555). The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/frans-huys-and-cornelis-floris-mask-in-profile-with-two-horns-of-scrollwork-and-a-laurel-wreath-1555/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23647,https://www.theibis.net/wp-content/uploads/2019/10/mask6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23590,"Frans Huys and Cornelis Floris : ""Mask with Sagging Cheeks, Two Sharp Teeth and a Tuft of Curls Resting on the Nose Root"" (1555) 16"" x 20"" (Image: 13""","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. This monster mask was engraved by Frans Huys after a design by Cornelis Floris, who studied in Rome and is credited with developing this Flemish variation of the grotesque in about 1541. It was originally published by the Antwerp publisher and print-seller Hans Liefrinck as part of a volume of templates for use by craftsmen and artists, titled Pourtraicture ingenieuse de plusieurs façons de masques, forts utile aulx painctres, orseures, taillieurs de pierres, voirriers, & tailleurs d’images (1555). The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/frans-huys-and-cornelis-floris-mask-with-sagging-cheeks-two-sharp-teeth-and-a-tuft-of-curls-resting-on-the-nose-root-1555/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23590,https://www.theibis.net/wp-content/uploads/2019/10/mask1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23572,"Frans Huys and Cornelis Floris : ""Mask with Sagging Cheeks, Mustache and Grass Hair"" (1555) 16"" x 20"" (Image: 13"" x 14.19"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. This monster mask was engraved by Frans Huys after a design by Cornelis Floris, who studied in Rome and is credited with developing this Flemish variation of the grotesque in about 1541. It was originally published by the Antwerp publisher and print-seller Hans Liefrinck as part of a volume of templates for use by craftsmen and artists, titled Pourtraicture ingenieuse de plusieurs façons de masques, forts utile aulx painctres, orseures, taillieurs de pierres, voirriers, & tailleurs d’images (1555). The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/frans-huys-and-cornelis-floris-mask-with-sagging-cheeks-mustache-and-grass-hair-1555/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23572,https://www.theibis.net/wp-content/uploads/2019/10/mask5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23513,"Frans Huys and Cornelis Floris : ""Mask with Two Lobster Claws that Hold Snakes"" (1555) 16"" x 20"" (Image: 13"" x 14"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. This monster mask was engraved by Frans Huys after a design by Cornelis Floris, who studied in Rome and is credited with developing this Flemish variation of the grotesque in about 1541. It was originally published by the Antwerp publisher and print-seller Hans Liefrinck as part of a volume of templates for use by craftsmen and artists, titled Pourtraicture ingenieuse de plusieurs façons de masques, forts utile aulx painctres, orseures, taillieurs de pierres, voirriers, & tailleurs d’images (1555). The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/frans-huys-and-cornelis-floris-mask-with-two-lobster-claws-that-hold-snakes-1555/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23513,https://www.theibis.net/wp-content/uploads/2019/10/mask3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23498,"Frans Huys and Cornelis Floris : ""Mask with Dishes around the Eyes and Sharply Serrated Crests on the Cheeks and Forehead"" (1555) 16"" x 20"" (Image: 13","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. This monster mask was engraved by Frans Huys after a design by Cornelis Floris, who studied in Rome and is credited with developing this Flemish variation of the grotesque in about 1541. It was originally published by the Antwerp publisher and print-seller Hans Liefrinck as part of a volume of templates for use by craftsmen and artists, titled Pourtraicture ingenieuse de plusieurs façons de masques, forts utile aulx painctres, orseures, taillieurs de pierres, voirriers, & tailleurs d’images (1555). The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/frans-huys-and-cornelis-floris-mask-with-dishes-around-the-eyes-and-sharply-serrated-crests-on-the-cheeks-and-forehead-1555/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23498,https://www.theibis.net/wp-content/uploads/2019/10/mask4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23435,"Frans Huys and Cornelis Floris : ""Mask with Two Snakes that Look out the Eye Sockets"" (1555) 16"" x 20"" (Image: 13"" x 14.5"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. This monster mask was engraved by Frans Huys after a design by Cornelis Floris, who studied in Rome and is credited with developing this Flemish variation of the grotesque in about 1541. It was originally published by the Antwerp publisher and print-seller Hans Liefrinck as part of a volume of templates for use by craftsmen and artists, titled Pourtraicture ingenieuse de plusieurs façons de masques, forts utile aulx painctres, orseures, taillieurs de pierres, voirriers, & tailleurs d’images (1555). The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/frans-huys-and-cornelis-floris-mask-with-two-snakes-that-look-out-the-eye-sockets-1555/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23435,https://www.theibis.net/wp-content/uploads/2019/10/mask2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23422,"Frans Huys and Cornelis Floris : ""Scrollwork Mask"" (1555) 16"" x 20"" (Image: 13"" x 15"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. This monster mask was engraved by Frans Huys after a design by Cornelis Floris, who studied in Rome and is credited with developing this Flemish variation of the grotesque in about 1541. It was originally published by the Antwerp publisher and print-seller Hans Liefrinck as part of a volume of templates for use by craftsmen and artists, titled Pourtraicture ingenieuse de plusieurs façons de masques, forts utile aulx painctres, orseures, taillieurs de pierres, voirriers, & tailleurs d’images (1555). The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/frans-huys-and-cornelis-floris-scrollwork-mask-1555/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23422,https://www.theibis.net/wp-content/uploads/2019/10/mask7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23265,"Arent van Bolten : ""Two Monsters with Cat, Goose and Stork"" (1604-1616) 16"" x 20"" (Image: 12.81"" x 17"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. These grotesques by the Dutch silversmith Arent van Bolten were published by the Flemish-born Parisian print-seller Pierre Firens between 1604 and 1616. They bear a strong similarity to a contemporary series of bronze figurines, some of which were designed as novelty lamps, with the wick and flame emerging from the creature’s mouth. However, it is not clear whether these were created by van Bolten or an imitator. The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/arent-van-bolten-two-monsters-with-cat-goose-and-stork-1604-1616/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23265,https://www.theibis.net/wp-content/uploads/2019/10/bolt5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23208,"Arent van Bolten : ""Two Monsters Ridden by Monkeys"" (1604-1616) 16"" x 20"" (Image: 12.75"" x 17"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. These grotesques by the Dutch silversmith Arent van Bolten were published by the Flemish-born Parisian print-seller Pierre Firens between 1604 and 1616. They bear a strong similarity to a contemporary series of bronze figurines, some of which were designed as novelty lamps, with the wick and flame emerging from the creature’s mouth. However, it is not clear whether these were created by van Bolten or an imitator. The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/arent-van-bolten-two-monsters-ridden-by-monkeys-1604-1616/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23208,https://www.theibis.net/wp-content/uploads/2019/10/bolt3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23194,"Arent van Bolten : ""Two Grotesques"" (1604-1616) 16"" x 20"" (Image: 13"" x 16"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. These grotesques by the Dutch silversmith Arent van Bolten were published by the Flemish-born Parisian print-seller Pierre Firens between 1604 and 1616. They bear a strong similarity to a contemporary series of bronze figurines, some of which were designed as novelty lamps, with the wick and flame emerging from the creature’s mouth. However, it is not clear whether these were created by van Bolten or an imitator. The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/arent-van-bolten-two-grotesques-1604-1616/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23194,https://www.theibis.net/wp-content/uploads/2019/10/bolt2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23182,"Arent van Bolten : ""Three Monsters"" (1604-1616) 16"" x 20"" (Image: 13"" x 17"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. These grotesques by the Dutch silversmith Arent van Bolten were published by the Flemish-born Parisian print-seller Pierre Firens between 1604 and 1616. They bear a strong similarity to a contemporary series of bronze figurines, some of which were designed as novelty lamps, with the wick and flame emerging from the creature’s mouth. However, it is not clear whether these were created by van Bolten or an imitator. The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/arent-van-bolten-three-monsters-1604-1616/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23182,https://www.theibis.net/wp-content/uploads/2019/10/bolt6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23170,"Arent van Bolten : ""Three Masks Above Two Monsters"" (1604-1616) 16"" x 20"" (Image: 13"" x 17"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. These grotesques by the Dutch silversmith Arent van Bolten were published by the Flemish-born Parisian print-seller Pierre Firens between 1604 and 1616. They bear a strong similarity to a contemporary series of bronze figurines, some of which were designed as novelty lamps, with the wick and flame emerging from the creature’s mouth. However, it is not clear whether these were created by van Bolten or an imitator. The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/arent-van-bolten-three-masks-above-two-monsters-1604-1616/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23170,https://www.theibis.net/wp-content/uploads/2019/10/bolt7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23112,"Arent van Bolten : ""Riding an Elephant-like Monster"" (1604-1616) 16"" x 20"" (Image: 12.5"" x 17"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. These grotesques by the Dutch silversmith Arent van Bolten were published by the Flemish-born Parisian print-seller Pierre Firens between 1604 and 1616. They bear a strong similarity to a contemporary series of bronze figurines, some of which were designed as novelty lamps, with the wick and flame emerging from the creature’s mouth. However, it is not clear whether these were created by van Bolten or an imitator. The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/arent-van-bolten-riding-an-elephant-like-monster-1604-1616/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23112,https://www.theibis.net/wp-content/uploads/2019/10/bolt8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23098,"Arent van Bolten : ""Monster with Trumpet Crane"" (1604-1616) 16"" x 20"" (Image: 12.5"" x 17"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. These grotesques by the Dutch silversmith Arent van Bolten were published by the Flemish-born Parisian print-seller Pierre Firens between 1604 and 1616. They bear a strong similarity to a contemporary series of bronze figurines, some of which were designed as novelty lamps, with the wick and flame emerging from the creature’s mouth. However, it is not clear whether these were created by van Bolten or an imitator. The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/arent-van-bolten-monster-with-trumpet-crane-1604-1616/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23098,https://www.theibis.net/wp-content/uploads/2019/10/bolt1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 23083,"Arent van Bolten : ""Female and Male Monsters"" (1604-1616) 16"" x 20"" (Image: 12.5"" x 17"")","At the end of the 15th century a young Roman fell through a cleft in the Esquiline hillside and found himself in a huge vaulted room, adorned with frescoes bearing bizarre figures that intermingled human, plant and animal forms. It was the Domus Aurea , or Golden House of the decadent Emperor Nero. An embarrassment to his successors, it was built over within forty years of his death, and so inadvertently preserved for future generations. Soon, some of the greatest artists of the Italian Renaissance were having themselves lowered by rope, in pitch darkness, to view the strange ornaments. Among them was Raphael, who drew upon them in his designs for the Vatican Palace’s Stanze di Raffaello , thereby bringing about a revival of what came to be called the “grotesque” (literally, “of a grotta ,” or cave). During the Baroque period, the grotesque reflected a growing fascination with the monstrous. In Northern Europe, grotesques were often rendered in the so-called auricular style, characterized by forms that resemble the side view of a human ear or conch shell. These grotesques by the Dutch silversmith Arent van Bolten were published by the Flemish-born Parisian print-seller Pierre Firens between 1604 and 1616. They bear a strong similarity to a contemporary series of bronze figurines, some of which were designed as novelty lamps, with the wick and flame emerging from the creature’s mouth. However, it is not clear whether these were created by van Bolten or an imitator. The ornamental use of such designs afforded artisans greater freedom to indulge in fantasy than was ordinarily true for the painters of their era, who were obliged to honor the strict conventions of their trade. In them, we find an unusually modern mode of self-expression that was not to blossom in Western visual art until the 19th century.",https://www.theibis.net/product/arent-van-bolten-female-and-male-monsters-1604-1616/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=23083,https://www.theibis.net/wp-content/uploads/2019/10/bolt4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 22646,"Childe Hassam : ""The Lorelei"" (1904) 16"" x 20"" (Image: 13"" x 16.5"")","During an 1886-89 stay in Paris, this Boston painter experimented with working in oils outdoors. He gradually abandoned the dark-toned palette of the Barbizon masters for the brighter colors of the French Impressionists. Hassam named this study of a nude model, painted as if posed on a cliff, after the siren in the German poet Heinrich Heines Die Lorelei (1827). In the poem, the Lorelei, a water spirit dwelling in the treacherous rocks along the Rhine River, lures ships to their destruction with her tantalizing singin ""Night falls as I linger, dreaming, And calmly flows the Rhine; The Peaks of the mountains gleaming In the golden sunset shine. A wondrous lovely maiden Sits high in glory there; Her robe with gems is laden, And she combs out her golden hair."" (Text courtesy of The Walters Art Museum, GNU FPL-1.3).",https://www.theibis.net/product/childe-hassam-the-lorelei-1904/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=22646,https://www.theibis.net/wp-content/uploads/2019/09/hassam13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 22623,"Jose Villegas Cordero : ""The Slipper Merchant"" (1872) 16"" x 20"" (Image: 12.5"" x 17"")","In the dimly lit, richly colored interior of a North African shop, a turbaned merchant serves a customer seated on a divan. Kneeling in front is an attendant, and barely discernible in the background is a craftsman at work. To the left, a man smokes a hookah. Villegas has adopted a subject made popular by Mariano Fortuny, but rather than exploring light effects, he provides an almost overwhelmingly detailed array of bric-a-brac. Even the picture frame, custom-ordered for this painting, is inscribed in Naskh script: ""There is no God but Allah and Mohammed is his Prophet."" (Text courtesy of The Walters Art Museum, GNU FPL-1.3).",https://www.theibis.net/product/jose-villegas-cordero-the-slipper-merchant-1872/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=22623,https://www.theibis.net/wp-content/uploads/2019/09/cordero1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 22481,"Henri Labrouste : ""View of an Etruscan Tomb"" (1849) 16"" x 20"" (Image: 13"" x 15.81"")","The character of the Etruscan tomb shown here, which may be an imaginary reconstruction using the earlier drawings as an ""aide-mémoire,"" reflects Labroustes interests. Although Labrouste does not include any of the wall paintings commonly found in such tombs, he does emphasize how the basic shape of the tomb and its decorative detail—particularly the striped frieze and the painted lintel above the door—worked together to create a unified space. The placement of the sarcophagi along the walls and the vases and other ceramic items underscores the orientation of the structure toward the steep steps that lead the visitor up and out of the tomb and into the Italian countryside. The placement of the light in the scene, which gradates from an extremely dark foreground to a light background, further enhances the shape, size, and direction of the room. (Text courtesy of The Walters Art Museum, GNU FPL-1.3).",https://www.theibis.net/product/henri-labrouste-view-of-an-etruscan-tomb-1849/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=22481,https://www.theibis.net/wp-content/uploads/2019/09/labrous_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16792,"Henri Rousseau : ""The Waterfall"" (1910) 16"" x 20"" (Image: 13"" x 17"")","A tropical landscape by Henri Rousseau, who never left France nor saw a jungle. Instead, he drew inspiration from childrens books and studied plant life from the botanical gardens of Paris, remarking that ""When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream."" It was this distance from his subject that lends his work its enchantment. An outsider artist who claimed ""no other teacher than nature,"" his style is characterized by vivid colors, highly flattened forms and dreamlike subjects. Rejected by the academy, he was embraced by the avant-garde. When Pablo Picasso stumbled upon one of his paintings being sold on the street as waste canvas, he sought out Rousseau and held a banquet in his honor. His work went on to become a major influence upon generations of the avant-garde, including Picasso, Jean Hugo, Fernand Léger, Jean Metzinger, Max Beckmann and the Surrealists.",https://www.theibis.net/product/henri-rousseau-the-waterfall-1910/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16792,https://www.theibis.net/wp-content/uploads/2019/06/rous3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16769,"Winslow Homer : ""The Herring Net"" (1885) 16"" x 20"" (Image: 10.5"" x 17"")","In 1883, Winslow Homer moved to the coastal peninsula of Prouts Neck, Maine. Living as a ""Yankee Robinson Cruesoe, cloistered on his art island,"" he painted monumental sea scenes evocative of humankinds struggle with nature as both the source and taker of life. Isolated on a small dory, the subjects of The Herring Net haul in their catch, the sails of their mother schooners barely visible on the horizon. Writing in 1919, art historian John Charles Van Dyke praised the artists use of color: ""Herring, as they come out of the water, are brilliant in iridescent hues, and no doubt that in itself appealed to Homer and was the reason for the pictures existence. The color at once became the illustrative motive—became the picture. There is no feeling now of color as an afterthought or as playing second part to the men or the sea. The eye goes to the glittering herring at once. You comprehend at a glance that this is a color scheme per se , and that the gray men and the gray sea are only a ground upon which the iridescent hues appear. Whether Homer realized how beautiful the color was, whether he had any emotional feeling about it, or saw any fine pictorial beauty in it, who shall say? In life he was disposed to deny such things. He said to John W. Beatty: When I have selected a thing carefully, I paint it exactly as it appears. Was this his procedure with the Herring Net? Was it merely a color report of what he had seen? If so, he never saw anything so beautiful again. It is his high-water mark as a colorist.""",https://www.theibis.net/product/winslow-homer-the-herring-net-1885/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16769,https://www.theibis.net/wp-content/uploads/2019/06/homer1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16694,"Gustave Caillebotte : ""Chrysanthemums in the Garden at Petit-Gennevilliers” (1893) 16"" x 20"" (Image: 10.38"" x 17"")","The Metropolitan Museum of Art identifies this resplendent floral painting with Caillebotte’s project for dining room doors ornamented with images of plants. The loose, flowing brushwork contrasts with the flatter, smoother strokes that he employed in his urban paintings. More so than his contemporaries, Caillebotte was willing and able to adapt his style to suit his subject. His wealth was such that he was free to experiment without financial constraints, and he was for many years better-known as a patron than as a painter. By the time he completed Chrysanthemums in the Garden at Petit-Gennevilliers , he had long since ceased exhibiting his artwork, and was devoting himself to building racing yachts and gardening.",https://www.theibis.net/product/gustave-caillebotte-chrysanthemums-in-the-garden-at-petit-gennevilliers-1893/?attribute_size=16%22+x+20%22+%28Image%3A+10.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16694,https://www.theibis.net/wp-content/uploads/2019/06/caille3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16676,"Gustave Caillebotte : ""Paris Street; Rainy Day"" (1877) 16"" x 20"" (Image: 13"" x 17"")","Parisians of the late 19th century felt increasingly disconnected from one another. They shared space, yet seemed to be inhabiting separate worlds. This sense of isolation is expressed some of the most famous artworks of the period, including Georges Seurats A Sunday Afternoon on the Island of La Grande Jatte (1884-1886), Édouard Manets The Railway (1873), Edgar Degass The Absinthe Drinker (1875-1876), and in this, Gustave Callibottes masterpiece. When it was displayed at the Third Impressionist Exhibition of 1877, Paris Street, Rainy Day was very much ""of the moment."" It is set at the Place de Dublin, which had recently been renovated as part of Baron Haussmanns massive urban renewal plan. It is to this that Paris owes its famously wide boulevards. The figures in the foreground are dressed in the height of contemporary middle-class fashion. Mimicking the depth of field effect of the camera lens, they are in rendered softer focus than the figures in the middle distance, while the figures in the background become progressively indistinct. Partially cropped from the frame, the man approaching from the right appears on course to collide with the couple, who gaze distractedly aside. No figure within the painting makes eye contact with another, nor with the spectator. They wear busy, downcast expressions and carry umbrellas which, in the words of author Rose-Marie Hagen, shield them ""not just from the rain, but, also it seems, from other passers by."" Paris Street, Rainy Day was the product of a world before the advent of automobiles, electronic media and mobile devices, and yet it depicts an urban landscape whose denizens are no less withdrawn.",https://www.theibis.net/product/gustave-caillebotte-paris-street-rainy-day-1877/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16676,https://www.theibis.net/wp-content/uploads/2019/06/caille2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16661,"Bruno Liljefors : ""An Eagle Owl"" (1905) 16"" x 20"" (Image: 12.25"" x 17"")","Bruno Liljefors brought animal painting to life during the late 19th and early 20th centuries. His most celebrated works combine impressionistic brushwork with carefully observed realism to depict animals interacting naturally with their environments. An avid hunter, many of these concerned predator-prey relationships. Though Liljefors sometimes used dead specimens as models, he quite often painted from life, maintaining an enclosure where he kept variety of animals, including foxes, badgers, hares, squirrels, weasels, and birds of prey. Just as the Impressionists before him reinvigorated landscape painting by capturing the fleeting effects of light in different seasons and times of day, Liljefors nuanced observations of living animals allowed him to advance the genre of wildlife painting beyond its associations with taxidermy and scientific illustration.",https://www.theibis.net/product/bruno-liljefors-an-eagle-owl-1905/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16661,https://www.theibis.net/wp-content/uploads/2019/06/liljefors3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16645,"Bruno Liljefors : ""A Cat with a Young Bird in its Mouth. Five Studies in One Frame"" (1885) 16"" x 20"" (Image: 10.13"" x 17"")","Bruno Liljefors brought animal painting to life during the late 19th and early 20th centuries. His most celebrated works combine impressionistic brushwork with carefully observed realism to depict animals interacting naturally with their environments. An avid hunter, many of these concerned predator-prey relationships. Though Liljefors sometimes used dead specimens as models, he quite often painted from life, maintaining an enclosure where he kept variety of animals, including foxes, badgers, hares, squirrels, weasels, and birds of prey. Just as the Impressionists before him reinvigorated landscape painting by capturing the fleeting effects of light in different seasons and times of day, Liljefors nuanced observations of living animals allowed him to advance the genre of wildlife painting beyond its associations with taxidermy and scientific illustration.",https://www.theibis.net/product/bruno-liljefors-a-cat-with-a-young-bird-in-its-mouth-five-studies-in-one-frame-1885/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16645,https://www.theibis.net/wp-content/uploads/2019/06/liljefors2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16569,"Bruno Liljefors : ""A Cat and a Chaffinch. Five Animal Studies in One Frame"" (1885) 16"" x 20"" (Image: 12.5"" x 17"")","Bruno Liljefors brought animal painting to life during the late 19th and early 20th centuries. His most celebrated works combine impressionistic brushwork with carefully observed realism to depict animals interacting naturally with their environments. An avid hunter, many of these concerned predator-prey relationships. Though Liljefors sometimes used dead specimens as models, he quite often painted from life, maintaining an enclosure where he kept variety of animals, including foxes, badgers, hares, squirrels, weasels, and birds of prey. Just as the Impressionists before him reinvigorated landscape painting by capturing the fleeting effects of light in different seasons and times of day, Liljefors nuanced observations of living animals allowed him to advance the genre of wildlife painting beyond its associations with taxidermy and scientific illustration.",https://www.theibis.net/product/bruno-liljefors-a-cat-and-a-chaffinch-five-animal-studies-in-one-frame-1885/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16569,https://www.theibis.net/wp-content/uploads/2019/06/liljefors1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16547,"Walter Crane : ""A Garland for May 1895"" (1895) 16"" x 20"" (Image: 12.63"" x 17"")","During the early 1880s Walter Crane met William Morris and became an activist for the Socialist cause. He wrote poems and essays, lectured, designed membership cards, magazine covers, pamphlets and leaflets. This Arts and Crafts-style cartoon is one of a series that he published for The Clarion in annual observance of May Day, which had become an international workers holiday in observance of the Haymarket affair of 1886. An allegorical figure evocative of pre-industrial England presents a garland of Socialist ideals; ""No people can be free while dependent for their bread,"" ""Cooperation and Emulation, not Competition,"" ""No child toilers,"" ""Hope in work & joy in leisure,"" ""Production for use, not for profit,"" and so on. This and other political cartoons by Crane were collected into the book Cartoons for the Cause , published in 1896.",https://www.theibis.net/product/walter-crane-a-garland-for-may-1895-1895/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16547,https://www.theibis.net/wp-content/uploads/2019/06/mgarland_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16515,"Fiore dei Liberi : ""Combat Against an Equestrian Opponent with Lance (Fol. 46, The Flower of Battle)"" (c. 1410) 16"" x 20"" (Image: 11.81"" x 17"")","In The Flower of Battle , the 14th century knight Fiore dei Liberi sets down his system of martial arts, describing the use of the dagger, rondel, longsword, lance and pollaxe, as well as techniques for unarmed and equestrian combat. Instructions appear in Italian, illustrated by naturalistic figures clad in scholars garters and masters crowns. The third-oldest and most extensive combat manual of the Medieval period, only four copies of the manuscript are extant, this leaf having been reproduced from the Getty version.",https://www.theibis.net/product/fiore-dei-liberi-combat-against-an-equestrian-opponent-with-lance-fol-46-the-flower-of-battle-c-1410/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16515,https://www.theibis.net/wp-content/uploads/2019/06/fiore3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16497,"Fiore dei Liberi : ""Seven Blows of the Sword (Fol. 32, The Flower of Battle)"" (c. 1410) 16"" x 20"" (Image: 11.81"" x 17"")","In The Flower of Battle , the 14th century knight Fiore dei Liberi sets down his system of martial arts, describing the use of the dagger, rondel, longsword, lance and pollaxe, as well as techniques for unarmed and equestrian combat. Instructions appear in Italian, illustrated by naturalistic figures clad in scholars garters and masters crowns. The third-oldest and most extensive combat manual of the Medieval period, only four copies of the manuscript are extant, this leaf having been reproduced from the Getty version. The text reads as follows: ""This Master with these swords signifies the seven blows of the sword. And the four animals signify four virtues, that is prudence, celerity, fortitude, and audacity. And whoever wants to be good in this art should have part in these virtues. ""No creature sees better than I the Lynx, and I proceed always with careful calculation. ""I am the Tiger, and I am so quick to run and turn, that even the thunderbolt from heaven cannot catch me. ""No one has a more courageous heart than I, the Lion, for I welcome all to meet me in battle. ""I am the Elephant and I carry a castle in my care, and I neither fall to my knees nor lose my footing.""",https://www.theibis.net/product/fiore-dei-liberi-seven-blows-of-the-sword-fol-32-the-flower-of-battle-c-1410/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16497,https://www.theibis.net/wp-content/uploads/2019/06/fiore2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16464,"Fiore dei Liberi : ""Combat with Sword (Fol. 26, The Flower of Battle)"" (c. 1410) 16"" x 20"" (Image: 11.81"" x 17"")","In The Flower of Battle , the 14th century knight Fiore dei Liberi sets down his system of martial arts, describing the use of the dagger, rondel, longsword, lance and pollaxe, as well as techniques for unarmed and equestrian combat. Instructions appear in Italian, illustrated by naturalistic figures clad in scholars garters and masters crowns. The third-oldest and most extensive combat manual of the Medieval period, only four copies of the manuscript are extant, this leaf having been reproduced from the Getty version.",https://www.theibis.net/product/fiore-dei-liberi-combat-with-sword-fol-26-the-flower-of-battle-c-1410/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16464,https://www.theibis.net/wp-content/uploads/2019/06/fiore1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16426,"Allen & Ginter : ""50 Fish from American Waters"" (c. 1889) 16"" x 20"" (Image: 6"" x 17"")","This promotional poster for Allen & Ginter of Richmond, VA, announces a series of collectible cards sold in each package of Virginia Brights. ""50 Fish from American Waters,"" it reads, ""Youll catch one in each package of Virginia Brights, Richmond Straight Cut No. 1 Cigarettes."" Displaying all fifty cards, it remains as useful to modern collectors as it was to contemporary consumers hoping to assemble a full set.",https://www.theibis.net/product/allen-ginter-50-fish-from-american-waters-c-1889/?attribute_size=16%22+x+20%22+%28Image%3A+6%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16426,https://www.theibis.net/wp-content/uploads/2019/06/ginter_web_3a-1.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16379,"Salvator Fabris : ""Divisions of the Blade"" (1616) 16"" x 20"" (Image: 13"" x 14"")","Salvator Fabris was an Italian fencing master renown for his 1606 treatise on rapier combat, Lo Schermo, overo Scienza dArme . A bestseller that was reprinted in numerous languages until 1713, it is celebrated among bibliophiles for its exquisite Baroque style engravings. This plate illustrates the division of the blade according to the Italian system (top) and Teutonic (below).",https://www.theibis.net/product/salvator-fabris-division-of-the-blade-1616/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16379,https://www.theibis.net/wp-content/uploads/2019/06/fabris1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16367,"Ohara Koson : ""Peacock"" (1925-1936) 16"" x 20"" (Image: 13"" x 14.56"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-peacock-1925-1936/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16367,https://www.theibis.net/wp-content/uploads/2019/06/koson10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16354,"Ohara Koson : ""Songbird on a Blossom Branch"" (undated) 16"" x 20"" (Image: 13"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-songbird-on-a-blossom-branch-undated/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16354,https://www.theibis.net/wp-content/uploads/2019/06/koson9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16342,"Ohara Koson : ""Long-eared Owl on a Bare Tree Branch"" (undated) 16"" x 20"" (Image: 10.25"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-long-eared-owl-on-a-bare-tree-branch-undated/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16342,https://www.theibis.net/wp-content/uploads/2019/06/koson8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16329,"Ohara Koson : ""Water Lily"" (1920-1930) 16"" x 20"" (Image: 12"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-water-lily-1920-1930/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16329,https://www.theibis.net/wp-content/uploads/2019/06/koson7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16316,"Ohara Koson : ""Two Peacocks on a Tree Branch"" (undated) 16"" x 20"" (Image: 9.5"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-two-peacocks-on-a-tree-branch-undated/?attribute_size=16%22+x+20%22+%28Image%3A+9.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16316,https://www.theibis.net/wp-content/uploads/2019/06/koson6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16302,"Ohara Koson : ""Birds at Full Moon"" (undated) 16"" x 20"" (Image: 7.5"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-birds-at-full-moon-undated/?attribute_size=16%22+x+20%22+%28Image%3A+7.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16302,https://www.theibis.net/wp-content/uploads/2019/06/koson5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16290,"Ohara Koson : ""Two Mallards near a Snow-Covered Lotus"" (undated) 16"" x 20"" (Image: 12"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-two-mallards-near-a-snow-covered-lotus-undated/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16290,https://www.theibis.net/wp-content/uploads/2019/05/koson4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16276,"Ohara Koson : ""Rabbits at Full Moon"" (undated) 16"" x 20"" (Image: 9.5"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-rabbits-at-full-moon-undated/?attribute_size=16%22+x+20%22+%28Image%3A+9.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16276,https://www.theibis.net/wp-content/uploads/2019/05/koson3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16263,"Ohara Koson : ""Bats under the Full Moon"" (undated) 16"" x 20"" (Image: 9"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-bats-under-the-full-moon-undated/?attribute_size=16%22+x+20%22+%28Image%3A+9%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16263,https://www.theibis.net/wp-content/uploads/2019/05/koson2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16247,"Ohara Koson : ""Group of Egrets"" (undated) 16"" x 20"" (Image: 11.25"" x 17"")","Active from the early 1900s to mid 1950s, Ohara Koson was a member of the shin-hanga , or ""new prints"" movement, which infused techniques of Western realism into traditional ukiyo-e subjects. He was prolific in the kachoga , or ""bird and flower"" genre, his style characterized by delicate, painterly effects, reminiscent of watercolor. Having been marketed principally to Westerners, his works are now undergoing a period of rediscovery in Japan.",https://www.theibis.net/product/ohara-koson-group-of-egrets-undated/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16247,https://www.theibis.net/wp-content/uploads/2019/05/koson1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16226,"Raphaelle Peale : ""Strawberries and Cream"" (1816) 16"" x 20"" (Image: 11.38"" x 17"")","Raphaelle Peale was the oldest surviving son of Charles Wilson Peale, a Renaissance man who painted the leaders of the American Revolution. After being trained in art by his father he went on to become Americas first professional still life painter at a time when the genre was still held in low regard. Thought to have been influenced by Juan Sanchez Cotan and the Mexican still life, his work is characterized by an austere beauty in which a paucity of subjects are arranged in ballet-like harmony and rendered with monastic detail.",https://www.theibis.net/product/raphaelle-peale-strawberries-and-cream-1816/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16226,https://www.theibis.net/wp-content/uploads/2019/05/peale2_web_3a-1.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16211,"Jean-Honore Fragonard : ""Diana and Endymion"" (1753/1756) 16"" x 20"" (Image: 11.88"" x 17"")","The turgid works of Jean-Honoré Fragonard and his mentor, François Boucher, are emblematic of the decadent final decades of the Ancien Régime. Voluptuous bathers, romantic interludes and mythological episodes involving Venus and Eros feature prominently in their oeuvres. In the story of Diana and Endymion, the goddess of the moon became so enamored of a young shepherd that she beseeched his father, Zeus, to shroud him in eternal slumber so that she could forever gaze on his peaceful, resting face.",https://www.theibis.net/product/jean-honore-fragonard-diana-and-endymion-1753-1756/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16211,https://www.theibis.net/wp-content/uploads/2019/05/fdia_web_3a-1.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16179,"Utagawa Ando Hiroshige : ""Mount Kano in Kazusa Province"" (1858) 16"" x 20"" (Image: 11.25"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Mount Kano in Kazusa Province is one of his 1858 series, Thirty-six Views of Mount Fuji , depicting Japans highest peak in various perspectives, seasons and weather conditions. Held sacred since ancient times, Mount Fuji is revered in Shinto mythology as one of the two gods born from ""something like a reed that arose from the soil"" when the earth was chaotic. An important motif in Japanese art and literature, it had previously been the subject of two similarly-titled series by Hokusai, Thirty-six Views of Mount Fuji and One Hundred Views of Mount Fuji , published during the 1830s.",https://www.theibis.net/product/utagawa-ando-hiroshige-mount-kano-in-kazusa-province-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16179,https://www.theibis.net/wp-content/uploads/2019/05/mkano_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16162,"Ridolfo Capoferro : ""Figure that Strikes the Throat in Quarta (Pl 18)"" (1610) 16"" x 20"" (Image: 11.5"" x 17"")","This etching by Raffaello Schiaminossi is one of 43 published in Ridolfo Capoferros 1610 treatise on rapier fencing, Gran Simulacro dellarte e delluso della Scherma , or ""Great Representation of the Art and Use of Fencing."" As per the authors recommendation, the swords are roughly twice the length of the fencers arms. An Italian master, Capoferro (or ""Capo Ferro""), is sometimes described as the grandfather of modern fencing. In Gran Simulacro , he outlined general principles fundamental to swordsmanship and fencing, and provided one of the earliest and clearest descriptions of the perfect lunge. In popular culture, he is one the sword masters referred to in the celebrated duel scene from the 1973 book and 1987 film The Princess Bride .",https://www.theibis.net/product/ridolfo-capoferro-figure-that-strikes-the-throat-in-quarta-pl-18-1610/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16162,https://www.theibis.net/wp-content/uploads/2019/05/capo1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16152,"Ridolfo Capoferro : ""Double Mode of Gaining the Enemys Sword (Pl 15)"" (1610) 16"" x 20"" (Image: 11.75"" x 17"")","This etching by Raffaello Schiaminossi is one of 43 published in Ridolfo Capoferros 1610 treatise on rapier fencing, Gran Simulacro dellarte e delluso della Scherma , or ""Great Representation of the Art and Use of Fencing."" As per the authors recommendation, the swords are roughly twice the length of the fencers arms. An Italian master, Capoferro (or ""Capo Ferro""), is sometimes described as the grandfather of modern fencing. In Gran Simulacro , he outlined general principles fundamental to swordsmanship and fencing, and provided one of the earliest and clearest descriptions of the perfect lunge. In popular culture, he is one the sword masters referred to in the celebrated duel scene from the 1973 book and 1987 film The Princess Bride .",https://www.theibis.net/product/ridolfo-capoferro-double-mode-of-gaining-the-enemys-sword-pl-15-1610/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16152,https://www.theibis.net/wp-content/uploads/2019/05/capo2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16142,"Georges Seurat : ""A Sunday Afternoon on the Island of La Grande Jatte"" (1884) 16"" x 20"" (Image: 11.31"" x 17"")","A Sunday Afternoon on the Island of La Grande Jatte is Georges Seurats iconic masterpiece, and one of the most famous paintings of the nineteenth century. On a bucolic island on the Seine are gathered a motley assortment of forty-eight Parisians smoking, knitting, boating, fishing, enjoying music, and admiring flowers. Dogs meander through the scene. At right, a woman with a bustle and parasol holds a monkey. Near the center of the composition, a girl in white stares questioningly at the viewer. Seurat was inspired by the permanence of classical art and Italian Renaissance frescoes. As he stated to poet Gustave Kahn, ""The Panathenaeans of Phidias formed a procession. I want to make modern people, in their essential traits, move about as they do on those friezes, and place them on canvases organized by harmonies of color."" Panned by contemporary critics and largely unseen until it was loaned to the Art Institute of Chicago in 1924, interest in the painting was renewed by the Marxist philosopher Ernest Bloch, who described it as ""one single mosaic of boredom, a masterful rendering of the disappointed longing and incongruities of a dolce far niente ,"" seeming to ""belong more to Hades than to a Sunday."" A Sunday Afternoon on the Island of La Grande Jatte is also the most recognized example of the pointillist technique. Measuring roughly 7 feet by 10 feet, it is made up of millions of dots of pure color which blend together at a distance. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-a-sunday-afternoon-on-the-island-of-la-grande-jatte-1884/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16142,https://www.theibis.net/wp-content/uploads/2019/05/jatte_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16132,"George Barbier : ""Au Revoir"" (1924) 16"" x 20"" (Image: 12.63"" x 17"")","George Barbier was a French fashion designer and illustrator associated with Art Deco. This hand-stenciled plate belongs to his album Bonheur du jour; ou, Les graces a la mode (""Happiness of the day; or, the fashionable graces""), published in 1924. Characterized by Orientalist and pagan motifs, gay and Sapphic subtext, it celebrates the vivacity and decadence of Parisian high society during the Années Folles , or ""Crazy Years;"" the period of French cultural history corresponding to Americas Roaring Twenties.",https://www.theibis.net/product/george-barbier-au-revoir-1924/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16132,https://www.theibis.net/wp-content/uploads/2019/05/barbier14b_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16121,"George Barbier : ""Au Lido"" (1924) 16"" x 20"" (Image: 12.63"" x 17"")","George Barbier was a French fashion designer and illustrator associated with Art Deco. This hand-stenciled plate belongs to his album Bonheur du jour; ou, Les graces a la mode (""Happiness of the day; or, the fashionable graces""), published in 1924. Characterized by Orientalist and pagan motifs, gay and Sapphic subtext, it celebrates the vivacity and decadence of Parisian high society during the Années Folles , or ""Crazy Years;"" the period of French cultural history corresponding to Americas Roaring Twenties.",https://www.theibis.net/product/george-barbier-au-lido-1924/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16121,https://www.theibis.net/wp-content/uploads/2019/05/barbier14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16111,"George Barbier : ""Minuit . . . ou lappartement a la mode"" (1924) 16"" x 20"" (Image: 12.63"" x 17"")","George Barbier was a French fashion designer and illustrator associated with Art Deco. This hand-stenciled plate belongs to his album Bonheur du jour; ou, Les graces a la mode (""Happiness of the day; or, the fashionable graces""), published in 1924. Characterized by Orientalist and pagan motifs, gay and Sapphic subtext, it celebrates the vivacity and decadence of Parisian high society during the Années Folles , or ""Crazy Years;"" the period of French cultural history corresponding to Americas Roaring Twenties.",https://www.theibis.net/product/george-barbier-minuit-ou-lappartement-a-la-mode-1924/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16111,https://www.theibis.net/wp-content/uploads/2019/05/barbier7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16099,"George Barbier : ""Le Gout des Laques"" (1924) 16"" x 20"" (Image: 12.63"" x 17"")","George Barbier was a French fashion designer and illustrator associated with Art Deco. This hand-stenciled plate belongs to his album Bonheur du jour; ou, Les graces a la mode (""Happiness of the day; or, the fashionable graces""), published in 1924. Characterized by Orientalist and pagan motifs, gay and Sapphic subtext, it celebrates the vivacity and decadence of Parisian high society during the Années Folles , or ""Crazy Years;"" the period of French cultural history corresponding to Americas Roaring Twenties.",https://www.theibis.net/product/george-barbier-le-gout-des-laques-1924/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16099,https://www.theibis.net/wp-content/uploads/2019/05/barbier9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16089,"George Barbier : ""Chez la Marchande de Pavots"" (1924) 16"" x 20"" (Image: 12.63"" x 17"")","George Barbier was a French fashion designer and illustrator associated with Art Deco. This hand-stenciled plate belongs to his album Bonheur du jour; ou, Les graces a la mode (""Happiness of the day; or, the fashionable graces""), published in 1924. Characterized by Orientalist and pagan motifs, gay and Sapphic subtext, it celebrates the vivacity and decadence of Parisian high society during the Années Folles , or ""Crazy Years;"" the period of French cultural history corresponding to Americas Roaring Twenties.",https://www.theibis.net/product/george-barbier-chez-la-marchande-de-pavots-1924/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16089,https://www.theibis.net/wp-content/uploads/2019/05/barbier8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16078,"Gibson & Co. Circus Poster : ""Calliope! The Wonderful Operonicon or Steam Car of the Muses"" (1874) 16"" x 20"" (Image: 13"" x 16"")","Printed by Gibson & Co., this promotional poster features a horse-drawn calliope, or steam organ, as it would have appeared in the circus parade. The text reads: ""Calliope! The wonderful operonicon or steam car of the muses, as it appears in the gorgeous street pagent of the great European Zoological Association! British Museum. Royal Museum. Gallery of Art. Worlds Congress and Gigantic Circus! 12 Tents! 900 Men and Horses! One Ticket Admits to All!""",https://www.theibis.net/product/gibson-co-circus-poster-calliope-the-wonderful-operonicon-or-steam-car-of-the-muses-1874/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16078,https://www.theibis.net/wp-content/uploads/2019/05/calliope_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16068,"Robert Hooke : ""A Louse"" (1665) 16"" x 20"" (Image: 10.13"" x 17"")","Robert Hookes Micrographia was the first book to introduce the general public to the intricacies of the miniature world. Published in 1665, the 246-page volume was lavishly illustrated with copperplate engravings unveiling the compound structure of the insect eye, the honeycomb pattern of plant cells, the crystalline architecture of frozen water, and other hidden wonders that have since become iconic of microscopy. The most celebrated of these are two large fold-out engravings of a flea and a louse revealing the ingenious physiology of organisms that appear, to us, indivisibly small and unworthy of contemplation. Hookes observations of the natural world are contrasted with those of man-made objects, forming the first part of the book. On close inspection, the edge of a well-honed razor is rendered jagged, the needlepoint blunt. Hooke and his readers must have appreciated that whereas the microscope exposes the limits of human ingenuity, it affirms natures perfection at every level.",https://www.theibis.net/product/robert-hooke-a-louse-1665/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16068,https://www.theibis.net/wp-content/uploads/2019/05/flea2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16055,"Robert Hooke : ""A Flea"" (1665) 16"" x 20"" (Image: 13"" x 16.5"")","Robert Hookes Micrographia was the first book to introduce the general public to the intricacies of the miniature world. Published in 1665, the 246-page volume was lavishly illustrated with copperplate engravings unveiling the compound structure of the insect eye, the honeycomb pattern of plant cells, the crystalline architecture of frozen water, and other hidden wonders that have since become iconic of microscopy. The most celebrated of these are two large fold-out engravings of a flea and a louse revealing the ingenious physiology of organisms that appear, to us, indivisibly small and unworthy of contemplation. Hookes observations of the natural world are contrasted with those of man-made objects, forming the first part of the book. On close inspection, the edge of a well-honed razor is rendered jagged, the needlepoint blunt. Hooke and his readers must have appreciated that whereas the microscope exposes the limits of human ingenuity, it affirms natures perfection at every level.",https://www.theibis.net/product/robert-hooke-a-flea-1665/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16055,https://www.theibis.net/wp-content/uploads/2019/05/flea1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16044,"George Morland : ""The Bell Inn"" (late 1780s) 16"" x 20"" (Image: 13"" x 16.88"")","George Morland was a child prodigy who began to draw at the age of three and exhibited by age ten. His talents were carefully cultivated and ruthlessly exploited by his father, who shut him up in a garret to make drawings from pictures and casts for which he had found a ready sale. It is said that he hid some of his drawings, lowering them from a window by night, where they were collected by his young friends. Together, they would spend the proceeds on low entertainment. His adult life followed much the same pattern. Having trained from early childhood, he became an extremely prolific and popular artist, able to paint one or two pictures a day, but too often sold them to the first dealer to arrive with four guineas and a bottle. In consequence, he spent much of his life fleeing debts, dying in poverty at the age of 41. Had Morland been so disposed, he might have devoted himself to refined subjects that would have appealed to wealthy patrons. Living hand-to-mouth, in some cases trading his paintings to settle tavern scores, he painted rustic scenes that reflect the milieu in which he actually lived. These have become an invaluable window into the beauty of everyday life in pre-industrial Britain.",https://www.theibis.net/product/george-morland-the-bell-inn-late-1780s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16044,https://www.theibis.net/wp-content/uploads/2019/05/morl2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16034,"George Morland : ""Guinea Pigs"" (1789) 16"" x 20"" (Image: 13"" x 16.5"")","George Morland was a child prodigy who began to draw at the age of three and exhibited by age ten. His talents were carefully cultivated and ruthlessly exploited by his father, who shut him up in a garret to make drawings from pictures and casts for which he had found a ready sale. It is said that he hid some of his drawings, lowering them from a window by night, where they were collected by his young friends. Together, they would spend the proceeds on low entertainment. His adult life followed much the same pattern. Having trained from early childhood, he became an extremely prolific and popular artist, able to paint one or two pictures a day, but too often sold them to the first dealer to arrive with four guineas and a bottle. In consequence, he spent much of his life fleeing debts, dying in poverty at the age of 41. Had Morland been so disposed, he might have devoted himself to refined subjects that would have appealed to wealthy patrons. Living hand-to-mouth, in some cases trading his paintings to settle tavern scores, he painted rustic scenes that reflect the milieu in which he actually lived. These have become an invaluable window into the beauty of everyday life in pre-industrial Britain.",https://www.theibis.net/product/george-morland-guinea-pigs-1789/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16034,https://www.theibis.net/wp-content/uploads/2019/05/morl1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16021,"Charles Courtney Curran : ""Betty Gallowhur (Betty Newell)"" (1922) 16"" x 20"" (Image: 13"" x 13"")","This angelic portrait of Betty Gallowhur amid garden flowers is representative of Charles Courtney Currans finest works; soft, vivid, and full of sunlight. Born in Kentucky and raised in Ohio, Curran absorbed the tenets of Impressionism while studying in Paris, where he met James McNeill Whistler, Mary Cassatt, John Singer Sargent and Childe Hassam through the local expatriate community. On returning, he became enormously popular for the delicacy and sophistication with which he applied the techniques of the French masters to American subjects. A critic for Hearsts pronounced his many canvases of graceful young women ""spiritually attuned to the American ideal of girlhood."" ""The attributes with which the girlhood subjects from Currans brush are invested are such as never present frivolity,"" he wrote. ""He gives us, instead, pictures of joyous girlhood as we love to see it, shorn of silliness, free from affectation, unspoilt, unvain. In other words, an ideal, moreover an America ideal.""",https://www.theibis.net/product/charles-courtney-curran-betty-gallowhur-betty-newell-1922/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16021,https://www.theibis.net/wp-content/uploads/2019/05/curran1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 16008,"Jerome B. Thompson : ""Song of the Waters"" (c. 1870) 16"" x 20"" (Image: 12"" x 17"")","Jerome B. Thompson travelled the American West, and in particular Minnesota, from 1861-1863. During the 1870s he produced a series of works inspired by Longfellows epic poem The Song of Hiawatha , which was set on the shores of Lake Superior, in what is now the Pictured Rocks National Lakeshore. The narrative describes the adventures of the Ojibwe warrior Hiawatha and his Dakota lover Minnehaha, whose name—probably taken from Minnesotas Minnehaha Falls—loosely translates to ""Laughing Water."" Song of the Waters alludes to the romance of Hiawatha and Minnehaha, and to the cascades of the Great Lakes region as Longfellows readers might have imagined them.",https://www.theibis.net/product/jerome-b-thompson-song-of-the-waters-c-1870/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=16008,https://www.theibis.net/wp-content/uploads/2019/05/thomps2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15997,"Jerome B. Thompson : ""Apple Gathering"" (1856) 16"" x 20"" (Image: 13"" x 16.31"")","The son of an itinerant portrait painter, Thompson took up genre subjects as early as 1848. He became acquainted with the Hudson River School painters Asher B. Durand and Jasper Cropsey during the 1850s, earning a reputation as a specialist in picnicking and harvest scenes. In 1857, a critic for Cosmopolitan Art Journal wrote that ""No living artist…catches the lights and shades of American life and humor; and consequently, none is more truly popular. With the true hand of the master, and a taste skilled and trained by much study, he adds that intangible faculty of seizing the most picturesque view of things, and succeeds in producing pictures which literally talk with reminiscences and life. Born and bred on a New-England farm, he has pierced to the very spirit of country realities.""",https://www.theibis.net/product/jerome-b-thompson-apple-gathering-1856/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15997,https://www.theibis.net/wp-content/uploads/2019/05/apgath_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15986,"Jerome B. Thompson : ""The Belated Party on Mansfield Mountain"" (1858) 16"" x 20"" (Image: 10.13"" x 17"")","Passion vies with reason in this large genre painting by Jerome B. Thompson. As the sun sets over the hills of New England, a party of day trippers linger at the summit of Mansfield Mountain, Vermonts highest peak. While the three figures in the background are entranced by the view, the three in the foreground observe the passage of time, and the implicit dangers of descending by dark. The son of an itinerant portrait painter, Thompson took up genre subjects as early as 1848. He became acquainted with the Hudson River School painters Asher B. Durand and Jasper Cropsey during the 1850s, earning a reputation as a specialist in picnicking and harvest scenes. In 1857, a critic for Cosmopolitan Art Journal wrote that ""No living artist…catches the lights and shades of American life and humor; and consequently, none is more truly popular. With the true hand of the master, and a taste skilled and trained by much study, he adds that intangible faculty of seizing the most picturesque view of things, and succeeds in producing pictures which literally talk with reminiscences and life. Born and bred on a New-England farm, he has pierced to the very spirit of country realities.""",https://www.theibis.net/product/jerome-b-thompson-the-belated-party-on-mansfield-mountain-1858/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15986,https://www.theibis.net/wp-content/uploads/2019/05/thomps1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15974,"Karl Bodmer : ""Fort McKenzie, with the Combat of 28th August 1833"" (1842) 16"" x 20"" (Image: 13"" x 16"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-fort-mckenzie-with-the-combat-of-28th-august-1833-1842/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15974,https://www.theibis.net/wp-content/uploads/2019/05/bodmer2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15964,"Karl Bodmer : ""Mato-Tope with the Insignias of His Warlike Deeds"" (1839) 16"" x 20"" (Image: 12.5"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-mato-tope-with-the-insignias-of-his-warlike-deeds-1839/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15964,https://www.theibis.net/wp-content/uploads/2019/05/bodmer1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15951,"Karl Bodmer : ""Winter Village of the Manitaries"" (1841) 16"" x 20"" (Image: 13"" x 15.5"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-winter-village-of-the-manitaries-1841/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15951,https://www.theibis.net/wp-content/uploads/2019/05/winvil_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15941,"Karl Bodmer : ""The Stone Walls of the Upper Missouri"" (1841) 16"" x 20"" (Image: 12.5"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-the-stone-walls-of-the-upper-missouri-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15941,https://www.theibis.net/wp-content/uploads/2019/05/goatcastle_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15929,"Karl Bodmer : ""Scalp Dance of the Manitaries"" (1841) 16"" x 20"" (Image: 13"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-scalp-dance-of-the-manitaries-1841/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15929,https://www.theibis.net/wp-content/uploads/2019/05/scalp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15919,"Karl Bodmer : ""Pehriska Ruppa in the Costume of the Dog-band"" (1841) 16"" x 20"" (Image: 12.13"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-pehriska-ruppa-in-the-costume-of-the-dog-band-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15919,https://www.theibis.net/wp-content/uploads/2019/05/dogman_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15907,"Eugene Boudin : ""On the Beach, Sunset"" (1865) 16"" x 20"" (Image: 10.63"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-on-the-beach-sunset-1865/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15907,https://www.theibis.net/wp-content/uploads/2019/05/boud12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15895,"Eugene Boudin : ""On the Beach, Dieppe"" (1864) 16"" x 20"" (Image: 13"" x 14.13"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-on-the-beach-dieppe-1864/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15895,https://www.theibis.net/wp-content/uploads/2019/05/boud11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15884,"Maurice Prendergast : ""Low Tide, Beachmont"" (c. 1900-1905) 16"" x 20"" (Image: 11.88"" x 17"")","Maurice Prendergast was an American Post-Impressionist whose works are regarded for their mosaic-like beauty and childlike invocations of a world at play. Influenced by Paul Cézanne and the Nabis painters Edouard Vuillard and Pierre Bonnard, he developed a highly personal style, defined by boldly contrasting colors, rhythmically arranged on canvas or paper. For their emphasis on surface pattern, his works are often compared to tapestries. Though he exhibited with the Ashcan realists who shared his spirit of rebellion against the artistic establishment of their day, his vision was truly independent and fits into no particular category of modern American art.",https://www.theibis.net/product/maurice-prendergast-low-tide-beachmont-c-1900-1905/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15884,https://www.theibis.net/wp-content/uploads/2019/05/prend3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15873,"Maurice Prendergast : ""Central Park"" (c. 1914-1915) 16"" x 20"" (Image: 13"" x 17"")","Maurice Prendergast was an American Post-Impressionist whose works are regarded for their mosaic-like beauty and childlike invocations of a world at play. Influenced by Paul Cézanne and the Nabis painters Edouard Vuillard and Pierre Bonnard, he developed a highly personal style, defined by boldly contrasting colors, rhythmically arranged on canvas or paper. For their emphasis on surface pattern, his works are often compared to tapestries. Though he exhibited with the Ashcan realists who shared his spirit of rebellion against the artistic establishment of their day, his vision was truly independent and fits into no particular category of modern American art.",https://www.theibis.net/product/maurice-prendergast-central-park-c-1914-1915/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15873,https://www.theibis.net/wp-content/uploads/2019/05/prend2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15863,"Maurice Prendergast : ""Beach No. 3"" (c. 1913) 16"" x 20"" (Image: 10.63"" x 17"")","Maurice Prendergast was an American Post-Impressionist whose works are regarded for their mosaic-like beauty and childlike invocations of a world at play. Influenced by Paul Cézanne and the Nabis painters Edouard Vuillard and Pierre Bonnard, he developed a highly personal style, defined by boldly contrasting colors, rhythmically arranged on canvas or paper. For their emphasis on surface pattern, his works are often compared to tapestries. Though he exhibited with the Ashcan realists who shared his spirit of rebellion against the artistic establishment of their day, his vision was truly independent and fits into no particular category of modern American art.",https://www.theibis.net/product/maurice-prendergast-beach-no-3-c-1913/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15863,https://www.theibis.net/wp-content/uploads/2019/05/prend1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15851,"William-Adolphe Bouguereau : ""Breton Brother and Sister"" (1871) 16"" x 20"" (Image: 11.63"" x 17"")","William-Adolphe Bouguereau has been described as ""the quintessential salon painter of his generation."" His best-known works emphasized the female nude in the guise of shepherdesses, goddesses, Madonnas, nymphs and bathers. Their highly finished style exemplifies the academic realists pursuit of technical perfection. He reviled, and was in turn reviled by, the Impressionist avant-garde, but to traditionalists, his name was synonymous with taste and refinement. ""Whoever gets a picture by ,"" wrote one critic,"" gets the full worth of his money, in finished painting, first-rate drawing, and a subject and treatment that no well bred person can...fault.""",https://www.theibis.net/product/william-adolphe-bouguereau-breton-brother-and-sister-1871/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15851,https://www.theibis.net/wp-content/uploads/2019/05/boug2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15838,"Karl Bodmer : ""Offerings of the Mandan Indians"" (1841) 16"" x 20"" (Image: 12.38"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-offerings-of-the-mandan-indians-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15838,https://www.theibis.net/wp-content/uploads/2019/05/offind_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15827,"Karl Bodmer : ""New Harmony on the Wabash"" (1841) 16"" x 20"" (Image: 12.88"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-new-harmony-on-the-wabash-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15827,https://www.theibis.net/wp-content/uploads/2019/05/newharm_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15816,"Karl Bodmer : ""Mato-Tope, the Mandan Chief in His State Dress"" (1841) 16"" x 20"" (Image: 12.5"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-mato-tope-the-mandan-chief-in-his-state-dress-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15816,https://www.theibis.net/wp-content/uploads/2019/05/mato_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15803,"William-Adolphe Bouguereau : ""Dream of Spring"" (1901) 16"" x 20"" (Image: 11.75"" x 17"")","William-Adolphe Bouguereau has been described as ""the quintessential salon painter of his generation."" His best-known works emphasized the female nude in the guise of shepherdesses, goddesses, Madonnas, nymphs and bathers. Their highly finished style exemplifies the academic realists pursuit of technical perfection. He reviled, and was in turn reviled by, the Impressionist avant-garde, but to traditionalists, his name was synonymous with taste and refinement. ""Whoever gets a picture by ,"" wrote one critic,"" gets the full worth of his money, in finished painting, first-rate drawing, and a subject and treatment that no well bred person can...fault.""",https://www.theibis.net/product/william-adolphe-bouguereau-dream-of-spring-1901/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15803,https://www.theibis.net/wp-content/uploads/2019/05/dspring_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15792,"William-Adolphe Bouguereau : ""Young Mother Gazing at Her Child"" (1871) 16"" x 20"" (Image: 12.31"" x 17"")","William-Adolphe Bouguereau has been described as ""the quintessential salon painter of his generation."" His best-known works emphasized the female nude in the guise of shepherdesses, goddesses, Madonnas, nymphs and bathers. Their highly finished style exemplifies the academic realists pursuit of technical perfection. He reviled, and was in turn reviled by, the Impressionist avant-garde, but to traditionalists his name was synonymous with taste and refinement. ""Whoever gets a picture by ,"" wrote one critic,"" gets the full worth of his money, in finished painting, first-rate drawing, and a subject and treatment that no well bred person can...fault.""",https://www.theibis.net/product/william-adolphe-bouguereau-young-mother-gazing-at-her-child-1871/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15792,https://www.theibis.net/wp-content/uploads/2019/05/boug1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15780,"Louis Apol : ""Winter Scene with Sun Setting Behind Trees"" (c. 1880-1930) 16"" x 20"" (Image: 9.81"" x 17"")","Louis Apol was a Dutch painter of winter and late autumn landscapes. He was one of the most prominent representatives of the Hague School, which emphasized mood and tone over color, and was, in consequence, sometimes referred to as the ""Gray School."" In contrast to the old Dutch masters, his scenes rarely contain figures or narrative elements, but evoke the somber melancholy of inanimate nature.",https://www.theibis.net/product/louis-apol-winter-scene-with-sun-setting-behind-trees-c-1880-1930/?attribute_size=16%22+x+20%22+%28Image%3A+9.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15780,https://www.theibis.net/wp-content/uploads/2019/05/apol5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15768,"Louis Apol : ""Winter Landscape with a Farm on an Avenue"" (c. 1860-1936) 16"" x 20"" (Image: 12.88"" x 17"")","Louis Apol was a Dutch painter of winter and late autumn landscapes. He was one of the most prominent representatives of the Hague School, which emphasized mood and tone over color, and was, in consequence, sometimes referred to as the ""Gray School."" In contrast to the old Dutch masters, his scenes rarely contain figures or narrative elements, but evoke the somber melancholy of inanimate nature.",https://www.theibis.net/product/louis-apol-winter-landscape-with-a-farm-on-an-avenue-c-1860-1936/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15768,https://www.theibis.net/wp-content/uploads/2019/05/apol4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15757,"Louis Apol : ""Winter Landscape with Houses on a Canal"" (1874) 16"" x 20"" (Image: 10.5"" x 17"")","Louis Apol was a Dutch painter of winter and late autumn landscapes. He was one of the most prominent representatives of the Hague School, which emphasized mood and tone over color, and was, in consequence, sometimes referred to as the ""Gray School."" In contrast to the old Dutch masters, his scenes rarely contain figures or narrative elements, but evoke the somber melancholy of inanimate nature.",https://www.theibis.net/product/louis-apol-winter-landscape-with-houses-on-a-canal-1874/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15757,https://www.theibis.net/wp-content/uploads/2019/05/apol3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15746,"Louis Apol : ""An Afternoon View of Snowy Woods"" (c. 1880-1936) 16"" x 20"" (Image: 12.75"" x 17"")","Louis Apol was a Dutch painter of winter and late autumn landscapes. He was one of the most prominent representatives of the Hague School, which emphasized mood and tone over color, and was, in consequence, sometimes referred to as the ""Gray School."" In contrast to the old Dutch masters, his scenes rarely contain figures or narrative elements, but evoke the somber melancholy of inanimate nature.",https://www.theibis.net/product/louis-apol-an-afternoon-view-of-snowy-woods-c-1880-1936/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15746,https://www.theibis.net/wp-content/uploads/2019/05/apol2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15735,"Louis Apol : ""A January Evening in the Woods of The Hague"" (1875) 16"" x 20"" (Image: 12.56"" x 17"")","Louis Apol was a Dutch painter of winter and late autumn landscapes. He was one of the most prominent representatives of the Hague School, which emphasized mood and tone over color, and was, in consequence, sometimes referred to as the ""Gray School."" In contrast to the old Dutch masters, his scenes rarely contain figures or narrative elements, but evoke the somber melancholy of inanimate nature.",https://www.theibis.net/product/louis-apol-a-january-evening-in-the-woods-of-the-hague-1875/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15735,https://www.theibis.net/wp-content/uploads/2019/05/apol1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15723,"Karl Bodmer : ""Mandeh Pahchu, a Mandan Indian"" (1841) 16"" x 20"" (Image: 13"" x 16.38"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-mandeh-pahchu-a-mandan-indian-1841/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15723,https://www.theibis.net/wp-content/uploads/2019/05/mandeh_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15705,"Karl Bodmer : ""Interior of the Hut of a Mandan Chief"" (1841) 16"" x 20"" (Image: 13"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-interior-of-the-hut-of-a-mandan-chief-1841/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15705,https://www.theibis.net/wp-content/uploads/2019/05/manhut_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15695,"Karl Bodmer : ""Indians on Horseback Hunting the Buffalo"" (1841) 16"" x 20"" (Image: 12.81"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-indians-on-horseback-hunting-the-buffalo-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15695,https://www.theibis.net/wp-content/uploads/2019/05/bodhunt_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15685,"Eugene Delacroix : ""The Education of Achilles"" (1862) 16"" x 20"" (Image: 12.31"" x 17"")","""It is beautiful, even more beautiful, I believe, than the painting. I am enraptured, dear friend,"" wrote novelist George Sand to Eugène Delacroix in gratitude for his gift of this pastel. It was the last pastel Delacroix ever made and his last present to Sand. Delacroix had first captured this subject—Chiron, the wisest of all centaurs, training Achilles in the art of hunting—on a corner of a curved ceiling devoted to poetry in Pariss Palais Bourbon Library, which he decorated from 1838 to 1847. On visits to Delacroixs studio twenty years later, Sand admired the new, rectangular painting of the subject the artist was working on. That canvas was promised to another admirer, so Delacroix made this nearly identical pastel for her and wrote to Sands son, Maurice, informing him of the gift. Highly educated in the classics, Delacroix depicted subjects from antiquity throughout his life. Like his compatriot Jean-Auguste-Dominique Ingres, Delacroix used ancient marble sculptures as his source but to entirely different effect. Ingress figures retained the cool purity of stone, while Delacroix used movement and color to animate and integrate nude, horse, and landscape. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/eugene-delacroix-the-education-of-achilles-1862/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15685,https://www.theibis.net/wp-content/uploads/2019/05/edac_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15675,"Eugene Delacroix : ""Basket of Flowers"" (1848-1849) 16"" x 20"" (Image: 12.75"" x 17"")","On February 6th, 1849, Eugène Delacroix wrote to his friend Constant Dutilleux of the flower paintings he was preparing for the Salon of that year: ""I have tried to fashion pieces of nature such as they present themselves to us in gardens, simply by bringing together, within the same frame and in a highly unlikely manner, the greatest possible variety of flowers."" Of the three canvases which remain of this series (two were withdrawn from the Salon and have since been lost), Basket of Flowers is certainly the most original. The Metropolitan Museum of Art identifies the flowers present within the painting as follows: ""At the left are elephant head amaranth, and beneath them are a variety of centaurea (perhaps cornflowers). Falling from the basket are dahlias, rudbeckias, daisies, nasturtiums, and roses. The arch is a tropical white morning glory or moonflower, which appears to be invading a shrub with flowers arranged in dense, flat clusters, possibly elderberry. A number of these species were introduced to Europe from India, Africa, and Central and South America beginning in the sixteenth century."" In conceiving these works, Delacroix consulted with Adrien de Jussieu, head botanist at Pariss Jardin des Plantes. His object, writes art curator Vincent Pomarède, was to establish himself as a master of subjects in every genre, and to revitalize the flower still life ""by means of a kind of realism in which stylistic convention and decoration could serve the contemplation of nature—and not the reverse.""",https://www.theibis.net/product/eugene-delacroix-basket-of-flowers-1848-1849/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15675,https://www.theibis.net/wp-content/uploads/2019/05/delax2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15664,"Eugene Delacroix : ""The Natchez"" (1823-1824 and 1835) 16"" x 20"" (Image: 13"" x 16.81"")","Atala (1801) was a popular novella by François-René de Chateaubriand, the founder of Romanticism in French literature, set in the aftermath of the French and Indian War. Its principal storyline involves an Indian maiden, Atala, who falls in love but poisons herself rather than betray a vow of chastity. This tragic narrative provided the inspiration for Anne-Louis Girodet-Triosons painting The Burial of Atala (1808), which became a widely-copied phenomenon in its own right. First exhibited at the Paris Salon of 1835, Delacroixs painting alludes to a scene from the epilogue of the book, for which he provided the following explanatory note: ""Fleeing the massacre of their tribe, two young savages traveled up the Mississippi River. During the voyage, the woman was taken by pain of labor. The moment is that when the father holds the newborn in his hands, and both regard him tenderly."" Soon after the woman will explain, ""We are the last of the Natchez."" Asher Ethan Miller points out that ""What is not obvious in Delacroix’s painting or, more precisely, from his note, is something that is quite clear in the picture’s textual source: when Chateaubriand introduces the infant boy, he is already dead. It would seem that Delacroix either ignored this detail or else relied on the public’s familiarity with Atala to bring this awful knowledge to bear when standing before the picture."" It may also be pointed out that this very ambiguity leaves room for the spectator to hope. If the textual source of the painting describes the end of the Natchez tribe, Delacroixs presentation of the subject admits the possibility of a future.",https://www.theibis.net/product/eugene-delacroix-the-natchez-1823-1824-and-1835/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15664,https://www.theibis.net/wp-content/uploads/2019/05/delax1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15654,"Childe Hassam : ""Isles of Shoals"" (1899) 16"" x 20"" (Image: 13"" x 15.5"")","To anyone accustomed to academic landscape painting, wrote one reviewer, Childe Hassams Isles of Shoals paintings were ""like taking off a pair of black spectacles that one has been compelled to wear out of doors, and letting the full glory of natures sunlight pour in upon the retina."" One of the foremost painters to interpret contemporary American settings through the lens of French Impressionism, Hassam visited the nine treeless, rocky islands situated off the coast of Maine and New Hampshire from 1884 until about 1915. The largest of these was home to an artist colony, where, he recalled, ""I spent some of my pleasentest summers...(and) where I met the best people in the country,"" whom he described as a ""jolly, refined, interesting and artistic set of people...like one large family."" Almost ten percent of his works were inspired there.",https://www.theibis.net/product/childe-hassam-isles-of-shoals-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15654,https://www.theibis.net/wp-content/uploads/2019/05/hassam11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15642,"Ludolf Backhuysen : ""Fishing Vessels Offshore in a Heavy Sea"" (1684) 16"" x 20"" (Image: 11"" x 17"")","A fishing boat caught in a storm thrashes about the waves, its mainsail torn. Another boat, in the far right of the picture, is on its way to help. Meanwhile, a merchant ship in the distance heads out to battle the storm. As one of the great marine painters of the 1600s, Ludolph Backhuysen painted many dramatic scenes like this. A Dutch artist, he would naturally have been drawn to the sea as a subject, the oceans being the main source of food, trade, and military victories for the Dutch, enabling their prosperity. Though, as this painting shows, the sea was sometimes more foe than friend. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/ludolf-backhuysen-fishing-vessels-offshore-in-a-heavy-sea-1684/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15642,https://www.theibis.net/wp-content/uploads/2019/05/ludolf3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15632,"Childe Hassam : ""The Church at Gloucester"" (1918) 16"" x 20"" (Image: 13"" x 15.5"")","Childe Hassam was one of the foremost painters to interpret contemporary American settings through the lens of French Impressionism. Concurring with the academic master Jean-Léon Gérôme that ""the Brooklyn Bridge is worth the Colosseum of Rome and that modern America is as fine as the bric-a-brac of antiquity,"" he studied in Europe, but painted extensively in the Northeastern United States. Based in New York after 1889, he spent his summers on excursions to the picturesque environs of New England, including Cos Cob, the Isles of Shoals, and Gloucester, Massachusetts, where he painted this view of the Universalist meetinghouse, framed by an avenue of American elms. The Metropolitan Museum of Art states that ""The church, dedicated in 1806, housed a congregation associated with the establishment of religious freedom and was renowned for its bell, cast at Paul Revere’s foundry. Created at the same time as some of the canvases in the artist’s Flag series, the painting is similarly infused with a patriotic spirit."" Among New Englands white-frame churches, historic homes and maritime traditions, Hassam sought that which was timeless of the American character.",https://www.theibis.net/product/childe-hassam-the-church-at-gloucester-1918/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15632,https://www.theibis.net/wp-content/uploads/2019/05/hassam10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15619,"Childe Hassam : ""Avenue of the Allies, Great Britain"" (1918) 16"" x 20"" (Image: 13"" x 16.63"")","Avenue of the Allies, Great Britain is one of the Flag series that came to define Childe Hassams late career. The Metropolitan Museum of Art identifies it as one of five canvases inspired by the Fourth Liberty Loan Drive, which began on September 1918, explaining that ""Fifth Avenue was decorated with the flags of all 22 allies. Each nation was assigned a particular block between Twenty-sixth and Fifty-eighth Streets. American flags appeared at intervals along the route and red Liberty Loan banners adorned the lampposts. In Avenue of the Allies, Great Britain , Hassam presents the view up Fifth Avenue from Fifty-third Street, at the beginning of the block dedicated to Great Britain, New Zealand and Canada; the flags of Brazil and Belgium appear on the block beyond."" An avid Francophile of English ancestry, Hassam was an early supporter of the Allied cause in Europe. He volunteered on war-related committees and contributed several of his flag pictures to the war relief in exchange for Liberty Bonds. Comprising some thirty oils and additional watercolors, his Flag series sought to rally an American public that had been deeply skeptical of foreign entanglements. ""There is something in the conjunction of flags and city buildings that stimulates the imagination,"" wrote one reviewer. ""One gets from it the idea of the city, a place built by men for their satisfaction and activities, to be defended with passion from a destructive enemy. No fairer sight than the blonde wide lane of Fifth Avenue, with its innumerable banners, can be well imagined, and Mr. Hassam has precisely the vision and palette to commemorate its effect of stern gayety, of laughing beauty marching fearlessly to victory.""",https://www.theibis.net/product/childe-hassam-avenue-of-the-allies-great-britain-1918/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15619,https://www.theibis.net/wp-content/uploads/2019/05/hassam9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15608,"Karl Bodmer : ""Confluence of the Fox River with the Wabash"" (1841) 16"" x 20"" (Image: 12.75"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-confluence-of-the-fox-river-with-the-wabash-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15608,https://www.theibis.net/wp-content/uploads/2019/05/foxriv_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15596,"Karl Bodmer : ""Buffalo Dance of the Mandan Indians"" (1841) 16"" x 20"" (Image: 13"" x 16.81"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-buffalo-dance-of-the-mandan-indians-1841/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15596,https://www.theibis.net/wp-content/uploads/2019/05/bufman_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15586,"Karl Bodmer : ""Addih Haddisch, a Mandan Chief"" (1841) 16"" x 20"" (Image: 12.38"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-addih-haddisch-a-mandan-chief-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15586,https://www.theibis.net/wp-content/uploads/2019/05/addih_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15574,"Karl Bodmer : ""A Dakota Woman"" (1841) 16"" x 20"" (Image: 12.38"" x 17"")","In 1832 the Swiss-French painter Karl Bodmer joined an expedition, led by the naturalist Prince Maximilian of Wied-Neuwied, to record the landscape and indigenous peoples of the American West. The group arrived in Boston on July 4th, 1832, reaching New Harmony, Indiana in October, where they were delayed by illness. In April, 1833 they embarked upon the Missouri River at St. Louis, penetrating as far as Fort McKenzie, Montana; the westernmost establishment of the American Fur Company on the upper Missouri. Along the way, they encountered numerous Native American tribes, including the Omaha, Sioux, Assiniboin, Pickann, Mandan and Minatarre Indians. A member of the French Barbizon school, Bodmers artistry rivaled that of his predecessor, George Catlin. The 81 aquatints he produced for Prince Maximilian were published in his book, Travels in the Interior of North America, 1832-1834 , of which there are only twenty original editions known in the United States.",https://www.theibis.net/product/karl-bodmer-a-dakota-woman-1841/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15574,https://www.theibis.net/wp-content/uploads/2019/05/dakwom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15561,"Childe Hassam : ""July Fourteenth, Rue Daunou, 1910"" (1910) 16"" x 20"" (Image: 11.56"" x 17"")","July Fourteenth, Rue Daunou captures the energetic atmosphere of the fête nationale on Bastille Day, 1910. Painted from the high vantage of a hotel balcony, the view looks down upon the intersection of the rue de la Paix and rue Daunou, just around the corner from the photographer Nadars former studio, where the first Impressionist exhibitions were held. The Metropolitan Museum of Art observes that ""For Hassam, the Fourteenth of July would have recalled the Fourth, prompting him to suffuse his view with a sense of his ardent nationalism and perhaps to exaggerate the number of American flags displayed. The repeated red, white and blue of Old Glory and the French tricolor unify and enliven the composition and suggest shared values."" The canvas, which has antecedents in Édouard Manets Rue Mosnier with Flags and Claude Monets Rue Montorgueil, Paris, during the Celebrations of June 30, 1878 , anticipates the Flag series he would paint in New York between 1916 and 1919. An avid Francophile, Hassam was an early supporter of the Allied cause in Europe, and contributed several of these works to the war relief in exchange for Liberty Bonds.",https://www.theibis.net/product/childe-hassam-july-fourteenth-rue-daunou-1910-1910/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15561,https://www.theibis.net/wp-content/uploads/2019/05/hassam8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15550,"Childe Hassam : ""Peach Blossoms-Villiers-le-Bel"" (1887-1889) 16"" x 20"" (Image: 13"" x 15.5"")","Childe Hassams transition to Impressionism took place during his sojourn to Paris from 1887 to 1889, where he had intended to study at the Académie Julian. Finding it ""the personification of routine,"" and academic training a rut that ""crushes all originality out of growing men,"" he quickly moved on to self-study, encountering the works of the Impressionists and adapting their style to his own. During his summers he visited the country retreat of Ernest Blumenthal at Villiers-le-Bel in the Oise River Valley, about ten miles northeast of Paris, where Thomas Couture had lived and painted. His canvases of its well-manicured garden anticipate his later work at the Isles of Shoals, where he became enamored of the poet Celia Thaxters island garden. Peach Blossoms—Villiers-le-Bel is a clever departure from these, depicting an overgrown peach tree situated outside the confines of the carefully-tended estate. ""Here,"" observes the Metropolitan Museum of Art, ""Hassam celebrated the beauty of cultivated nature now gone wild, playing off the bent Y-shaped trunk against the tangled veil of blooming branches that surmounts it. The unruly teach tree is delectably dynamic, especially in contrast to the controlled nature that usually preoccupied Hassam at Villiers-le-Bel."" Hassams choice of subject may have been inspired by his interest in Japanese art, then in vogue among the French avant-garde. The asymmetrical, white-blossoming tree recalls Hiroshiges Plum Park in Kameido , which was copied by Vincent van Gogh in 1887.",https://www.theibis.net/product/childe-hassam-peach-blossoms-villiers-le-bel-1887-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15550,https://www.theibis.net/wp-content/uploads/2019/05/hassam7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15538,"Luca Carlevaris : ""The Molo, Venice, Looking West"" (c. 1709) 16"" x 20"" (Image: 7.06"" x 17"")","Vedute were a genre of highly-detailed cityscapes that originated in Holland, but blossomed in Italy during the 17th-19th centuries. After encountering Caspar van Wittels vedute of Rome, Luca Carlevaris pioneered the genre in Venice, painting some of the earliest Baroque depictions of that city. His work influenced later vedutisti such as Canaletto and Francesco Guardi, who enjoyed a growing market for vedute as they became sought after souvenirs for young aristocrats on the Grand Tour.",https://www.theibis.net/product/luca-carlevaris-the-molo-venice-looking-west-c-1709/?attribute_size=16%22+x+20%22+%28Image%3A+7.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15538,https://www.theibis.net/wp-content/uploads/2019/05/carle4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15527,"Childe Hassam : ""Surf, Isles of Shoals"" (1913) 16"" x 20"" (Image: 13"" x 16"")","To anyone accustomed to academic landscape painting, wrote one reviewer, Childe Hassams Isles of Shoals paintings were ""like taking off a pair of black spectacles that one has been compelled to wear out of doors, and letting the full glory of natures sunlight pour in upon the retina."" One of the foremost painters to interpret contemporary American settings through the lens of French Impressionism, Hassam visited the nine treeless, rocky islands situated off the coast of Maine and New Hampshire from 1884 until about 1915. The largest of these was home to an artist colony, where, he recalled, ""I spent some of my pleasentest summers...(and) where I met the best people in the country,"" whom he described as a ""jolly, refined, interesting and artistic set of people...like one large family."" Almost ten percent of his works were inspired there. The Metropolitan Museum of Art describes Surf, Isles of Shoals as a ""particularly fine example,"" presenting ""a broad view of a tidal pool—rendered with great chromatic variety and inventiveness—embraced by rocks and punctuated by spray.""",https://www.theibis.net/product/childe-hassam-surf-isles-of-shoals-1913/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15527,https://www.theibis.net/wp-content/uploads/2019/05/hassam6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15517,"Childe Hassam : ""Coast Scene, Isles of Shoals"" (1901) 16"" x 20"" (Image: 13"" x 15.69"")","To anyone accustomed to academic landscape painting, wrote one reviewer, Childe Hassams Isles of Shoals paintings were ""like taking off a pair of black spectacles that one has been compelled to wear out of doors, and letting the full glory of natures sunlight pour in upon the retina."" One of the foremost painters to interpret contemporary American settings through the lens of French Impressionism, Hassam visited the nine treeless, rocky islands situated off the coast of Maine and New Hampshire from 1884 until about 1915. The largest of these was home to an artist colony, where, he recalled, ""I spent some of my pleasentest summers...(and) where I met the best people in the country,"" whom he described as a ""jolly, refined, interesting and artistic set of people...like one large family."" Almost ten percent of his works were inspired there. Coast Scene, Isles of Shoals is one the later works in which he emphasized the isles rocky cliffs and coves. Observing its ""clear, luminous colors and patterned brushstrokes,"" The Metropolitan Museum of Art compares it to the coastal scenes that Claude Monet painted at Pourville and Étretat in the early 1880s.",https://www.theibis.net/product/childe-hassam-coast-scene-isles-of-shoals-1901/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15517,https://www.theibis.net/wp-content/uploads/2019/05/hassam5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15505,"Childe Hassam : ""Celia Thaxters Garden, Isles of Shoals, Maine"" (1890) 16"" x 20"" (Image: 13"" x 15.5"")","To anyone accustomed to academic landscape painting, wrote one reviewer, Childe Hassams Isles of Shoals paintings were ""like taking off a pair of black spectacles that one has been compelled to wear out of doors, and letting the full glory of natures sunlight pour in upon the retina."" Of the nine treeless, rocky islands situated off the coast of Maine and New Hampshire, the largest is Appledore, where, between 1890 and 1894, Hassam visited the poet Celia Thaxter, and became enamored of her wildflower garden. He featured it in several of his works, including a series which repeat this composition of poppies with Babbs rock in the distance. Later, the artist contributed pictures and illuminations to her 1894 book, An Island Garden , in which she mused: ""Of all the wonderful things in the wonderful universe of God, nothing seems to me more surprising than the planting of a seed in the blank earth and result thereof. Take a Poppy seed, for instance: it lies in your palm, the merest atom of matter, hardly visible, a speck, a pins point in bulk, but within it is imprisoned a spirit of beauty ineffable, which will break its bonds and emerge from the dark ground and blossom in a splendor so dazzling as to baffle all powers of description."" Thaxters garden has later recreated by Cornell botany professor John M. Kingsbury, following the plan laid out in her book. It is now a tourist destination and the subject of the film Flowers in Winter: Celia Thaxters Island Garden.",https://www.theibis.net/product/childe-hassam-celia-thaxters-garden-isles-of-shoals-maine-1890/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15505,https://www.theibis.net/wp-content/uploads/2019/05/hassam4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15494,"Childe Hassam : ""Broadway and 42nd Street"" (1902) 16"" x 20"" (Image: 13"" x 15.5"")","Childe Hassam was one of the foremost painters to interpret contemporary American settings through the lens of French Impressionism. Concurring with the academic master Jean-Léon Gérôme that ""the Brooklyn Bridge is worth the Colosseum of Rome and that modern America is as fine as the bric-a-brac of antiquity,"" he studied in Europe, but painted extensively in the Northeastern United States. On returning from Europe in 1889 he took up residence in New York City, establishing a studio at Fifth Avenue and 17th Street. Broadway and 42nd Street is one of a body of works in which he attended to the surrounding urban landscape and its busy residents. The canvas depicts Times Square in early evening when, in the artists own words, ""just a few flickering lights are seen here and there and the city is a magical evocation of blended strength and mystery."" At the dawn of the 20th century, electric lights illuminate the new trolley system, presaging the dazzling future of Manhattans world-famous commercial and entertainment hub. ""The spirit, thats what counts,"" said Hassam, ""one should strive to portray the soul of the city with the same care as the soul of a sitter.""",https://www.theibis.net/product/childe-hassam-broadway-and-42nd-street-1902/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15494,https://www.theibis.net/wp-content/uploads/2019/05/hassam3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15483,"Luca Carlevaris : ""The Molo, Venice, from the Bacino di San Marco"" (c. 1709) 16"" x 20"" (Image: 7.19"" x 17"")","Vedute were a genre of highly-detailed cityscapes that originated in Holland, but blossomed in Italy during the 17th-19th centuries. After encountering Caspar van Wittels vedute of Rome, Luca Carlevaris pioneered the genre in Venice, painting some of the earliest Baroque depictions of that city. His work influenced later vedutisti such as Canaletto and Francesco Guardi, who enjoyed a growing market for vedute as they became sought after souvenirs for young aristocrats on the Grand Tour.",https://www.theibis.net/product/luca-carlevaris-the-molo-venice-from-the-bacino-di-san-marco-c-1709/?attribute_size=16%22+x+20%22+%28Image%3A+7.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15483,https://www.theibis.net/wp-content/uploads/2019/05/carle3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15471,"Childe Hassam : ""Spring Morning in the Heart of the City"" (1890; reworked 1895-1899) 16"" x 20"" (Image: 13"" x 14.81"")","Childe Hassam was one of the foremost painters to interpret contemporary American settings through the lens of French Impressionism. Concurring with the academic master Jean-Léon Gérôme that ""the Brooklyn Bridge is worth the Colosseum of Rome and that modern America is as fine as the bric-a-brac of antiquity,"" he studied in Europe, but painted extensively in the Northeastern United States. On returning from Europe in 1889 he took up residence in New York City, establishing a studio at Fifth Avenue and 17th Street. Spring Morning in the Heart of the City is one of a body of works in which he attended to the surrounding urban landscape and its busy residents. The view looks down upon the entrance to the Fifth Avenue Hotel, situated in the fashionable area west of Madison Square Park. ""The wide streets and sidewalks,"" wrote a critic for the Boston Evening Transcript in 1893, ""are fairly swimming with cabs, omnibuses, drags, cars and foot passengers, like the great human hive that New York is, and there arises from this vivid instantaneous glimpse of seething streets, to the ear of the fancy, the muffled roar of traffic which is the incessant voice of the Metropolis."" From the cluster of cabs at the center of the composition, lines radiate outward and gradually fade away, so that spectators view expands to encompass the wide avenue, its adjoining greenery and distant architecture. ""New York is the most beautiful city in the world,"" Hassam observed. ""There is no boulevard in all Paris that compares to our own Fifth Avenue...the average American still fails to appreciate the beauty of his own country.""",https://www.theibis.net/product/childe-hassam-spring-morning-in-the-heart-of-the-city-1890-reworked-1895-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15471,https://www.theibis.net/wp-content/uploads/2019/05/hassam2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15459,"Childe Hassam : ""Winter in Union Square"" (1889-1900) 16"" x 20"" (Image: 13"" x 13"")","Childe Hassam was one of the foremost painters to interpret contemporary American settings through the lens of French Impressionism. Concurring with the academic master Jean-Léon Gérôme that ""the Brooklyn Bridge is worth the Colosseum of Rome and that modern America is as fine as the bric-a-brac of antiquity,"" he studied in Europe, but painted extensively in the Northeastern United States. On returning from Europe in 1889 he took up residence in New York City, establishing a studio at Fifth Avenue and 17th Street. Winter in Union Square is one of a body of works in which he attended to the surrounding urban landscape and its busy residents. Trolleys, carriages and pedestrians struggle against a snowstorm. In the background appear the Morton House Hotel, Domestic Sewing Machine Company and Grace Church spire. Sharp, diagonal brushstrokes create the impression of rapidly falling snow.",https://www.theibis.net/product/childe-hassam-winter-in-union-square-1889-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15459,https://www.theibis.net/wp-content/uploads/2019/05/hassam1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15448,"""Figure and Exact Proportions of the Aerostatic Globe, Which was the First to Carry Men Through the Air"" (1786) 16"" x 20"" (Image: 12.5"" x 17"")","The first manned hot air balloon was designed by the Montgolfier brothers, Joseph-Michel and Jacques-Étienne, in collaboration with the wallpaper manufacturer Jean-Baptiste Réveillon. Its first manned untethered flight took place on November 21, 1783, carrying two passengers 5.5 miles over Paris in 25 minutes. Through the balloon had carried enough fuel for a much longer flight, the pilots landed as soon as they were over open countryside in order to prevent burning embers from the fire from engulfing the balloon. Believing that smoke contained the factor that provided hot air with its buoyancy, Joseph-Michel had preferred smoldering fuel. This contemporary etching is one the finest to commemorate the event. It provides engineering data in pre-revolutionary French units, followed by a description of the balloons lavish ornamentation. It reads: ""The top portion was surrounded by fleurs-de-lys, with the twelve zodiac signs below. In the middle portion were images of the kings face, each surrounded by a sun. The bottom section was filled with mascarons and garlands; Several eagles wings appear to support this powerful machine in the air. All of this ornamentation was gold on a beautiful blue background, so that that this superb globe appeared to be gold and azure. The circular gallery, in which we see the Marquis DArlandes and Mr. Pilatre de Rozier, was covered in crimson draperies with gold fringes.""",https://www.theibis.net/product/figure-and-exact-proportions-of-the-aerostatic-globe-which-was-the-first-to-carry-men-through-the-air-1786/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15448,https://www.theibis.net/wp-content/uploads/2019/05/mgolf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15436,"Luca Carlevaris : ""The Bacino, Venice, with the Dogana and a Distant View of the Isola di San Giorgio"" (c. 1709) 16"" x 20"" (Image: 7.13"" x 17"")","Vedute were a genre of highly-detailed cityscapes that originated in Holland, but blossomed in Italy during the 17th-19th centuries. After encountering Caspar van Wittels vedute of Rome, Luca Carlevaris pioneered the genre in Venice, painting some of the earliest Baroque depictions of that city. His work influenced later vedutisti such as Canaletto and Francesco Guardi, who enjoyed a growing market for vedute as they became sought after souvenirs for young aristocrats on the Grand Tour.",https://www.theibis.net/product/luca-carlevaris-the-bacino-venice-with-the-dogana-and-a-distant-view-of-the-isola-di-san-giorgio-c-1709/?attribute_size=16%22+x+20%22+%28Image%3A+7.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15436,https://www.theibis.net/wp-content/uploads/2019/05/carle2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15425,"Roberto Bompiani : ""A Roman Feast"" (late 19th century) 16"" x 20"" (Image: 13"" x 16.31"")","Except for the portly man at the tables center, the figures are quintessential ""Marble School"" creatures, physically perfect, with soft, smooth skin as polished as the marble that surrounds them. Roberto Bompiani delighted in depicting varied textures and patterns, from the leopard-skin rug to the marble floor and table and a shimmering satin dress. Bompiani did extensive research to create the effect of authenticity, though he often mixed styles and periods in a single canvas. He based the frescoes and inlaid marble floor on Roman models, while the stone and bronze tables, lamps, and vessels depend variously on Greek, Roman, and Etruscan sources. Bompianis imaginary genre scenes of Roman life, told with a combination of photographic realism, idealization, and archaeological accuracy, became popular in the late 1800s. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/roberto-bompiani-a-roman-feast-late-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15425,https://www.theibis.net/wp-content/uploads/2019/05/bomp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15415,"William-Adolphe Bouguereau : ""A Young Girl Defending Herself against Eros"" (c. 1880) 16"" x 20"" (Image: 11.88"" x 17"")","A young nude woman sits with her arms outstretched, pushing away a winged boy. He is Cupid, the god of love, holding up an arrow to pierce her. The title suggests that the young woman is trying to defend herself, yet she smiles and struggles unconvincingly against the mischievous little god. Visitors to the Paris exhibitions of the 1870s and 1880s loved William-Adolphe Bouguereaus paintings. The Getty Museums painting repeats a larger composition that Bouguereau made for the Paris Salon in 1880; a viewer probably saw the larger version there and requested a smaller one for private viewing. Bouguereau placed his mythological fantasy in an idyllic, Arcadian landscape. In fact, he made this composition in his studio, copying the landscape from the neighboring French countryside and using one of his favorite models. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/william-adolphe-bouguereau-a-young-girl-defending-herself-against-eros-c-1880/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15415,https://www.theibis.net/wp-content/uploads/2019/05/girlcup_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15402,"Joaquin Sorolla : ""Pepilla the Gypsy and Her Daughter"" (1910) 16"" x 20"" (Image: 10.31"" x 17"")","Handsome and proud, Pepilla sits with one arm around her daughters shoulders and her other hand on her hip. Both mother and daughter gaze directly out at the viewer. Just as the mothers gesture tenderly protects yet presents her daughter, Joaquín Sorolla y Bastida expressed tenderness in his portraits of Spanish people, particularly women and children. With his typical spontaneous, broad brushwork, Sorolla reveled in the effects of the warm Mediterranean light and air on the colors and patterns in the womens costumes. He preferred to paint even portraits outdoors, trying to achieve a spontaneous effect. "" o matter how much labor you may have expended on the canvas, the result should look as if it had all been done with ease and at a sitting,"" he said in 1909. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/joaquin-sorolla-pepilla-the-gypsy-and-her-daughter-1910/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15402,https://www.theibis.net/wp-content/uploads/2019/05/pepp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15390,"Salvator Rosa : ""Self-Portrait"" (c. 1647) 16"" x 20"" (Image: 13"" x 16.31"")","An accomplished poet and actor, as well as a painter, printmaker and suspected brigand, Salvator Rosa was a significant figure in the early development of Romanticism. Whereas his contemporaries painted calm pastorals and idyllic countrysides, Rosa produced tempestuous landscapes awash in bandits and ruins. A ""perpetual rebel,"" he penned controversial satires that inflamed powerful enemies, and may have participated directly in the Neapolitan revolt against Spain. Painting purely for his own satisfaction, he remarked that that artists ""wealth must consist in things of the spirit, and in contenting ourselves with sipping, while others gorge themselves in prosperity."" Set against a darkened sky, this brooding self-portrait is emblematic of the romantic spirit that Rosa projected. Wearing a cypress wreath symbolic of mourning, the artist inscribes a skull with the Greek words ""Behold, whither, when,"" a small, transparent teardrop clinging to the cheek below his right eye. The scrap of paper to the left of the skull reads ""Salvator Rosa painted this in a solitary place and gave it to his friend Giovanni Battista Ricciardi."" The name ""Seneca"" is overpainted upon the spine of the adjacent book. Art historian Wendy Wassyng Roworth explains that ""During the period from August 1656, when Rosas son and brother died, to June I657, Rosas letters to Ricciardi were filled with anguish and anger, frustration and sorrow, and he constantly sought his absent friends support. The letters allude to his melancholy state of mind, his loneliness in Rome, and how very much he missed Ricciardis company. He lamented that even the philosophy of the Stoics could not console him; for their theory, as written in notes and recorded by history, was quite different from the practice of Stoic behavior. What we read of Senecas bravery in the face of death is no greater than that of the common man condemned to the gallows.""",https://www.theibis.net/product/salvator-rosa-self-portrait-c-1647/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15390,https://www.theibis.net/wp-content/uploads/2019/05/salv3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15378,"Salvator Rosa : ""The Dream of Aeneas"" (1660-1665) 16"" x 20"" (Image: 10.31"" x 17"")","An accomplished poet and actor, as well as a painter, printmaker and suspected brigand, Salvator Rosa was a significant figure in the early development of Romanticism. Whereas his contemporaries painted calm pastorals and idyllic countrysides, Rosa produced tempestuous landscapes awash in bandits and ruins. A ""perpetual rebel,"" he penned controversial satires that inflamed powerful enemies, and may have participated directly in the Neapolitan revolt against Spain. Painting purely for his own satisfaction, he remarked that that artists ""wealth must consist in things of the spirit, and in contenting ourselves with sipping, while others gorge themselves in prosperity."" In The Dream of Aeneas , he depicts Virgils war-weary hero receiving the inspiration for the founding of the Rome. Asleep on the banks of the Tiber, ""there appeared to him the God of the place, old Tiber himself, who arose from his pleasant stream amid poplar leaves. A fine linen clothed him in gray raiment, and shady reeds covered his hair. Then he spoke to Aeneas, and assuaged all his care with his words . . . . ‘This spot shall be the place for your city.’"" Romes grandeur, Rosa implies, was not a product of the intellect, but of the magical forces that guide mens dreams.",https://www.theibis.net/product/salvator-rosa-the-dream-of-aeneas-1660-1665/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15378,https://www.theibis.net/wp-content/uploads/2019/05/salv2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15367,"Salvator Rosa : ""Bandits on a Rocky Coast"" (1655-1660) 16"" x 20"" (Image: 12.56"" x 17"")","An accomplished poet and actor, as well as a painter, printmaker and suspected brigand, Salvator Rosa was a significant figure in the early development of Romanticism. Whereas his contemporaries painted calm pastorals and idyllic countrysides, Rosa produced tempestuous landscapes awash in bandits and ruins. A ""perpetual rebel,"" he penned controversial satires that inflamed powerful enemies, and may have participated directly in the Neapolitan revolt against Spain. Disdainful of wealth and status, he painted purely for his own satisfaction. ""I need to be transported by enthusiasm,"" he said, ""and I can only employ my brushes when I am in ecstasy."" In landscapes like Bandits on a Rocky Coast , which became immensely popular among British collectors of the 18th century, he reaffirmed the passion and magic that modern civilization sought to suppress.",https://www.theibis.net/product/salvator-rosa-bandits-on-a-rocky-coast-1655-1660/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15367,https://www.theibis.net/wp-content/uploads/2019/05/salv1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15355,"Luca Carlevaris : ""Piazza San Marco, Venice"" (c. 1709) 16"" x 20"" (Image: 7.13"" x 17"")","Vedute were a genre of highly-detailed cityscapes that originated in Holland, but blossomed in Italy during the 17th-19th centuries. After encountering Caspar van Wittels vedute of Rome, Luca Carlevaris pioneered the genre in Venice, painting some of the earliest Baroque depictions of that city. His work influenced later vedutisti such as Canaletto and Francesco Guardi, who enjoyed a growing market for vedute as they became sought after souvenirs for young aristocrats on the Grand Tour.",https://www.theibis.net/product/luca-carlevaris-piazza-san-marco-venice-c-1709/?attribute_size=16%22+x+20%22+%28Image%3A+7.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15355,https://www.theibis.net/wp-content/uploads/2019/05/carle1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15333,"Jasper Francis Cropsey : ""Summer, Lake Ontario"" (1857) 16"" x 20"" (Image: 10.56"" x 17"")","Jasper Francis Cropsey was a Hudson River School painter whose works were rediscovered by collectors and galleries during the 1960s. His poor health as a young boy afforded him periods of absence from school, during which he taught himself to draw. Later, he trained as an architect while learning to paint in watercolor and oil. He met Thomas Cole, Asher B. Durand, Frederic Edwin Church and George Inness on sketching excursions along the Eastern Seaboard, and toured to Europe in 1847. His art reflects a conception of nature as an emanation of the divine, and a patriotic affiliation with the unspoiled qualities of the American landscape.",https://www.theibis.net/product/jasper-francis-cropsey-summer-lake-ontario-1857/?attribute_size=16%22+x+20%22+%28Image%3A+10.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15333,https://www.theibis.net/wp-content/uploads/2019/05/lakeo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15323,"Jasper Francis Cropsey : ""The Valley of Wyoming"" (1865) 16"" x 20"" (Image: 9.75"" x 17"")","Jasper Francis Cropsey was a Hudson River School painter whose works were rediscovered by collectors and galleries during the 1960s. His poor health as a young boy afforded him periods of absence from school, during which he taught himself to draw. Later, he trained as an architect while learning to paint in watercolor and oil. He met Thomas Cole, Asher B. Durand, Frederic Edwin Church and George Inness on sketching excursions along the Eastern Seaboard, and toured to Europe in 1847. His art reflects a conception of nature as an emanation of the divine, and a patriotic affiliation with the unspoiled qualities of the American landscape. Situated in Northeast Pennsylvania near Scranton and Wilkes-Barre, the Wyoming Valley was the birthplace of Milton Courtright, who commissioned this painting. It was also the site of a Revolutionary War battle—or rather, massacre—which left more than three hundred patriots dead. The paintings original frame includes a plaque inscribed with an except from the poem Gertrude of Wyoming , by Thomas Campbell, which tells of Gertrudes death in the attack. The image of the placid valley, showing no sign of its violent history, would have reassured contemporary audiences that time would ease the more recent traumas of the US Civil War.",https://www.theibis.net/product/jasper-francis-cropsey-the-valley-of-wyoming-1865/?attribute_size=16%22+x+20%22+%28Image%3A+9.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15323,https://www.theibis.net/wp-content/uploads/2019/05/cropsey3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15311,"Jasper Francis Cropsey : ""Pompton Plains, New Jersey"" (1867) 16"" x 20"" (Image: 10.38"" x 17"")","Jasper Francis Cropsey was a Hudson River School painter whose works were rediscovered by collectors and galleries during the 1960s. His poor health as a young boy afforded him periods of absence from school, during which he taught himself to draw. Later, he trained as an architect while learning to paint in watercolor and oil. He met Thomas Cole, Asher B. Durand, Frederic Edwin Church and George Inness on sketching excursions along the Eastern Seaboard, and toured to Europe in 1847. His art reflects a conception of nature as an emanation of the divine, and a patriotic affiliation with the unspoiled qualities of the American landscape. Pompton Plains, New Jersey looks west across the Pequannock (now Pompton) River, with the Appalachian range in the distance. The Metropolitan Museum of Art cites it as an example of the ""aerial luminism that marked much of the work of the second-generation Hudson River School, "" noting ""the providential overtone of the all-pervasive light falling on the landscape...detectable in the focal detail of the church steeple near the horizon at center.""",https://www.theibis.net/product/jasper-francis-cropsey-pompton-plains-new-jersey-1867/?attribute_size=16%22+x+20%22+%28Image%3A+10.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15311,https://www.theibis.net/wp-content/uploads/2019/05/cropsey2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15300,"Claude Monet : ""Grainstack, Sun in the Mist"" (1891) 16"" x 20"" (Image: 10"" x 17"")","In the late 1880s, Claude Monet analyzed visual perception by representing the same subject under varying conditions of light, atmosphere, and weather. In one such series, he depicted the grainstacks near his house in Giverny. These large, conical structures of wheat, 15 to 20 feet high, protected the grain from rain and rodents. Typical of farming practice in France, the stacks came to symbolize the countrys rural prosperity. Monet studied the grainstacks during different seasons as the sunlight changed in intensity. This picture shows the autumn dawn, at a moment when the sun burns off the rising mist. The grainstack is seen against the morning light, which forms a halo around it. Up close, one sees a flickering patchwork of broken brushstrokes, each one a notation of light. At a distance, these colors coalesce into a brilliant, shimmering image. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/claude-monet-grainstack-sun-in-the-mist-1891/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15300,https://www.theibis.net/wp-content/uploads/2019/05/monet34_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15290,"James Tissot : ""The Journey of the Magi"" (c. 1894) 16"" x 20"" (Image: 11.75"" x 17"")","Tissots reputation has so firmly come to rest on the artists depictions of the stylish leisured class of the late-nineteenth century that the religious works of his late career—illustrations of the life of Christ—are little known. However, at the turn of the century, these biblical images were considered his greatest achievement due, on one hand, to the popularity of images from the Near East and, on the other hand, to the sense of immediacy Tissot gave to an age-old tale through uncompromising attention to detail. The Journey of the Magi was created after the second of three trips that the artist made to Palestine between 1886 and 1896 to gather sketches and photographs of the people, costumes, topography, and light of the region. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/james-tissot-the-journey-of-the-magi-c-1894/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15290,https://www.theibis.net/wp-content/uploads/2019/05/tissot1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15278,"Charles Cromwell Ingham : ""The Flower Girl"" (1846) 16"" x 20"" (Image: 13"" x 16.31"")","Charles Cromwell Inghams The Flower Girl is one of the iconic paintings of the Victorian era. Proffering flowers with her right hand, a young woman assumes a gesture emblematic of the goddess Flora, yet she wears the guise of an impoverished street vendor. Her magnificent bouquet is meant as an appeal, not a gift; she is vulnerable, not venerated. ""The expression on the girls face,"" observes the Metropolitan Museum of Art, ""is psychologically complex and calls attention to the moral dilemma in which such lower class women often found themselves...On the one hand, her roseate cheeks, moist lips, and alluring beauty charge the picture with erotic overtones, as does the gesture with which she offers the fuchsias, often a symbol of love. It is as though the viewer were given the option of purchasing the flowers in her basket or the flower of her virtue while being simultaneously subjected to the most searching scrutiny."" The Flower Girl was a seminal contribution to an emerging subgenre of paintings that depicted juvenile street vendors and homeless ragamuffins. Calling attention to the discrepancy between Victorian ideals of youthful innocence and the actual conditions being suffered by young women and children, these works added momentum to the reform movements that grew over the course of the 19th century.",https://www.theibis.net/product/charles-cromwell-ingham-the-flower-girl-1846/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15278,https://www.theibis.net/wp-content/uploads/2019/05/ingham1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15266,"John Haberle : ""A Bachelors Drawer"" (1890-1894) 16"" x 20"" (Image: 9.25"" x 17"")","John Haberle was a master of the trompe-loeil (literally, ""deceive the eye"") still life, in which shadow effects, foreshortening and other techniques of perspective are used to lend realistic objects the illusion of three-dimensionality. Together with John F. Peto and William Harnett, he was one of three major American artists practicing this art form in the late 19th century. Like many trompe loeils , A Bachelors Drawer tells a story—Haberles own. His portrait appears on a tintype at the bottom edge of the canvas. Simulated bank notes are accompanied by newspaper clippings mentioning the accusations of counterfeit that these generated. ""A New Haven artist has plunged himself into trouble by making too perfect greenbacks in oil,"" reads one. ""Others have often had trouble by losing too perfect greenbacks in oil."" Meanwhile, a pamphlet on how to name a baby looms over a collection of playing cards and ""girlie"" photographs, where a cartoon of a dyspeptic infant imposes itself; the things of the past are being set aside as a new chapter begins.",https://www.theibis.net/product/john-haberle-a-bachelors-drawer-1890-1894/?attribute_size=16%22+x+20%22+%28Image%3A+9.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15266,https://www.theibis.net/wp-content/uploads/2019/05/haberle1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15254,"Richard Doyle : ""The Fairy Queens Airy Drive"" (1869) 16"" x 20"" (Image: 11.88"" x 17"")","In Fairyland: A Series of Pictures from the Elf-World (1869) was the masterwork of British illustrator Richard Doyle. Regarded as one of the finest examples of Victorian book production, it consisted of a poem by William Allingham accompanied by 36 line illustrations and 16 chromolithographs by Doyle. This example is captioned ""The Fairy Queen takes an airy drive in a light carriage, a twelve-in-hand, drawn by thoroughbred butterflies."" A brilliant but mercurial artist who was chronically unable to meet deadlines, Doyle was a frequent contributor to Punch and the uncle of Sir Arthur Conan Doyle, who shared his fascination with fairy lore. His illustrations for In Fairyland were later used in Andrew Langs The Princess Nobody (1884).",https://www.theibis.net/product/richard-doyle-the-fairy-queens-airy-drive-1869/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15254,https://www.theibis.net/wp-content/uploads/2019/05/doyle1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15244,"Jean-Francois Millet : ""Garden Scene"" (1854) 16"" x 20"" (Image: 12.75"" x 17"")","Jean-François Millets representations of peasant life were controversial in their own time. Critics found them provocative and denounced him as a socialist. In fact, they were a product of the artists modest upbringing. The eldest son of a farmer, he had spent his youth working the land. ""It is not my invention,"" he wrote in 1863, ""This cry of the ground has been heard along ago. My critics are men of taste and education, but I can not put myself in their shoes, and as I have never seen anything but fields since I was born, I try to say as best I can what I saw and felt when I was at work."" Millet played a key role in the development of the Barbizon school, an art movement that sought inspiration directly from nature. Whereas Barbizon had upheld the landscape as a worthy subject unto itself, refusing to treat it as a mere backdrop to dramatic events, Millet extended this concept to the people who lived in kinship with the land. His peasant subjects provided an important source of inspiration for Vincent van Gogh, Robert Henri and early 20th century American Realism.",https://www.theibis.net/product/jean-francois-millet-garden-scene-1854/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15244,https://www.theibis.net/wp-content/uploads/2019/05/millet7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15222,"Henri Rousseau : ""A Centennial Independence"" (1892) 16"" x 20"" (Image: 12"" x 17"")","Henri Rousseau commemorated the one-hundredth anniversary of the proclamation of the first French Republic in 1792. Peasants dance the farandole , a popular southern French dance, around three liberty trees and two female figures representing the First and Third Republics. Rousseau copied the dancers from a French magazine illustration but added waving banners, the liberty poles, and the allegorical figures. A wagon in the background is full of costumed musicians, reminiscent of parades the artist had seen. He used brilliant colors and solid forms to express the happiness of the scene symbolizing good government. To the right, the erect posture of the dignified republican leaders signals the solidity of the French Republic. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/henri-rousseau-a-centennial-independence-1892/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15222,https://www.theibis.net/wp-content/uploads/2019/05/roucen_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15212,"Pietro da Cortona and Gaetano Petrioli : ""Tabulae Anatomicae, Plate 11"" (1618/1741) 16"" x 20"" (Image: 12"" x 17"")","Pietro da Cortona (born Pietro Berrettini) was an Italian painter and architect who became a key figure in the development of Roman Baroque architecture. Around 1618, when he was not twenty years old, he drew a series of highly studied anatomical figures that were not published until more than 70 years after his death. Gaetano Petrioli, a professor of medicine and surgeon to King Victor Amadeus II of Sardinia, added seven figures copied from Vesalius, Vesling, Casserio and others, as well as his own commentary, and published these in volume titled Tabluae anatomicae (1741). Observing the ""The dramatic and elegant poses of the dissected figures,"" Princeton University biographer Nicola Shilliam describes it as ""one of the most artistic anatomical atlases ever produced.""",https://www.theibis.net/product/pietro-da-cortona-and-gaetano-petrioli-tabulae-anatomicae-plate-11-1618-1741/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15212,https://www.theibis.net/wp-content/uploads/2019/05/pet11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15201,"Pietro da Cortona and Gaetano Petrioli : ""Tabulae Anatomicae, Plate 20"" (1618/1741) 16"" x 20"" (Image: 11.75"" x 17"")","Pietro da Cortona (born Pietro Berrettini) was an Italian painter and architect who became a key figure in the development of Roman Baroque architecture. Around 1618, when he was not twenty years old, he drew a series of highly studied anatomical figures that were not published until more than 70 years after his death. Gaetano Petrioli, a professor of medicine and surgeon to King Victor Amadeus II of Sardinia, added seven figures copied from Vesalius, Vesling, Casserio and others, as well as his own commentary, and published these in volume titled Tabluae anatomicae (1741). Observing the ""The dramatic and elegant poses of the dissected figures,"" Princeton University biographer Nicola Shilliam describes it as ""one of the most artistic anatomical atlases ever produced.""",https://www.theibis.net/product/pietro-da-cortona-and-gaetano-petrioli-tabulae-anatomicae-plate-20-1618-1741/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15201,https://www.theibis.net/wp-content/uploads/2019/05/pet20_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15190,"Pietro da Cortona and Gaetano Petrioli : ""Tabulae Anatomicae, Plate 19"" (1618/1741) 16"" x 20"" (Image: 11.75"" x 17"")","Pietro da Cortona (born Pietro Berrettini) was an Italian painter and architect who became a key figure in the development of Roman Baroque architecture. Around 1618, when he was not twenty years old, he drew a series of highly studied anatomical figures that were not published until more than 70 years after his death. Gaetano Petrioli, a professor of medicine and surgeon to King Victor Amadeus II of Sardinia, added seven figures copied from Vesalius, Vesling, Casserio and others, as well as his own commentary, and published these in volume titled Tabluae anatomicae (1741). Observing the ""The dramatic and elegant poses of the dissected figures,"" Princeton University biographer Nicola Shilliam describes it as ""one of the most artistic anatomical atlases ever produced.""",https://www.theibis.net/product/pietro-da-cortona-and-gaetano-petrioli-tabulae-anatomicae-plate-19-1618-1741/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15190,https://www.theibis.net/wp-content/uploads/2019/05/pet19_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15178,"Jean-Francois Millet : ""Shepherdess Seated on a Rock"" (1856) 16"" x 20"" (Image: 13"" x 17"")","Jean-François Millets representations of peasant life were controversial in their own time. Critics found them provocative and denounced him as a socialist. In fact, they were a product of the artists modest upbringing. The eldest son of a farmer, he had spent his youth working the land. ""It is not my invention,"" he wrote in 1863, ""This cry of the ground has been heard along ago. My critics are men of taste and education, but I can not put myself in their shoes, and as I have never seen anything but fields since I was born, I try to say as best I can what I saw and felt when I was at work."" Millet played a key role in the development of the Barbizon school, an art movement that sought inspiration directly from nature. Whereas Barbizon had upheld the landscape as a worthy subject unto itself, refusing to treat it as a mere backdrop to dramatic events, Millet extended this concept to the people who lived in kinship with the land. His peasant subjects provided an important source of inspiration for Vincent van Gogh, Robert Henri and early 20th century American Realism.",https://www.theibis.net/product/jean-francois-millet-shepherdess-seated-on-a-rock-1856/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15178,https://www.theibis.net/wp-content/uploads/2019/05/millet6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15167,"Henri Rousseau : ""The Banks of the Bievre near Bicetre"" (c. 1908-1909) 16"" x 20"" (Image: 13"" x 15.75"")","The Banks of the Bièvre near Bicêtre depicts a working-class community on southern edge of Paris, known for its asylum, workhouse and prison. That the Bièvre, running mostly underground through Paris before emptying into the Seine, was heavily contaminated by sewage, has suggested to some that this canvas was conceived in an ironic spirit, and to others that it portrays the beauty of peasant life persisting alongside the ravages of widespread industrialism and urbanization.",https://www.theibis.net/product/henri-rousseau-the-banks-of-the-bievre-near-bicetre-c-1908-1909/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15167,https://www.theibis.net/wp-content/uploads/2019/05/rous2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15154,"Henri Rousseau : ""The Repast of the Lion"" (c. 1907) 16"" x 20"" (Image: 12"" x 17"")","A tropical landscape by Henri Rousseau, who never left France nor saw a jungle. Instead, he drew inspiration from childrens books and studied plant life from the botanical gardens of Paris, remarking that ""When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream."" It was this distance from his subject that lends his work its enchantment. An outsider artist who claimed ""no other teacher than nature,"" his style is characterized by vivid colors, highly flattened forms and dreamlike subjects. Rejected by the academy, he was embraced by the avant-garde. When Pablo Picasso stumbled upon one of his paintings being sold on the street as waste canvas, he sought out Rousseau and held a banquet in his honor. His work went on to become a major influence upon generations of the avant-garde, including Picasso, Jean Hugo, Fernand Léger, Jean Metzinger, Max Beckmann and the Surrealists.",https://www.theibis.net/product/henri-rousseau-the-repast-of-the-lion-c-1907/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15154,https://www.theibis.net/wp-content/uploads/2019/05/rous_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15144,"Jean-Francois Millet : ""Calling the Cows Home"" (c. 1872) 16"" x 20"" (Image: 11.56"" x 17"")","Jean-François Millets representations of peasant life were controversial in their own time. Critics found them provocative and denounced him as a socialist. In fact, they were a product of the artists modest upbringing. The eldest son of a farmer, he had spent his youth working the land. ""It is not my invention,"" he wrote in 1863, ""This cry of the ground has been heard along ago. My critics are men of taste and education, but I can not put myself in their shoes, and as I have never seen anything but fields since I was born, I try to say as best I can what I saw and felt when I was at work."" Millet played a key role in the development of the Barbizon school, an art movement that sought inspiration directly from nature. Whereas Barbizon had upheld the landscape as a worthy subject unto itself, refusing to treat it as a mere backdrop to dramatic events, Millet extended this concept to the people who lived in kinship with the land. His peasant subjects provided an important source of inspiration for Vincent van Gogh, Robert Henri and early 20th century American Realism.",https://www.theibis.net/product/jean-francois-millet-calling-the-cows-home-c-1872/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15144,https://www.theibis.net/wp-content/uploads/2019/05/millet5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15132,"Jean Michelin : ""The Bakers Cart"" (1656) 16"" x 20"" (Image: 13"" x 16.63"")","Jean Michelin is believed to have been French painter of ""Bambouches,"" or ""low-life"" subjects who later branched into religious subjects. During the 17th century, urban peasants sold a great variety of goods on the street, ranging from food and garments to refuse collected from the riverbanks. The baker is here accompanied by a woman offering medicinal eau-de-vie, a boy with a basket on his back, and several other specimens of the urban poor.",https://www.theibis.net/product/jean-michelin-the-bakers-cart-1656/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15132,https://www.theibis.net/wp-content/uploads/2019/05/michelin_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15122,"Charles Bargue : ""A Bashi-Bazouk"" (1875) 16"" x 20"" (Image: 12.13"" x 17"")","Charles Bargue was a student of Jean-Léon Gérôme, the French academic realist known, in part, for his large body of orientalist works. Here, Bargue repeats a motif that was popularized by his mentor; a bashi-bazouk, or Turkish mercenary. These soldiers of fortune were known for their reckless behavior and ferocity in battle, but Barque and Gérôme preferred to depict them at leisure; in this instance, smoking a narghile, or water pipe.",https://www.theibis.net/product/charles-bargue-a-bashi-bazouk-1875/?attribute_size=16%22+x+20%22+%28Image%3A+12.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15122,https://www.theibis.net/wp-content/uploads/2019/05/bargue_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15110,"Carlo Cesi and Jerome Bollmann : ""Anatomical Drawing of a Human Skeleton"" (1706/1759) 16"" x 20"" (Image: 10.25"" x 17"")","Carlo Cesi was an Italian painter and engraver of the Roman school. During the 17th century he produced sixteen plates on anatomy, focusing on the skeletal and muscular systems required by artists. These were translated into German by Johann Daniel Preissler of the Nüremberg Academy of Art in 1706 and published in the volume Lanatomia dei pittori del signore Carlo Cesio , or ""The Anatomy of the painters of Mr. Carlo Cesio.""",https://www.theibis.net/product/carlo-cesi-and-jerome-bollmann-anatomical-drawing-of-a-human-skeleton-1706-1759/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15110,https://www.theibis.net/wp-content/uploads/2019/05/cesi_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15097,"Cornelius Huyberts after Frederik Ruysch : ""Ad Vivum Sculpsit"" (c. 1721-1733) 16"" x 20"" (Image: 13"" x 15.63"")","Frederik Ruysch was a Dutch anatomist who pioneered methods of preserving organs and tissue, which he used to create artful displays and dioramas incorporating human body parts. In the five-room museum he hosted at his residence, childrens and fetal skeletons were posed in humorous tableaux amid faux-natural terrain consisting of embalmed kidney or gall stones in place or rocks, dried blood vessels in place of trees. Here, for the first time, members of the public were given a proper view of human internal organs. Ruysch sold his collection to Tsar Peter the Great in 1717. His later work was purchased by Augustus II the Strong after his death in 1731. Of the original collection, only some of his preserved specimens remain. His scenes have been lost and are known only through engravings, such as this one by Cornelius Huyberts.",https://www.theibis.net/product/cornelius-huyberts-after-frederik-ruysch-ad-vivum-sculpsit-c-1721-1733/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15097,https://www.theibis.net/wp-content/uploads/2019/05/ruysch1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15084,"Cornelius Huyberts after Frederik Ruysch : ""Diorama of Fetal Skeletons Arranged with Various Internal Organs"" (c. 1721-1733) 16"" x 20"" (Image: 13"" x 1","Frederik Ruysch was a Dutch anatomist who pioneered methods of preserving organs and tissue, which he used to create artful displays and dioramas incorporating human body parts. In the five-room museum he hosted at his residence, childrens and fetal skeletons were posed in humorous tableaux amid faux-natural terrain consisting of embalmed kidney or gall stones in place or rocks, dried blood vessels in place of trees. Here, for the first time, members of the public were given a proper view of human internal organs. Ruysch sold his collection to Tsar Peter the Great in 1717. His later work was purchased by Augustus II the Strong after his death in 1731. Of the original collection, only some of his preserved specimens remain. His scenes have been lost and are known only through engravings, such as this one by Cornelius Huyberts.",https://www.theibis.net/product/cornelius-huyberts-after-frederik-ruysch-diorama-of-fetal-skeletons-arranged-with-various-internal-organs-c-1721-1733/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15084,https://www.theibis.net/wp-content/uploads/2019/05/ruysch2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15074,"J. Dumoulin after Jean Blanchin : ""Anatomy of the Principal Parts of the Human Body"" (1679) 16"" x 20"" (Image: 12.88"" x 17"")","This print shows four large human figures, including a skeleton, a muscle-man derived from Vesalius, and male and female figures (the latter cropped mid-thigh). The main figures are surrounded by 15 smaller details of organs, many of which (arm, liver, ear, etc.) are derived from Remmelins Catoptrum microcosmicum ( Mirror of the microcosm , translated into English under the title of Survey of the microcosme , 1619). The left-most (female) figure is notable for its unusual representation of the gyri of the brain, and a very eccentric representation of the meninges (folded back from the brain like pages in a sample-book). (Image and text by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/j-dumoulin-after-jean-blanchin-anatomy-of-the-principal-parts-of-the-human-body-1679/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15074,https://www.theibis.net/wp-content/uploads/2019/05/anachar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15063,"Joseph Maclise : ""Surgical Anatomy, Plate 14"" (1851) 16"" x 20"" (Image: 12.5"" x 17"")","Published ""to present to the student of medicine and the practitioner removed from the schools, a series of dissections demonstrative of the relative anatomy of the principal regions of the human body,"" Joseph Maclises Surgical Anatomy featured 35 lithographed plates in its first edition, 52 in its second, and 68 in its American edition. The author was the brother of the Irish history, literary and portrait painter Daniel Maclise, and his renderings of the human figure display a similar style and overall fine art sensibility. It has been suggested that Maclises faces were portraits of living persons, possibly visitors to the Crystal Palace Exhibition of 1851.",https://www.theibis.net/product/joseph-maclise-surgical-anatomy-plate-14-1851/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15063,https://www.theibis.net/wp-content/uploads/2019/05/maclise14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15052,"Joseph Maclise : ""Surgical Anatomy, Plate 4"" (1851) 16"" x 20"" (Image: 12.5"" x 17"")","Published ""to present to the student of medicine and the practitioner removed from the schools, a series of dissections demonstrative of the relative anatomy of the principal regions of the human body,"" Joseph Maclises Surgical Anatomy featured 35 lithographed plates in its first edition, 52 in its second, and 68 in its American edition. The author was the brother of the Irish history, literary and portrait painter Daniel Maclise, and his renderings of the human figure display a similar style and overall fine art sensibility. It has been suggested that Maclises faces were portraits of living persons, possibly visitors to the Crystal Palace Exhibition of 1851.",https://www.theibis.net/product/joseph-maclise-surgical-anatomy-plate-4-1851/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15052,https://www.theibis.net/wp-content/uploads/2019/05/maclise4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15039,"Jean-Leon Gerome : ""Pygmalion and Galatea"" (c. 1890) 16"" x 20"" (Image: 13.13"" x 17"")","It has been said that the academic painting tradition reached its climax in the works of Jean-Léon Gérôme. His highly finished paintings exemplify the style, subject matter and technical mastery promoted by the French Académie des Beaux-Arts, where he was an influential instructor. The story of Pygmalion and Galatea, in which a sculptors creation comes to life, must have appealed to Gérôme, whose passion and commitment to lifelike perfection mirrored that of the protagonist. He painted several variations of the subject, each showing the sculpture from a different angle, and went on to sculpt his own Galatea in polychromed marble, exhibiting it at the Salon of 1892.",https://www.theibis.net/product/jean-leon-gerome-pygmalion-and-galatea-c-1890/?attribute_size=16%22+x+20%22+%28Image%3A+13.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15039,https://www.theibis.net/wp-content/uploads/2019/05/gerome6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15028,"Jean-Leon Gerome : ""Tiger and Cubs"" (c. 1884) 16"" x 20"" (Image: 13"" x 16.38"")","It has been said that the academic painting tradition reached its climax in the works of Jean-Léon Gérôme. His highly finished paintings exemplify the style, subject matter and technical mastery promoted by the French Académie des Beaux-Arts, where he was an influential instructor. Six journeys to the eastern Mediterranean and Middle East introduced an exotic element to his painting. More than two-thirds of his canvases are of orientalist subjects, and tigers feature in several of these. According to the Metropolitan Museum of Art, Gérôme attributed the success of his animal paintings to his early studies at the menagerie of the Jardin des Plantes; Pariss famed botanical garden where artists gathered easel-to-easel to paint exotic animals. The tigers that provided the basis for Gérômes paintings were the same that appear in the junglescapes of Henri Rousseau and the sculptures of Antoine-Louis Barye.",https://www.theibis.net/product/jean-leon-gerome-tiger-and-cubs-c-1884/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15028,https://www.theibis.net/wp-content/uploads/2019/05/gerome5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15016,"Jean-Leon Gerome : ""Prayer in the Mosque"" (1871) 16"" x 20"" (Image: 13"" x 15.5"")","It has been said that the academic painting tradition reached its climax in the works of Jean-Léon Gérôme. His highly finished paintings exemplify the style, subject matter and technical mastery promoted by the French Académie des Beaux-Arts, where he was an influential instructor. From 1856 to 1880 he made six journeys to the eastern Mediterranean and Middle East. His paintings of Arab religion, genre scenes and the North African landscape made him one of the leading luminaries of the Orientalist art movement, which formed a society in 1893 and named him one of its honorary presidents. A product of his 1868 trip to Egypt, Prayer in the Mosque depicts a service at the seventh-century Mosque of Amr in Cairo; the first ever built in Egypt and the whole of Africa. As it had fallen into disuse by the time of Gérômes visit, it is likely that he arranged the figures from photographs and sketches made elsewhere during his journey.",https://www.theibis.net/product/jean-leon-gerome-prayer-in-the-mosque-1871/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15016,https://www.theibis.net/wp-content/uploads/2019/05/gerome4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 15005,"Jean-Leon Gerome : ""Cafe House, Cairo (Casting Bullets)"" (1884 or earlier) 16"" x 20"" (Image: 13"" x 15.5"")","It has been said that the academic painting tradition reached its climax in the works of Jean-Léon Gérôme. His highly finished paintings exemplify the style, subject matter and technical mastery promoted by the French Académie des Beaux-Arts, where he was an influential instructor. From 1856 to 1880 he made six journeys to the eastern Mediterranean and Middle East. His paintings of Arab religion, genre scenes and the North African landscape made him one of the leading luminaries of the Orientalist art movement, which formed a society in 1893 and named him one of its honorary presidents. Here Gérôme depicts a pair of Turkish mercenaries, or ""bashi-bazouks,"" casting bullets in an Egyptian coffeehouse. As others dance and make music, they quietly prepare for war. In The World of Caffeine , Bennett Alan Weinberg and Bonnie K. Bealer refer to this painting as ""reminiscent of the tradition of the French café as the scene of real or imagined revolutionary intrigue.""",https://www.theibis.net/product/jean-leon-gerome-cafe-house-cairo-casting-bullets-1884-or-earlier/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=15005,https://www.theibis.net/wp-content/uploads/2019/05/gerome3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14993,"Jean-Leon Gerome : ""Bashi-Bazouk"" (1868-1869) 16"" x 20"" (Image: 13"" x 16"")","It has been said that the academic painting tradition reached its climax in the works of Jean-Léon Gérôme. His highly finished paintings exemplify the style, subject matter and technical mastery promoted by the French Académie des Beaux-Arts, where he was an influential instructor. From 1856 to 1880 he made six journeys to the eastern Mediterranean and Middle East. His paintings of Arab religion, genre scenes and the North African landscape made him one of the leading luminaries of the Orientalist art movement, which formed a society in 1893 and named him one of its honorary presidents. A product of his 1868 journey to the Near East, this stunning portrait depicts a Turkish mercenary, or ""bashi-bazouk."" Unfettered by strict discipline or hierarchy, these soldiers of fortune were known for their reckless behavior and ferocity in battle. The Metropolitan Museum of Art observes that ""Similar figures were included in many of Gérômes paintings, alone and in groups, but none is as arresting an image as this. The expanse of pink silk across the figures back, shoulders, and arms, combined with the shadow that hides his eyes, disperses and softens the visual impact of the many details of his costume. The figures aloofness is a byproduct of the illusion that he has not yielded himself entirely to the painter, which endows him with a proud dignity.""",https://www.theibis.net/product/jean-leon-gerome-bashi-bazouk-1868-1869/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14993,https://www.theibis.net/wp-content/uploads/2019/05/gerome2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14980,"Jean-Francois Millet : ""Retreat from the Storm"" (c. 1846) 16"" x 20"" (Image: 13"" x 15.81"")","Jean-François Millets representations of peasant life were controversial in their own time. Critics found them provocative and denounced him as a socialist. In fact, they were a product of the artists modest upbringing. The eldest son of a farmer, he had spent his youth working the land. ""It is not my invention,"" he wrote in 1863, ""This cry of the ground has been heard along ago. My critics are men of taste and education, but I can not put myself in their shoes, and as I have never seen anything but fields since I was born, I try to say as best I can what I saw and felt when I was at work."" Millet played a key role in the development of the Barbizon school, an art movement that sought inspiration directly from nature. Whereas Barbizon had upheld the landscape as a worthy subject unto itself, refusing to treat it as a mere backdrop to dramatic events, Millet extended this concept to the people who lived in kinship with the land. His peasant subjects provided an important source of inspiration for Vincent van Gogh, Robert Henri and early 20th century American Realism.",https://www.theibis.net/product/jean-francois-millet-retreat-from-the-storm-c-1846/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14980,https://www.theibis.net/wp-content/uploads/2019/05/millet4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14969,"Mary Stevenson Cassatt : ""The Boating Party"" (1893/1894) 16"" x 20"" (Image: 13"" x 17"")","A product of her summers on the Mediterranean Coast at Antibes, The Boating Party was the centerpiece of Mary Cassatts first American solo exhibition in 1895. The National Gallery in Washington notes the ""influence of the flat, patterned surfaces, simplified color, and unusual angles of Japanese prints, which enjoyed a huge vogue in Paris in the late 1800s,"" and proposes that ""This picture, with its bold geometry and decorative patterning of the surface, positions Cassatt with such post-impressionist painters as Gauguin and Van Gogh."" As in many of her works, a mother with her child is the central motif.",https://www.theibis.net/product/mary-stevenson-cassatt-the-boating-party-1893-1894/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14969,https://www.theibis.net/wp-content/uploads/2019/05/bparty_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14957,"Camille Corot : ""Mother and Child"" (probably 1860s) 16"" x 20"" (Image: 11.81"" x 17"")","Though Camille Corot resolved at age 30 to dedicate his life to landscapes, he painted figures throughout his career. Figures were necessary to populate his landscapes, but more importantly they presented formal challenges that allowed Corot to find creative solutions to basic artistic problems. ""The study of the nude,"" he advised his students, ""is the best lesson that a landscape painter can have. If someone knows how, without any tricks, to get down a figure, he is able to make a landscape; otherwise he can never do it."" Late in his career he came to enjoy figure painting as a refreshing break from routine. Treating the landscape as backdrop, he brought his subjects spiritual and emotional characters to the fore. These mature works came to be specially prized by collectors, who admired their subtle grace and serenity. Edgar Degas preferred Corots figures to his landscapes, and Pablo Picasso would pay them homage through his own works.",https://www.theibis.net/product/camille-corot-mother-and-child-probably-1860s/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14957,https://www.theibis.net/wp-content/uploads/2019/05/corot17_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14946,"Camille Corot : ""A Woman Reading"" (1869 and 1870) 16"" x 20"" (Image: 11.75"" x 17"")","Though Camille Corot resolved at age 30 to dedicate his life to landscapes, he painted figures throughout his career. Figures were necessary to populate his landscapes, but more importantly they presented formal challenges that allowed Corot to find creative solutions to basic artistic problems. ""The study of the nude,"" he advised his students, ""is the best lesson that a landscape painter can have. If someone knows how, without any tricks, to get down a figure, he is able to make a landscape; otherwise he can never do it."" Late in his career he came to enjoy figure painting as a refreshing break from routine. Treating the landscape as backdrop, he brought his subjects spiritual and emotional characters to the fore. These mature works came to be specially prized by collectors, who admired their subtle grace and serenity. Edgar Degas preferred Corots figures to his landscapes, and Pablo Picasso would pay them homage through his own works.",https://www.theibis.net/product/camille-corot-a-woman-reading-1869-and-1870/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14946,https://www.theibis.net/wp-content/uploads/2019/05/corot16_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14935,"Camille Corot : ""The Burning of Sodom"" (1843 and 1857) 16"" x 20"" (Image: 8.63"" x 17"")","Lot and his daughters flee the burning city of Sodom. His wife, having looked back in regret, has been transformed into a pillar of salt. The Burning of Sodom (formerly The Destruction of Sodom ) is one of four Biblical landscapes that the artist exhibited during the 1830s and 1840s. Having been rejected by the Salon jury of 1843, it was accepted the following year, but panned by critics. Corot reworked the entire composition in 1857 and exhibited it to mixed reviews in the Salon of that year. The Metropolitan Museum of Art, however, states that ""By the turn of the century, critics and historians acknowledged the expressive and dramatic power of Corots The Destruction of Sodom , aspects of the work that, like its unusually prominent figures, depart from Corots generally gentler and subtler treatment of landscape themes.""",https://www.theibis.net/product/camille-corot-the-burning-of-sodom-1843-and-1857/?attribute_size=16%22+x+20%22+%28Image%3A+8.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14935,https://www.theibis.net/wp-content/uploads/2019/05/corot15_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14924,"Camille Corot : ""Diana and Actaeon (Diana Surprised at Her Bath)"" (1836) 16"" x 20"" (Image: 12.19"" x 17"")","Camille Corot entered his profession as landscape painting was undergoing a revival. The genre had been roughly divided into two camps: Northern European realists who faithfully reproduced real settings and populated them with modern peasants, and Southern Neoclassicists who placed ancient, mythological, or religious figures in idealized landscapes. Corot drew freely from both, as in this representation of the story of Diana and Actaeon, set amid a French forest. As described in Ovids Metamorphosis , Actaeon was an unfortunate young hunter who stumbled upon the goddess Diana at her bath. As her nymphs hurried to cover her, she splashed water on Actaeon, transforming him into a stag. Fleeing the scene, he was chased and killed by his own dogs. Mixing Neoclassicism and Realism in this way, Corot annoyed contemporary critics, who held art to rigid and often arbitrary standards. ""If M. Corot would kill, once and for all, the nymphs of his woods and replace them with peasants,"" said one, ""I should like him beyond measure.""",https://www.theibis.net/product/camille-corot-diana-and-actaeon-diana-surprised-at-her-bath-1836/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14924,https://www.theibis.net/wp-content/uploads/2019/05/corot14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14913,"Camille Corot : ""Environs of Paris"" (1860s) 16"" x 20"" (Image: 13"" x 17"")","Late in his career, as Camille Corot turned from plein air painting to studio work, his canvases grew soft and dreamlike. Rendered in muted palettes, they often assumed a silver cast, reminiscent of contemporary photographs, as the artist became immersed in the tonal harmonies that had been his lifelong passion. However, they drew sharp rebuke from critics such as Théophile Thoré, who complained that Corot ""has only a single octave, extremely limited and in a minor key...He knows scarcely more than a single time of day, the morning, and a single color, pale grey."" But others supported Corot. Charles Baudelaire pronounced him the leader of the ""modern school of landscape painting,"" and answered his critics that ""M. Corot is more of a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Corot, speaking for himself, responded that ""What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."" Corot became a warmly regarded father figure to a generation of the French avant-garde, including Camille Pissarro, Eugène Boudin and Berthe Morisot, and his works remained an important influence upon modern art long after his death. ""There is only one master here—Corot,"" said Claude Monet in 1897, ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-environs-of-paris-1860s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14913,https://www.theibis.net/wp-content/uploads/2019/05/corot13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14901,"Steven Blankaart : ""Anatomia Reformata, Tab VIII (Human Heart)"" (1695) 16"" x 20"" (Image: 9.88"" x 17"")","The Dutch physician Steven Blankaart was among the first to apply empirical principles to the medical profession. He is best-known for having proven the existence of the capillary system and for having published the first Dutch book on child medicine. This superb anatomical illustration is among the tables published in his 1695 treatise Anatomia Reformata .",https://www.theibis.net/product/steven-blankaart-anatomia-reformata-tab-viii-human-heart-1695/?attribute_size=16%22+x+20%22+%28Image%3A+9.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14901,https://www.theibis.net/wp-content/uploads/2019/05/blank1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14889,"Steven Blankaart : ""Anatomia Reformata, Tab LXVI (Human Skeleton)"" (1695) 16"" x 20"" (Image: 10"" x 17"")","The Dutch physician Steven Blankaart was among the first to apply empirical principles to the medical profession. He is best-known for having proven the existence of the capillary system and for having published the first Dutch book on child medicine. This superb anatomical illustration is among the tables published in his 1695 treatise Anatomia Reformata .",https://www.theibis.net/product/steven-blankaart-anatomia-reformata-tab-lxvi-human-skeleton-1695/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14889,https://www.theibis.net/wp-content/uploads/2019/05/blank2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14877,"Steven Blankaart : ""Anatomia Reformata, Tab LXI"" (1695) 16"" x 20"" (Image: 9.88"" x 17"")","The Dutch physician Steven Blankaart was among the first to apply empirical principles to the medical profession. He is best-known for having proven the existence of the capillary system and for having published the first Dutch book on child medicine. This superb anatomical illustration is among the tables published in his 1695 treatise Anatomia Reformata .",https://www.theibis.net/product/steven-blankaart-anatomia-reformata-tab-lxi-1695/?attribute_size=16%22+x+20%22+%28Image%3A+9.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14877,https://www.theibis.net/wp-content/uploads/2019/05/blank3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14865,"Steven Blankaart : ""Anatomia Reformata, Tab DD (Muscles of the Back)"" (1695) 16"" x 20"" (Image: 9.75"" x 17"")","The Dutch physician Steven Blankaart was among the first to apply empirical principles to the medical profession. He is best-known for having proven the existence of the capillary system and for having published the first Dutch book on child medicine. This superb anatomical illustration is among the tables published in his 1695 treatise Anatomia Reformata .",https://www.theibis.net/product/steven-blankaart-anatomia-reformata-tab-dd-muscles-of-the-back-1695/?attribute_size=16%22+x+20%22+%28Image%3A+9.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14865,https://www.theibis.net/wp-content/uploads/2019/05/blank4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14853,"Steven Blankaart : ""Anatomia Reformata, Tab LIX"" (1695) 16"" x 20"" (Image: 9.88"" x 17"")","The Dutch physician Steven Blankaart was among the first to apply empirical principles to the medical profession. He is best-known for having proven the existence of the capillary system and for having published the first Dutch book on child medicine. This superb anatomical illustration is among the tables published in his 1695 treatise Anatomia Reformata .",https://www.theibis.net/product/steven-blankaart-anatomia-reformata-tab-lix-1695/?attribute_size=16%22+x+20%22+%28Image%3A+9.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14853,https://www.theibis.net/wp-content/uploads/2019/05/blank5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14841,"Utagawa Ando Hiroshige : ""Fireworks at Ryogoku Bridge"" (1858) 16"" x 20"" (Image: 11.5"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Fireworks at Ryogoku Bridge is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. The Brooklyn Museum explains that: ""During summer and early fall, the Sumida River was the scene of a custom known as taking in the cool of the evening. Activity centered at Ryogoku Bridge, where an endless variety of entertainment was offered on both land and water. The ideal place was not in the crowded stalls of the bridgehead plazas but rather in one of the nearby restaurants or in an individually chartered pleasure boat on the river. ""Fireworks were an indispensable feature of evenings on the river. By the mid-seventeenth century, they were so popular that the threat of fire led authorities to issue decrees restricting their use to the Sumida River.""",https://www.theibis.net/product/utagawa-ando-hiroshige-fireworks-at-ryogoku-bridge-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14841,https://www.theibis.net/wp-content/uploads/2019/05/fwork_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14828,"Utagawa Ando Hiroshige : ""The Plum Garden at Kameido Shrine"" (1857) 16"" x 20"" (Image: 10.88"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. One of his final series One Hundred Famous Views of Edo , The Plum Garden at Kameido Shrine depicts the most famous tree in Edo; the so-called ""Sleeping Dragon Plum,"" which had blossoms ""so white when in full bloom as to drive off the darkness."" This print was later copied by Vincent van Gogh, an avid collector of Japanese art, in his oil painting Flowering Plum Tree (1887).",https://www.theibis.net/product/utagawa-ando-hiroshige-the-plum-garden-at-kameido-shrine-1857/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14828,https://www.theibis.net/wp-content/uploads/2019/05/hplum_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14817,"Camille Corot : ""Hagar in the Wilderness"" (1835) 16"" x 20"" (Image: 12.5"" x 17"")","Hagar was the Egyptian handmaid of Sarah, the wife of Abraham. When her teenage son, Ishmael, made sport of Sarahs son, Isaac, she was exiled to the desert with some bread and a bottle of water. One of four Biblical paintings that Corot exhibited in the 1830s and 1840s, Hagar in the Wilderness depicts the moment of their salvation: ""And the water in the bottle was spent, and she cast the child under one of the shrubs. And she went, and sat her down over against him a good way off, as it were a bow-shot; for she said: Let me not look upon the death of the child. And she sat over against him, and lifted up her voice, and wept. And God heard the voice of the lad; and the angel of God called to Hagar out of heaven, and said unto her: What aileth thee, Hagar? fear not; for God hath heard the voice of the lad where he is. Arise, lift up the lad, and hold him fast by thy hand; for I will make him a great nation."" In composing this landscape, Corot drew upon his earlier plein air sketches of Italy and France. The large tree in the upper left was reproduced from Fontainebleau: Oak Trees at Bas-Bréau , completed two or three years prior. Painting out-of-doors as the basis for more considered studio work, Corot prepared the way for the Impressionists, for whom plein air was an end in itself.",https://www.theibis.net/product/camille-corot-hagar-in-the-wilderness-1835/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14817,https://www.theibis.net/wp-content/uploads/2019/05/corot12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14805,"Camille Corot : ""Fontainebleau: Oak Trees at Bas-Breau"" (1832 or 1833) 16"" x 20"" (Image: 13"" x 16.25"")","Barbizon school painters like Camille Corot believed in drawing inspiration directly from nature. They painted outdoors, but with a view toward finishing in the studio. Corot thus regarded this plein air painting as a study, reusing its foremost oak in his large Biblical landscape Hagar in the Wilderness . However, as his career progressed, these lowly sketches came to be held in much higher regard. ""When he started painting,"" writes museum director Alan Bowness, ""the landscape sketch was regarded primarily as raw material for more considered work and was of no great artistic consequence in itself. Corot was one of the first to show that the sketch had qualities of vitality and spontaneity, a basic truth to nature that a more finished picture lacked. At the time of his death the sketch had triumphed, and any artificiality or contrivance in landscape painting was regarded with suspicion. Corot had helped to prepare the way for the Impressionist landscape painters, who learned much from him and looked upon him with respect and veneration.""",https://www.theibis.net/product/camille-corot-fontainebleau-oak-trees-at-bas-breau-1832-or-1833/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14805,https://www.theibis.net/wp-content/uploads/2019/05/corot11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14795,"Camille Corot : ""The Curious Little Girl"" (1860-1864) 16"" x 20"" (Image: 11.5"" x 17"")","Though Camille Corot resolved at age 30 to dedicate his life to landscapes, he painted figures throughout his career. Figures were necessary to populate his landscapes, but more importantly they presented formal challenges that allowed Corot to find creative solutions to basic artistic problems. ""The study of the nude,"" he advised his students, ""is the best lesson that a landscape painter can have. If someone knows how, without any tricks, to get down a figure, he is able to make a landscape; otherwise he can never do it."" Late in his career he came to enjoy figure painting as a refreshing break from routine. Treating the landscape as backdrop, he brought his subjects spiritual and emotional characters to the fore. These mature works came to be specially prized by collectors, who admired their subtle grace and serenity. Edgar Degas preferred Corots figures to his landscapes, and Pablo Picasso would pay them homage through his own works.",https://www.theibis.net/product/camille-corot-the-curious-little-girl-1860-1864/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14795,https://www.theibis.net/wp-content/uploads/2019/05/corot10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14783,"Camille Corot : ""Reverie"" (c. 1860-1865) 16"" x 20"" (Image: 12.31"" x 17"")","Though Camille Corot resolved at age 30 to dedicate his life to landscapes, he painted figures throughout his career. Figures were necessary to populate his landscapes, but more importantly they presented formal challenges that allowed Corot to find creative solutions to basic artistic problems. ""The study of the nude,"" he advised his students, ""is the best lesson that a landscape painter can have. If someone knows how, without any tricks, to get down a figure, he is able to make a landscape; otherwise he can never do it."" Late in his career he came to enjoy figure painting as a refreshing break from routine. Treating the landscape as backdrop, he brought his subjects spiritual and emotional characters to the fore. These mature works came to be specially prized by collectors, who admired their subtle grace and serenity. Edgar Degas preferred Corots figures to his landscapes, and Pablo Picasso would pay them homage through his own works.",https://www.theibis.net/product/camille-corot-reverie-c-1860-1865/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14783,https://www.theibis.net/wp-content/uploads/2019/05/corot9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14770,"Camille Corot : ""Girl Weaving a Garland"" (1860-1865) 16"" x 20"" (Image: 11.81"" x 17"")","Though Camille Corot resolved at age 30 to dedicate his life to landscapes, he painted figures throughout his career. Figures were necessary to populate his landscapes, but more importantly they presented formal challenges that allowed Corot to find creative solutions to basic artistic problems. ""The study of the nude,"" he advised his students, ""is the best lesson that a landscape painter can have. If someone knows how, without any tricks, to get down a figure, he is able to make a landscape; otherwise he can never do it."" Late in his career he came to enjoy figure painting as a refreshing break from routine. Treating the landscape as backdrop, he brought his subjects spiritual and emotional characters to the fore. These mature works came to be specially prized by collectors, who admired their subtle grace and serenity. Edgar Degas preferred Corots figures to his landscapes, and Pablo Picasso would pay them homage through his own works.",https://www.theibis.net/product/camille-corot-girl-weaving-a-garland-1860-1865/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14770,https://www.theibis.net/wp-content/uploads/2019/05/corot8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14759,"Camille Corot : ""Landscape with Lake and Boatman"" (1839) 16"" x 20"" (Image: 10.38"" x 17"")","After a long day, a solitary boatman poles his boat ashore across the waters placid surface. An array of colors—citron, lavender, turquoise, and rose—fills the sky as the sun slowly sets. Light reflects against the trees, turning the edges and foliage yellow-orange; the pool of water shimmers with reflections. The dramatically colored backlighting and the tiny, lone man create a sense of melancholy and longing that appealed to the Romantic critics of the time. Composing from memories and from drawings made during his travels in Italy, Jean-Baptiste-Camille Corot painted this view for the Paris Salon of 1839. It may be a pendant to Italian Landscape , which he painted the same year. Until they were offered to the Getty Museum in 1984, scholars thought both paintings were lost. The two paintings depict ideal Italian views that contrast different times of day, emulating the works of Corots seventeenth-century countryman Claude Lorrain. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/camille-corot-landscape-with-lake-and-boatman-1839/?attribute_size=16%22+x+20%22+%28Image%3A+10.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14759,https://www.theibis.net/wp-content/uploads/2019/05/corotland2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14748,"Camille Corot : ""Italian Landscape"" (c. 1835) 16"" x 20"" (Image: 10.63"" x 17"")","Composed from memories and from drawings made during Jean-Baptiste-Camille Corots travels in Italy, this view is probably a pendant to Landscape with Lake and Boatman , which was shown at the Paris Salon of 1839. First purchased by different collectors, scholars thought the canvases were lost for several decades, until they were offered to the J. Paul Getty Museum in 1984. The two paintings depict ideal Italian views that contrast different times of day, emulating the works of Corots seventeenth-century countryman Claude Lorrain. The golden morning light bathes this landscape of singing and dancing peasants with antique ruins in the background. To the left, picturesque cows wade in the reflective water, and a contemporary townscape appears in the distance. Like Lorrain, Corot presented a utopian setting in which ancient and modern culture coexist in lyrical harmony. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/camille-corot-italian-landscape-c-1835/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14748,https://www.theibis.net/wp-content/uploads/2019/05/corotland_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14736,"Camille Corot : ""Ville-dAvray"" (1870) 16"" x 20"" (Image: 11.5"" x 17"")","Late in his career, as Camille Corot turned from plein air painting to studio work, his canvases grew soft and dreamlike. Rendered in muted palettes, they often assumed a silver cast, reminiscent of contemporary photographs, as the artist became immersed in the tonal harmonies that had been his lifelong passion. However, they drew sharp rebuke from critics such as Théophile Thoré, who complained that Corot ""has only a single octave, extremely limited and in a minor key...He knows scarcely more than a single time of day, the morning, and a single color, pale grey."" But others supported Corot. Charles Baudelaire pronounced him the leader of the ""modern school of landscape painting,"" and answered his critics that ""M. Corot is more of a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Corot, speaking for himself, responded that ""What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."" Corot became a warmly regarded father figure to a generation of the French avant-garde, including Camille Pissarro, Eugène Boudin and Berthe Morisot, and his works remained an important influence upon modern art long after his death. ""There is only one master here—Corot,"" said Claude Monet in 1897, ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-ville-davray-1870/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14736,https://www.theibis.net/wp-content/uploads/2019/05/corot7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14726,"Camille Corot : ""A Woman Gathering Faggots at Ville-dAvray"" (c. 1871-1874) 16"" x 20"" (Image: 13"" x 16.75"")","Late in his career, as Camille Corot turned from plein air painting to studio work, his canvases grew soft and dreamlike. Rendered in muted palettes, they often assumed a silver cast, reminiscent of contemporary photographs, as the artist became immersed in the tonal harmonies that had been his lifelong passion. However, they drew sharp rebuke from critics such as Théophile Thoré, who complained that Corot ""has only a single octave, extremely limited and in a minor key...He knows scarcely more than a single time of day, the morning, and a single color, pale grey."" But others supported Corot. Charles Baudelaire pronounced him the leader of the ""modern school of landscape painting,"" and answered his critics that ""M. Corot is more of a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Corot, speaking for himself, responded that ""What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."" Corot became a warmly regarded father figure to a generation of the French avant-garde, including Camille Pissarro, Eugène Boudin and Berthe Morisot, and his works remained an important influence upon modern art long after his death. ""There is only one master here—Corot,"" said Claude Monet in 1897, ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-a-woman-gathering-faggots-at-ville-davray-c-1871-1874/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14726,https://www.theibis.net/wp-content/uploads/2019/05/corot6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14713,"Camille Corot : ""A Lane through the Trees"" (c. 1870-1873) 16"" x 20"" (Image: 12.63"" x 17"")","Late in his career, as Camille Corot turned from plein air painting to studio work, his canvases grew soft and dreamlike. Rendered in muted palettes, they often assumed a silver cast, reminiscent of contemporary photographs, as the artist became immersed in the tonal harmonies that had been his lifelong passion. However, they drew sharp rebuke from critics such as Théophile Thoré, who complained that Corot ""has only a single octave, extremely limited and in a minor key...He knows scarcely more than a single time of day, the morning, and a single color, pale grey."" But others supported Corot. Charles Baudelaire pronounced him the leader of the ""modern school of landscape painting,"" and answered his critics that ""M. Corot is more of a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Corot, speaking for himself, responded that ""What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."" Corot became a warmly regarded father figure to a generation of the French avant-garde, including Camille Pissarro, Eugène Boudin and Berthe Morisot, and his works remained an important influence upon modern art long after his death. ""There is only one master here—Corot,"" said Claude Monet in 1897, ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-a-lane-through-the-trees-c-1870-1873/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14713,https://www.theibis.net/wp-content/uploads/2019/05/corot5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14702,"Jean-Francois Millet : ""Haystacks: Autumn"" (c. 1874) 16"" x 20"" (Image: 13"" x 16.81"")","Jean-François Millets representations of peasant life were controversial in their own time. Critics found them provocative and denounced him as a socialist. In fact, they were a product of the artists modest upbringing. The eldest son of a farmer, he had spent his youth working the land. ""It is not my invention,"" he wrote in 1863, ""This cry of the ground has been heard along ago. My critics are men of taste and education, but I can not put myself in their shoes, and as I have never seen anything but fields since I was born, I try to say as best I can what I saw and felt when I was at work."" Haystacks: Autumn was commissioned as part of a series of the four seasons that the artist was unable to complete before his death in 1875. According to the Metropolitan Museum of Art, it ""depicts a specific time and place: with the harvest finished, the gleaners have departed and the sheep are left to graze. Beyond the haystacks lies the plain of Chailly with the rooftops of Barbizon, where Millet had lived since June 1849. Essentially the same point of view was employed for The Gleaners (1857; Musée dOrsay, Paris), with the peasant figures here replaced, as it were, by the haystacks.""",https://www.theibis.net/product/jean-francois-millet-haystacks-autumn-c-1874/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14702,https://www.theibis.net/wp-content/uploads/2019/05/millet3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14691,"Camille Corot : ""Boatman among the Reeds"" (c. 1865) 16"" x 20"" (Image: 12.5"" x 17"")","Late in his career Camille Corot worked in his studio, composing imaginary landscapes from stock elements, such as the boatman pictured here. These dreamlike canvases were rendered in muted palettes, often assuming a silver cast reminiscent of contemporary photographs, as the artist became immersed in the tonal harmonies that had been his lifelong passion. However, they drew sharp rebuke from critics such as Théophile Thoré, who complained that Corot ""has only a single octave, extremely limited and in a minor key...He knows scarcely more than a single time of day, the morning, and a single color, pale grey."" But others supported Corot. Charles Baudelaire pronounced him the leader of the ""modern school of landscape painting,"" and answered his critics that ""M. Corot is more of a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Corot, speaking for himself, responded that ""What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."" Corot became a warmly regarded father figure to a generation of the French avant-garde, including Camille Pissarro, Eugène Boudin and Berthe Morisot, and his works remained an important influence upon modern art long after his death. ""There is only one master here—Corot,"" said Claude Monet in 1897, ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-boatman-among-the-reeds-c-1865/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14691,https://www.theibis.net/wp-content/uploads/2019/05/corot4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14681,"Camille Corot : ""River with a Distant Tower"" (1865) 16"" x 20"" (Image: 11.63"" x 17"")","Late in his career Camille Corot worked in his studio, composing imaginary landscapes from stock elements, such as the boatman pictured here. These dreamlike canvases were rendered in muted palettes, often assuming a silver cast reminiscent of contemporary photographs, as the artist became immersed in the tonal harmonies that had been his lifelong passion. However, they drew sharp rebuke from critics such as Théophile Thoré, who complained that Corot ""has only a single octave, extremely limited and in a minor key...He knows scarcely more than a single time of day, the morning, and a single color, pale grey."" But others supported Corot. Charles Baudelaire pronounced him the leader of the ""modern school of landscape painting,"" and answered his critics that ""M. Corot is more of a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Corot, speaking for himself, responded that ""What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."" Corot became a warmly regarded father figure to a generation of the French avant-garde, including Camille Pissarro, Eugène Boudin and Berthe Morisot, and his works remained an important influence upon modern art long after his death. ""There is only one master here—Corot,"" said Claude Monet in 1897, ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-river-with-a-distant-tower-1865/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14681,https://www.theibis.net/wp-content/uploads/2019/05/corot3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14669,"Camille Corot : ""Honfleur: Calvary"" (c. 1830) 16"" x 20"" (Image: 12.31"" x 17"")","The subject of Honfleur: Calvary is a shrine constructed in 1628 on the Côte de Grâce, a hill overlooking Honfleur and the estuary of the River Seine. Even in this early work, Corots perception of color and tonal harmonies is highly developed. Writing in 1926, the painter and art critic Roger Fry praised its ""mysteriously perfect chords of color in which every note gets a new meaning and resonance,"" arousing a mood ""as detached from any actual experience as that of the purest music."" ""Corot,"" he said, ""creates here an entirely spiritual reality.""",https://www.theibis.net/product/camille-corot-honfleur-calvary-c-1830/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14669,https://www.theibis.net/wp-content/uploads/2019/05/corot2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14657,"Camille Corot : ""A Village Street: Dardagny"" (1852, 1857 or 1863) 16"" x 20"" (Image: 12"" x 17"")","The Metropolitan Museum of Art cites A Village Street: Dardagny as an excellent example of Corots ""remarkable ability to derive a poetic scene from a prosaic site."" The artist visited the small village near Geneva in 1852, 1857 and 1863, probably completing this painting during one of the first two journeys. During the 1860s his studio-created landscapes settled into uniform tones of silver, reminiscent of contemporary photographs, but this piece still retains the bright colors and strong shadows of his early plein air work.",https://www.theibis.net/product/camille-corot-a-village-street-dardagny-1852-1857-or-1863/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14657,https://www.theibis.net/wp-content/uploads/2019/05/corot1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14646,"Daniel Ridgway Knight : ""The Shepherdess of Rolleboise"" (1896) 16"" x 20"" (Image: 12.5"" x 17"")","A dreamy mood prevails in this dignified image of a French shepherdess. The pastoral setting provides a poetic backdrop to her youth and beauty, creating a picture that erases the social realities of peasant life. Daniel Ridgway Knight, who was born in Philadelphia and expatriated to France in the early 1870s, was well aware of this paintings potential for success when it debuted at the Paris Salon in 1896; it combined the silvery gray palette and romanticized peasant subject matter that were then popular in Europe and in the United States. (Text by the Brooklyn Museum, CC BY 3.0).",https://www.theibis.net/product/daniel-ridgway-knight-the-shepherdess-of-rolleboise-1896/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14646,https://www.theibis.net/wp-content/uploads/2019/05/rolle_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14633,"Agostino Brunias : ""Free Women of Color with Their Children and Servants in a Landscape"" (c. 1770-1796) 16"" x 20"" (Image: 13"" x 17"")","Here, on the grounds of a Caribbean sugar plantation, two luxuriously dressed mixed-race sisters enjoy a walk with their mother, children, and eight African servants. After the Seven Years’ War (1754–63), the British government sent the Roman painter Agostino Brunias to Dominica, one of its newly acquired Caribbean territories. Although Brunias was originally commissioned to promote upper-class plantation life, his paintings soon exposed the artificialities of the region’s racial hierarchies. (Text by the Brooklyn Museum, CC BY 3.0).",https://www.theibis.net/product/agostino-brunias-free-women-of-color-with-their-children-and-servants-in-a-landscape-c-1770-1796/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14633,https://www.theibis.net/wp-content/uploads/2019/05/freewom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14623,"Narcisse-Virgile Diaz de la Pena : ""Autumn: The Woodland Pond"" (1867) 16"" x 20"" (Image: 12.94"" x 17"")","Narcisse Virgilio Diaz de la Peña was a French painter of Spanish descent. He was orphaned at age ten and lost his leg to an insect sting or snake bite a few years later. At age fifteen he began an apprenticeship in painting on porcelain at a china factory in Paris. Dissatisfied with industrial work, he embarked on a course of independent study, eventually supporting himself on pastiches of romantic ""fancy pictures."" During his twenties he became intrigued by the landscape painter Théodore Rousseau, but found him embittered, in poor health and difficult to approach. On one occasion, Diaz stalked Rousseau through the forest of Fontainebleau to watch him at work. Rousseau was ultimately touched by this admiration and taught him everything he knew. Diaz went on to become one of the most productive members of the Barbizon school, known for his secluded forest scenes and landscapes with stormy skies, derived from plein air sketches and studies. His style is characterized by broad strokes, soft edges and a lack of fine detail that heighten the naturalistic effect of his paintings while creating an impression of spontaneity that underscores their direct connection to nature.",https://www.theibis.net/product/narcisse-virgile-diaz-de-la-pena-autumn-the-woodland-pond-1867/?attribute_size=16%22+x+20%22+%28Image%3A+12.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14623,https://www.theibis.net/wp-content/uploads/2019/05/diaz3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14611,"Narcisse-Virgile Diaz de la Pena : ""The Forest of Fontainebleau"" (1874) 16"" x 20"" (Image: 13"" x 16.63"")","Narcisse Virgilio Diaz de la Peña was a French painter of Spanish descent. He was orphaned at age ten and lost his leg to an insect sting or snake bite a few years later. At age fifteen he began an apprenticeship in painting on porcelain at a china factory in Paris. Dissatisfied with industrial work, he embarked on a course of independent study, eventually supporting himself on pastiches of romantic ""fancy pictures."" During his twenties he became intrigued by the landscape painter Théodore Rousseau, but found him embittered, in poor health and difficult to approach. On one occasion, Diaz stalked Rousseau through the forest of Fontainebleau to watch him at work. Rousseau was ultimately touched by this admiration and taught him everything he knew. Diaz went on to become one of the most productive members of the Barbizon school, known for his secluded forest scenes and landscapes with stormy skies, derived from plein air sketches and studies. His style is characterized by broad strokes, soft edges and a lack of fine detail that heighten the naturalistic effect of his paintings while creating an impression of spontaneity that underscores their direct connection to nature.",https://www.theibis.net/product/narcisse-virgile-diaz-de-la-pena-the-forest-of-fontainebleau-1874/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14611,https://www.theibis.net/wp-content/uploads/2019/05/diaz2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14601,"Narcisse-Virgile Diaz de la Pena : ""A Vista through Trees: Fontainebleau"" (1873) 16"" x 20"" (Image: 12.5"" x 17"")","Narcisse Virgilio Diaz de la Peña was a French painter of Spanish descent. He was orphaned at age ten and lost his leg to an insect sting or snake bite a few years later. At age fifteen he began an apprenticeship in painting on porcelain at a china factory in Paris. Dissatisfied with industrial work, he embarked on a course of independent study, eventually supporting himself on pastiches of romantic ""fancy pictures."" During his twenties he became intrigued by the landscape painter Théodore Rousseau, but found him embittered, in poor health and difficult to approach. On one occasion, Diaz stalked Rousseau through the forest of Fontainebleau to watch him at work. Rousseau was ultimately touched by this admiration and taught him everything he knew. Diaz went on to become one of the most productive members of the Barbizon school, known for his secluded forest scenes and landscapes with stormy skies, derived from plein air sketches and studies. His style is characterized by broad strokes, soft edges and a lack of fine detail that heighten the naturalistic effect of his paintings while creating an impression of spontaneity that underscores their direct connection to nature.",https://www.theibis.net/product/narcisse-virgile-diaz-de-la-pena-a-vista-through-trees-fontainebleau-1873/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14601,https://www.theibis.net/wp-content/uploads/2019/05/diaz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14590,"Govard Bidloo and Gerard de Laireese : ""Hip Bones (Table 99)"" (1685) 16"" x 20"" (Image: 10.75"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense.",https://www.theibis.net/product/govard-bidloo-and-gerard-de-laireese-hip-bones-table-99-1685/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14590,https://www.theibis.net/wp-content/uploads/2019/05/bid99_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14578,"Govard Bidloo and Gerard de Laireese : ""Muscles of the Back (Table 27)"" (1685) 16"" x 20"" (Image: 10.31"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense.",https://www.theibis.net/product/govard-bidloo-and-gerard-de-laireese-muscles-of-the-back-table-27-1685/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14578,https://www.theibis.net/wp-content/uploads/2019/05/bid27_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14566,"Govard Bidloo and Gerard de Laireese : ""Flayed Human Foot, Leg (Table 81)"" (1685) 16"" x 20"" (Image: 10.25"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense.",https://www.theibis.net/product/govard-bidloo-and-gerard-de-laireese-flayed-human-foot-leg-table-81-1685/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14566,https://www.theibis.net/wp-content/uploads/2019/05/bid81_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14555,"John La Farge : ""The Great Statue of Amida Buddha at Kamakura, Known as the Daibutsu, from the Priests Garden"" (1887) 16"" x 20"" (Image: 11"" x 17"")","John La Farges best-known watercolors are a product of his travels in Asia and the South Pacific. Accompanied by the historian Henry Adams, he visited Japan in 1886 and the South Seas, including Samoa, Tahiti and Fiji, from 1890-1891. The Phillips Collection describes these works as ""characterized by their exotic subjects, spontaneous brushwork, and delicately defined figures,"" observing La Farges use of ""bold, jewel-like colors,"" reminiscent of his stained glass images. His experiences abroad are recounted in his books An Artists Letters from Japan (1897) and Reminiscences of the South Seas (1912).",https://www.theibis.net/product/john-la-farge-the-great-statue-of-amida-buddha-at-kamakura-known-as-the-daibutsu-from-the-priests-garden-1887/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14555,https://www.theibis.net/wp-content/uploads/2019/05/lafarge4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14542,"John La Farge : ""The Strange Thing Little Kiosai Saw in the River"" (1897) 16"" x 20"" (Image: 11.75"" x 17"")","John La Farges best-known watercolors are a product of his travels in Asia and the South Pacific. Accompanied by the historian Henry Adams, he visited Japan in 1886 and the South Seas, including Samoa, Tahiti and Fiji, from 1890-1891. The Phillips Collection describes these works as ""characterized by their exotic subjects, spontaneous brushwork, and delicately defined figures,"" observing La Farges use of ""bold, jewel-like colors,"" reminiscent of his stained glass images. His experiences abroad are recounted in his books An Artists Letters from Japan (1897) and Reminiscences of the South Seas (1912).",https://www.theibis.net/product/john-la-farge-the-strange-thing-little-kiosai-saw-in-the-river-1897/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14542,https://www.theibis.net/wp-content/uploads/2019/05/lafarge3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14528,"John La Farge : ""Girls Carrying a Canoe, Vaiala in Samoa"" (1891) 16"" x 20"" (Image: 13"" x 15.75"")","John La Farges best-known watercolors are a product of his travels in Asia and the South Pacific. Accompanied by the historian Henry Adams, he visited Japan in 1886 and the South Seas, including Samoa, Tahiti and Fiji, from 1890-1891. The Phillips Collection describes these works as ""characterized by their exotic subjects, spontaneous brushwork, and delicately defined figures,"" observing La Farges use of ""bold, jewel-like colors,"" reminiscent of his stained glass images. His experiences abroad are recounted in his books An Artists Letters from Japan (1897) and Reminiscences of the South Seas (1912).",https://www.theibis.net/product/john-la-farge-girls-carrying-a-canoe-vaiala-in-samoa-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14528,https://www.theibis.net/wp-content/uploads/2019/05/lafarge2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14522,"John La Farge : ""Portrait of Faase, the Taupo, or Official Virgin, of Fagaloa Bay, and Her Duenna, Samoa"" (1891) 16"" x 20"" (Image: 13"" x 16.5"")","John La Farges best-known watercolors are a product of his travels in Asia and the South Pacific. Accompanied by the historian Henry Adams, he visited Japan in 1886 and the South Seas, including Samoa, Tahiti and Fiji, from 1890-1891. The Phillips Collection describes these works as ""characterized by their exotic subjects, spontaneous brushwork, and delicately defined figures,"" observing La Farges use of ""bold, jewel-like colors,"" reminiscent of his stained glass images. His experiences abroad are recounted in his books An Artists Letters from Japan (1897) and Reminiscences of the South Seas (1912).",https://www.theibis.net/product/john-la-farge-portrait-of-faase-the-taupo-or-official-virgin-of-fagaloa-bay-and-her-duenna-samoa-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14522,https://www.theibis.net/wp-content/uploads/2019/05/lafarge1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14517,"Govard Bidloo and Gerard de Laireese : ""Flayed Human Arm (Table 64)"" (1685) 16"" x 20"" (Image: 11.88"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense.",https://www.theibis.net/product/govard-bidloo-and-gerard-de-laireese-flayed-human-arm-table-64-1685/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14517,https://www.theibis.net/wp-content/uploads/2019/05/bid64_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14512,"Govard Bidloo and Gerard de Laireese : ""Flayed Human Arm (Table 70)"" (1685) 16"" x 20"" (Image: 11.5"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense.",https://www.theibis.net/product/govard-bidloo-and-gerard-de-laireese-flayed-human-arm-table-70-1685/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14512,https://www.theibis.net/wp-content/uploads/2019/05/bid70_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14507,"Govard Bidloo and Gerard de Laireese : ""Flayed Human Head (Table 12)"" (1685) 16"" x 20"" (Image: 10.5"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense.",https://www.theibis.net/product/govard-bidloo-and-gerard-de-laireese-flayed-human-head-table-12-1685/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14507,https://www.theibis.net/wp-content/uploads/2019/05/bid12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14502,"Govard Bidloo and Gerard de Laireese : ""Human Skull (Table 89)"" (1685) 16"" x 20"" (Image: 11"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense.",https://www.theibis.net/product/govard-bidloo-and-gerard-de-laireese-human-skull-table-89-1685/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14502,https://www.theibis.net/wp-content/uploads/2019/05/bid89_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14419,"Govard Bidloo and Gerard Laireese : ""Fetal Skeleton (Table 101)"" (1685) 16"" x 20"" (Image: 10.81"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/govard-bidloo-and-gerard-laireese-fetal-skeleton-table-101-1685/?attribute_size=16%22+x+20%22+%28Image%3A+10.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14419,https://www.theibis.net/wp-content/uploads/2019/05/fetskel_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14407,"Govard Bidloo and Gerard Laireese : ""Skeleton Rising from Tomb (Table 87)"" (1685) 16"" x 20"" (Image: 10.75"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/govard-bidloo-and-gerard-laireese-skeleton-rising-from-tomb-table-87-1685/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14407,https://www.theibis.net/wp-content/uploads/2019/05/bid87_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14394,"Govard Bidloo and Gerard Laireese : ""Skeleton Returning to Tomb (Table 88)"" (1685) 16"" x 20"" (Image: 10.69"" x 17"")","Anatomia humani corporis was a landmark anatomical atlas published in 1685 by the Dutch anatomist Govard Bidloo. Among its innovations were microscopic descriptions of human hair and skin, including the papillary ridges on the fingertips, which became the basis for modern forensic fingerprinting. It is widely recognized for the artistic sophistication of its 107 plates, designed by Gerard de Lairesse. According to Christies, Lairesses designs represented ""a total departure from the idealistic tradition inaugurated by Vesalian woodcuts."" He ""displayed his figures with everyday realism and sensuality, contrasting the raw dissected parts of the body with the full, soft surfaces of undissected flesh surrounding them; placing flayed, bound figures in ordinary nightclothes or bedding; setting objects such as a book, a jar, a crawling fly in the same space as a dissected limb or torso. He thus brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker expression to the significance of dissection."" The large and expensive atlas having not achieved great commercial success, Bidloos publisher sold 300 copies—or perhaps the original plates themselves—to the English anatomist William Cowper, who plagiarized them for his own work, The anatomy of humane bodies (1698). A vitriolic public exchange ensued, with numerous pamphlets published in each anatomists defense. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/govard-bidloo-and-gerard-laireese-skeleton-returning-to-tomb-table-88-1685/?attribute_size=16%22+x+20%22+%28Image%3A+10.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14394,https://www.theibis.net/wp-content/uploads/2019/05/bid88_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14383,"Jean-Francois Millet : ""Le Chat (The Cat at the Window)"" (c. 1857-1858) 16"" x 20"" (Image: 13"" x 16"")","Moonlight shines through an open window, illuminating a bedroom. A black cat with glowing eyes enters and looks toward a startled man who pokes his head through the bed curtains. His shoes lie on the floor in front of the bed, and his clothes are on a chair where he left them. This drawing illustrates ""The Cat Who Became a Woman,"" a fable by the seventeenth-century French writer Jean de La Fontaine. According to the story, a man becomes infatuated with his cat and convinces Destiny to change her into a woman. He marries her, but on their first night together she springs from the marriage bed to chase a mouse across the bedroom floor. The fables moral is ""The truth will out"": no matter how much ones outward appearance changes, ones essential character remains. In a wealth of tones hidden in deep shadows, Jean-François Millet evoked the storys haunting mystery. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jean-francois-millet-le-chat-the-cat-at-the-window-c-1857-1858/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14383,https://www.theibis.net/wp-content/uploads/2019/05/lechat_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14370,"Jean-Francois Millet : ""Autumn Landscape with a Flock of Turkeys"" (1872-1873) 16"" x 20"" (Image: 13"" x 16"")","Jean-François Millets representations of peasant life were controversial in their own time. Critics found them provocative and denounced him as a socialist. In fact, they were a product of the artists modest upbringing. The eldest son of a farmer, he had spent his youth working the land. ""It is not my invention,"" he wrote in 1863, ""This cry of the ground has been heard along ago. My critics are men of taste and education, but I can not put myself in their shoes, and as I have never seen anything but fields since I was born, I try to say as best I can what I saw and felt when I was at work."" Millet played a key role in the development of the Barbizon school, an art movement that sought inspiration directly from nature. Whereas Barbizon had upheld the landscape as a worthy subject unto itself, refusing to treat it as a mere backdrop to dramatic events, Millet extended this concept to the people who lived in kinship with the land. His peasant subjects provided an important source of inspiration for Vincent van Gogh, Robert Henri and early 20th century American Realism.",https://www.theibis.net/product/jean-francois-millet-autumn-landscape-with-a-flock-of-turkeys-1872-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14370,https://www.theibis.net/wp-content/uploads/2019/05/millet2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14360,"Jean-Francois Millet : ""Woman with a Rake"" (c. 1856-1857) 16"" x 20"" (Image: 13"" x 15.25"")","Jean-François Millets representations of peasant life were controversial in their own time. Critics found them provocative and denounced him as a socialist. In fact, they were a product of the artists modest upbringing. The eldest son of a farmer, he had spent his youth working the land. ""It is not my invention,"" he wrote in 1863, ""This cry of the ground has been heard along ago. My critics are men of taste and education, but I can not put myself in their shoes, and as I have never seen anything but fields since I was born, I try to say as best I can what I saw and felt when I was at work."" Millet played a key role in the development of the Barbizon school, an art movement that sought inspiration directly from nature. Whereas Barbizon had upheld the landscape as a worthy subject unto itself, refusing to treat it as a mere backdrop to dramatic events, Millet extended this concept to the people who lived in kinship with the land. His peasant subjects provided an important source of inspiration for Vincent van Gogh, Robert Henri and early 20th century American Realism.",https://www.theibis.net/product/jean-francois-millet-woman-with-a-rake-c-1856-1857/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14360,https://www.theibis.net/wp-content/uploads/2019/05/millet1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14348,"Katayama Bokuyo : ""Mori (Forest)"" (1928) 16"" x 20"" (Image: 13"" x 16.31"")","At the young age of twenty-seven, Katayama Bokuyo was awarded the grand prize at Japans annual Imperial Juried Exhibition in 1927. The following year, he submitted this painting showing a weasel nearly hidden in a tangled bed of flowering fishmint ( dokudani ) deep in the forest. The judges were so impressed that he was given the status of mukansa , literally ""non-vetted,"" meaning that henceforth any painting he submitted to the annual exhibition would be automatically included. Bokuyo championed a style of painting collectively known as nihon-ga (literally, Japanese style painting) to distinguish it from Western-style oil painting, which was gaining popularity in Japan. Nihon-ga artists used traditional subjects, formats and materials, but their approach often reveals some influence from the West. Here the logical recession into deep space and subtle color variations to suggest atmospheric depth are the result of Bokuyos exposure to Western art. Nevertheless, the dramatically tipped ground-plain, reduction of motifs, and precisely applied mineral pigments are elements of traditional painting. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/katayama-bokuyo-mori-forest-1928/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14348,https://www.theibis.net/wp-content/uploads/2019/05/mori_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14338,"Gustave Caillebotte : ""Nude on a Couch"" (c. 1880) 16"" x 20"" (Image: 11.31"" x 17"")","This picture belongs with a group of studies of male and female nudes painted by Caillebotte about 1880. It is unique, however, for the uncompromising realism of its anatomical observation and for its apparent sexual innuendo. The model would eventually become Caillebottes mistress.The artist has challenged the prevalent standards of taste and morality, which accepted in paintings only the academic tradition of idealized nudes. Because of its effrontery, this picture was neither exhibited nor sold during Caillebottes lifetime. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/gustave-caillebotte-nude-on-a-couch-c-1880/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14338,https://www.theibis.net/wp-content/uploads/2019/05/caille_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14326,"Ogata Kenzan : ""Autumn Ivy"" (after 1732) 16"" x 20"" (Image: 13"" x 16.75"")","Ogata Kenzan was a Japanese painter and potter known for his distinctive style of calligraphy. According to the Metropolitan Museum of Art, this album leaf ""recalls a famous episode from the tenth-century Ise Stories (Ise monogatari) in which the protagonist encounters an itinerant monk along an ivy-strewn path on Mount Utsu."" The verse reads ""Though not yet / winds through the pines / blow all around / and I dread theyll scatter / the crimson leaves of ivy.""",https://www.theibis.net/product/ogata-kenzan-autumn-ivy-after-1732/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14326,https://www.theibis.net/wp-content/uploads/2019/05/kenzan_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14316,"Otto Marseus van Schrieck : ""Still Life with Poppy, Insects and Reptiles"" (c. 1670) 16"" x 20"" (Image: 13"" x 16.75"")","Otto Marseus van Schrieck was a Dutch Golden Age painter who pioneered the sottobosco , or ""forest floor"" picture. His works are surrealistic nature studies that invite the spectator into the hidden kingdoms of snakes and toads, moths and snails. Living in the marshland beyond Amsterdams walls, he kept a menagerie of reptiles, snakes and other creepy-crawlies which he (sometimes literally) incorporated into his works, pressing butterfly wings into wet paint to blend their iridescent scales into the pigment. According to his wife, he held snakes so often that they began posing for him. The 17th century was a period of awakening to the natural world, and yet ""low"" organisms like snakes, toads, and insects were still regarded as unworthy of serious contemplation. Marseus challenged his audience to take a second look. His paintings are revelatory, filled with small surprises that reward the spectators attention; snakes pursuing moths, salamanders lurking in darkened corners, dragonflies alighting upon jagged leaves. ""Even here,"" he seems to say, ""even on the forest floor, amid the mud and weeds, there is beauty and wonder in nature, if only you will pause to see it.""",https://www.theibis.net/product/otto-marseus-van-schrieck-still-life-with-poppy-insects-and-reptiles-c-1670/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14316,https://www.theibis.net/wp-content/uploads/2019/05/schr_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14303,"Utagawa Kuniteru : ""The Young Maiden Oshichi"" (1867) 16"" x 20"" (Image: 11.25"" x 17"")","In 1683 a greengrocers daughter named Yaoya Oshichi was burned at the stake for attempted arson. During Edos great fire of the Tenna Era her family took refuge in a temple, where she fell in love with a page named Ikuta Shonosuke. Reasoning that if another fire occurred she might see him again, she decided to take matters into her own hands. When the magistrate at her trial, attempting to try her as minor, repeatedly asked her ""You must be fifteen years old, arent you?"" the simple girl failed to take the hint and answered that she was sixteen, leaving him no choice but to sentence her to death. Her tragic story inspired several playwrights, who changed her into a heroic figure who commits a capital offense to rescue her lover. She has a memorial at Enjo-ji in Tokyo, where she receives offerings of paper cranes and cooking pots even to this day. In this representation by Utagawa Kuniteru she wears the starburst pattern kimono associated with her character in Kabuki and puppet theater, the vignette above her head depicting a location in Edo known as Ai no Uchi. It is one of the artists series Edo Meisho , or Famous Sites of Edo .",https://www.theibis.net/product/utagawa-kuniteru-the-young-maiden-oshichi-1867/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14303,https://www.theibis.net/wp-content/uploads/2019/05/osi_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14290,"Japanese Art : ""Dragon in the Clouds"" (c. 1870-1920) 16"" x 20"" (Image: 13"" x 17"")","The serpentine dragon emerging from clouds is a centuries-old motif in Asian art that was represented by the best artists of the ukiyo-e period. Whereas European dragons are associated with fire, most Japanese dragons are water deities. They control rainfall and storms, and are worshiped at Shinto shrines in times of drought.",https://www.theibis.net/product/japanese-art-dragon-in-the-clouds-c-1870-1920/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14290,https://www.theibis.net/wp-content/uploads/2019/05/dcloud_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14279,"Ito Yuhan : ""Stone Lantern and Itsukushima Shrine Torii"" (c. 1910) 16"" x 20"" (Image: 12.63"" x 17"")","Ito Yuhan was a Japanese artist best-known for his blue-toned landscapes of Itsukushima. An island located in the northwest of Hiroshima Bay, it is popularly known as Miyajima, or ""Shrine Island,"" for its numerous temples. This watercolor looks toward the torii at Itsukushima Shrine, which welcomes visitors to the island, its base submerged during high tide.",https://www.theibis.net/product/ito-yuhan-stone-lantern-and-itsukushima-shrine-torii-c-1910/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14279,https://www.theibis.net/wp-content/uploads/2019/05/yuhan_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14268,"Eishosai Choki : ""First Sunrise"" (c. 1790-1820) 16"" x 20"" (Image: 10.31"" x 17"")","Eishosai Choki was a Japanese ukiyo-e artist best-known for his pictures of beautiful women ( bijin-ga ), often situated in lovely, atmospheric settings. A student (and possibly the son) of Toriyama Sekien, he worked in two distinct styles. His works signed Choki reflect the influence of Torii Kiyonaga, while those signed Shiko II are developed in the manner of Utamaro.",https://www.theibis.net/product/eishosai-choki-first-sunrise-c-1790-1820/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14268,https://www.theibis.net/wp-content/uploads/2019/05/choki2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14255,"Eishosai Choki : ""Fireflies"" (1793) 16"" x 20"" (Image: 11.13"" x 17"")","Eishosai Choki was a Japanese ukiyo-e artist best-known for his pictures of beautiful women ( bijin-ga ), often situated in lovely, atmospheric settings. A student (and possibly the son) of Toriyama Sekien, he worked in two distinct styles. His works signed Choki reflect the influence of Torii Kiyonaga, while those signed Shiko II are developed in the manner of Utamaro.",https://www.theibis.net/product/eishosai-choki-fireflies-1793/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14255,https://www.theibis.net/wp-content/uploads/2019/05/choki_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14244,"William Merritt Chase : ""Pink Azalea-Chinese Vase"" (1880-1890) 16"" x 20"" (Image: 11.88"" x 17"")","While best-remembered for his Impressionist landscapes, William Merritt Chases artistic career was founded upon the strength of his still lifes. These often featured ordinary kitchen objects and Asian artifacts, beautifully arranged under dramatic lighting. ""If you can paint a pot, you can paint an angel,"" he once said. Later, he would take up fish as a favorite still life subject, painting wet into wet so quickly that he was able to return them to the market still fresh. Of the roughly 120 still lifes that he completed during his career, PInk Azalea—Chinese Vase is one of only ten that were based upon flowers.",https://www.theibis.net/product/william-merritt-chase-pink-azalea-chinese-vase-1880-1890/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14244,https://www.theibis.net/wp-content/uploads/2019/05/mchase7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14232,"William Merritt Chase : ""Still Life with Hummingbird"" (1870) 16"" x 20"" (Image: 13"" x 16.25"")","While best-remembered for his Impressionist landscapes, William Merritt Chases artistic career was founded upon the strength of his still lifes. These often featured ordinary kitchen objects and Asian artifacts, beautifully arranged under dramatic lighting. ""If you can paint a pot, you can paint an angel,"" he once said. Later, he would take up fish as a favorite still life subject, painting wet into wet so quickly that he was able to return them to the market still fresh. Of the roughly 120 still lifes that he completed during his career, Still Life with Hummingbird is one of only ten that were based upon flowers.",https://www.theibis.net/product/william-merritt-chase-still-life-with-hummingbird-1870/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14232,https://www.theibis.net/wp-content/uploads/2019/05/mchase6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14220,"William Merritt Chase : ""Carmencita"" (1890) 16"" x 20"" (Image: 9.5"" x 17"")","Carmencita (Carmen Dauset Moreno), called the ""Pearl of Seville,"" was a popular Spanish dancer who made her American debut in August, 1889. At the instigation of Mrs. Jack Gardiner, John Singer Sargent arranged for her to perform at Chases Tenth Street studio. The ensuing portrait of her dancing with flowers and jewelry tossed at her feet captures the lively spirit of the event. ""Even at this remote day,"" wrote Chases biographer in 1917, ""the guests of the evening vividly recall it. Women tore off their jewels to throw them at the singers feet—although it is true that one emotional lady returned the next day to ask the painter to recover her gems. The kindly painter made an effort, but the canny dancer shrugged and snapped her fingers in true Latin fashion and replied that she hadnt the slightest intention of returning the impulsive ladys property.""",https://www.theibis.net/product/william-merritt-chase-carmencita-1890/?attribute_size=16%22+x+20%22+%28Image%3A+9.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14220,https://www.theibis.net/wp-content/uploads/2019/05/mchase5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14209,"William Merritt Chase : ""Seventeenth Century Lady"" (c. 1895) 16"" x 20"" (Image: 11"" x 17"")","For this full-length portrait Chase chose the title Seventeenth Century Lady to refer to the style of the seventeenth century masters whom he sought to emulate; Frans Hals, Rembrandt van Rijn and Diego Velázquez in particular. The womans garment is thoroughly modern. Posed with her back to the spectator, she faces a sliver of light suggestive of a slightly open door, lending the piece an air of mystery and anticipation while directing our attention to the intricacies of her long, white gown.",https://www.theibis.net/product/william-merritt-chase-seventeenth-century-lady-c-1895/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14209,https://www.theibis.net/wp-content/uploads/2019/05/mchase4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14196,"Hashiguchi Goyo : ""Woman Combing Her Hair"" (1920) 16"" x 20"" (Image: 12.63"" x 17"")","In 1915 Hashiguchi Goyo joined a movement to revitalize traditional ukiyo-e art rooted in the Edo and Meiji periods. So-called shin-hanga , or ""new prints,"" focused upon the traditional themes of ukiyo-e while incorporating the techniques of Western realism. Goyos contributions were of exceptional quality and represent some of the most highly prized examples of the genre. Unfortunately, he died prematurely in 1921, just as he had become fully engaged in publishing his own works. His total production numbers just fourteen prints: four landscapes, one nature print and nine of beautiful women, all but one of which were completed during the final two years of his life.",https://www.theibis.net/product/hashiguchi-goyo-woman-combing-her-hair-1920/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14196,https://www.theibis.net/wp-content/uploads/2019/05/goy3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14185,"Hashiguchi Goyo : ""Woman Dressing"" (1920) 16"" x 20"" (Image: 4.88"" x 17"")","In 1915 Hashiguchi Goyo joined a movement to revitalize traditional ukiyo-e art rooted in the Edo and Meiji periods. So-called shin-hanga , or ""new prints,"" focused upon the traditional themes of ukiyo-e while incorporating the techniques of Western realism. Goyos contributions were of exceptional quality and represent some of the most highly prized examples of the genre. Unfortunately, he died prematurely in 1921, just as he had become fully engaged in publishing his own works. His total production numbers just fourteen prints: four landscapes, one nature print and nine of beautiful women, all but one of which were completed during the final two years of his life.",https://www.theibis.net/product/hashiguchi-goyo-woman-dressing-1920/?attribute_size=16%22+x+20%22+%28Image%3A+4.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14185,https://www.theibis.net/wp-content/uploads/2019/05/goy2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14173,"Hashiguchi Goyo : ""Woman in a Summer Garment"" (1920) 16"" x 20"" (Image: 10.75"" x 17"")","In 1915 Hashiguchi Goyo joined a movement to revitalize traditional ukiyo-e art rooted in the Edo and Meiji periods. So-called shin-hanga , or ""new prints,"" focused upon the traditional themes of ukiyo-e while incorporating the techniques of Western realism. Goyos contributions were of exceptional quality and represent some of the most highly prized examples of the genre. Unfortunately, he died prematurely in 1921, just as he had become fully engaged in publishing his own works. His total production numbers just fourteen prints: four landscapes, one nature print and nine of beautiful women, all but one of which were completed during the final two years of his life.",https://www.theibis.net/product/hashiguchi-goyo-woman-in-a-summer-garment-1920/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14173,https://www.theibis.net/wp-content/uploads/2019/05/goy_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14160,"Hashiguchi Goyo : ""Woman After a Bath"" (1915) 16"" x 20"" (Image: 11"" x 17"")","In 1915 Hashiguchi Goyo joined a movement to revitalize traditional ukiyo-e art rooted in the Edo and Meiji periods. So-called shin-hanga , or ""new prints,"" focused upon the traditional themes of ukiyo-e while incorporating the techniques of Western realism. Goyos contributions were of exceptional quality and represent some of the most highly prized examples of the genre. Unfortunately, he died prematurely in 1921, just as he had become fully engaged in publishing his own works. His total production numbers just fourteen prints: four landscapes, one nature print and nine of beautiful women, all but one of which were completed during the final two years of his life.",https://www.theibis.net/product/hashiguchi-goyo-woman-after-a-bath-1915/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14160,https://www.theibis.net/wp-content/uploads/2019/05/gbath_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14148,"Utagawa Kuniyoshi : ""Zhang Shun, alias White Stripe"" (c. 1826-1830) 16"" x 20"" (Image: 11.75"" x 17"")","Zhang Shun, alias White Stripe is one of Utagawa Kuniyoshis series One Hundred and Eight Heroes of the Popular Suikoden . Suikoden , Shuihu zhuan , or ""Water Margin"" is one of the Four Great Classical Novels of Chinese literature, describing a band of rebels, based in the Liangshan Marsh, who protect the poor from corruption. 108 Warriors was Kuniyoshis first major commission and the series that made him famous. The tattoos he drew on his heroes fascinated Japanese audiences and came to influence Edo fashion.",https://www.theibis.net/product/utagawa-kuniyoshi-zhang-shun-alias-white-stripe-c-1826-1830/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14148,https://www.theibis.net/wp-content/uploads/2019/05/wstripe_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14127,"Katsushika Hokusai : ""Ono Waterfall on the Kisokaido"" (c. 1833) 16"" x 20"" (Image: 11.81"" x 17"")","Holding nature to be sacred, Hokusai introduced landscape, plant and animal prints as a worthy subject of the ukiyo-e genre, resisting its obsession with portraits of courtesans, actors and other pop cultural subjects. A humble, eight-part series, A Tour of the Waterfalls of the Provinces followed upon the success of his internationally renown Thirty-six Views of Mount Fuji . It was the first ukiyo-e series to approach the theme of falling water, and one of the first to make extensive use of the newly-introduced pigment Prussian blue. Choosing waterfalls in regions that were well-known to contemporary pilgrims and travelers, Hokusai capitalized upon the rising popularity of tourism in Edo period Japan.",https://www.theibis.net/product/katsushika-hokusai-ono-waterfall-on-the-kisokaido-c-1833/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14127,https://www.theibis.net/wp-content/uploads/2019/05/hfall2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14116,"Katsushika Hokusai : ""Kirifuri Waterfall at Kurokami Mountain in Shimotsuke"" (c. 1832) 16"" x 20"" (Image: 11.81"" x 17"")","Holding nature to be sacred, Hokusai introduced landscape, plant and animal prints as a worthy subject of the ukiyo-e genre, resisting its obsession with portraits of courtesans, actors and other pop cultural subjects. A humble, eight-part series, A Tour of the Waterfalls of the Provinces followed upon the success of his internationally renown Thirty-six Views of Mount Fuji . It was the first ukiyo-e series to approach the theme of falling water, and one of the first to make extensive use of the newly-introduced pigment Prussian blue. Choosing waterfalls in regions that were well-known to contemporary pilgrims and travelers, Hokusai capitalized upon the rising popularity of tourism in Edo period Japan.",https://www.theibis.net/product/katsushika-hokusai-kirifuri-waterfall-at-kurokami-mountain-in-shimotsuke-c-1832/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14116,https://www.theibis.net/wp-content/uploads/2019/05/hfall_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14105,"Katsushika Hokusai : ""Rainstorm Beneath the Summit"" (c. 1830-1832) 16"" x 20"" (Image: 11.5"" x 17"")","In Hokusais series Thirty-six Views of Mount Fuji , Rainstorm Beneath the Summit appears immediately after, and in contrast to, a similar composition, South Wind, Clear Sky . Whereas South Wind, Clear Sky depicts the eastern slope of Fuji on a fair weather morning, Rainstorm Beneath the Summit shows the opposite side of the mountain on a dark and stormy evening. Both prints are highly abstract, making subtle use of gradients to achieve complex atmospheric effects, and are regarded as among the finest examples of Japanese printmaking. Believed to hold the secret of immortality, Mount Fuji held special significance for Hokusai, who pined for the years necessary to perfect his art. In the postscript to One Hundred Views of Mount Fuji he wrote: ""From the age of six, I had a passion for copying the form of things and since the age of fifty I have published many drawings, yet of all I drew by my seventieth year there is nothing worth taking in to account. At seventy-three years I partly understood the structure of animals, birds, insects and fishes, and the life of grasses and plants. And so, at eighty-six I shall progress further; at ninety I shall even further penetrate their secret meaning, and by one hundred I shall perhaps truly have reached the level of the marvelous and divine. When I am one hundred and ten, each dot, each line will possess a life of its own."" Though Hokusai did not live past 88, the artistic immortality that he did achieve owes more to Fuji than to any other motif.",https://www.theibis.net/product/katsushika-hokusai-rainstorm-beneath-the-summit-c-1830-1832/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14105,https://www.theibis.net/wp-content/uploads/2019/05/hoku2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14095,"Katsushika Hokusai : ""South Wind, Clear Sky (Red Fuji)"" (c. 1830-1832) 16"" x 20"" (Image: 11.75"" x 17"")","South Wind, Clear Sky , also known as Fine Wind, Clear Morning , or simply Red Fuji , is one of the iconic masterworks belonging to Hokusais series Thirty-six Views of Mount Fuji . The most abstract, yet meteorologically accurate of the series, it depicts the eastern side of the mountain in autumn, just as the first rays of the rising sun bathe its upper slopes in the pinkish hues of morning. Art historian Gian Carlo Calza has described it as ""one of the simplest and at the same time one of the most outstanding of all Japanese prints."" Believed to hold the secret of immortality, Mount Fuji held special significance for Hokusai, who pined for the years necessary to perfect his art. In the postscript to One Hundred Views of Mount Fuji he wrote: ""From the age of six, I had a passion for copying the form of things and since the age of fifty I have published many drawings, yet of all I drew by my seventieth year there is nothing worth taking in to account. At seventy-three years I partly understood the structure of animals, birds, insects and fishes, and the life of grasses and plants. And so, at eighty-six I shall progress further; at ninety I shall even further penetrate their secret meaning, and by one hundred I shall perhaps truly have reached the level of the marvelous and divine. When I am one hundred and ten, each dot, each line will possess a life of its own."" Though Hokusai did not live past 88, the artistic immortality that he did achieve owes more to Fuji than to any other motif.",https://www.theibis.net/product/katsushika-hokusai-south-wind-clear-sky-red-fuji-c-1830-1832/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14095,https://www.theibis.net/wp-content/uploads/2019/05/hoku1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14085,"Katsushika Hokusai : ""Fuji from Goten-yama Hill at Shinagawa on the Tokaido"" (1833) 16"" x 20"" (Image: 11.38"" x 17"")","Fuji from Goten-yama Hill at Shinagawa on the Tokaido looks to Japans highest peak from across Sagami Bay. In the foreground samurai and ordinary townspeople cavort beneath cherry trees transplanted from Yoshino during the 17th century. The print is one of Hokusais series Thirty-six Views of Mount Fuji , the artists indisputable masterpiece and the most famous series to feature the mountain. Believed to hold the secret of immortality, Mount Fuji held special significance for Hokusai, who pined for the years necessary to perfect his art. In the postscript to One Hundred Views of Mount Fuji he wrote: ""From the age of six, I had a passion for copying the form of things and since the age of fifty I have published many drawings, yet of all I drew by my seventieth year there is nothing worth taking in to account. At seventy-three years I partly understood the structure of animals, birds, insects and fishes, and the life of grasses and plants. And so, at eighty-six I shall progress further; at ninety I shall even further penetrate their secret meaning, and by one hundred I shall perhaps truly have reached the level of the marvelous and divine. When I am one hundred and ten, each dot, each line will possess a life of its own."" Though Hokusai did not live past 88, the artistic immortality that he did achieve owes more to Fuji than to any other motif.",https://www.theibis.net/product/katsushika-hokusai-fuji-from-goten-yama-hill-at-shinagawa-on-the-tokaido-1833/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14085,https://www.theibis.net/wp-content/uploads/2019/05/goten_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14074,"Katsushika Hokusai : ""Mishima Pass in Kai Province"" (c. 1830-1833) 16"" x 20"" (Image: 11.25"" x 17"")","One of Hokusais series Thirty-six Views of Mount Fuji , Mishima Pass in Kai Province comments upon the small scale of human existence as measured against nature. Three travelers try in vain to wrap their arms around a massive cryptomeria tree, which is, in turn, a trifle relative to the enormous mountain that looms in the background. Believed to hold the secret of immortality, Mount Fuji held special significance for Hokusai, who pined for the years necessary to perfect his art. In the postscript to One Hundred Views of Mount Fuji he wrote: ""From the age of six, I had a passion for copying the form of things and since the age of fifty I have published many drawings, yet of all I drew by my seventieth year there is nothing worth taking in to account. At seventy-three years I partly understood the structure of animals, birds, insects and fishes, and the life of grasses and plants. And so, at eighty-six I shall progress further; at ninety I shall even further penetrate their secret meaning, and by one hundred I shall perhaps truly have reached the level of the marvelous and divine. When I am one hundred and ten, each dot, each line will possess a life of its own."" Though Hokusai did not live past 88, the artistic immortality that he did achieve owes more to Fuji than to any other motif.",https://www.theibis.net/product/katsushika-hokusai-mishima-pass-in-kai-province-c-1830-1833/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14074,https://www.theibis.net/wp-content/uploads/2019/05/mishi_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14057,"Utagawa Kuniyoshi : ""Yang Lin, Hero of the Suikoden"" (Water Margin, c. 1826-1830) 16"" x 20"" (Image: 11.56"" x 17"")","Yang Lin, Hero of the Suikoden is one of Utagawa Kuniyoshis series One Hundred and Eight Heroes of the Popular Suikoden . Suikoden , Shuihu zhuan , or ""Water Margin"" is one of the Four Great Classical Novels of Chinese literature, describing a band of rebels, based in the Liangshan Marsh, who protect the poor from corruption. 108 Warriors was Kuniyoshis first major commission and the series that made him famous. The tattoos he drew on his heroes fascinated Japanese audiences and came to influence Edo fashion.",https://www.theibis.net/product/utagawa-kuniyoshi-yang-lin-hero-of-the-suikoden-water-margin-c-1826-1830/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14057,https://www.theibis.net/wp-content/uploads/2019/05/yanglin_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14050,"Horace Pippin : ""Self-Portrait II"" (1944) 16"" x 20"" (Image: 13"" x 16.75"")","Horace Pippin was a self-taught African American painter who grew up under segregation and served in the First World War before taking up art as a means of rehabilitating his wounded right arm. He painted his experiences in the war, childhood memories, genre and religious subjects, as well as landscape, portraiture and historical events. Describing his creative process, he stated plainly ""The pictures which I have already painted come to me in my mind, and if to me it is a worthwhile picture, I paint it."" Discovered by the art world in 1937, he enjoyed substantial success until his death in 1946.",https://www.theibis.net/product/horace-pippin-self-portrait-ii-1944/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14050,https://www.theibis.net/wp-content/uploads/2019/05/pipp4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14030,"Esaias van Hulsen and Matthaus Merian : ""Illustration of the Stuttgart Masque"" (1616) 16"" x 20"" (Image: 10.75"" x 17"")","This curious engraving depicts a scene from a 1616 masque held at the court of Württemberg on the occasion of the baptism of Duke John Fredericks son. Each of the dancers represented a particular nation. The heads from which they emerged corresponded to the four compass directions, such that a Turk emerged from the southern head, a Dutchman from the north, and so on. It originally appeared in the book Repraesentatio der Furstlichen Aufzug und Ritterspil , or Depiction of the Princely Progress and Chivalrous Games .",https://www.theibis.net/product/esaias-van-hulsen-and-matthaus-merian-illustration-of-the-stuttgart-masque-1616/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14030,https://www.theibis.net/wp-content/uploads/2019/05/4head_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14020,"Kuwagata Kesai : ""Birds and Flowers (Kachoga)"" 16"" x 20"" (Image: 11.19"" x 17"")","Kachoga , or literally ""bird and flower pictures,"" are a genre of Asian art that encompasses wide range of natural motifs. Introduced to Japan from China as early as the Tang Dynasty (618-907), their quality mass production became possible during the ukiyo-e period. Initially rendered in monochrome or very limited color, kachoga prints benefited from advancements that enabled the application of richer palettes and use of gradients to aid in the representation of texture, perspective and atmospheric effects. Many ukiyo-e masters became fond of them as a means of demonstrating their pictorial skills.",https://www.theibis.net/product/kuwagata-kesai-birds-and-flowers-kachoga/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14020,https://www.theibis.net/wp-content/uploads/2019/05/kesai_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14010,"Hendrik Meyer : ""A Summer Scene"" (1787) 16"" x 20"" (Image: 12.88"" x 17"")","The fine rendering in this watercolor by Hendrik Meyer underscores his subject: an idealized version of summer in the Dutch countryside. In the foreground, a tree and a shepherd tending sheep are cast in deep shadow. Their silhouettes draw attention to a brightly lit mill house in which every brick, piece of wood, and blade of straw is visible. Beyond the mill an ivy-covered steeple, a field, and a village are, by contrast, much more pale to establish atmospheric distance. Other details suggest the summer heat: Women are barefoot, a dog drinks water from the mills stream, and cattle gravitate toward the shade. Much of the scene is animated: Men tend to animals or reap hay; women wash, spin wool, and chatter; animals wander about; birds soar above, and a frothy waterfall spills from the mill. Meyers figured landscapes were produced as finished works for sale. They revived a seventeenth-century tradition of such scenes, hearkening back to Dutch painters such as Pieter Bruegel the Elder, as well as calendar illustrations in medieval books of hours. Artists represented times of the year by showing people engaged in seasonal activities. Summer months were often represented by peasants harvesting fields, carrying hay, and guiding oxen. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/hendrik-meyer-a-summer-scene-1787/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14010,https://www.theibis.net/wp-content/uploads/2019/05/hendr2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 14000,"Buncho Ippitsusai : ""Segawa Kikunojo"" (1769) 16"" x 20"" (Image: 7.5"" x 17"")","This narrow yakusha-e print depicts the kabuki actor Segawa Kikunojo, a popular performer of female roles The artist, Ippitsusai Buncho, together with Katsukawa Shunsho, is known for having developed kabuki portraits based upon actual likeness, rather than stereotyped faces. ""Of all the followers of Shunsho,"" wrote William Lawrence Keane for The Century Magazine in 1912, ""the work of Ippitsu-sai Buncho ranks above that of all other artists in point of beauty of design and exquisite coloring....his pictures have a grace and distinction about them acquired by no other artist of the actor prints.""",https://www.theibis.net/product/buncho-ippitsusai-segawa-kikunojo-1769/?attribute_size=16%22+x+20%22+%28Image%3A+7.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=14000,https://www.theibis.net/wp-content/uploads/2019/05/ippit_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13987,"Ogata Gekko : ""Dragonfly and Pumpkin"" (c. 1890-1920) 16"" x 20"" (Image: 13"" x 16.13"")","This excellent kachoga , or ""bird and flower print,"" was conceived by Ogata Gekko, one of the earliest Japanese artists to gain international renown, exhibiting and winning awards at numerous worlds fairs. Its minimalist composition is characteristic of Japanese art, where aesthetic statements are often made in the taper of a few lines, or the gradients of an ink wash. Whereas Western art, with its three-point perspective and advanced techniques of realism, sometimes borders on the novelistic, traditional Japanese art observes the same economy and precision as its poetry.",https://www.theibis.net/product/ogata-gekko-dragonfly-and-pumpkin-c-1890-1920/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13987,https://www.theibis.net/wp-content/uploads/2019/05/gekko2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13975,"Jean Simeon Chardin : ""The Attributes of the Arts and the Rewards Which Are Accorded Them"" (1766) 16"" x 20"" (Image: 13"" x 16.88"")","This picture may appear to reproduce the casual clutter of an 18th-century tabletop. Not so. Chardin carefully selected objects to convey specific meanings. A palette with brushes, placed atop a paint box, symbolizes the art of painting. Building plans, spread beneath drafting and surveying tools, represent architecture. An ornate bronze pitcher alludes to goldsmithing, and the red portfolio symbolizes drawing. The plaster model of J. B. Pigalles Mercury , an actual work by a friend of Chardins, stands for sculpture. The cross on a ribbon is the Order of Saint Michael, the highest honor an artist could then receive. Pigalle was the first sculptor to win it. So this painting sends multiple messages: it presents emblems of the arts and of artists glory and honors a specific artist, Pigalle. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/jean-simeon-chardin-the-attributes-of-the-arts-and-the-rewards-which-are-accorded-them-1766/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13975,https://www.theibis.net/wp-content/uploads/2019/05/chard10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13965,"Benjamin West : ""Destruction of the Beast and the False Prophet"" (1804) 16"" x 20"" (Image: 11.75"" x 17"")","The popularity of Benjamin West owed entirely to the patronage of King George III of England and his project for the Chapel of Revealed Religion at Windsor Castle (1780-1801). West exhibited this picture, also known as The Messiah on a White Horse, at the Royal Academy in 1804, and later claimed that the subject was conceived for the Revealed Religion project, although a larger version never materialized. The principal figure is the heroic rider of the Book of Revelations, often identified as the Messiah. The painting probes the extent to which the apocalyptic sublime can introduce the grotesque without being overwhelmed by it. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/benjamin-west-destruction-of-the-beast-and-the-false-prophet-1804/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13965,https://www.theibis.net/wp-content/uploads/2019/05/bwest_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13953,"Claude Monet : ""The Japanese Bridge"" (c. 1923-1924) 16"" x 20"" (Image: 13"" x 17"")","In 1883, Claude Monet moved to Giverny, about forty miles northwest of Paris. For the rest of his life, he devoted himself to painting and tending his gardens, which included the Japanese footbridge in this picture. His style became more expressive as he piled thick pigments layer upon layer in ever more intense colors that often didn’t correspond to reality (possibly because his eyesight was failing). Giving up any desire to record minute details, he wove tangled skeins of paint with bold strokes, seeming more concerned with nature’s mysteries than with mere appearance. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/claude-monet-the-japanese-bridge-c-1923-1924/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13953,https://www.theibis.net/wp-content/uploads/2019/05/monet33_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13943,"Ernst Ludwig Kirchner : ""Modern Bohemia"" (1924) 16"" x 20"" (Image: 12.81"" x 17"")","In 1906, Kirchner co-founded the Dresden expressionist group known as Die Brücke (The Bridge), an avant-garde movement that investigated the realities and fantasies of a life lived with freedom, intensity, and eroticism. Modern and non-western arts were the means of their exploration—with study of the nude at the center of their practice. Kirchner brings all these elements together in Modern Bohemia—a depiction of his lodgings in Switzerland—to express the ideal creative environment. The forms of artist, author, nude, and female spectator are united with those of Caucasian carpets and sculptural objects inspired by tribal art in a complex balance of form, pattern and color. The artists modulation of color intensity and placement of horizontal and vertical brushstrokes evoke a woven surface effect that firmly places this painting in what is known as Kirchners ""tapestry"" period. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/ernst-ludwig-kirchner-modern-bohemia-1924/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13943,https://www.theibis.net/wp-content/uploads/2019/05/modboh_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13932,"Chaim Soutine : ""Carcass of Beef"" (1925) 16"" x 20"" (Image: 11.75"" x 17"")","Soutine grew up poor in a small Lithuanian town and continued to struggle as a starving artist in Paris. His years of deprivation gave him stomach ulcers, so he abstained from meat and other rich foods. Beginning to achieve success as an artist, he found himself, ironically, buying meat—but not to eat. He expressed his ambivalent relationship to food through paintings of butchered animals. Carcass of Beef shows the influence of Rembrandt’s Slaughtered Ox, a painting of an ox carcass strung up in a slaughterhouse. Soutine bought a steer’s carcass and put it up in his studio. As it rotted, his neighbors noticed the smell and called the health authorities, who suggested he inject the carcass with formaldehyde. He did so, but as the flesh dried it lost its vivid color. To solve the problem, Soutine bought blood from the slaughterhouse and applied it to the carcass. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/chaim-soutine-carcass-of-beef-1925/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13932,https://www.theibis.net/wp-content/uploads/2019/05/sout_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13921,"William Merritt Chase : ""At the Seaside"" (c. 1892) 16"" x 20"" (Image: 9.75"" x 17"")","William Merritt Chase had worked in a realist style while studying in Munich during the 1870s, but by the 1890s he had embraced the light palette and free-flowing brushwork of the impressionists. In At the Seaside he ""suggests faces and limbs with single virtuoso brushstrokes,"" observes the Metropolitan Museum of Art. ""He is liberated from the constraints of academic perspective and of classical composition, and instead distributes the figures along the waters edge, asymmetrically and informally."" Depicting beach-goers along the Long Island seashore at Shinnecock, in the town of Southampton, the painting is reminiscent of Eugène Boudins seaside views of Normandy; both ideal settings for artists to attend to the aesthetic properties of light and air.",https://www.theibis.net/product/william-merritt-chase-at-the-seaside-c-1892/?attribute_size=16%22+x+20%22+%28Image%3A+9.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13921,https://www.theibis.net/wp-content/uploads/2019/05/mchase3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13909,"William Merritt Chase : ""Mrs. Chase in Prospect Park"" (1886) 16"" x 20"" (Image: 11.75"" x 17"")","The Metropolitan Museum of Art describes Mrs. Chase in Prospect Park as one of ""the first convincing Impressionist paintings executed in the United States."" An exploration of the play of light upon the surface of water, it is reminiscent of Monets Argenteuil period, when he painted the Seine from atop a floating studio. Having worked in a realist style while studying in Europe, Chase was now falling under the influence Sargent, Whistler and Manet, adopting looser brushwork and a brighter palette that would lead to the luminous and airy landscapes that he would produce in Shinnecock, Southampton.",https://www.theibis.net/product/william-merritt-chase-mrs-chase-in-prospect-park-1886/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13909,https://www.theibis.net/wp-content/uploads/2019/05/mchase2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13897,"Hendrik Meyer : ""A Winter Scene"" (1787) 16"" x 20"" (Image: 12.88"" x 17"")","Hendrik Meyer illustrated the subject of this watercolor—an idealized version of winter in a Dutch village—in great detail. A barren tree rendered in crisp lines and white highlights, dominates the foreground. The sky is filled with gray clouds, smoke pours from a cottage chimney, and a nearby stream is frozen over. A partially submerged rowboat is covered with snow and ice. Despite the frigid weather, people are outside, keeping warm with activities such as chopping and gathering wood, sledding, and ice-skating. Other elements in the scene also suggest movement: a windmill, chimney smoke, and birds circling or flying in formation. The landscape is filled with delicate textures: grass peeking through snow, a thatched roof, and skaters trails on ice. Meyers figured landscapes were produced as finished works for sale. They revived a seventeenth-century tradition of such scenes, hearkening back to Dutch painters such as Pieter Bruegel the Elder, as well as calendar illustrations in medieval books of hours. Artists represented times of the year by showing people engaged in seasonal activities. Winter depictions often featured peasants felling trees, gathering wood, and ice-skating. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/hendrik-meyer-a-winter-scene-1787/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13897,https://www.theibis.net/wp-content/uploads/2019/05/hendr_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13887,"Ogata Gekko : ""Dragon Rising up to Heaven"" (1897) 16"" x 20"" (Image: 11.69"" x 17"")","Ogata Gekko was one of the earliest Japanese artists to gain international renown, exhibiting and winning awards at numerous worlds fairs. A self-taught artist, he made designs for lacquerware, illustrated books and newspapers before taking up printmaking. When he did so, his style often imitated the brush stroke, as is evident in the smoke that here surrounds the dragon, rising against the backdrop of Mount Fuji. His most famous composition, Dragon Rising up to Heaven belongs to his series Miscellany from Gekko , and is also repeated—with a much smaller dragon—in One Hundred Views of Mount Fuji . (Image restoration by Adam Cuerden.)",https://www.theibis.net/product/ogata-gekko-dragon-rising-up-to-heaven-1897/?attribute_size=16%22+x+20%22+%28Image%3A+11.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13887,https://www.theibis.net/wp-content/uploads/2019/05/gekko_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13875,"Toyota Hokkei : ""Delicacies of the Sea (Kanagawa)"" (1818-1830) 16"" x 20"" (Image: 13"" x 14.81"")","Toyota Hokkei was a student of Hokusai, and before he was a student of Hokusai he was a fishmonger. Depicting an octopus and fish representative of the sea life of Kanagawa Prefecture, this print is one of his sixteen-part series Souvenirs of Enoshima . In travel-related series such as these, Hokkei and Hokusai were capitalizing upon the rising popularity of tourism in late Edo Japan and loosing the ukiyo-e genre from its obsession with actors and courtesans.",https://www.theibis.net/product/toyota-hokkei-delicacies-of-the-sea-kanagawa-1818-1830/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13875,https://www.theibis.net/wp-content/uploads/2019/05/toyota_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13863,"Okuhara Seiko : ""Small Bird and Grapes"" (c. 1890-1913) 16"" x 20"" (Image: 8.25"" x 17"")","In this elegant kachoga , or ""bird and flower picture,"" grapevines create a path for the eye to a blue bird gliding out of frame. Its authorship is attributed to Okuhara Seiko, a renown literati artist, or bunjin , noted for having eschewed a female persona. She wore masculine clothing and short hair, and changed her name from the feminine Setsuko to the gender-neutral Seiko, which means ""clear lake."" She lived with her student and companion Watanabe Seiran and, during the 1870s, opened a co-ed school that afforded girls the opportunity to study away from the demands of home.",https://www.theibis.net/product/okuhara-seiko-small-bird-and-grapes-c-1890-1913/?attribute_size=16%22+x+20%22+%28Image%3A+8.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13863,https://www.theibis.net/wp-content/uploads/2019/05/bgrape_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13850,"Abraham Mignon : ""Still Life with Fruits, Foliage and Insects"" (c. 1669) 16"" x 20"" (Image: 13"" x 15.75"")","Still lifes often carried symbolic meanings for their original Dutch viewers. Here, the crowded display of fruit and insects testifies to the bounty of nature. Abraham Mignon’s virtuoso technique also reveals his desire to vie with the natural world and briefly halt time’s passage by fixing these objects in paint. The sheer variety of natural organisms still fascinates. But the fruit has begun to rot, and the once-mighty oak tree shows signs of blight. The stone in the foreground has fallen from a once-perfect building, and the arch in the right background crumbles. Butterflies and caterpillars, traditional symbols of transience, also allude to the impermanence of earthly things. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/abraham-mignon-still-life-with-fruits-foliage-and-insects-c-1669/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13850,https://www.theibis.net/wp-content/uploads/2019/05/mig7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13839,"Pierre Bonnard : ""Dining Room in the Country"" (1913) 16"" x 20"" (Image: 13"" x 16.38"")","In 1912, Pierre Bonnard bought a country house called Ma Roulotte (""My Caravan"") at Vernonnet, a small town on the Seine. This painting shows the dining room there, with cats perching on the chairs and Marthe de Méligny, the artists wife, leaning on the windowsill. Bonnard, who considered himself ""the last of the Impressionists,"" emphasized the expressive qualities of bright colors and loose brushstrokes in this picture. He united the interior with the exterior through the open window and door, and linked the forms by bathing them in related hues. Unlike the Impressionists, however, Bonnard painted entirely from memory. And like the Symbolists, he wanted his works to reflect his subjective response to the subject. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/pierre-bonnard-dining-room-in-the-country-1913/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13839,https://www.theibis.net/wp-content/uploads/2019/05/bonnard1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13828,"Anne-Louis Girodet de Roussy-Trioson : ""Portrait of Mlle. Lange as Danae"" (1799) 16"" x 20"" (Image: 13"" x 15.81"")","Miss Lange was a talented actress known for her beauty and wealthy lovers. Girodet had painted an earlier portrait of her that she found unflattering. When she refused to pay the agreed-upon price and insisted that the painting be removed from public view at the Paris Salon, the enraged Girodet sought revenge with this second, satirical portrait. Eighteenth-century artists sometimes portrayed people as mythological characters to highlight their virtues. Girodet inverted this convention to defame Miss Lange. Danae was one of the mortals loved by the Greek god Zeus, who transformed himself into a shower of gold and fell upon her. Girodet shows Miss Lange greedily catching the gold coins. All of the paintings details are scathingly symbolic. For example, the turkey wearing a wedding ring represents a man the actress married for his fortune. The cracked mirror denotes her inability to see herself as Girodet saw her—a vain, adulterous, and avaricious woman. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/anne-louis-girodet-de-roussy-trioson-portrait-of-mlle-lange-as-danae-1799/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13828,https://www.theibis.net/wp-content/uploads/2019/05/girodet2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13817,"Edgar Degas : ""Portrait of Mlle. Hortense Valpincon"" (c. 1871) 16"" x 20"" (Image: 11.56"" x 17"")","Throughout his life, Degas was a frequent guest at Ménil-Hubert, the country estate of his childhood friend Paul Valpinçon. Located in Normandy, Ménil-Hubert offered the artist a pleasant change of scenery and a family of captive yet willing models, whom he depicted on numerous occasions. This portrait of his host’s eldest child and only daughter, Hortense, ranks among the most memorable products of those visits and stands as the most winning depiction of a child from Degas’s long career. The circumstances surrounding the portrait’s creation were documented in the 1930s during an interview with Hortense, then Madame Jacques Fourchy. She said that, having come to Ménil-Hubert in haste, Degas was without proper canvas and was given a remnant of mattress ticking as a substitute. This account was dismissed by later art historians as a faded anecdote. However, the accuracy of Hortense’s memory was substantiated in 1996 when a pattern of blue-and-white striping was discovered at the taped edges of the canvas. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/edgar-degas-portrait-of-mlle-hortense-valpincon-c-1871/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13817,https://www.theibis.net/wp-content/uploads/2019/05/degmet6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13805,"El Greco : ""Christ Driving the Money Changers from the Temple"" (c. 1570) 16"" x 20"" (Image: 13"" x 16.63"")","Christ’s expulsion of the money changers who were desecrating the temple in Jerusalem was a favorite theme in Counter-Reformation art. To Catholics, it symbolized purification of the church through internal reforms and the expulsion of Protestant heretics. Known for his uniquely Mannerist style, El Greco used jarring lines, confused space, and illogical lighting in this composition, contributing to the atmosphere of anger and disruption. In 1577 El Greco settled permanently in Spain. A native of Crete, he became known as “El Greco” (the Greek), but here his full signature appears in Greek letters on the step below Christ. In the lower-right corner, El Greco portrayed the four artists he regarded as the giants of the Renaissance: Titian, Michelangelo, Giulio Clovio (a miniaturist and manuscript illuminator), and Raphael. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/el-greco-christ-driving-the-money-changers-from-the-temple-c-1570/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13805,https://www.theibis.net/wp-content/uploads/2019/05/elgr5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13793,"William Merritt Chase : ""Still Life: Fish"" (by 1908) 16"" x 20"" (Image: 13"" x 14.56"")","Late in his career the American impressionist William Merritt Chase took up fish as a favorite still life subject. Staging these on dark backgrounds with light glistening upon their scales, he was able to achieve dramatic effects, as collector Leo Stein wrote in 1917, ""at a lesser price of organization than groups of smaller or less expressively shaped objects."" He often staged his process for students, who gasped as his pictures came to life. According to the Brooklyn Museum, he ""painted quickly, wet into wet (brushing wet paint into wet paint), beginning with a base preparation of silvery white and blue tones. Identifying the brightest passage at the outset, Chase then worked up the darks and lights simultaneously."" His technique was so rapid that he was able to return the fish to market, still fresh enough to be sold.",https://www.theibis.net/product/william-merritt-chase-still-life-fish-by-1908/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13793,https://www.theibis.net/wp-content/uploads/2019/05/cfish2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13783,"William Merritt Chase : ""Big Copper Kettle and Fish"" (c. 1914) 16"" x 20"" (Image: 13"" x 16.25"")","Late in his career the American impressionist William Merritt Chase took up fish as a favorite still life subject. Staging these on dark backgrounds with light glistening upon their scales, he was able to achieve dramatic effects, as collector Leo Stein wrote in 1917, ""at a lesser price of organization than groups of smaller or less expressively shaped objects."" He often staged his process for students, who gasped as his pictures came to life. According to the Brooklyn Museum, he ""painted quickly, wet into wet (brushing wet paint into wet paint), beginning with a base preparation of silvery white and blue tones. Identifying the brightest passage at the outset, Chase then worked up the darks and lights simultaneously."" His technique was so rapid that he was able to return the fish to market, still fresh enough to be sold.",https://www.theibis.net/product/william-merritt-chase-big-copper-kettle-and-fish-c-1914/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13783,https://www.theibis.net/wp-content/uploads/2019/05/cfish_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13771,"William Merritt Chase : ""For the Little One"" (c. 1896) 16"" x 20"" (Image: 13"" x 15"")","For the Little One is a plein air painting of the artists wife, Alice, sewing for one of their five children in the entry hall of their colonial revival home in Shinnecock, Southampton. The art collector Duncan Phillips might have had this piece in mind when he reflected upon the ""immediate charm"" of Chases interiors, observing that ""It is more than a trick of cool light on reflecting surfaces, mahogany table-tops and hard wood floors. It is the hint of once familiar moments long forgotten, a sentiment of the quiet dignity of a patrician home.""",https://www.theibis.net/product/william-merritt-chase-for-the-little-one-c-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13771,https://www.theibis.net/wp-content/uploads/2019/05/mchase1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13760,"Peter Paul Rubens : ""Wolf and Fox Hunt"" (c. 1616) 16"" x 20"" (Image: 10.88"" x 17"")","This massive canvas was the first in a series of large hunts that Rubens and his workshop produced from about 1616-1621. Inspired by, and designed to replace more expensive tapestries, they were intended for noble landowners who engaged in hunting as an aristocratic privilege. Initially measuring about 11 or 12 x 18 feet, Rubens was forced to crop the canvas to 8 x 12 1/3 feet when its enormous scale proved a bit too grandiose for his would-be patrons. In a 1616 letter to Sir Dudley Carleton, Toby Matthew commented that Wolf and Fox Hunt was ""so very bigge, that none but great Princes have houses fitt to hange it up.""",https://www.theibis.net/product/peter-paul-rubens-wolf-and-fox-hunt-c-1616/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13760,https://www.theibis.net/wp-content/uploads/2019/05/rubens3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13738,"Peter Paul Rubens : ""The Virgin as the Woman of the Apocalypse"" (c. 1623-1624) 16"" x 20"" (Image: 13"" x 16.75"")","This oil sketch or modello was commissioned by Prince-Bishop Viet Adam for the main altarpiece of Freising Cathedral in southern Germany. In the center the Virgin Mary holds the Christ Child while trampling the serpent of sin, who curls around the moon at her feet. To the left the Archangel Michael and angels cast out Satan, the ""great red dragon with seven heads,"" and other ghoulish demons. Above, God the Father instructs an angel to place a pair of wings on the Virgins shoulders. Peter Paul Rubens contrasted good with evil by juxtaposing the agony and gruesomeness of the demons as they fall into hell with the Virgin and Child rising heavenward at the right. Rapid and gestural brushstrokes lend immediacy and drama to the scene. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/peter-paul-rubens-the-virgin-as-the-woman-of-the-apocalypse-c-1623-1624/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13738,https://www.theibis.net/wp-content/uploads/2019/05/apocar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13726,"Peter Paul Rubens : ""The Entombment"" (c. 1612) 16"" x 20"" (Image: 13"" x 13"")","Peter Paul Rubens depicted the moment after the Crucifixion and before the Resurrection when Christ is placed into the tomb. He is being supported by those closest to him in life: John the Evangelist, in a brilliant red robe, bears the weight of Christ; Mary Magdalene cries in the background; while Mary, the mother of James the Younger and Joseph, bows her head in sorrow. Mary, the mother of Christ, cradles his head and looks heavenward for divine intercession. The Entombment was meant to make the viewers religious experience personal and encourage the faithful to imagine the physical horror of Christs Crucifixion. Christs tortured features confront the viewer, and our attention is focused on his corpse, sacrifice, and suffering. Wounds are openly displayed: blood flows from the gaping laceration in Christs side and the puncture wounds on his hands. Rubens contrasted the living and the dead by juxtaposing the lifeless body and green-tinged skin of Christ with the healthy complexion of St. John. This painting was probably made to serve as an altarpiece in a small chapel, perhaps one dedicated to the Eucharist. The slab on which the body is placed suggests an altar, while the sheaf of wheat alludes to the bread of the Eucharist, the equivalent of Christs body in the Mass. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/peter-paul-rubens-the-entombment-c-1612/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13726,https://www.theibis.net/wp-content/uploads/2019/05/entomb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13715,"Peter Paul Rubens : ""The Calydonian Boar Hunt"" (c. 1611-1612) 16"" x 20"" (Image: 11"" x 17"")","Wrapped in a flowing red cape, the warrior Meleager thrusts his spear into the shoulder of a massive boar. The ferocious creature—seemingly undaunted by a pair of hounds latched onto its bristled hide—has turned to confront head-on its human adversary. Meleagers blow will prove to be fatal to the boar, but the beast has proven itself as a fearsome foe. Beneath its imposing hooves lie the disemboweled carcass of a hound and the prostrate corpse of the hunter Ancaeus. The story of the Calydonian boar hunt was told and retold during antiquity—most famously in Ovids Metamorphoses . When King Oeneus of Calydon failed to honor the goddess Diana with offerings, she released a terrifying boar on his land. The kings son, Meleager, assembled a group of renowned warriors to slay the beast. Several of the huntsmen were killed or maimed before Meleager finally defeated the boar. He presented its head as a trophy to his beloved, the huntress Atalanta, who is seen behind Meleager, with bow in hand. Peter Paul Rubens created this painting a few years after an extended stay in Italy. He drew from ancient sarcophagi and statues he had seen there for the poses of many of the figures. For example, the boar seen in profile was taken directly from a well-known marble in Florences Uffizi Gallery. Rubenss appropriation of iconic images from antiquity was intended to resonate with learned viewers. For the figures on horseback, Rubens borrowed from his Renaissance predecessors, Leonardo da Vinci and Raphael. But Rubenss dynamic and inventive interpretation of the hunt was wholly his own. With this painting, he established the theme of the epic combat between man and animal, a subject to which he would return throughout his career. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/peter-paul-rubens-the-calydonian-boar-hunt-c-1611-1612/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13715,https://www.theibis.net/wp-content/uploads/2019/05/calyb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13703,"Peter Paul Rubens : ""Daniel in the Lions Den"" (c. 1614-1616) 16"" x 20"" (Image: 11.5"" x 17"")","Rendered at close to life-size, Rubens lions are the product of careful observation and sketches of live specimens made at the royal menagerie in Brussels, and well as his studies of ancient sculpture seen in Italy. With consummate realism, he describes their anatomy, the texture of their fur, their range of gesture, movement and expression. They nap, snarl, and peer out from the canvas, creating the impression that we share their space. In his representation of the Old Testament story, Rubens chose the moment the rock is lifted from the den. Daniel, having been entombed with the lions for praying to the Christian God, has been found miraculously unharmed. One of the leading painters of the Counter-Reformation, Rubens sought to reassure Catholics who felt likewise threatened and isolated by the rising tide of Protestantism.",https://www.theibis.net/product/peter-paul-rubens-daniel-in-the-lions-den-c-1614-1616/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13703,https://www.theibis.net/wp-content/uploads/2019/05/lden_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13691,"Peter Paul Rubens : ""Venus and Adonis"" (mid-1630s) 16"" x 20"" (Image: 13"" x 16.13"")","Pricked by one of Cupids arrows, Venus became the lover of Adonis, a handsome hunter, but fretted—rightly—over his encounters with big game. On being gored by the Calydonian boar, he died in her arms, her tears mingling with his blood to create the anemone flower. Depicting Adonis taking his leave of Venus and Cupid, who beseech him to stay, Rubens was repeating a subject that originated with Titian, and would have appealed to wealthy patrons who hunted on their estates.",https://www.theibis.net/product/peter-paul-rubens-venus-and-adonis-mid-1630s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13691,https://www.theibis.net/wp-content/uploads/2019/05/rubens2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13681,"Titian : ""Venus and Adonis"" (1550s) 16"" x 20"" (Image: 13"" x 16.19"")","Pricked by one of Cupids arrows, Venus became the lover of Adonis, a handsome hunter, but fretted—rightly—over his encounters with big game. On being gored by the Calydonian boar, he died in her arms, her tears mingling with his blood to create the anemone flower. The subject of Adonis taking his leave originated with Titian, who repeated it in numerous variations from the 1520s onward, and was continued by later artists, such as Peter Paul Rubens. According to the Metropolitan Museum of Art, this variation ""was painted at the end of his career and its high quality shows that it was carried out by the artist himself.""",https://www.theibis.net/product/titian-venus-and-adonis-1550s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13681,https://www.theibis.net/wp-content/uploads/2019/05/titian1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13669,"Peter Paul Rubens and Jan Brueghel the Elder : ""The Feast of Achelous"" (c. 1615) 16"" x 20"" (Image: 11.13"" x 17"")","The Feast of Acheloüs takes place during an interlude in Ovids Metamorphoses wherein the river god receives Theseus in his grotto and relates the story of his lover Perimele, transformed into an island and now forever in his embrace. The large panel piece was a collaboration between Peter Paul Rubens, who painted the figures, and Jan Brueghel the Elder, who contributed the landscape and still life elements. It would have been intended for the private gallery of a discriminating collector who could appreciate its fine execution, references to classical sculpture and mythology.",https://www.theibis.net/product/peter-paul-rubens-and-jan-brueghel-the-elder-the-feast-of-achelous-c-1615/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13669,https://www.theibis.net/wp-content/uploads/2019/05/rubens1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13659,"Johann August Heinrich : ""At the Edge of the Forest"" (c. 1820) 16"" x 20"" (Image: 13"" x 17"")","Exquisitely detailed plants and trees frame this view of the mountains south of Dresden, one of only five known paintings by the tragically short-lived artist Johann August Heinrich. His ""close observation and truthfulness,"" observes Sabine Rewald of the Metropolitan Museum of Art, ""turn this modest-seeming image into something poetic and magical, reminiscent of Dürers nature studies."" Having recently met Johan Christian Dahl and become a pupil of Caspar David Friedrich, Heinrich would die on his first trip to Italy at the age of 28.",https://www.theibis.net/product/johann-august-heinrich-at-the-edge-of-the-forest-c-1820/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13659,https://www.theibis.net/wp-content/uploads/2019/05/heinr_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13648,"Horace Pippin : ""Asleep"" (1943) 16"" x 20"" (Image: 12.56"" x 17"")","Horace Pippin was a self-taught African American painter who grew up under segregation and served in the First World War before taking up art as a means of rehabilitating his wounded right arm. He painted his experiences in the war, childhood memories, genre and religious subjects, as well as landscape, portraiture and historical events. Describing his creative process, he stated plainly ""The pictures which I have already painted come to me in my mind, and if to me it is a worthwhile picture, I paint it."" Discovered by the art world in 1937, he enjoyed substantial success until his death in 1946.",https://www.theibis.net/product/horace-pippin-asleep-1943/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13648,https://www.theibis.net/wp-content/uploads/2019/05/pipp3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13638,"Horace Pippin : ""Victorian Interior II"" (1945) 16"" x 20"" (Image: 13"" x 15.75"")","Horace Pippin was a self-taught African American painter who grew up under segregation and served in the First World War before taking up art as a means of rehabilitating his wounded right arm. He painted his experiences in the war, childhood memories, genre and religious subjects, as well as landscape, portraiture and historical events. Describing his creative process, he stated plainly ""The pictures which I have already painted come to me in my mind, and if to me it is a worthwhile picture, I paint it."" Discovered by the art world in 1937, he enjoyed substantial success until his death in 1946.",https://www.theibis.net/product/horace-pippin-victorian-interior-ii-1945/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13638,https://www.theibis.net/wp-content/uploads/2019/05/pipp2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13626,"Henri Fantin-Latour : ""Roses and Lilies"" (1888) 16"" x 20"" (Image: 13"" x 16.81"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-roses-and-lilies-1888/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13626,https://www.theibis.net/wp-content/uploads/2019/05/fant12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13614,"Rembrandt van Rijn : ""Lucretia"" (1666) 16"" x 20"" (Image: 13"" x 15.63"")","Rembrandt tells the story of Lucretia through her solemn and saddened gaze, in the traces of blood on her gown, and the dagger in her hand. The wife of a Roman nobleman, Lucretia was known for her loyalty and virtue. She was raped by Sextus Tarquinius, the son of the ruling tyrant. Lucretia revealed the crime to her husband and father, and, in their presence, took her own life. She chose death in order to prevent dishonor, at a time and place when a woman’s perceived virtue was more valuable than her life. (Text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/rembrandt-van-rijn-lucretia-1666/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13614,https://www.theibis.net/wp-content/uploads/2019/05/luc66_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13603,"Willem Vrelant : ""Leaf from the Arenberg Hours"" (early 1460s) 16"" x 20"" (Image: 10.56"" x 17"")","Willem Vrelant was one of the most prolific, influential, and commercially successful illuminators working in Bruges during the third quarter of the 1400s. He moved from his home in Utrecht to Bruges sometime before 1454, when he was recorded as an active member of the Bruges guild of Saint John the Evangelist, which served illuminators, scribes, parchment-makers, and others involved in the book trade. A receipt for payment confirms that Vrelant illuminated a lavish historical manuscript for Philip the Good, duke of Burgundy, in 1468. Vrelant also produced numerous manuscripts for export and worked for other prominent patrons, including book collectors and some of the dukes closest aides. Vrelants distinctive style of illumination was conservative for the time. He used heavy black contours to outline his static figures and applied intense primary colors overall, along with gold for drapery highlights. Based on the large number of surviving examples of his work and the great range in their quality, he may have relied on a significant number of assistants and collaborators to fulfill his commissions. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/willem-vrelant-leaf-from-the-arenberg-hours-early-1460s/?attribute_size=16%22+x+20%22+%28Image%3A+10.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13603,https://www.theibis.net/wp-content/uploads/2019/05/vrel4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13591,"Louis Raemaekers : ""The German Tango"" (c. 1916) 16"" x 20"" (Image: 11.5"" x 17"")","The German Tango is a political cartoon by Louis Raemaekers, an outspoken critic of Germany during the First World War. A 1916 collection of his works contains the following commentary by John Buchan: ""A blonde woman, wearing the Imperial crown and with her hair braided in pigtails like a German backfisch , is whirling in a tango with a skeleton partner. Her face is livid with terror and fatigue, her limbs are drooping, but she is held by inexorable bony claws. On the feet of the skeleton are dancing pumps, a touch which adds to the grimness. This ghoulish dance does not lack its element of ghastly ceremonial. ""The Dance of Death has long been the theme of the moralist in art, from Oreagnas fresco on the walls of the Campo Santo at Pisa to Holbeins great woodcuts and our own Rowlandson. In Germany especially have these macabre imaginings flourished. The phantasmagoria of decay has haunted German art, as it haunted Poe, from Dürer to Boecklin. But the mediaeval Dance of Death was stately allegory, showing the pageant of life brooded over by the shadow of mortality. In M. Raemaekers cartoon there is no dignity, no lofty resignation. He shows Death summoned in a mad caprice and kept as companion till the revel becomes a whirling horror. ""It is the profoundest symbol of the war. In a hot fit of racial pride, Death has been welcomed as an ally. And the dance on which Germany enters is no stately minuet with something of tragic dignity in it. It is a common vulgar shuffle, a thing of ugly gestures and violent motions, the true sport of degenerates. Once begun there is no halting. From East to West and from West to East the dancers move. There is no rest, for Death is a pitiless comrade. From such a partner, lightly and arrogantly summoned, there can be no parting. The traveler seeks a goal, but the dancers move blindly and aimlessly among the points of the compass. Death, when called to the dance, claims eternal possession.""",https://www.theibis.net/product/louis-raemaekers-the-german-tango-c-1916/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13591,https://www.theibis.net/wp-content/uploads/2019/05/tango_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13578,"Katsushika Hokusai : ""Yoro Waterfall in Mino Province"" (c. 1832) 16"" x 20"" (Image: 11.75"" x 17"")","Holding nature to be sacred, Hokusai introduced landscape, plant and animal prints as a worthy subject of the ukiyo-e genre, resisting its obsession with portraits of courtesans, actors and other pop cultural subjects. A humble, eight-part series, A Tour of the Waterfalls of the Provinces followed upon the success of his internationally renown Thirty-six Views of Mount Fuji . It was the first ukiyo-e series to approach the theme of falling water, and one of the first to make extensive use of the newly-introduced pigment Prussian blue. Choosing waterfalls in regions that were well-known to contemporary pilgrims and travelers, Hokusai capitalized upon the rising popularity of tourism in Edo period Japan.",https://www.theibis.net/product/katsushika-hokusai-yoro-waterfall-in-mino-province-c-1832/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13578,https://www.theibis.net/wp-content/uploads/2019/05/hfall3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13564,"Tsukioka Yoshitoshi : ""Grave Marker Moon"" (1886) 16"" x 20"" (Image: 12"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" Grave Marker Moon depicts the waka poet Ono no Komachi, once renowned for her physical beauty as well as her literary prowess. Japanese legend and popular culture have it that her arrogance was punished by destitution, and that in her old age she wandered the earth as beggar, her lovers having abandoned her. Yoshitishi envisions her seated upon a grave marker beneath the waning moon, reflecting upon a life filled with regret.",https://www.theibis.net/product/tsukioka-yoshitoshi-grave-marker-moon-1886/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13564,https://www.theibis.net/wp-content/uploads/2019/05/yoshit3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13551,"Master of Dresden : ""The Nativity"" (c. 1480-1485) 16"" x 20"" (Image: 11.5"" x 17"")","The anonymous illuminator known as the Master of the Dresden Prayer Book was a painter of tremendous originality. Named after a book of hours now in Dresden, he worked in Bruges from around 1465 until about 1515. At a time when artists favored elaborate costumes and contrived postures, this illuminator gave his figures a sweeter, more innocent quality. He had an uncanny ability to locate the humor or irony in a familiar story, and he showed particular sympathy for coarse or simple characters. The novelty of his colors—including bright oranges, teals, burgundies, rich blues, and sometimes black—often arranged in surprising combinations, further attests to the refreshing originality of his art. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/master-of-dresden-the-nativity-c-1480-1485/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13551,https://www.theibis.net/wp-content/uploads/2019/05/dres3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13540,"Master of Dresden : ""David and Goliath"" (c. 1480-1485) 16"" x 20"" (Image: 11.5"" x 17"")","The anonymous illuminator known as the Master of the Dresden Prayer Book was a painter of tremendous originality. Named after a book of hours now in Dresden, he worked in Bruges from around 1465 until about 1515. At a time when artists favored elaborate costumes and contrived postures, this illuminator gave his figures a sweeter, more innocent quality. He had an uncanny ability to locate the humor or irony in a familiar story, and he showed particular sympathy for coarse or simple characters. The novelty of his colors—including bright oranges, teals, burgundies, rich blues, and sometimes black—often arranged in surprising combinations, further attests to the refreshing originality of his art. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/master-of-dresden-david-and-goliath-c-1480-1485/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13540,https://www.theibis.net/wp-content/uploads/2019/05/dres2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13529,"Master of Dresden : ""The Three Living and the Three Dead"" (c. 1480-1485) 16"" x 20"" (Image: 11.69"" x 17"")","The anonymous illuminator known as the Master of the Dresden Prayer Book was a painter of tremendous originality. Named after a book of hours now in Dresden, he worked in Bruges from around 1465 until about 1515. At a time when artists favored elaborate costumes and contrived postures, this illuminator gave his figures a sweeter, more innocent quality. He had an uncanny ability to locate the humor or irony in a familiar story, and he showed particular sympathy for coarse or simple characters. The novelty of his colors—including bright oranges, teals, burgundies, rich blues, and sometimes black—often arranged in surprising combinations, further attests to the refreshing originality of his art. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/master-of-dresden-the-three-living-and-the-three-dead-c-1480-1485/?attribute_size=16%22+x+20%22+%28Image%3A+11.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13529,https://www.theibis.net/wp-content/uploads/2019/05/3live_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13518,"Boucicaut Master : ""The Story of Adam and Eve"" (c. 1413-1415) 16"" x 20"" (Image: 11.31"" x 17"")","Giovanni Boccaccio began his book, Concerning the Fates of Illustrious Men and Women , with the story of Adam and Eve. The illuminator encapsulated the main events of the biblical tale in his miniature, placing the pivotal event of the Temptation—when Adam and Eve eat the fruit from the Tree of Knowledge—in the center. He then organized a sequence of the subsequent events in their lives around the tall hexagonal walls of the Garden of Eden, beginning at the middle left and proceeding clockwise. Through a gate at the left, the first couple is expelled from the garden; beyond the garden walls, across the top of the page, Adam works his field while Eve spins. On the lower right, Adam and Eve, now elderly and stooped as part of the punishment for their sin, approach Boccaccio, seated at the lower left, to tell him their story. The elaborate border that encloses both the miniature and the opening lines of the text includes a sequence of painted vignettes depicting the Creation of the World, beginning on the upper right and proceeding clockwise. Though Boccaccio does not mention the Creation, the illuminator, known as the Boucicaut Master, included the medallion scenes to enrich the central image. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/boucicaut-master-the-story-of-adam-and-eve-c-1413-1415/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13518,https://www.theibis.net/wp-content/uploads/2019/05/adeve_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13507,"Dreux Jean : ""A Young Knight in Armor Kneeling in Prayer before Saint Anthony"" (c. 1465-1470) 16"" x 20"" (Image: 11.81"" x 17"")","Dreux Jean, also known by the name Dreux Bachoyer, was born in Paris, but he immigrated to Flanders before beginning his artistic career, perhaps because of the English occupation of Paris during the Hundred Years War. Philip the Good, Duke of Burgundy, hired him starting in 1448 to produce manuscripts, and he remained in the dukes service as court illuminator until 1454. Jean briefly lived in Bruges, where the commercial opportunities for an independent illuminator were greater, but he soon returned to Brussels to serve Philips son, Charles the Bold. Dreux Jean is best known for fusing the traditions of contemporary Parisian illumination with the naturalism of Flemish panel painting in his work. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/dreux-jean-a-young-knight-in-armor-kneeling-in-prayer-before-saint-anthony-c-1465-1470/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13507,https://www.theibis.net/wp-content/uploads/2019/05/dreux_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13495,"Henri Fantin-Latour : ""Summer Flowers"" (1880) 16"" x 20"" (Image: 13"" x 16.06"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-summer-flowers-1880/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.06%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13495,https://www.theibis.net/wp-content/uploads/2019/05/fant11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13485,"Henri Fantin-Latour : ""Still Life with Roses and Fruit"" (1863) 16"" x 20"" (Image: 13"" x 15.5"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-still-life-with-roses-and-fruit-1863/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13485,https://www.theibis.net/wp-content/uploads/2019/05/fant10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13473,"Henri Fantin-Latour : ""The Palace of Aurora"" (1902) 16"" x 20"" (Image: 13"" x 16"")","In Roman mythology, Aurora was the sister of Sol and Luna. In this example of Fantin-Latours late style she is shown seated in her palace as Night draws aside her veil; a prelude to her daily flight across the sky to announce the arrival of the sun. An exceptional still life and portrait painter whose usual style was close to academic realism, Fantin-Latour had been a slave to his own success for much of his career. In The Palace of Aurora , however, he was able to paint in a more spontaneous and imaginative style that drew freely upon the techniques of impressionism.",https://www.theibis.net/product/henri-fantin-latour-the-palace-of-aurora-1902/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13473,https://www.theibis.net/wp-content/uploads/2019/05/fant9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13462,"Vincent van Gogh : ""Olive Trees with Yellow Sky and Sun"" (1889) 16"" x 20"" (Image: 13"" x 16.31"")","Olive Trees with Yellow Sky and Sun is one a series that van Gogh undertook during his stay at the Saint-Rémy asylum in 1889-90. For the artist, the nearly olive trees were an ever-changing subject, taking on new significance as their colors changed with the seasons. Blueish olive trees in May suggested the cycle of life, whereas the bronze foliage of autumn evoked Jesus in Gethsemane. In his autumn work he was partially responding to recent compositions of Christ in the Garden of Olives by Paul Gauguin and Émile Bernard. Complaining to Theo that ""nothing was observed in these works,"" he explained that ""one can express anguish without making reference to the actual Gethsemane."" ""What I have done is a rather hard and coarse reality beside their abstractions,"" he wrote, ""but it will have a rustic quality and will smell of the earth.""",https://www.theibis.net/product/vincent-van-gogh-olive-trees-with-yellow-sky-and-sun-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13462,https://www.theibis.net/wp-content/uploads/2019/05/otree_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13450,"Katsushika Hokusai : ""The Great Wave off Kanagawa"" (1826-1833) 16"" x 20"" (Image: 11.5"" x 17"")","The Great Wave off Kanagawa is among the strongest images in Hokusai’s famous Thirty-six Views of Mount Fuji , and it has become an artistic icon, known around the world. Hokusai’s greatest rival, Utagawa Hiroshige, who specialized in views of famous places ( meisho-e ), criticized Hokusai’s unconventional compositions as too artificial. Certainly this image is the most extreme example of Hokusai’s unusual approach. Mount Fuji appears smaller here than in most of the series’ other images. The great wave, arching over the view of the distant mountain, dominates the composition. In fact, Fuji is nearly eclipsed and might even be overlooked by a casual viewer. As if to prevent that, Hokusai designed the curling foam of the wave so as to lead the viewer’s gaze toward the far-off sacred mountain. Three boats, tossed by the waves, symbolize the inconsequence of humankind in relation to the power and majesty of nature. (Modified text courtesy of the Minneapolis Institute of Art, CC BY 3.0.)",https://www.theibis.net/product/katsushika-hokusai-the-great-wave-off-kanagawa-1826-1833/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13450,https://www.theibis.net/wp-content/uploads/2019/05/gwave_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13438,"Katsushika Hokusai : ""The Ghost of Oiwa"" (1830) 16"" x 20"" (Image: 12.19"" x 17"")","Hokusais The Ghost of Oiwa depicts an episode from one of Japans most famous ghost stories, concerned with an unfaithful husband who murders his wife. The night before he is to marry another woman, her face appears upon his bedside lamp, hissing ""betrayal!"" The treacherous samurai strikes the lamp, which crashes to the floor. On the day of the wedding, the face superimposes itself upon those of his new wife and her grandfather, again hissing ""betrayal,"" so that he reflexively lashes out and decapitates both. The story ends with the murderer driven over the edge of a cliff by the laughing specter. The print is one of Hokusais series One Hundred Ghost Stories , the title of which refers to a Japanese parlor game wherein a room was filled with one hundred andon (lamps or candles enclosed in paper) accompanied by a mirror resting on a small table. The participants, gathered separately, would take turns telling ghost stories. At the end of each tale the storyteller would enter the room, extinguish one of the andon, and look into the mirror before returning to the group. As the participants approached the one hundredth tale, the room would darken and they would grow ever more fearful of invoking the spirits. Though Hokusai and his publisher presumably envisioned one hundred prints, only five are known to have been produced.",https://www.theibis.net/product/katsushika-hokusai-the-ghost-of-oiwa-1830/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13438,https://www.theibis.net/wp-content/uploads/2019/05/oiwa_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13427,"Katsushika Hokusai : ""The Laughing Demon"" (1830) 16"" x 20"" (Image: 12"" x 17"")","Hokusais The Laughing Demon combines the characteristics of two types of demons; a hannya (woman turned to demonhood by jealousy) and a yamauba (crone who devours infants brought into the mountains). It is one of his series One Hundred Ghost Stories , the title of which refers to a Japanese parlor game wherein a room was filled with one hundred andon (lamps or candles enclosed in paper) accompanied by a mirror resting on a small table. The participants, gathered separately, would take turns telling ghost stories. At the end of each tale the storyteller would enter the room, extinguish one of the andon, and look into the mirror before returning to the group. As the participants approached the one hundredth tale, the room would darken and they would grow ever more fearful of invoking the spirits. Though Hokusai and his publisher presumably envisioned one hundred prints, only five are known to have been produced.",https://www.theibis.net/product/katsushika-hokusai-the-laughing-demon-1830/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13427,https://www.theibis.net/wp-content/uploads/2019/05/ldemon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13414,"Henri Fantin-Latour : ""Still Life with Pansies"" (1874) 16"" x 20"" (Image: 13"" x 15.75"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-still-life-with-pansies-1874/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13414,https://www.theibis.net/wp-content/uploads/2019/05/fant8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13404,"Henri Fantin-Latour : ""Pansies"" (1903) 16"" x 20"" (Image: 13"" x 16.38"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-pansies-1903/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13404,https://www.theibis.net/wp-content/uploads/2019/05/fant7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13393,"Tsukioka Yoshitoshi : ""Shizu Peak Moon"" (1888) 16"" x 20"" (Image: 12"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" In this print, titled Shizu Peak Moon , he depicts Toyotomi Hideyoshi signaling his troops on the morning of the Battle of Shizugatake; an important victory in his path to unify Japan. Learning that Shibata Katsuies forces besieging Shizugatake were dangerously overextended, Hideyoshi led his soldiers on a forced march, arriving on the field much sooner than expected. Taken by surprise, Katsuies army was routed and pursued back to his fortress at Kitanosho Castle, where he committed seppuku .",https://www.theibis.net/product/tsukioka-yoshitoshi-shizu-peak-moon-1888/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13393,https://www.theibis.net/wp-content/uploads/2019/05/yoshit7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13380,"Tsukioka Yoshitoshi : ""Bon Festival Moon"" (1887) 16"" x 20"" (Image: 11.81"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" In Bon Festival Moon he depicts a group of women dancing the bon odori to welcome the spirits of their departed ancestors. Observed on a full moon in the seventh lunar month, the Bon Festival is a day of remembrance in Japan, not unlike Mexicos Day of the Dead, when ancestral spirits are supposed to return to their household altars.",https://www.theibis.net/product/tsukioka-yoshitoshi-bon-festival-moon-1887/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13380,https://www.theibis.net/wp-content/uploads/2019/05/yoshit6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13369,"Tsukioka Yoshitoshi : ""Oya Taro Mitsukuni"" (1865) 16"" x 20"" (Image: 11.38"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Oya Taro Mitsukuni is one of his series One Hundred Ghost Stories from China and Japan . Following an unsuccessful rebellion by Taira Masakado, Mitsukuni was dispatched to the deserted rebel palace, where he confronted Masakados daughter, Princess Takiyasha; a powerful sorceress who summoned an army of skeletons to test his courage.",https://www.theibis.net/product/tsukioka-yoshitoshi-oya-taro-mitsukuni-1865/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13369,https://www.theibis.net/wp-content/uploads/2019/05/oya_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13357,"Tsukioka Yoshitoshi : ""The Flying Demon"" (1889) 16"" x 20"" (Image: 12"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" The Flying Demon is one of his series New Forms of Thirty-Six Ghosts . A sequel to his 1865-1866 series One Hundred Ghost Stories of Japan and China , it was published in the final years of his life, its last three designs appearing posthumously. The print depicts the conclusion of the Japanese folktale The Ogre of Rashomon , wherein the demon recovers its severed arm from Watanabe no Tsuna, the samurai who had been guarding it as a combat trophy.",https://www.theibis.net/product/tsukioka-yoshitoshi-the-flying-demon-1889/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13357,https://www.theibis.net/wp-content/uploads/2019/05/ibar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13344,"Tsukioka Yoshitoshi : ""Bunbuku Chagama"" (1892) 16"" x 20"" (Image: 11.31"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Bunbuku Chagama is one of his series New Forms of Thirty-Six Ghosts . Its inspiration was a Japanese folktale of the same name, wherein a poor man rescues a tanuki (raccoon dog) from a trap. The grateful tanuki transforms itself into a teapot and proposes that the man sell him for money, but when his new owner heats him over a fire, the tanuki , unable to withstand the heat, sprouts legs and runs back to the man. The pair soon discover that, by performing as a dancing teapot, the tanuki can provide a lucrative spectacle for the man, who can thereby provide a comfortable home for the tanuki .",https://www.theibis.net/product/tsukioka-yoshitoshi-bunbuku-chagama-1892/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13344,https://www.theibis.net/wp-content/uploads/2019/05/racc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13333,"Henri Fantin-Latour : ""Asters and Fruit on a Table"" (1868) 16"" x 20"" (Image: 13"" x 13.38"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-asters-and-fruit-on-a-table-1868/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13333,https://www.theibis.net/wp-content/uploads/2019/05/fant6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13321,"Roger de La Fresnaye : ""Artillery"" (1911) 16"" x 20"" (Image: 13"" x 16"")","Painted during the year that he became associated with Cubism, Roger de La Fresnayes patriotic masterwork depicts an ammunition wagon transporting a field gun, accompanied by mounted officers and a military band displaying the tricolor. The Metropolitan Museum of Art observes how ""The artists geometric rendering of form lends strength to the already muscular composition and evokes the groups cadenced movement through space."" In the years leading up to the outbreak of World War I, de La Fresnaye did much to popularize Cubism, aligning himself with Robert Delaunay in his vibrant use of color. On being discharged from the French army with tuberculosis in 1918, however, he would limit himself to drawing and watercolor, becoming an influential advocate for traditional realism.",https://www.theibis.net/product/roger-de-la-fresnaye-artillery-1911/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13321,https://www.theibis.net/wp-content/uploads/2019/05/fres_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13311,"Tsukioka Yoshitoshi : ""Kurahashi Densuke Kiyohara no Takeyuki Holding a Lantern"" (1868) 16"" x 20"" (Image: 11.38"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Kurahashi Densuke Kiyohara no Takeyuki Holding a Lantern is one of his series Portraits of True Loyalty and Chivalrous Spirit , depicting the 47 ronin; a group of 17th century samurai who revenged themselves upon the corrupt official who brought about the death of their master. Their story is widely celebrated in Japanese pop culture and was the subject of a 2013 Hollywood film. Though it is probable that Yoshitoshi published prints of all 47 ronin, only 15 are currently known to exist.",https://www.theibis.net/product/tsukioka-yoshitoshi-kurahashi-densuke-kiyohara-no-takeyuki-holding-a-lantern-1868/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13311,https://www.theibis.net/wp-content/uploads/2019/05/yoshit5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13298,"Adolph Menzel : ""The Artists Sitting Room in Ritterstrasse"" (1851) 16"" x 20"" (Image: 13"" x 15"")","The Artists Sitting Room in Ritterstrasse (actually, it may have been his study) is one of a series of five interiors that Menzel produced between 1845-1851. Having already achieved success in Germany on the basis of his patriotic works, he did not regard this piece as significant enough to exhibit, though its open brushwork and attention to the properties of light demonstrate proto-impressionist insights that his French counterparts would later develop to fruition. Edgar Degas in particular copied many of his works, regarding him as ""the greatest living master.""",https://www.theibis.net/product/adolph-menzel-the-artists-sitting-room-in-ritterstrasse-1851/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13298,https://www.theibis.net/wp-content/uploads/2019/05/menzel_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13285,"Henri Fantin-Latour : ""Roses in a Bowl"" (1883) 16"" x 20"" (Image: 11.88"" x 17"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-roses-in-a-bowl-1883/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13285,https://www.theibis.net/wp-content/uploads/2019/05/fant5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13275,"William Michael Harnett : ""Still Life-Violin and Music"" (1888) 16"" x 20"" (Image: 12.75"" x 17"")","William Michael Harnett was a master of the trompe-loeil (""deceive the eye"") still life, in which shadow effects, foreshortening and other techniques of perspective are used to lend realistic objects the illusion of three dimensionality. The varied textures in his works are so finely rendered that the actual brushwork is almost invisible to the eye. His text is fully legible and perfectly aligned, even across curved and crumpled surfaces. Curator Doreen Bolger Burke describes Still Life—Violin and Music as ""one of the best of Harnetts musical subjects,"" noting the ""great care...taken with such details as the rosin dust beneath the strings, the plain box with an inlaid frog, and an ivory and granadilla wood piccolo."" She further speculates that the inverted horseshoe and melancholy ballad may signify bad luck, hinting at something of a deeper story implicit within the composition.",https://www.theibis.net/product/william-michael-harnett-still-life-violin-and-music-1888/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13275,https://www.theibis.net/wp-content/uploads/2019/05/harn6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13263,"Tsukioka Yoshitoshi : ""The Heavy Basket"" (1892) 16"" x 20"" (Image: 11.5"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" The Heavy Basket is one of his series New Forms of Thirty-Six Ghosts . A sequel to his 1865-1866 series One Hundred Ghost Stories of Japan and China , it was published in the final years of his life, its last three designs appearing posthumously.The print depicts an elderly woman being tormented by a gaggle of demons who emerge from a large wicker basket. Having been presented the choice of a small box (which contained gems) and a large box, she has given in to greed and received her just rewards.",https://www.theibis.net/product/tsukioka-yoshitoshi-the-heavy-basket-1892/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13263,https://www.theibis.net/wp-content/uploads/2019/05/basket_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13251,"Tsukioka Yoshitoshi : ""Minamoto-no Yorimitsu Slashing at the Demon Spider"" (1892) 16"" x 20"" (Image: 11.38"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Minamoto-no Yorimitsu Slashing at the Demon Spider is one of his series New Forms of Thirty-Six Ghosts . A sequel to his 1865-1866 series One Hundred Ghost Stories of Japan and China , it was published in the final years of his life, its last three designs appearing posthumously. The print is based upon a story from Book of Swords in which Yorimitsu, a warrior of the Heian period, falls sick and is approached by a demon spider in the form of a priest, who attempts to bind him with rope. Yorimitsu, startled, slashes at the spider with his legendary sword, Hizamaru , and ultimately kills it. In recognition of this incident his sword is renamed Kumoiri , or ""to slash a spider.""",https://www.theibis.net/product/tsukioka-yoshitoshi-minamoto-no-yorimitsu-slashing-at-the-demon-spider-1892/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13251,https://www.theibis.net/wp-content/uploads/2019/05/espider_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13240,"Tsukioka Yoshitoshi : ""Lady Hangaku on a Rearing Horse"" (1886) 16"" x 20"" (Image: 11.75"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Lady Hangaku on a Rearing Horse is one of his series Yoshitoshis Courageous Warriors . It depicts the samurai warrior Hangaku Gozen who, in 1201, raised an army in defense of the Kamakura Shogunate. Said to have been ""fearless as a man and beautiful as a flower,"" she has been a favorite subject of Japanese artists and storytellers.",https://www.theibis.net/product/tsukioka-yoshitoshi-lady-hangaku-on-a-rearing-horse-1886/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13240,https://www.theibis.net/wp-content/uploads/2019/05/hanga_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13227,"William Michael Harnett : ""The Bankers Table"" (1877) 16"" x 20"" (Image: 11"" x 17"")","William Michael Harnett was a master of the trompe-loeil (""deceive the eye"") still life, in which shadow effects, foreshortening and other techniques of perspective are used to lend realistic objects the illusion of three dimensionality. The varied textures in his works are so finely rendered that the actual brushwork is almost invisible to the eye. His text is fully legible and perfectly aligned, even across curved and crumpled surfaces. For The Bankers Table Harnett chose objects that showed ""the mellowing effect of age."" Art curator Doreen Bolger Burke notes that while the ""inclusion of coins and currency probably determined the paintings title...there is nothing in the work or its history to indicate that it was commissioned by or for a specific banker. The juxtaposition of groups of objects on opposite sides of the composition, however, suggests a deliberate contrast between money, with its mercantile associations, and the book and writing utensils, representing solitary, intellectual pursuits.""",https://www.theibis.net/product/william-michael-harnett-the-bankers-table-1877/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13227,https://www.theibis.net/wp-content/uploads/2019/05/harn5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13215,"Hans Thoma : ""At Lake Garda"" (1907) 16"" x 20"" (Image: 13"" x 15.81"")","A flock of sheep and infant child lend spiritual overtones to this Alpine landscape by Hans Thoma, a German artist whose affinities were for his native hills and the works of the Renaissance masters Albrecht Altdorfer and Lucas Cranach the Elder. ""He is the most German of painters and a son of the Black Forest, a dreamer and a poet, a master of idylls,"" wrote the contemporary critic David Charles Preyer. ""More tranquil than Böcklin he takes refuge in a certain archaic ingenuousness, and he presents his native and charming landscapes with a delightful and almost childlike freshness. His colour may be occasionally dull, and his drawing defective, he still depicts his rural themes with loving beauty."" ""Nature,"" Thoma once recounted, ""often spoke to me as if in the words of a Psalm.""",https://www.theibis.net/product/hans-thoma-at-lake-garda-1907/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13215,https://www.theibis.net/wp-content/uploads/2019/05/thoma_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13204,"Jean-Leon Gerome : ""The Age of Augustus, The Birth of Christ"" (c. 1852-1854) 16"" x 20"" (Image: 11.13"" x 17"")","At the apex of this theatrically arranged study, Augustus Caesar sits in front of the Temple of Janus and touches the shoulder of a man personifying Rome. Surrounding him are scholars and statesmen while foreign tribes gather below. The Nativity scene in the foreground illustrates the coincidental moment of world peace under Augustus when Christ was born. In 1852, Jean-Léon Gérôme received a state commission to paint a large mural of an allegorical subject of his choosing. In selecting this subject, Gérôme perhaps sought to flatter Emperor Napoleon III, whose government commissioned the painting and who was identified as a ""new Augustus."" In preparation for his large mural, Gérôme traveled all over to find the appropriate ethnic types to portray the different peoples of the ancient world. When The Age of Augustus, The Birth of Christ was shown in 1855 at the Universal Exposition, his skill in depicting various nationalities led some to remark that Gérôme gave a lesson whenever he painted a picture. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jean-leon-gerome-the-age-of-augustus-the-birth-of-christ-c-1852-1854/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13204,https://www.theibis.net/wp-content/uploads/2019/05/gerome_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13193,"Nicolas Lancret : ""Dance before a Fountain"" (by 1724) 16"" x 20"" (Image: 12.63"" x 17"")","In a luxuriant park adorned with a monumental fountain, two couples perform a country dance, accompanied by the music of a rustic bagpipe. On either side, other couples play out the game of love in its various stages of anticipation, entreaty, and reward. Lancrets subject was an invention of the 1700s. Called a fête galante , these paintings depicted a pastoral landscape peopled by elegant figures strolling, making music, or attempting to woo their partners. Participants of the fête galante seemed uninhibited by the stiff conventions of formal society. Lancrets fluid brushstroke is evident in the shimmering highlights of the costumes and in the play of their opulent colors against the harmony of the landscape background. The paintings relatively large size suggests that it was commissioned by a prominent collector, possibly an aristocratic patron or member of the French royalty. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/nicolas-lancret-dance-before-a-fountain-by-1724/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13193,https://www.theibis.net/wp-content/uploads/2019/05/lancret_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13183,"Master of Guillebert de Mets : ""Saint George and the Dragon"" (c. 1450-1455) 16"" x 20"" (Image: 11.13"" x 17"")","The illuminator playfully linked border and miniature in this image accompanying a prayer to Saint George. In the miniature, the mounted knight, Saint George, rescues a princess from a dragon. In the border, her parents, a pagan king and queen, watch from a castle tower on the sidelines, almost crowded off the page by enormous stalks of foliage. According to legend, the people of the kingdom converted to Christianity following their deliverance from the dragons attacks. The dramatic and exuberant acanthus border provides a fitting counterpart to the elegant miniature featuring the equestrian hero and the princess. The brightly colored sinuous foliage echoes Saint Georges flowing, elaborately scalloped cape, further uniting the framed miniature and the border. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/master-of-guillebert-de-mets-saint-george-and-the-dragon-c-1450-1455/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13183,https://www.theibis.net/wp-content/uploads/2019/05/demets_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13171,"Willem Vrelant Illumination : ""The Virgin and Child"" (early 1460s) 16"" x 20"" (Image: 10.63"" x 17"")","Willem Vrelant was one of the most prolific, influential, and commercially successful illuminators working in Bruges during the third quarter of the 1400s. He moved from his home in Utrecht to Bruges sometime before 1454, when he was recorded as an active member of the Bruges guild of Saint John the Evangelist, which served illuminators, scribes, parchment-makers, and others involved in the book trade. A receipt for payment confirms that Vrelant illuminated a lavish historical manuscript for Philip the Good, duke of Burgundy, in 1468. Vrelant also produced numerous manuscripts for export and worked for other prominent patrons, including book collectors and some of the dukes closest aides. Vrelants distinctive style of illumination was conservative for the time. He used heavy black contours to outline his static figures and applied intense primary colors overall, along with gold for drapery highlights. Based on the large number of surviving examples of his work and the great range in their quality, he may have relied on a significant number of assistants and collaborators to fulfill his commissions. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/willem-vrelant-illumination-the-virgin-and-child-early-1460s/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13171,https://www.theibis.net/wp-content/uploads/2019/05/vrel3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13158,"Tsukioka Yoshitoshi : ""Moon above the Sea at Daimotsu Bay"" (1886) 16"" x 20"" (Image: 12"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" Set in the year 1185, Moon above the Sea at Daimotsu Bay depicts the warrior-monk Musashibo Benkei banishing the spirits of fallen Taira warriors who have called up a storm to sink the boat of his lord, Minamoto no Yoshitsune. According to Japanese folklore, Beneki guarded a bridge in Kyoto, disarming every swordsman who attempted to pass, until he was finally bested by Yoshitsune on his 1000th duel. In western folklore, Robin Hood meets Little John under much the same circumstances, and in both cases the result is a friendship founded upon mutual respect.",https://www.theibis.net/product/tsukioka-yoshitoshi-moon-above-the-sea-at-daimotsu-bay-1886/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13158,https://www.theibis.net/wp-content/uploads/2019/05/daim_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13146,"Tsukioka Yoshitoshi : ""Moon and Smoke"" (1886) 16"" x 20"" (Image: 12"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" In Moon and Smoke , a fireman, clad in a padded coat soaked with water, holds the standard of the second district of Edo. During the 19th century, Japanese houses, constructed of wood and paper, were especially vulnerable to fire. Those who protected them were important cultural heroes, beloved and admired by the general population.",https://www.theibis.net/product/tsukioka-yoshitoshi-moon-and-smoke-1886/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13146,https://www.theibis.net/wp-content/uploads/2019/05/moofire_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13135,"Tsukioka Yoshitoshi : ""The Cry of the Fox"" (1886) 16"" x 20"" (Image: 11.88"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" This print was inspired by a koygen —a comic interlude in Noh theatre—wherein a fox shapeshifts into a priest in order to persuade his nephew, a hunter, to stop trapping foxes. Yoshitoshi depicts the fox in the process of returning to his original form. In Japanese folklore, foxes were capable of such transformations, often shapeshifting into beautiful women—a belief that Yoshitishi would reference again in his exceptional Musashi Plain Moon (1892).",https://www.theibis.net/product/tsukioka-yoshitoshi-the-cry-of-the-fox-1886/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13135,https://www.theibis.net/wp-content/uploads/2019/05/ftrap_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13122,"Willem Vrelant : ""Saint George and the Dragon"" (early 1460s) 16"" x 20"" (Image: 10.63"" x 17"")","Willem Vrelant was one of the most prolific, influential, and commercially successful illuminators working in Bruges during the third quarter of the 1400s. He moved from his home in Utrecht to Bruges sometime before 1454, when he was recorded as an active member of the Bruges guild of Saint John the Evangelist, which served illuminators, scribes, parchment-makers, and others involved in the book trade. A receipt for payment confirms that Vrelant illuminated a lavish historical manuscript for Philip the Good, duke of Burgundy, in 1468. Vrelant also produced numerous manuscripts for export and worked for other prominent patrons, including book collectors and some of the dukes closest aides. Vrelants distinctive style of illumination was conservative for the time. He used heavy black contours to outline his static figures and applied intense primary colors overall, along with gold for drapery highlights. Based on the large number of surviving examples of his work and the great range in their quality, he may have relied on a significant number of assistants and collaborators to fulfill his commissions. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/willem-vrelant-saint-george-and-the-dragon-early-1460s/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13122,https://www.theibis.net/wp-content/uploads/2019/05/vrel_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13110,"Willem Vrelant : ""Adam and Eve Eating the Forbidden Fruit"" (early 1460s) 16"" x 20"" (Image: 10.63"" x 17"")","Willem Vrelant was one of the most prolific, influential, and commercially successful illuminators working in Bruges during the third quarter of the 1400s. He moved from his home in Utrecht to Bruges sometime before 1454, when he was recorded as an active member of the Bruges guild of Saint John the Evangelist, which served illuminators, scribes, parchment-makers, and others involved in the book trade. A receipt for payment confirms that Vrelant illuminated a lavish historical manuscript for Philip the Good, duke of Burgundy, in 1468. Vrelant also produced numerous manuscripts for export and worked for other prominent patrons, including book collectors and some of the dukes closest aides. Vrelants distinctive style of illumination was conservative for the time. He used heavy black contours to outline his static figures and applied intense primary colors overall, along with gold for drapery highlights. Based on the large number of surviving examples of his work and the great range in their quality, he may have relied on a significant number of assistants and collaborators to fulfill his commissions. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/willem-vrelant-adam-and-eve-eating-the-forbidden-fruit-early-1460s/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13110,https://www.theibis.net/wp-content/uploads/2019/05/vrel2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13098,"Tsukioka Yoshitoshi : ""Mount Yoshino Midnight Moon"" (1886) 16"" x 20"" (Image: 11.81"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" In Mount Yoshino Midnight Moon , Iga no Tsubone banishes the vengeful spirit of Sasaki no Kiyotaka, an advisor to Emperor Go-Daigo, forced to commit suicide after his sovereign was forced into exile. It is illustrative of Yoshitoshis penchant for the supernatural, as well as his willingness to depict women as individuals in their own right.",https://www.theibis.net/product/tsukioka-yoshitoshi-mount-yoshino-midnight-moon-1886/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13098,https://www.theibis.net/wp-content/uploads/2019/05/yoshit4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13074,"William Michael Harnett : ""The Artists Letter Rack"" (1879) 16"" x 20"" (Image: 13"" x 15.56"")","William Michael Harnett was a master of the trompe-loeil (""deceive the eye"") still life, in which shadow effects, foreshortening and other techniques of perspective are used to lend realistic objects the illusion of three-dimensionality. The varied textures in his works are so finely rendered that the actual brushwork is almost invisible to the eye. His text is fully legible and perfectly aligned, even across curved and crumpled surfaces. It has been proposed that The Artists Letter Racks assorted cards, envelopes and other papers represent objects that refer to the person who commissioned it. Curator Doreen Bolger Burke notes that the only decipherable surname appears upon the blue envelope depicted in the upper right corner of the rack, addressed to C. C. Peirson & Son, a firm specializing in ""hides."" Though the final three letters of the Peirson name are obscured by tape, they appear by themselves on an envelope situated on the opposite side of the rack. ""Assuming that the individuals whose names are included were business associates of Peirsons,"" she reasons, ""it is possible to speculate that the painting is a statement about a whole community of Philadelphia businessmen, all active in the production and sale of wool and leather.""",https://www.theibis.net/product/william-michael-harnett-the-artists-letter-rack-1879/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13074,https://www.theibis.net/wp-content/uploads/2019/05/harn4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13061,"William Michael Harnett : ""New York Daily News"" (1888) 16"" x 20"" (Image: 12.25"" x 17"")","William Michael Harnett was a master of the trompe-loeil (""deceive the eye"") still life, in which shadow effects, foreshortening and other techniques of perspective are used to lend realistic objects the illusion of three-dimensionality. The varied textures in his works are so finely rendered that the actual brushwork is almost invisible to the eye. His text and musical notation are fully legible and perfectly aligned, even across curved and crumpled surfaces. Mugs and pipes featured prominently in Harnetts early works. In an interview published in the New York Daily News , he explained: ""I could not afford to hire models as other students did, and I was forced to paint my first picture from still life models. These models were a pipe and a German beer mug.""",https://www.theibis.net/product/william-michael-harnett-new-york-daily-news-1888/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13061,https://www.theibis.net/wp-content/uploads/2019/05/harn3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13051,"Henri Fantin-Latour : ""Still Life with Flowers and Fruit"" (1866) 16"" x 20"" (Image: 13"" x 16"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-still-life-with-flowers-and-fruit-1866/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13051,https://www.theibis.net/wp-content/uploads/2019/05/fant4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13038,"Henri Fantin-Latour : ""Potted Pansies"" (1883) 16"" x 20"" (Image: 13"" x 16.13"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-potted-pansies-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13038,https://www.theibis.net/wp-content/uploads/2019/05/fant3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13028,"Joaquin Sorolla : ""The Wounded Foot"" (1909) 16"" x 20"" (Image: 13"" x 14.38"")","The colored reflections of late afternoon light animate this beach scene and actively define the forms, from the injured childs shoulder to the liquid sea and the figures playing in the water. The suns highlights on the hurt childs hand, the sand around her foot, and her companions hat draw the viewers attention to the injured limb. While on the beach at Valencia, Joaquín Sorolla y Bastida rapidly painted a group of pictures including The Wounded Foot . Like the Impressionists before him, Sorolla worked outdoors to capture the momentary effects of light, water, and people in motion. This paintings casual snapshot-like cropping, which cuts off the arm of the child at the left, gives the viewer the same sense of immediacy, as if he or she has accidentally happened upon an impromptu exchange between two children on the sand. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/joaquin-sorolla-the-wounded-foot-1909/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13028,https://www.theibis.net/wp-content/uploads/2019/05/wfoot_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13017,"Tsukioka Yoshitoshi : ""A Country Couple Enjoys the Moonlight with Their Infant Son"" (1886) 16"" x 20"" (Image: 11.56"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" Yoshitoshis inspiration for A Country Couple Enjoys the Moonlight with their Infant Son was a poem by his friend Keika, which reads: ""Pleasure is this: to lie under the moonflower bower; / the man in his undershirt; / the woman in her slip.""",https://www.theibis.net/product/tsukioka-yoshitoshi-a-country-couple-enjoys-the-moonlight-with-their-infant-son-1886/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13017,https://www.theibis.net/wp-content/uploads/2019/05/eglory_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 13004,"Tsukioka Yoshitoshi : ""Moon over Mount Inaba"" (1885) 16"" x 20"" (Image: 11"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" In Moon over Mount Inaba the celebrated warrior Toyotomi Hideyoshi scales a cliff to gain access to the Saito clan castle atop Mount Inaba, where he will raise a gourd to signal for his troops to advance. The son of a peasant, he would go on to become a powerful daimyo, unifying Japan after years of civil unrest.",https://www.theibis.net/product/tsukioka-yoshitoshi-moon-over-mount-inaba-1885/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=13004,https://www.theibis.net/wp-content/uploads/2019/05/inaba_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12988,"James McNeill Whistler : ""Arrangement in Black, No. 3: Sir Henry Irving as Philip II of Spain"" (1876-1885) 16"" x 20"" (Image: 8.25"" x 17"")","Henry Irving was the leading Shakespearean actor of his day, and the first to be honored with a knighthood. Impressed by his performance of Tennysons Queen Mary at the Lyceum Theatre, Whistler induced him to pose for this standing portrait in the character of King Philip II of Spain. Rendered in a dark, muted palette, it pays homage to the works of Diego Velázquez, who served in the court of King Philip IV. After the work was exhibited at Grosvenor Gallery in 1877, critics were scathing in their rebuke, remarking upon its lack of detail and unfinished quality. The Art Journal thought it ""like seeing the man through a glass darkly."" In 1885 Whistler reworked the painting (then owned by Irving himself), adding to his costume. Critics, pleased with the result, or, more likely, swayed by Whistlers rising star, were now effusive in their praise. Henry James, who had once characterized Whistlers nocturnes as pale imitations of Velázquez, now described them as ""one of the finest distillations of the artistic intelligence."" The painting, which had once sold for ten pounds and a sealskin coat, brought 4,800 guineas following the actors death in 1905.",https://www.theibis.net/product/james-mcneill-whistler-arrangement-in-black-no-3-sir-henry-irving-as-philip-ii-of-spain-1876-1885/?attribute_size=16%22+x+20%22+%28Image%3A+8.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12988,https://www.theibis.net/wp-content/uploads/2019/05/hirv_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12977,"Tsukioka Yoshitoshi : ""The Moons Four Strings (Semimaru)"" (1891) 16"" x 20"" (Image: 12"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" This print, titled The Moons Four Strings , depicts the 10th-century blind poet and musician Semimaru strumming on his biwa, or lute, on which there is a design of a crescent moon. Having once served in the imperial court, he retired to a mountain cottage on Mount Ausaka, near Kyoto. His life became the subject of a Noh play, which has the following verse: ""The first string and the second sound wildly / the autumn wind brushes the pines and falls with broken notes / the third string and fourth / the fourth string is myself, Semimaru / and four are the strings of the biwa I play.""",https://www.theibis.net/product/tsukioka-yoshitoshi-the-moons-four-strings-semimaru-1891/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12977,https://www.theibis.net/wp-content/uploads/2019/05/semim_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12966,"John Henry Twachtman : ""Horseneck Falls"" (c. 1889-1900) 16"" x 20"" (Image: 13"" x 15.56"")","John Henry Twachtmans impressionist period coincides with his purchase of a seven-acre farm at Cos Cob, Connecticut, which featured the picturesque cascade shown here. During his career he would paint it dozens of times, in various seasons and weather conditions, separating, in the fashion of Monet, the phenomenon of light from his chosen motif. Over time he became increasingly concerned with pictorial design, his own emotional response to the landscape and the decorative patterns that emerged from the curving lines of rocks and flowing water. ""You felt the virile line,"" wrote Childe Hassam in 1903, ""It was in his clouds and tree forms, in his stone walls and waterfalls...His use of line was rhythmic, and the movements were always graceful.""",https://www.theibis.net/product/john-henry-twachtman-horseneck-falls-c-1889-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12966,https://www.theibis.net/wp-content/uploads/2019/05/twach3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12955,"John Henry Twachtman : ""Waterfall"" (c. 1889-1891) 16"" x 20"" (Image: 13"" x 15.63"")","John Henry Twachtmans impressionist period coincides with his purchase of a seven-acre farm at Cos Cob, Connecticut, which featured the picturesque cascade shown here. During his career he would paint it dozens of times, in various seasons and weather conditions, separating, in the fashion of Monet, the phenomenon of light from his chosen motif. Over time he became increasingly concerned with pictorial design, his own emotional response to the landscape and the decorative patterns that emerged from the curving lines of rocks and flowing water. ""You felt the virile line,"" wrote Childe Hassam in 1903, ""It was in his clouds and tree forms, in his stone walls and waterfalls...His use of line was rhythmic, and the movements were always graceful.""",https://www.theibis.net/product/john-henry-twachtman-waterfall-c-1889-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12955,https://www.theibis.net/wp-content/uploads/2019/05/twach2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12944,"John Henry Twachtman : ""Arques-la-Bataille"" (1885) 16"" x 20"" (Image: 12.81"" x 17"")","Like many American artists of his era, John Henry Twachtman studied in Europe; initially at Munich, then at Pariss Académie Julian. While in France he completed this view of the Béthune River, southeast of Dieppe in Normandy, now considered one of his greatest works. Composed of smooth, horizontal bands of muted color, it reflects the influence of Japanese woodblock prints and the nocturnes of James McNeill Whistler. Though Twachtman does not appear to have met Whistler in Europe, he would surely have been acquainted with his works and, indeed, the affinity between the two is impossible to ignore. ""Twachtman,"" observed one critic, ""painted day as Whistler painted night.""",https://www.theibis.net/product/john-henry-twachtman-arques-la-bataille-1885/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12944,https://www.theibis.net/wp-content/uploads/2019/05/twach1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12934,"Claude Monet : ""Sunrise (Marine)"" (1873) 16"" x 20"" (Image: 13"" x 15.81"")","In the muted palette of the emerging dawn, Claude Monet portrayed the industrial port of Le Havre on the northern coast of France. The brilliant orange of the rising sun glimmers amid the damp air and dances on the gentle rippling water, lighting up its iridescent blues and greens. Barely discernible through a cool haze, pack boats on the left billow smoke from their stacks. Painted during the spring of 1873 as the country struggled to rebuild following the Franco-Prussian war, this Sunrise might also metaphorically suggest a new day dawning in France. Sunrise exemplifies Monets plein air, or ""outdoor,"" approach to painting. The informal and spontaneous brushstrokes establish this picture as one of the first works, along with the famous Impression: Sunrise at the Marmottan Museum in Paris, in the Impressionist style that was to make him famous. The ephemeral play of light, water, and air would remain Monets subject for the rest of his career. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/claude-monet-sunrise-marine-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12934,https://www.theibis.net/wp-content/uploads/2019/05/sunmar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12924,"Rembrandt van Rijn : ""Musical Company"" (1626) 16"" x 20"" (Image: 12.25"" x 17"")","Seated with a book on her lap, the subject of Musical Company appears bothered by the trio of figures crowded about her; two men playing cello and harp, and a shrewd old woman identifiable as a procuress. In the background, a painting of Lot fleeing Sodom supports a moralizing interpretation that conceives of music and ribaldry as pervasive distractions from a life of religious contemplation. An early work by the artist, The Rembrandt Research Project proposes that Musical Company was intended as ""a display piece showing how to distinguish different surface textures by varying peinture, in which variations in the consistency of the paint also played an important role.""",https://www.theibis.net/product/rembrandt-van-rijn-musical-company-1626/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12924,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12911,"Tsukioka Yoshitoshi : ""The Village of the Shi Clan on a Moonlit Night"" (1885) 16"" x 20"" (Image: 11.75"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" Number 6, The Village of the Shi Clan on a Moonlit Night , depicts Shi Jin, called Kumontryu (""The Nine-Dragoned One"") on account of the nine dragons tattooed over his body. The outlaw-hero of the Chinese novel Shui hu Zhuan (""The Water Margin""), he captures a group of bandits attacking his village only to join forces with them upon hearing their tales of official corruption. Yoshitoshi envisions Shi Jin a moonlit night, resolving to defect with the bandits to the nearby marshes.",https://www.theibis.net/product/tsukioka-yoshitoshi-the-village-of-the-shi-clan-on-a-moonlit-night-1885/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12911,https://www.theibis.net/wp-content/uploads/2019/05/yoshit2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12898,"Rembrandt van Rijn : ""Portrait of a Couple as Isaac and Rebecca (The Jewish Bride)"" (c. 1665-1669) 16"" x 20"" (Image: 12.31"" x 17"")","Rembrandt biographer Christopher White has described this historicized portrait as ""one of the greatest expressions of the tender fusion of spiritual and physical love in the history of painting."" Vincent van Gogh wrote that he would gladly give up ten years of his life to sit in front of it for two weeks, eating only stale crust and bread. Best-known by the title it acquired during the 19th century, The Jewish Bride , its subject was identified by an Amsterdam art collector as a Jewish father bestowing a necklace upon his daughter on her wedding day. The most commonly accepted interpretation, however, is that the sitters were posing in the guise of the Biblical couple Isaac and Rebecca, forced by famine to seek refuge in lands Abimelech, king of the Philistines. Isaac, afraid that the locals might kill him on account of his wifes great beauty, passed Rebecca off as his sister, only to be observed ""sporting"" with her by Abimelech himself, who ultimately forgave the deceit and protected the couple. This interpretation is supported by an earlier drawing of a couple in much the same pose, which includes a figure observing the scene through an open window. By omitting Abimelech from the finished painting, Rembrandt focuses our attention upon the tender moment shared between the two figures and situates us in the place of the voyeuristic king. In historicized portraits such as this, Rembrandts contemporaries sought to identify themselves with figures from history, religion and mythology. Though we know little of the identity of the sitters, we may infer from this painting that they are likely to have been a happily married couple.",https://www.theibis.net/product/rembrandt-van-rijn-portrait-of-a-couple-as-isaac-and-rebecca-the-jewish-bride-c-1665-1669/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12898,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12888,"Rembrandt van Rijn : ""An Old Woman Reading, Probably the Prophetess Hannah"" (1631) 16"" x 20"" (Image: 13"" x 16.31"")","Rembrandts mother, Neeltgen Willendsr, was the model for this genre-like portrait of a woman reading. She is believed to represent the Biblical prophetess Hannah, described in the Gospel of Luke as an old widow who ""never left the Temple grounds but worshipped there night and day, fasting and praying."" Numerous portraits of Willendsr (and her books) were produced by Rembrandt and his circle, consigning her image to history in its most saintly aspect.",https://www.theibis.net/product/rembrandt-van-rijn-an-old-woman-reading-probably-the-prophetess-hannah-1631/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12888,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12876,"Rembrandt van Rijn : ""The Night Watch"" (1642) 16"" x 20"" (Image: 13"" x 16"")","One of the iconic paintings of the Dutch Golden Age, Militia Company of District II under the Command of Captain Frans Bannick Cocq , called The Night Watch , depicts a company of civic guardsmen moving into formation. Militia groups like these were tasked with maintaining order throughout the city, putting out fires and policing the streets, but were also important symbols of civic pride. Each company had its own guildhall, decorated with group portraits of its most distinguished members. Whereas most such portraits depicted neat rows of evenly-lit men in the style of a modern class photo, Rembrandts is a dramatically lit, narrative group portrait, in which each figure is engaged in actions specific to his role within the company. Captain Cocq gives an order to his lieutenant, a standard bearer raises the troop banner, a drummer taps out a cadence, a boy collects powder for the musketeers, who practice with their arms. Of particular interest is the girl in the gold dress who wears a dead chicken from her waistband. A probable reference to the emblem Kloveniers—a golden claw on a blue field—she has been identified as the companys mascot or personification. Over the centuries the paintings varnish became darkened by layers of dust until it was no longer recognized as a daytime scene, and it acquired its more concise and popular title, The Night Watch .",https://www.theibis.net/product/rembrandt-van-rijn-the-night-watch-1642/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12876,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12866,"Tsukioka Yoshitoshi : ""Fukami Jikyu in a Shower of Cherry Petals"" (1887) 16"" x 20"" (Image: 11.88"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" Number 55 of the series is translated Fukami Jikyu in a Shower of Cherry Petals , or Fukami Jikyu Challenges the Moon . A member of the samurai class made redundant after peace was established by the Tokugawa Shogunate, he joined the ranks of the otokodate , or ""chivalrous men;"" self-appointed peacekeepers known for their prideful and excessive behavior. His poem thus reads: ""The full moon, coming with a challenge to flaunt its beautiful brow!""",https://www.theibis.net/product/tsukioka-yoshitoshi-fukami-jikyu-in-a-shower-of-cherry-petals-1887/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12866,https://www.theibis.net/wp-content/uploads/2019/05/yoshit1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12853,"James Tissot : ""Portrait of the Marquise de Miramon, nee, Therese Feuillant"" (1866) 16"" x 20"" (Image: 10.19"" x 17"")","Costumed in the latest style and surrounded by fashionable decorative objects, the Marquise de Miramon wears a rose colored, ruffled peignoir, or dressing gown. Around her neck are a black lace scarf and a silver cross. Reflecting the new European fascination with Japanese art, behind her is a Japanese screen depicting cranes on a gold ground, and on the mantelpiece are several pieces of Japanese ceramics. The needlework on the Louis XVI stool indicates that the subject is a noble woman of leisure, and the eighteenth-century terracotta bust suggests her husbands aristocratic heritage. Thérèse -Stephanie-Sophie Feuillant (1836-1912) was from a wealthy bourgeois family. She inherited a fortune from her father and in 1860 she married Réne de Cassagnes de Beaufort, Marquis de Miramon. She stands in the Château de Paulhac, Auvergne, her husbands family seat. Tissot painted many fashionable women during his career, but he held this work in particularly high regard. In 1866, he wrote to request, and received, permission to borrow the painting and submit it to the Paris World Fair, where it was seen in public for the first time. The family kept this letter from Tissot along with a swatch of the Marquises pink velvet gown. Today, the fabric swatch and the painting are in the collection of the Getty Museum and the letter is part of the collection of the Getty Research Institute. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/james-tissot-portrait-of-the-marquise-de-miramon-nee-therese-feuillant-1866/?attribute_size=16%22+x+20%22+%28Image%3A+10.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12853,https://www.theibis.net/wp-content/uploads/2019/05/marq_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12840,"Edgar Degas : ""The Milliners"" (1880-1905) 16"" x 20"" (Image: 13"" x 15.88"")","Two milliners sit at a dramatically angled worktable, their bodies partly obscured by the shadowed hat stands that crowd their work space. Seen as little more than a silhouette, the figure at right works carefully on a hat. Her attentiveness is not shared by her older counterpart who, though grasping a swath of pink fabric, appears lost in thought, gazing beyond the frame with a disquieting expression. The brightly colored ribbons—pink, yellow, orange, and green—draw attention to the drabness of the room and its inhabitants. Over the course of about thirty years, Edgar Degas produced more than twenty paintings, pastels, and drawings of millinery shops. Among modern painters, Degas alone depicted this subject matter with such frequency. His voyeuristic yet empathetic portrait of the milliners private world focuses on the physical hardship of their work. The woman at the left embodies the painters concern; even at rest, her wiry body and pallid skin registers a life of hard work and meager reward. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/edgar-degas-the-milliners-1880-1905/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12840,https://www.theibis.net/wp-content/uploads/2019/05/milliners_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12830,"Rembrandt van Rijn : ""An Old Man in Military Costume"" (1630-1631) 16"" x 20"" (Image: 13"" x 16.63"")","The subject, who appears in different guises in several other paintings by Rembrandt van Rijn and his contemporaries, wears a plumed hat and metal breastplate. His military costume may symbolize Dutch strength and patriotism during the struggle for independence from Spain. Although he faces front, the mans torso is turned in a three-quarter view; his watery eyes gazing off to the side give the image a sense of immediacy. Rembrandt deftly captured the contrasting textures of materials: the downiness of the ostrich feather, the velvety softness of the cap, and the smooth coldness of the metal breastplate. The furrowed skin around the bridge of the mans nose, the moistness of his eyes, and the wispiness of his mustache and beard map out the physical process of aging. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/rembrandt-van-rijn-an-old-man-in-military-costume-1630-1631/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12830,https://www.theibis.net/wp-content/uploads/2019/05/milcos_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12817,"Workshop of Rembrandt van Rijn : ""The Holy Family by Night"" (c. 1642-1648) 16"" x 20"" (Image: 13"" x 17"")","Set in a contemporary Dutch interior, The Holy Family by Night was long mistaken for an ordinary genre piece. In fact, it depicts Mary and her mother Anne seated alongside the baby Jesus. As Many reads, Anne, dozing, holds a rope which she has been using to rock the cradle. The figure of Joseph is just visible beneath the staircase, tapping liquid into a barrel. On the occasion of the paintings acquisition by the Rijksmuseum in 1965, its director A.F.E. van Schendel commented upon the use of light to create mood and atmosphere. ""Rarely,"" he said, ""did the artist show himself so peaceful, captured by the play of light on...silent objects. An atmosphere of tenderness surrounds the Child, an enclosed space around which night is falling. Marvelous how Rembrandt could convey grandeur in intimacy.""",https://www.theibis.net/product/workshop-of-rembrandt-van-rijn-the-holy-family-by-night-c-1642-1648/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12817,https://www.theibis.net/wp-content/uploads/2019/05/remfam_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12807,"Rembrandt van Rijn : ""The Mill"" (1645-1648) 16"" x 20"" (Image: 13"" x 15.56"")","Dark skies recede over the Dutch countryside in this composite landscape by Rembrandt van Rijn. During the 19th century the painting was darkened by the deep gold tone of what turned out to be discolored varnish, and had accordingly been interpreted as a brooding representation of Rembrandts fathers mill, reflecting the artists depression during a period of severe financial adversity. When the painting was restored during 1977-79, however, the blue and steel-gray sky shone though and the mill presented itself in a new and more benevolent aspect; that of guardian and protector of the land and its people.",https://www.theibis.net/product/rembrandt-van-rijn-the-mill-1645-1648/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12807,https://www.theibis.net/wp-content/uploads/2019/05/rmill_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12795,"Rembrandt van Rijn : ""The Sampling Officials (Syndics) of the Amsterdam Drapers Guild"" (1662) 16"" x 20"" (Image: 11.19"" x 17"")","Described as Rembrandts ""last great collective portrait,"" The Sampling Officials , or Syndics of the Drapers Guild , is a carefully balanced, unified composition that gives full and equal expression to each sitters individuality. Assisted by their hatless servant, appearing at center, their task was to assess the quality of cloth that weavers offered for sale to members of the guild. Though the precise nature of the meeting is not a settled issue, it is usually given that the men are presenting an account of the years business to an assembly of the guild, for whom the observer stands in as the visual and psychological focus of the scene. Familiar to some for it use on the packaging of Dutch Masters cigars, The Sampling Officials has become emblematic of diligence, forethought and rectitude.",https://www.theibis.net/product/rembrandt-van-rijn-the-sampling-officials-syndics-of-the-amsterdam-drapers-guild-1662/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12795,https://www.theibis.net/wp-content/uploads/2019/05/syndics_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12785,"Workshop of Rembrandt van Rijn : ""A Young Scholar and His Tutor"" (1629-1630) 16"" x 20"" (Image: 13"" x 15.25"")","An elderly man in a subdued green velvet cloak trimmed in fur instructs a boy wearing a lavish Eastern costume. The artist presents a study in contrasts: the students youthfulness, his smooth complexion, lavish garments, and quest for knowledge are balanced against the learned mans aged, weathered face as he imparts wisdom. A warm light that accentuates the tonal contrasts and rich textures of the velvet and satin fabrics bathes the two figures. Light catches and shimmers off the precious stones of the boys gold jewelry. Fine, precise brushstrokes enhance the overall impression of softness. The subjects are presented in the guise of historical personages, possibly portraying the youthful Old Testament prophet Samuel with his instructor Eli. The use of lavish costumes and light and dark contrasts reveal the influence of Rembrandt. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/workshop-of-rembrandt-van-rijn-a-young-scholar-and-his-tutor-1629-1630/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12785,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12773,"Rembrandt van Rijn : ""Man in Oriental Costume (The Noble Slav)"" (1632) 16"" x 20"" (Image: 13"" x 16"")","Noting its dramatic lighting, monumental scale, variety of textures and evocation of volume and space, art historian Walter A. Liedtke has referred to this ""majestic"" portrait as the ""greatest Oriental tronie ever painted;"" tronie referring to a genre of Dutch Golden Age painting that portrayed stock characters or types, rather than specifically identifiable persons. Completed by an ambitious young Rembrandt at the age of twenty-six, the painting was for some time known as The Noble Slav , based in part upon the sitters Middle European features, but closer inspection of his costume clearly identifies him as a Turkish aristocrat. During the 1630s Holland enjoyed close political and commercial ties with the Ottoman Empire. The subject of Man in Oriental Costume would therefore have appealed to Rembrants prospective buyers, who included powerful court patrons and wealthy merchants with ties to the Middle East.",https://www.theibis.net/product/rembrandt-van-rijn-man-in-oriental-costume-the-noble-slav-1632/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12773,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12762,"Rembrandt van Rijn : ""Bellona"" (1633) 16"" x 20"" (Image: 13"" x 17"")","Rembrants portrayal of the Roman goddess of war evokes Dutch nationalism and the young republics readiness to defend itself. Art historian Walter A. Liedtke observes that ""despite the Medusas head on her shield, is presented as a friendly and familiar figure, like a big sister watching over boys at play. This departure of the norm...leads one to a conclusion that might also have been reached by other means, namely, that the picture was not made for international or even broad consumption, but commissioned by someone who felt that Bellona was on their side, protective, capable and confident."" That her name is inscribed upon her shield in its Dutch, rather than Latin spelling, lends support to the hypothesis that Bellona was painted for a domestic patron, quite possibly a member of the court.",https://www.theibis.net/product/rembrandt-van-rijn-bellona-1633/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12762,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12749,"after Anne-Louis Girodet de Roucy-Trioson : ""Burial of Atala"" (after 1808) 16"" x 20"" (Image: 13"" x 15.75"")","""Whosoever had not known that this young maiden had once enjoyed the light of day would have taken her for a statue of virginity asleep,"" wrote François René Chateaubriand of Atala in his popular Romantic novel of 1801. Taking inspiration from such poetic lines, the artist, painting in a style similar to Anne-Louis Girodet de Roucy Trioson, let the rays of the moon play upon Atala and cast over the whole a dreamlike, mystical, magic light, establishing a decidedly Romantic mood. In this scene, Atalas beloved American Indian lover--looking like a Neoclassical version of a Roman hero--and a missionary lay her to rest after she has committed suicide rather than break the vow of virginity she made to her dying mother. Burial of Atala first showed at the Paris Salon of 1808 and then exhibited it again in 1814, receiving acclaim both times. Other artists painted numerous copies—such as this one—shortly after its first exhibition, and it has since become a landmark in art-historical studies, exemplifying the transition from Neoclassicism to Romanticism in the early 1800s. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/after-anne-louis-girodet-de-roucy-trioson-burial-of-atala-after-1808/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12749,https://www.theibis.net/wp-content/uploads/2019/05/girodet_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12737,"Rembrandt van Rijn : ""Woman with a Pink"" (early 1660s) 16"" x 20"" (Image: 13"" x 16"")","Man with a Magnifying Glass and its pendant, Woman with a Pink , are thought to depict the lawyer and auctioneer Pieter Haringh and his wife, Elizabeth Delft. Both figures are clad in romantically outdated attire, reminiscent of early sixteenth-century Italy. While Haringh holds a magnifying glass, useful for inspecting legal documents, luxury goods and antique items, Delft is portrayed with a carnation, symbolic of love and marriage. Absent from Woman with a Pink is the head of a child, looking upward at Delft from the lower left corner. Initially sketched onto the ground layer of the canvas, Rembrandt painted it out at an early or intermediate stage in the course of execution, suggesting that the child may have died while the work was in progress. Though it is certainly possible that Rembrandt modified the composition for purely aesthetic reasons, Delfts forlorn expression supports the interpretation that she is in mourning a son or daughter with whom she had intended to be portrayed.",https://www.theibis.net/product/rembrandt-van-rijn-woman-with-a-pink-early-1660s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12737,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12726,"Rembrandt van Rijn : ""Man with a Magnifying Glass"" (early 1660s) 16"" x 20"" (Image: 13"" x 16"")","Man with a Magnifying Glass and its pendant, Woman with a Pink , are thought to depict the lawyer and auctioneer Pieter Haringh and his wife, Elizabeth Delft. Both figures are clad in romantically outdated attire, reminiscent of early sixteenth-century Italy. While Haringh holds a magnifying glass, useful for inspecting legal documents, luxury goods and antique items, Delft is portrayed with a carnation, symbolic of love and marriage. Rembrandts inspiration for Man with a Magnifying Glass is thought to have been Raphaels portrait of Baldassare Castiglione, which Haringh auctioned in 1639. Art historian Walter A. Liedtke has therefore proposed that ""its similarity to Raphaels composition might have been seen by the artist and his patron as a recollection of the famous sale.""",https://www.theibis.net/product/rembrandt-van-rijn-man-with-a-magnifying-glass-early-1660s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12726,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12714,"Tsukioka Yoshitoshi : ""Musashi Plain Moon"" (1892) 16"" x 20"" (Image: 11.81"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" In Japanese folklore Musashi plain, west of modern-day Tokyo, was inhabited by magic foxes that could assume the form and attributes of beautiful women. In number 91 of the series, one such vixen admires her reflection in a still pool, illuminated by the light of the full moon.",https://www.theibis.net/product/tsukioka-yoshitoshi-musashi-plain-moon-1892/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12714,https://www.theibis.net/wp-content/uploads/2019/05/mush_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12703,"Tsukioka Yoshitoshi : ""Chang-e Flees to the Moon"" (1885) 16"" x 20"" (Image: 11.13"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" Number 2 of the series is drawn from Chinese mythology. A woman, Chang-e, having stolen and drank the elixir of immortality, granted to her husband by the Queen Mother of the West, escapes to the heavens on a cloud, where she becomes the goddess of the moon.",https://www.theibis.net/product/tsukioka-yoshitoshi-chang-e-flees-to-the-moon-1885/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12703,https://www.theibis.net/wp-content/uploads/2019/05/change_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12690,"Tsukioka Yoshitoshi : ""Michizane Composes a Poem by Moonlight"" (1886) 16"" x 20"" (Image: 10.5"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" In number 16 of the series, Sugawara no Michizane, a scholar and artist of the Heian court, composes a poem by moonlight: ""The moon glimmers like bright snow / and plum blossoms appear like reflected stars; / ah! The golden mirror of the moon passes overhead / as a fragrance from the jade chamber fills the garden."" After his death, he was deified as Tenjin, the god of music, literature and calligraphy.",https://www.theibis.net/product/tsukioka-yoshitoshi-michizane-composes-a-poem-by-moonlight-1886/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12690,https://www.theibis.net/wp-content/uploads/2019/05/sugaw_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12678,"Rembrandt van Rijn : ""Aristotle with a Bust of Homer"" (1653) 16"" x 20"" (Image: 13"" x 13.75"")","Art historian Walter A. Liedtke once described Aristotle with a Bust of Homer as ""the most important Dutch picture in America."" According to its most widely accepted interpretation, it depicts the philosopher Aristotle weighing the merits of worldly success against the spiritual rewards of literature, art and knowledge. The former is represented by the medallion of his student, Alexander the Great, and the latter by his bust of the blind poet Homer. The painting featured as a character in Joseph Hellers 1988 novel Picture This , which explores the dichotomies of human nature and our inability to learn from history.",https://www.theibis.net/product/rembrandt-van-rijn-aristotle-with-a-bust-of-homer-1653/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12678,https://www.theibis.net/wp-content/uploads/2019/05/rembrandt1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12655,"Asher Brown Durand : ""Landscape - Scene from Thanatopsis"" (1850) 16"" x 20"" (Image: 11"" x 17"")","A friend of Thomas Cole, Asher Brown Durand was a successful engraver who took up oil painting and joined the Hudson River School during the 1830s. Like other members of the movement, he conceived of nature as an emanation of the divine, writing that "" he true province of Landscape Art is the representation of the work of God in the visible creation..."" He therefore held that the artist should ""scrupulously accept whatever presents him until he shall, in a degree, have become intimate with her infinity."" After his death in 1848, Durand succeeded Cole as leader of the Hudson River School, and was at greater liberty to explore the style of philosophical landscape for which the master was best-known. Depicting a woodland funeral taking place amid sheep, goats, ancient ruins and medieval architecture, this example was inspired by William Cullen Bryants poem Thanatopsis , which exhorted readers to ""approach thy grave, / Like one who wraps the drapery of his couch / About him, and lies down to pleasant dreams.""",https://www.theibis.net/product/asher-brown-durand-landscape-scene-from-thanatopsis-1850/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12655,https://www.theibis.net/wp-content/uploads/2019/05/durand3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12644,"Asher Brown Durand : ""The Beeches"" (1845) 16"" x 20"" (Image: 13"" x 16.25"")","A friend of Thomas Cole, Asher Brown Durand was a successful engraver who took up oil painting and joined the Hudson River School during the 1830s. Like other members of the movement, he conceived of nature as an emanation of the divine, writing that "" he true province of Landscape Art is the representation of the work of God in the visible creation..."" He therefore held that the artist should ""scrupulously accept whatever presents him until he shall, in a degree, have become intimate with her infinity."" Produced for the New York collector Abraham M. Cozzens, The Beeches is thought to be the first painting that Durand based upon a plein air oil sketch. The Metropolitan Museum of Art observes that it ""illustrates a new trend in the work of the Hudson River School, with its diminished emphasis on sublime drama and increased naturalism in the creation of a tranquil mood."" Its composition was likely modeled after that of The Cornfield (1826), a vertical-format landscape by John Constable.",https://www.theibis.net/product/asher-brown-durand-the-beeches-1845/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12644,https://www.theibis.net/wp-content/uploads/2019/05/durand2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12633,"Asher Brown Durand : ""Ariadne"" (c. 1831-1835) 16"" x 20"" (Image: 13"" x 16.38"")","Early in his career Asher Brown Durand established himself as one of the countrys finest engravers. His work appeared on bank notes and was used as the basis for postage stamps. Depicting Ariadne, the daughter of King Minos, abandoned by Theseus on the island of Naxos, this small painting is a copy of a similar work by John Vanderlyn, which Durand produced as a reference for engraving. The Metropolitan Museum of Art notes, however, that ""Durands copy modified Vanderlyns crisp Neoclassicism, infusing it with a romantic softness and compensating for prudish American tastes by rendering the drapery opaque."" Oils were soon become Durands medium of choice, as he would join his friend Thomas Cole to become one of the first generation of the Hudson River School.",https://www.theibis.net/product/asher-brown-durand-ariadne-c-1831-1835/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12633,https://www.theibis.net/wp-content/uploads/2019/05/durand1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12621,"George Frederic Watts : ""Ariadne"" (1894) 16"" x 20"" (Image: 13"" x 15.81"")","The symbolist painter and sculptor George Frederic Watts depicted Ariadne no less than five times during his career. This 1894 canvas represents the final work in the series. Having offered Theseus the yarn which he used to escape the labyrinth (shown in her right hand), the hero has fecklessly abandoned her on the island of Naxos, where she sits, despondent, a satyr and panther playing by her side. In the distance, sunbeams flow through a part in the clouds, symbolic of her eventual rescue and marriage to Dionysius; yet, in the present moment, she is too consumed by despair to recognize her possibilities for future happiness.",https://www.theibis.net/product/george-frederic-watts-ariadne-1894/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12621,https://www.theibis.net/wp-content/uploads/2019/05/watts_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12608,"Jean-Francois de Troy : ""Pan and Syrinx"" (1722-1724) 16"" x 20"" (Image: 13"" x 16.31"")","As told by the Roman poet Ovid in the Metamorphoses , the lusty satyr Pan eagerly pursued the wood nymph Syrinx. Guarding her virtue, she ran until she reached a river and desperately begged her sisters of the stream to transform her. Just as Pan was about to embrace her, Syrinx changed into cattail reeds. When Pan discovered that he was holding nothing but marsh reeds, he sighed in disappointment, causing the wind to blow through the reeds. He was enchanted by the sound, believing it to be the mournful cry of his beloved Syrinx; from the reeds he fashioned a set of pipes so that he could have her with him always. In this pendant to Diana and her Nymphs Bathing , Jean-François de Troy represented the climax of the narrative. Syrinx, who is seen both before and after the transformation, looks fearfully at Pan as she falls into the arms of Ladon, the river god. Half in shadow, the river nymphs watch apprehensively and huddle together protectively. As he grasps the clump of cattails, Pan seems near ecstasy. The womens soft, creamy skin contrasts with Pans dark, muscular torso and the autumnal foliage in the background. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jean-francois-de-troy-pan-and-syrinx-1722-1724/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12608,https://www.theibis.net/wp-content/uploads/2019/05/rinx_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12598,"Jean-Francois de Troy : ""Diana and Her Nymphs Bathing"" (1722-1724) 16"" x 20"" (Image: 13"" x 16.19"")","In the Metamorphoses, the Roman poet Ovid described how nymphs bathed Diana, the goddess of the hunt, in a stream of clear water. Jean-François de Troy portrayed the moment after the bath when the nymphs are drying Dianas body and refastening her tunic. To the left, a nymph attempts to shield Dianas nudity from a lecherous river gods sight. De Troys choice of subject matter and the description of the womens flesh—creamy white with a pink blush tint—give this painting an erotic charge. The river god, watching the scene voyeuristically from the side, becomes a stand-in for the viewer. De Troy used a warm palette of autumnal and pastel colors to describe the surrounding foliage and sky. Layers of glazes intensify the glowing tones. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jean-francois-de-troy-diana-and-her-nymphs-bathing-1722-1724/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12598,https://www.theibis.net/wp-content/uploads/2019/05/detroy_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12586,"Master LC : ""The Arrival in Bethlehem"" (c. 1540) 16"" x 20"" (Image: 12.13"" x 17"")","This splendid Biblical landscape, attributed to an obscure Flemish painter known to art historians as ""Master LC,"" follows Mary and Joseph as they arrive in Bethlehem. As the narrative unfolds, the couple appear first in the foreground, are refused lodgings deeper into the painting, and finally adore the newborn baby Jesus in a courtyard situated at the extreme right. Though the painting depicts an event of the first century, its architecture, costume and weaponry are contemporary to the Renaissance.",https://www.theibis.net/product/master-lc-the-arrival-in-bethlehem-c-1540/?attribute_size=16%22+x+20%22+%28Image%3A+12.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12586,https://www.theibis.net/wp-content/uploads/2019/05/mlc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12576,"Jean Auguste Dominique Ingres : ""The Virgin Adoring the Host"" (1852) 16"" x 20"" (Image: 13"" x 16.19"")","Ingress original version of The Virgin Adoring the Host was produced on commission for the future Czar Alexander II of Russia. Its subject, apparently unprecedented in the history of art, was met with some confusion by critics, who mostly overlooked the paintings iconography, supposing it represent a miraculous visitation, or actual event in the life of the Virgin. In fact, Ingres was probably referring to Raphaels 1513 Madonna of the Candelabra , replacing the figure of the infant Jesus with that of the host—an innovation poorly-suited to Russia, where the Orthodox Church does not make use of Eucharistic wafers. In spite of its cool reception in Moscow, however, Ingres repeated the motif in a number of related works. In this version, presented to his friend Louise Marcotte, the Russian Saints Alexander and Nicholas are replaced by the French Saints Helen and Louis.",https://www.theibis.net/product/jean-auguste-dominique-ingres-the-virgin-adoring-the-host-1852/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12576,https://www.theibis.net/wp-content/uploads/2019/05/ingres2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12558,"Robert Hubert : ""Arches in Ruins"" (undated) 16"" x 20"" (Image: 6.19"" x 17"")","Robert Hubert, nicknamed ""Robert des Ruines,"" was a French painter of capriccio (""caprices""); architectural fantasies featuring ruins or other architectural elements in fictional or semi-fictional combinations. As a young man he spent eleven years in Rome, associating with artists in the circle of Giovanni Battista Piranesi. On his return to Paris he achieved substantial success, receiving appointments as ""Designer of the Kings Gardens,"" ""Keeper of the Kings Pictures,"" and ""Keeper of the Museum and Councilor to the Academy,"" only to be imprisoned (and narrowly escape execution) during the French Revolution. Arches in Ruins has a pendant in A Colonnade in Ruins . Both narrow paintings were designed as overdoors, intended to be viewed to below.",https://www.theibis.net/product/robert-hubert-arches-in-ruins-undated/?attribute_size=16%22+x+20%22+%28Image%3A+6.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12558,https://www.theibis.net/wp-content/uploads/2019/05/hubert2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12548,"Robert Hubert : ""A Colonnade in Ruins"" (undated) 16"" x 20"" (Image: 6.19"" x 17"")","Robert Hubert, nicknamed ""Robert des Ruines,"" was a French painter of capriccio (""caprices""); architectural fantasies featuring ruins or other architectural elements in fictional or semi-fictional combinations. As a young man he spent eleven years in Rome, associating with artists in the circle of Giovanni Battista Piranesi. On his return to Paris he achieved substantial success, receiving appointments as ""Designer of the Kings Gardens,"" ""Keeper of the Kings Pictures,"" and ""Keeper of the Museum and Councilor to the Academy,"" only to be imprisoned (and narrowly escape execution) during the French Revolution. A Colonnade in Ruins has a pendant in Arches in Ruins . Both narrow paintings were designed as overdoors, intended to be viewed to below.",https://www.theibis.net/product/robert-hubert-a-colonnade-in-ruins-undated/?attribute_size=16%22+x+20%22+%28Image%3A+6.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12548,https://www.theibis.net/wp-content/uploads/2019/05/hubert1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12537,"Martin Johnson Heade : ""Newburyport Meadows"" (c. 1876-1881) 16"" x 20"" (Image: 7.63"" x 17"")","Though Martin Johnson Heade shared studio space and was acquainted with members of the Hudson River School, he remained peripheral to the movement, his subjects a significant departure from those of his peers. New England coastal salt marshes were his primary interest in landscape. These wetland scenes, numbering over one hundred in total, are characterized by their subdued scenery and emphasis on light and atmosphere. ""Over the course of this series,"" observes the National Gallery in Washington, ""Heade captured the essential character of the wetlands environment. He depicted the tides, meteorological phenomena, and other natural forces that shaped the appearance of the swamp and showed how the land was used for hunting, fishing, and the harvesting of naturally occurring salt hay. No other artist of the era explored and analyzed the unique qualities of the marshes in such a sustained and detailed way."" The Metropolitan Museum of Art notes his subjective approach to landscape, reflecting that ""His minutely scaled renderings of natures climatic cycles may be understood as imitations of his own mood."" Heade was not famous during his lifetime and was nearly forgotten until his work underwent a period of rediscovery during the mid-20th century. Now considered a major American artist, his original works continue to surface in attics and rummage sales, only to fetch six-figure sums at auction.",https://www.theibis.net/product/martin-johnson-heade-newburyport-meadows-c-1876-1881/?attribute_size=16%22+x+20%22+%28Image%3A+7.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12537,https://www.theibis.net/wp-content/uploads/2019/05/heade1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12502,"Samuel van Hoogstraten : ""The Annunciation of the Death of the Virgin"" (c. 1670) 16"" x 20"" (Image: 13"" x 16.5"")","Samuel Dirksz van Hoogstraten was a painter of the Dutch Golden Age who studied under Rembrandt. In The Annunciation of the Death of the Virgin he depicts an angel—presumably Gabriel—announcing Marys death, rather than her pregnancy with the son of God. An unusual subject, the Metropolitan Museum of Art proposes that it must have been commissioned by a Catholic patron, ""perhaps in remembrance of someone named Mary.""",https://www.theibis.net/product/samuel-van-hoogstraten-the-annunciation-of-the-death-of-the-virgin-c-1670/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12502,https://www.theibis.net/wp-content/uploads/2019/05/hoog_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12491,"Ren Yi (Ren Bonian) : ""Animals, Flowers and Birds"" (19th century) 16"" x 20"" (Image: 13"" x 16.25"")","Known for his bold brushstrokes and use of color, Ren Yi was a Chinese painter who resided in Shanghai; one of the port cities opened to trade by the First Opium War. Here, he was exposed to Western aesthetics, which he integrated into traditional Chinese art, contributing to the style of the emerging Shanghai School. His courtesy name ""bonian"" (one hundred years) was meant to imply that it would take him a century to achieve success, but by the 1870s he had become a leading artist in Shanghai, with a large circle of eminent friends and students. Of his many works, his bird-and-flower pictures are the most prized.",https://www.theibis.net/product/ren-yi-ren-bonian-animals-flowers-and-birds-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12491,https://www.theibis.net/wp-content/uploads/2019/05/renyi3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12481,"Ren Yi (Ren Bonian) : ""Cranes, Pine Tree and Lichen"" (1885) 16"" x 20"" (Image: 5.19"" x 17"")","Known for his bold brushstrokes and use of color, Ren Yi was a Chinese painter who resided in Shanghai; one of the port cities opened to trade by the First Opium War. Here, he was exposed to Western aesthetics, which he integrated into traditional Chinese art, contributing to the style of the emerging Shanghai School. His courtesy name ""bonian"" (one hundred years) was meant to imply that it would take him a century to achieve success, but by the 1870s he had become a leading artist in Shanghai, with a large circle of eminent friends and students. Of his many works, his bird-and-flower pictures are the most prized.",https://www.theibis.net/product/ren-yi-ren-bonian-cranes-pine-tree-and-lichen-1885/?attribute_size=16%22+x+20%22+%28Image%3A+5.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12481,https://www.theibis.net/wp-content/uploads/2019/05/renyi2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12470,"Ren Yi (Ren Bonian) : ""Two Birds Perched on a Flowering Rose Bush"" (late 19th century) 16"" x 20"" (Image: 13"" x 13"")","Known for his bold brushstrokes and use of color, Ren Yi was a Chinese painter who resided in Shanghai; one of the port cities opened to trade by the First Opium War. Here, he was exposed to Western aesthetics, which he integrated into traditional Chinese art, contributing to the style of the emerging Shanghai School. His courtesy name ""bonian"" (one hundred years) was meant to imply that it would take him a century to achieve success, but by the 1870s he had become a leading artist in Shanghai, with a large circle of eminent friends and students. Of his many works, his bird-and-flower pictures are the most prized.",https://www.theibis.net/product/ren-yi-ren-bonian-two-birds-perched-on-a-flowering-rose-bush-late-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12470,https://www.theibis.net/wp-content/uploads/2019/05/renyi1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12459,"Charles-Francois Daubigny : ""Apple Blossoms"" (1873) 16"" x 20"" (Image: 11.81"" x 17"")","Charles-François Daubigny was an important forerunner and midwife to the Impressionist movement, his career reflecting the tension between his academic training and revolutionary insights gained by direct contact with nature. As a young artist he first trained under the academic painter Pierre-Asthasie-Théodore Sentiès, desperately seeking the acceptance of the Salon, yet he rebelled against the traditional formulas of landscape painting by working outdoors, in attendance to the fleeting properties of natural light. During his lifetime he would collaborate with the likes of Gustave Courbet, Paul Cézanne, Camille Corot, Claude Monet, Camille Pissarro and Alfred Sisley, leveraging his growing influence to advance their cause. In 1865, and again in 1870, he would resign from Salon juries to protest the rejection of works by the Impressionists, remarking that he ""preferred paintings full of daring to the nonentities welcomed into each Salon."" By the 1870s, when the present work was completed, his own style was becoming recognizably impressionistic; his brushstrokes looser, his palette higher-keyed. Having won his artistic freedom, he was openly experimenting with new techniques, and thereby lending his endorsement to a young avant-garde still struggling against orthodoxy. Though he would not live to see the future of the movement that he did so much to shape, and which did so much to shape him, his ardent support would clear a path for a new generation to spearhead the development of modern art.",https://www.theibis.net/product/charles-francois-daubigny-apple-blossoms-1873/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12459,https://www.theibis.net/wp-content/uploads/2019/05/daub4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12448,"Charles-Francois Daubigny : ""Landscape with a Sunlit Stream"" (c. 1877) 16"" x 20"" (Image: 12.63"" x 17"")","Charles-François Daubigny was an important forerunner and midwife to the Impressionist movement, his career reflecting the tension between his academic training and revolutionary insights gained by direct contact with nature. As a young artist he first trained under the academic painter Pierre-Asthasie-Théodore Sentiès, desperately seeking the acceptance of the Salon, yet he rebelled against the traditional formulas of landscape painting by working outdoors, in attendance to the fleeting properties of natural light. During his lifetime he would collaborate with the likes of Gustave Courbet, Paul Cézanne, Camille Corot, Claude Monet, Camille Pissarro and Alfred Sisley, leveraging his growing influence to advance their cause. In 1865, and again in 1870, he would resign from Salon juries to protest the rejection of works by the Impressionists, remarking that he ""preferred paintings full of daring to the nonentities welcomed into each Salon."" By the 1870s, when the present work was completed, his own style was becoming recognizably impressionistic; his brushstrokes looser, his palette higher-keyed. Having won his artistic freedom, he was openly experimenting with new techniques, and thereby lending his endorsement to a young avant-garde still struggling against orthodoxy. Though he would not live to see the future of the movement that he did so much to shape, and which did so much to shape him, his ardent support would clear a path for a new generation to spearhead the development of modern art.",https://www.theibis.net/product/charles-francois-daubigny-landscape-with-a-sunlit-stream-c-1877/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12448,https://www.theibis.net/wp-content/uploads/2019/05/daub3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12436,"Charles-Francois Daubigny : ""Landscape with Ducks"" (1872) 16"" x 20"" (Image: 9.81"" x 17"")","Charles-François Daubigny was an important forerunner and midwife to the Impressionist movement, his career reflecting the tension between his academic training and revolutionary insights gained by direct contact with nature. As a young artist he first trained under the academic painter Pierre-Asthasie-Théodore Sentiès, desperately seeking the acceptance of the Salon, yet he rebelled against the traditional formulas of landscape painting by working outdoors, in attendance to the fleeting properties of natural light. During his lifetime he would collaborate with the likes of Gustave Courbet, Paul Cézanne, Camille Corot, Claude Monet, Camille Pissarro and Alfred Sisley, leveraging his growing influence to advance their cause. In 1865, and again in 1870, he would resign from Salon juries to protest the rejection of works by the Impressionists, remarking that he ""preferred paintings full of daring to the nonentities welcomed into each Salon."" By the 1870s, when the present work was completed, his own style was becoming recognizably impressionistic; his brushstrokes looser, his palette higher-keyed. Having won his artistic freedom, he was openly experimenting with new techniques, and thereby lending his endorsement to a young avant-garde still struggling against orthodoxy. Though he would not live to see the future of the movement that he did so much to shape, and which did so much to shape him, his ardent support would clear a path for a new generation to spearhead the development of modern art.",https://www.theibis.net/product/charles-francois-daubigny-landscape-with-ducks-1872/?attribute_size=16%22+x+20%22+%28Image%3A+9.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12436,https://www.theibis.net/wp-content/uploads/2019/05/daub2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12426,"Charles-Francois Daubigny : ""Boats on the Seacoast at Etaples"" (1871) 16"" x 20"" (Image: 10"" x 17"")","Charles-François Daubigny was an important forerunner and midwife to the Impressionist movement, his career reflecting the tension between his academic training and revolutionary insights gained by direct contact with nature. As a young artist he first trained under the academic painter Pierre-Asthasie-Théodore Sentiès, desperately seeking the acceptance of the Salon, yet he rebelled against the traditional formulas of landscape painting by working outdoors, in attendance to the fleeting properties of natural light. During his lifetime he would collaborate with the likes of Gustave Courbet, Paul Cézanne, Camille Corot, Claude Monet, Camille Pissarro and Alfred Sisley, leveraging his growing influence to advance their cause. In 1865, and again in 1870, he would resign from Salon juries to protest the rejection of works by the Impressionists, remarking that he ""preferred paintings full of daring to the nonentities welcomed into each Salon."" By the 1870s, when the present work was completed, his own style was becoming recognizably impressionistic; his brushstrokes looser, his palette higher-keyed. Having won his artistic freedom, he was openly experimenting with new techniques, and thereby lending his endorsement to a young avant-garde still struggling against orthodoxy. Though he would not live to see the future of the movement that he did so much to shape, and which did so much to shape him, his ardent support would clear a path for a new generation to spearhead the development of modern art.",https://www.theibis.net/product/charles-francois-daubigny-boats-on-the-seacoast-at-etaples-1871/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12426,https://www.theibis.net/wp-content/uploads/2019/05/daub1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12392,"Martin Johnson Heade : ""Hummingbird and Apple Blossoms"" (1875) 16"" x 20"" (Image: 13"" x 15.25"")","Martin Johnson Heade first traveled to South America in 1863, where he produced more than forty small paintings of hummingbirds, originally intended for publication in a book titled The Gems of Brazil . In 1866 he returned to visit Nicaragua, and in 1870 ventured to Columbia, Panama and Jamaica. His sketches and paintings on these journeys provided the basis for a series of works on hummingbirds, the majority of which were produced from 1875-1885. Like his close friend Frederic Edwin Church, who unveiled Heart of the Andes in 1859, Heade was inspired by the writings of Prussian polymath geographer Alexander von Humboldt. The Carl Sagan of his time, von Humboldts popular treatise Kosmos —itself inspired by a trip to South America—described ""a beautifully ordered and harmonious system"" underlying the apparent chaos of the natural world. In his faithful representations of hummingbirds and their habitats, Heade sought to present not only the aesthetic beauty of his subjects, but the harmony and interconnectedness of the greater ecological systems of which they formed a part.",https://www.theibis.net/product/martin-johnson-heade-hummingbird-and-apple-blossoms-1875/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12392,https://www.theibis.net/wp-content/uploads/2019/05/heade3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12381,"Martin Johnson Heade : ""Hummingbird and Passionflowers"" (c. 1875-1885) 16"" x 20"" (Image: 10"" x 17"")","Martin Johnson Heade first traveled to South America in 1863, where he produced more than forty small paintings of hummingbirds, originally intended for publication in a book titled The Gems of Brazil . In 1866 he returned to visit Nicaragua, and in 1870 ventured to Columbia, Panama and Jamaica. His sketches and paintings on these journeys provided the basis for a series of works on hummingbirds, the majority of which were produced from 1875-1885. Like his close friend Frederic Edwin Church, who unveiled Heart of the Andes in 1859, Heade was inspired by the writings of Prussian polymath geographer Alexander von Humboldt. The Carl Sagan of his time, von Humboldts popular treatise Kosmos —itself inspired by a trip to South America—described ""a beautifully ordered and harmonious system"" underlying the apparent chaos of the natural world. In his faithful representations of hummingbirds and their habitats, Heade sought to present not only the aesthetic beauty of his subjects, but the harmony and interconnectedness of the greater ecological systems of which they formed a part.",https://www.theibis.net/product/martin-johnson-heade-hummingbird-and-passionflowers-c-1875-1885/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12381,https://www.theibis.net/wp-content/uploads/2019/05/heade2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12359,"Charles Sprague Pearce : ""The Arab Jeweler"" (c. 1882) 16"" x 20"" (Image: 13"" x 17"")","Charles Sprague Pearce was an American artist who studied in Paris under Leon Bonnat. Poor health necessitated his wintering in warmer climes, including Egypt, Algeria, Italy and the south of France. During the early 1870s he undertook a four-month excursion along the Nile, which may have provided the inspiration for this painting. Depicting an Arab jeweler in the act of soldering a gold ornament to a strip of gold, the Metropolitan Museum of Art describes it as ""a powerful embodiment of the creative energy of all jewelers who have produced such beauty through the centuries.""",https://www.theibis.net/product/charles-sprague-pearce-the-arab-jeweler-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12359,https://www.theibis.net/wp-content/uploads/2019/05/pearce1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12346,"Jean-Francois de Troy : ""Before the Ball"" (1735) 16"" x 20"" (Image: 13"" x 16.5"")","A maid puts the finishing touches on her mistresss hair while two women lean in to listen breathlessly to what she is saying. Partially disguised and holding masks, they wear lavish cloaks in anticipation of the evening festivities ahead. Candles flicker, illuminating the eager faces of the group and contributing to the mood of hushed expectancy. Jean-Francois de Troy developed the tableaux de mode , depictions of scenes from upper-class life with an emphasis on sumptuous costumes, opulent interiors, and hints of amorous intrigue. At the time, some critics disapproved of the aristocratic life of leisure celebrated by paintings like this one. Before the Ball was exhibited at the Paris Salon of 1737 with its companion piece, After the Ball . When exhibited, the pair was declared De Troys finest work. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jean-francois-de-troy-before-the-ball-1735/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12346,https://www.theibis.net/wp-content/uploads/2019/05/detroy2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12333,"Gerrit Dou : ""Astronomer by Candlelight"" (1655-1659) 16"" x 20"" (Image: 11.5"" x 17"")","In an arched, window-like opening, an astronomer works late into the night. Concentrating, he reads an astronomical treatise and measures the distance between two points on a celestial globe. The candle he holds provides the only source of light; it illuminates his face, the book, the precious globe, the beaker of water, and his hourglass. Strong contrasts between light and dark show the painter Gerrit Dous knowledge of a popular Baroque technique known as chiaroscuro . Carefully rendering minute details such as the handwriting in the book, the texture of the glass flask, and the folds in the astronomers cloak was Dous special talent. Collectors treasured these small, detailed paintings for pleasurable observation in their private rooms. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/gerrit-dou-astronomer-by-candlelight-1655-1659/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12333,https://www.theibis.net/wp-content/uploads/2019/05/dou1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12322,"Joaquin Sorolla y Bastida : ""Court of the Dances, Alcazar, Sevilla"" (1910) 16"" x 20"" (Image: 11.31"" x 17"")","This is one of a series of four paintings of townscapes and garden scenes in Seville that Joaquín Sorolla y Bastida painted in 1910. Two years earlier, he had made a similar series of views in the same city. While he retained the brilliance and atmosphere of his 1908 Seville paintings, he seems to have approached this second series in a more traditional manner. The courtyard of Sevilles Alcázar Palace, the citys most splendid example of Moorish architecture, sparkles in the dappled summer sunlight. As always, Joaquín Sorolla y Bastida was concerned with color and light, brilliance and atmosphere. The colored reflections of the light animate the scene and help to define the forms, creating a sense that nature is ever-changing. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/joaquin-sorolla-y-bastida-court-of-the-dances-alcazar-sevilla-1910/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12322,https://www.theibis.net/wp-content/uploads/2019/05/sorolla2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12310,"Tsukioka Yoshitoshi : ""Moon over Shinobugaoka"" (1889) 16"" x 20"" (Image: 11.56"" x 17"")","Tsukioka Yoshitoshi is widely regarded as the last great master of the ukiyo-e genre. His career spanned the opening of Japan and the beginning of the Meiji Restoration; a period of radical social, political and technological change during which he pushed traditional Japanese woodblock printing to a new level, even as the advent of photography and lithography were rendering it obsolete. ""Yoshitoshis courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory,"" wrote author John Stevenson, reflecting a sentiment that Yoshitoshi himself may have intended in his death poem: ""holding back the night / with its increasing brilliance / the summer moon."" Yoshitoshi completed One Hundred Aspects of the Moon in the year of his death, 1892. Art curator Tamara Tjardes describes it as ""a pilgrimage to Japans glorious past,"" depicting ""figures from Japanese and Chinese mythology, folklore, history, literature and theatre."" The series was so popular, she notes, that ""townspeople were said to have lined up before dawn to buy a print of the latest image."" Number 76 of the series, Moon over Shinobugaoka depicts the samurai Gyokuensai at a cherry blossom viewing in Edo, shielding himself as the wind blows the petals from the trees. The kimono hanging over the branch in the background would have served as the curtain or backdrop for a picnic.",https://www.theibis.net/product/tsukioka-yoshitoshi-moon-over-shinobugaoka-1889/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12310,https://www.theibis.net/wp-content/uploads/2019/05/shinob_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12299,"William Bradford : ""Whaler and Fishing Vessels near the Coast of Labrador"" (c. 1880) 16"" x 20"" (Image: 10"" x 17"")","Together with his fellow Hudson River School painter Frederic Edwin Church, William Bradford was a major popularizer of the Arctic in American art. Residing in New Bedford, Massachusetts, he developed his mature style painting whalers and clipper ships before undertaking a series of eight voyages to the Labrador coast and beyond from 1861-1869. In addition to painting, he also made extensive use of photography. His travelogue The Arctic Regions (1873) is now considered a landmark in the history of the photographically illustrated book.",https://www.theibis.net/product/william-bradford-whaler-and-fishing-vessels-near-the-coast-of-labrador-c-1880/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12299,https://www.theibis.net/wp-content/uploads/2019/05/wves_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12287,"William Bradford : ""An Arctic Summer: Boring Through the Pack in Melville Bay"" (1871) 16"" x 20"" (Image: 11.25"" x 17"")","Together with his fellow Hudson River School painter Frederic Edwin Church, William Bradford was a major popularizer of the Arctic in American art. Residing in New Bedford, Massachusetts, he developed his mature style painting whalers and clipper ships before undertaking a series of eight voyages to the Labrador coast and beyond from 1861-1869. In addition to painting, he also made extensive use of photography. His travelogue The Arctic Regions (1873) is now considered a landmark in the history of the photographically illustrated book. An Arctic Summer: Boring Through the Pack in Melville Bay is a product of his final and most ambitious journey aboard the steamer Panther, engaged in the search for the Northwest Passage. According to Bradfords journals, the crew had made an unsuccessful attempt to hunt the polar bear shown in the foreground, ""anxious to possess so fine a skin.""",https://www.theibis.net/product/william-bradford-an-arctic-summer-boring-through-the-pack-in-melville-bay-1871/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12287,https://www.theibis.net/wp-content/uploads/2019/05/bradf2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12276,"William Bradford : ""An Incident of Whaling"" (undated) 16"" x 20"" (Image: 10.25"" x 17"")","Together with his fellow Hudson River School painter Frederic Edwin Church, William Bradford was a major popularizer of the Arctic in American art. Residing in New Bedford, Massachusetts, he developed his mature style painting whalers and clipper ships before undertaking a series of eight voyages to the Labrador coast and beyond from 1861-1869. In addition to painting, he also made extensive use of photography. His travelogue The Arctic Regions (1873) is now considered a landmark in the history of the photographically illustrated book.",https://www.theibis.net/product/william-bradford-an-incident-of-whaling-undated/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12276,https://www.theibis.net/wp-content/uploads/2019/05/bradf1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12266,"William Blake : ""Angel of the Divine Presence Bringing Eve to Adam"" (c. 1803) 16"" x 20"" (Image: 13"" x 16.31"")","In Genesis 2, God places Adam in a deep sleep and creates Eve from his rib. Here, Blake imagines Adams wakening as tender sequel to Michelangelos Creation of Adam . Rather than bestowing life at the touch of a finger, the Angel of Divine Presence joins his hand to Eves. The Metropolitan Museum of Art explicates the paintings elaborate symbolism: ""the grape vines entwined around the tree symbolize marriage; the exotic red and blue plumed birds represent the newly created souls; and the giant oak leaf on which Adam reclines forecasts humankind’s suffering. A lion dozing near grazing lambs at lower right signals the peace of the pre-fallen world.""",https://www.theibis.net/product/william-blake-angel-of-the-divine-presence-bringing-eve-to-adam-c-1803/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12266,https://www.theibis.net/wp-content/uploads/2019/05/diveve_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12254,"William Keith : ""Yosemite Falls, from Glacier Point"" (1879) 16"" x 20"" (Image: 8.44"" x 17"")","A Scottish-born American artist, William Keith first traveled to Yosemite during the 1870s, armed with a letter of introduction to John Muir. The two became close friends, their ""deep affection and admiration...expressed through a kind of verbal boxing, counter-jibe answering jibe, counter-insult responding to insult."" Together they would support the establishment Yosemite National Park. Though late in his career Keiths style would become more subjective, his works of the 1870s were as true to life as possible, documenting the geologic wonders that Americans were pleased to discover on their western frontier.",https://www.theibis.net/product/william-keith-yosemite-falls-from-glacier-point-1879/?attribute_size=16%22+x+20%22+%28Image%3A+8.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12254,https://www.theibis.net/wp-content/uploads/2019/05/wkeith_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12241,"Winslow Homer : ""A Basket of Clams"" (1873) 16"" x 20"" (Image: 13"" x 15.25"")","Winslow Homer first took up watercolor during the summer of 1873, on his visit to Gloucester, Massachusetts. The Metropolitan Museum of Art describes A Basket of Clams as ""one of the most delightful products of that summer,"" summing up ""the modest responsibilities of childhood,"" and typifying ""the direct observation, vigorous design, and dazzling light of Homers first watercolors."" Enabling the artist to make fresh, rapid observations from nature, watercolor immediately added new vigor to his finished oil paintings, so that by the late 1870s he was devoting his summers exclusively that medium.",https://www.theibis.net/product/winslow-homer-a-basket-of-clams-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12241,https://www.theibis.net/wp-content/uploads/2019/05/whom9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12222,"Winslow Homer : ""Eagle Head, Manchester, Massachusetts (High Tide)"" (1870) 16"" x 20"" (Image: 11.5"" x 17"")","Depicting three women on the seashore, clad in ungainly Victorian swimwear, Eagle Head, Manchester, Massachusetts (High Tide) is an enigmatic work with disquieting undertones that defy easy interpretation. The figures, posed with their backs to one another, feel psychologically disconnected. Their small dogs mood is ambiguous between playfulness, confusion and alarm. Author Arne Neset suggests that their positions, ""imitating the classical icon of Three Graces,"" might ""signify the inward personal physical sensations, mostly incommunicable, from water, sand and wind,"" while art historian Elizabeth Johns observes how Homer has ""poked fun at the artificiality of womens clothing, so apparent in the voluminous folds weighed down with water."" As in many of Homers works, an ordinarily frivolous or sentimental subject reveals, on closer inspection, layers of deeper meaning.",https://www.theibis.net/product/winslow-homer-eagle-head-manchester-massachusetts-high-tide-1870/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12222,https://www.theibis.net/wp-content/uploads/2019/05/whom8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12212,"Winslow Homer : ""The Studio"" (1867) 16"" x 20"" (Image: 13"" x 15.75"")","Depicting a cellist and violinist in an artists studio, playing sheet music from easels, The Studio may be read as a comment on the unity of the arts. Terms like ""harmony"" and ""balance"" are applied as easily to music as to painting. Visual artists express rhythm in how they direct the eye through a composition. All forms of artistic expression are analogous to one another. Painted during Homers 1866-67 stay in Paris, or immediately thereafter, The Studio has a distinctly French character and is frequently compared to the works of Edgar Degas.",https://www.theibis.net/product/winslow-homer-the-studio-1867/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12212,https://www.theibis.net/wp-content/uploads/2019/05/whom7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12201,"Agnes FitzGibbon : ""Plate IV:Star Flower, Purple Trillium, Wild Cranes Bill, Squirrel Corn"" (1869) 16"" x 20"" (Image: 12.25"" x 17"")","Described as ""one of the greatest botanical triumphs"" by biologist James Fletcher, Canadian Wild Flowers was produced by two Ontario women of modest means: settler Catherine Parr Traill, who wrote the text, and her niece Anges FitzGibbon (daughter of author Susanna Moodie), who produced the illustrations. Traills initial manuscript, describing hundreds of local plants, won praise from professors, but Toronto publishers demurred; in a city of 45,000, the niche market for botanical texts was less than spectacular. To improve her chances of publication she enlisted FitzGibbon—who initially viewed the project as a way to help her aunt and her aunts six children—to illustrate the volume. FitzGibbon took painting and lithography lessons, designed the title and ten plates for the volume, and, with her daughters and associates, painted thousands of finished lithographs. They produced an effective sales dummy and succeeded in enlisting over 400 subscribers for what ultimately became a successful publication, with new editions issued as late as 1903.",https://www.theibis.net/product/agnes-fitzgibbon-plate-ivstar-flower-purple-trillium-wild-cranes-bill-squirrel-corn-1869/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12201,https://www.theibis.net/wp-content/uploads/2019/05/trill1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12190,"Agnes FitzGibbon : ""Plate VII: Penstemon Beard Tongue, Early Wild Rose"" (1869) 16"" x 20"" (Image: 12.25"" x 17"")","Described as ""one of the greatest botanical triumphs"" by biologist James Fletcher, Canadian Wild Flowers was produced by two Ontario women of modest means: settler Catherine Parr Traill, who wrote the text, and her niece Anges FitzGibbon (daughter of author Susanna Moodie), who produced the illustrations. Traills initial manuscript, describing hundreds of local plants, won praise from professors, but Toronto publishers demurred; in a city of 45,000, the niche market for botanical texts was less than spectacular. To improve her chances of publication she enlisted FitzGibbon—who initially viewed the project as a way to help her aunt and her aunts six children—to illustrate the volume. FitzGibbon took painting and lithography lessons, designed the title and ten plates for the volume, and, with her daughters and associates, painted thousands of finished lithographs. They produced an effective sales dummy and succeeded in enlisting over 400 subscribers for what ultimately became a successful publication, with new editions issued as late as 1903.",https://www.theibis.net/product/agnes-fitzgibbon-plate-vii-penstemon-beard-tongue-early-wild-rose-1869/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12190,https://www.theibis.net/wp-content/uploads/2019/05/agnesp7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12179,"Agnes FitzGibbon : ""Plate V: Harebell, Showy Ladys Slipper, Wild Orange Red Lily"" (1869) 16"" x 20"" (Image: 12.25"" x 17"")","Described as ""one of the greatest botanical triumphs"" by biologist James Fletcher, Canadian Wild Flowers was produced by two Ontario women of modest means: settler Catherine Parr Traill, who wrote the text, and her niece Anges FitzGibbon (daughter of author Susanna Moodie), who produced the illustrations. Traills initial manuscript, describing hundreds of local plants, won praise from professors, but Toronto publishers demurred; in a city of 45,000, the niche market for botanical texts was less than spectacular. To improve her chances of publication she enlisted FitzGibbon—who initially viewed the project as a way to help her aunt and her aunts six children—to illustrate the volume. FitzGibbon took painting and lithography lessons, designed the title and ten plates for the volume, and, with her daughters and associates, painted thousands of finished lithographs. They produced an effective sales dummy and succeeded in enlisting over 400 subscribers for what ultimately became a successful publication, with new editions issued as late as 1903.",https://www.theibis.net/product/agnes-fitzgibbon-plate-v-harebell-showy-ladys-slipper-wild-orange-red-lily-1869/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12179,https://www.theibis.net/wp-content/uploads/2019/05/agnesp5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12168,"Agnes FitzGibbon : ""Plate III: Wild Columbine, Large White Trillium, Yellow Adders Tongue"" (1869) 16"" x 20"" (Image: 12.13"" x 17"")","Described as ""one of the greatest botanical triumphs"" by biologist James Fletcher, Canadian Wild Flowers was produced by two Ontario women of modest means: settler Catherine Parr Traill, who wrote the text, and her niece Anges FitzGibbon (daughter of author Susanna Moodie), who produced the illustrations. Traills initial manuscript, describing hundreds of local plants, won praise from professors, but Toronto publishers demurred; in a city of 45,000, the niche market for botanical texts was less than spectacular. To improve her chances of publication she enlisted FitzGibbon—who initially viewed the project as a way to help her aunt and her aunts six children—to illustrate the volume. FitzGibbon took painting and lithography lessons, designed the title and ten plates for the volume, and, with her daughters and associates, painted thousands of finished lithographs. They produced an effective sales dummy and succeeded in enlisting over 400 subscribers for what ultimately became a successful publication, with new editions issued as late as 1903.",https://www.theibis.net/product/agnes-fitzgibbon-plate-iii-wild-columbine-large-white-trillium-yellow-adders-tongue-1869/?attribute_size=16%22+x+20%22+%28Image%3A+12.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12168,https://www.theibis.net/wp-content/uploads/2019/05/agnesp3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12155,"Agnes FitzGibbon : ""Plate I: Cone Flower, Jack-in-the-Pulpit, Showy Orchis, Scarlet Painted Cup"" (1869) 16"" x 20"" (Image: 12.19"" x 17"")","Described as ""one of the greatest botanical triumphs"" by biologist James Fletcher, Canadian Wild Flowers was produced by two Ontario women of modest means: settler Catherine Parr Traill, who wrote the text, and her niece Anges FitzGibbon (daughter of author Susanna Moodie), who produced the illustrations. Traills initial manuscript, describing hundreds of local plants, won praise from professors, but Toronto publishers demurred; in a city of 45,000, the niche market for botanical texts was less than spectacular. To improve her chances of publication she enlisted FitzGibbon—who initially viewed the project as a way to help her aunt and her aunts six children—to illustrate the volume. FitzGibbon took painting and lithography lessons, designed the title and ten plates for the volume, and, with her daughters and associates, painted thousands of finished lithographs. They produced an effective sales dummy and succeeded in enlisting over 400 subscribers for what ultimately became a successful publication, with new editions issued as late as 1903.",https://www.theibis.net/product/agnes-fitzgibbon-plate-i-cone-flower-jack-in-the-pulpit-showy-orchis-scarlet-painted-cup-1869/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12155,https://www.theibis.net/wp-content/uploads/2019/05/agnesp1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12142,"Winslow Homer : ""Northeaster"" (1895; reworked 1901) 16"" x 20"" (Image: 11.5"" x 17"")","In 1883 Winslow Homer moved to the fishing village of Prouts Neck, Maine, where, leading a hermits lifestyle, he produced some of the most powerful seascapes in Western art. Northeaster is an exceptional example in which the ferocious sea clashing against the immovable rocky coast, absent any human figures or narrative elements, invites the spectator to witness the eternal pulse of nature; the endless struggle of elemental forces beside which humanity rendered fragile, temporary and insignificant.",https://www.theibis.net/product/winslow-homer-northeaster-1895-reworked-1901/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12142,https://www.theibis.net/wp-content/uploads/2019/05/whom6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12132,"Winslow Homer : ""Moonlight, Wood Island Light"" (1894) 16"" x 20"" (Image: 12.75"" x 17"")","In 1883 Winslow Homer moved to the fishing village of Prouts Neck, Maine, where, leading a hermits lifestyle, he produced some of the most powerful seascapes in Western art. Moonlight, Wood Island Light was, incredibly, painted on impulse, by moonlight, in the span of four or five hours, and never retouched. According to Homer biographer William Howe Downes, the artist was sitting outside his studio one summer night when he exclaimed ""Ive got an idea!"" at which point ""He almost ran into the studio, seized his painting outfit, emerged from the house, and clambered down over the rocks toward the shore.""",https://www.theibis.net/product/winslow-homer-moonlight-wood-island-light-1894/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12132,https://www.theibis.net/wp-content/uploads/2019/05/whom5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12120,"Winslow Homer : ""The Gulf Stream"" (1899) 16"" x 20"" (Image: 10.31"" x 17"")","The Gulf Stream is regarded by many as Winslow Homers greatest painting. The poet Sadakichi Hartmann, indeed, went as far as to describe it ""one of the greatest pictures ever painted in America."" Overpowering in its sense of abandonment and desolation, it depicts a solitary boatman on a rudderless, dismasted vessel, threatened by tumbling waves, circling sharks and a looming waterspout. On the distant horizon, a schooner sails past, unseeing and unseen. While some critics have offered that the painting comments on contemporary racial tensions, others have emphasized its funeral references, noting the death of Homers father in 1898. The artist himself thought the painting self-evident, answering one viewer that: ""I regret very much that I have painted a picture that requires any description....I have crossed the Gulf Stream ten times & I should know something about it. The boat & sharks are outside matters of very little consequence. They have been blown out to sea by a hurricane. You can tell these ladies that the unfortunate negro who now is so dazed & parboiled, will be rescued & returned to his friends and home, & ever after live happily."" It is perhaps enough to say, as Bryson Burroughs once wrote, that The Gulf Stream ""assumes the proportion of a great allegory if one chooses.""",https://www.theibis.net/product/winslow-homer-the-gulf-stream-1899/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12120,https://www.theibis.net/wp-content/uploads/2019/05/whom4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12110,"Antonio Allegri da Correggio : ""Head of Christ"" (c. 1525-1530) 16"" x 20"" (Image: 13"" x 16.19"")","As Christ stumbled under the weight of the cross he bore on the way to his crucifixion, Saint Veronica comforted him and wiped his face with her veil. According to legend, Christs features were miraculously imprinted on the fabric. In this haunting depiction, Correggio painted Veronicas veil as the white cloth in the background. Christ faces the viewer and parts his lips as if to speak. Through the use of strong light and shadow as seen in the defined cheekbones, line of the nose, and hollow of the neck, Correggio gave his forms a sense of volume. He further used light to emphasize the images poignancy, placing the left half of Christs face in shadow while the right side receives light. The subject matter and small size of the Head of Christ probably indicate that it was made for private devotional use. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/antonio-allegri-da-correggio-head-of-christ-c-1525-1530/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12110,https://www.theibis.net/wp-content/uploads/2019/05/corre_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12098,"Winslow Homer : ""Camp Fire"" (1880) 16"" x 20"" (Image: 10.63"" x 17"")","As an illustrator for Harpers, Winslow Homer witnessed the Civil War from the front lines, but was unusual in that he dealt more often with the circumstances of everyday camp life than with the more dramatic battle scenes that enticed his colleagues. After the war, some of his first paintings were of homesick soldiers enduring adverse living conditions. In Camp Fire he turned to the subject of camping for recreation. The product of an 1880 trip to the Keene Valley of the Adirondacks, it depicts two fishermen in a cedar shelter, reposing by a warm fire. A friend of the artist thought it so true to life that ""a woodsman could tell what kind of logs were burning by the sparks that rose in long curved lines.""",https://www.theibis.net/product/winslow-homer-camp-fire-1880/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12098,https://www.theibis.net/wp-content/uploads/2019/05/whom3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12086,"Winslow Homer : ""Rainy Day in Camp"" (1871) 16"" x 20"" (Image: 9.25"" x 17"")","As an illustrator for Harpers, Winslow Homer witnessed the Civil War from the front lines, but was unusual in that he dealt more often with the circumstances of everyday camp life than with the more dramatic battle scenes that enticed his colleagues. Rainy Day in Camp was based upon sketches he made during the siege of Yorktown in April and May of 1862. The red cloverleaf on the overturned barrel in the left foreground was the insignia of the division in which the artist was embedded.",https://www.theibis.net/product/winslow-homer-rainy-day-in-camp-1871/?attribute_size=16%22+x+20%22+%28Image%3A+9.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12086,https://www.theibis.net/wp-content/uploads/2019/05/whom2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12076,"Jean-Etienne Liotard : ""Still Life: Tea Set"" (1780-1783) 16"" x 20"" (Image: 12.31"" x 17"")","Chinese porcelain and tea-drinking were the rage of fashionable Europe when Jean-Étienne Liotard was born. He began painting tea and coffee sets in the last two decades of his life when age, changes in taste, and his political beliefs caused a decline in requests for the pastel portraits that were his specialty. He had, however, been including fruit and porcelain still lifes in some of his portraits since about 1740. Only five of his paintings of tea and coffee sets are known today. In this painting of tea-time disarray, a tray is set with six cups and saucers, a teapot, sugar bowl, milk jug, and a lidded vase perhaps containing an extra supply of tea leaves. A large bowl holding a teacup and saucer could also be used for dumping the slops of cold tea and used tea leaves. By the time Liotard painted this work in the late 1700s, tea-drinking had become fashionable among the middle as well as the upper classes. Liotard contrasted the luxurious materials of Chinese porcelain and silver with a cheaper tray of painted tin, known as tôle , that imitated Asian lacquer. Combining the transparent, reflective and brightly-patterned objects allowed the artist to portray strong visual contrasts. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jean-etienne-liotard-still-life-tea-set-1780-1783/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12076,https://www.theibis.net/wp-content/uploads/2019/05/liot_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12064,"Benjamin Moran Dale : ""Official Program - Woman Suffrage Procession, Washington D.C."" (1913) 16"" x 20"" (Image: 12.56"" x 17"")","Benjamin Morgan Dales cover illustration for the official program of the 1913 Woman Suffrage Procession depicts the labor lawyer Inez Miholland leading the march atop a white horse—which, indeed, she did, albeit wearing a white cape and crown, rather than the more elaborate vestments pictured here. The event, attended by ten bands, five mounted brigades, 26 floats and around 8,000 marchers, took place on the day before Woodrow Wilsons inauguration. Though met by constant harassment from mostly male spectators—which the police did little to hinder—they were successful in bringing the issue of voting rights for women to the forefront of national discussion. In 1920 Congress passed the Nineteenth Amendment giving women the right to vote, but the struggle for gender quality, and its attendant marches, were far from over. (Image Restoration by Adam Cuerden.)",https://www.theibis.net/product/benjamin-moran-dale-official-program-woman-suffrage-procession-washington-d-c-1913/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12064,https://www.theibis.net/wp-content/uploads/2019/05/womsuf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12054,"Winslow Homer : ""Breezing Up (A Fair Wind)"" (1873-1876) 16"" x 20"" (Image: 10.69"" x 17"")","An iconic expression of American optimism, Breezing Up (A Fair Wind) depicts a sailor and three boys returning with the days successful catch, having defied the choppy waves and looming grey skies. First exhibited in the countrys centennial year 1876, it met with a warm reception from critics, who observed the manner in which ""The fishing boat, bending to the wind, seems to actually cleave the waves,"" and how the figures appear to ""sway with the rolling boat, and relax or grow rigid as the light keel rises or sinks..."" The National Gallery in Washington now describes it as ""one of the best-known and most beloved artistic images of life in 19th-century America."" As in many of Homers works of the 1870s, it at once appeals to American postwar nostalgia for a simpler time, while expressing hope for the young nations future.",https://www.theibis.net/product/winslow-homer-breezing-up-a-fair-wind-1873-1876/?attribute_size=16%22+x+20%22+%28Image%3A+10.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12054,https://www.theibis.net/wp-content/uploads/2019/05/glouc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12043,"Winslow Homer : ""The Boat Builders"" (1873) 16"" x 20"" (Image: 10"" x 17"")","Winslow Homer painted The Boat Builders in Gloucester, Massachusetts, where he spent the summer of 1873. Juxtaposing toy ships with real ships, the childrens play with their future work lives, it is emblematic of the way in which Homer so often transcends his subject matter and succeeds in interpreting American life without resort to sentimentality. Through their toy boats the children investigate their surroundings, assimilating the knowledge and values that will prepare them for a coastal New England way of life.",https://www.theibis.net/product/winslow-homer-the-boat-builders-1873/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12043,https://www.theibis.net/wp-content/uploads/2019/05/bbuild_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12032,"Winslow Homer : ""Snap the Whip"" (1872) 16"" x 20"" (Image: 10.13"" x 17"")","By the 1870s the assassination of Abraham Lincoln and founding of the KKK had put to rest any hope of an easy reconciliation between North and South. During this period Winslow Homer turned to nostalgic subjects that resonated with a public eager to remember a simpler time. Among these is a series of works centered around a little red schoolhouse that he painted from 1871-1874. Evocative of the past, they at once express hope for the future. If Homers generation would continue to bear their animosities, now honed by years of unprecedented bloodshed, they could, at least, hope for the nation to heal in their childrens time.",https://www.theibis.net/product/winslow-homer-snap-the-whip-1872/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12032,https://www.theibis.net/wp-content/uploads/2019/05/whom1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12022,"Jan Brueghel the Elder : ""The Entry of the Animals into Noahs Ark"" (1613) 16"" x 20"" (Image: 10.56"" x 17"")","A profusion of animals fills the earth and sky. Fighting, playing, climbing, flying, and swimming, they are shepherded by Noah toward the ark in the far distance. All species of animals are portrayed, from large lumbering elephants to tiny turtles and hamsters in the foreground. Bats and birds soar across the sky, receding into the background where brighter skies hold promise of a future. The story of Noahs ark provided a subject well suited to Jan Brueghel the Elders descriptive abilities. Overcome by the wickedness of the human race, God resolved to cleanse the earth with a great flood. He spared only the lives of the family of Noah, the sole just man. God instructed Noah to build an ark and to take on board a male and a female of every species of bird and beast. In 1609 Brueghel was appointed court painter to Archduke Albert and the Infanta Isabella, who had collected exotic and unusual animals from across the world, creating a menagerie in Brussels. Brueghel studied and drew many of these animals from life. With the discovery of the New World in the 1600s came an increased curiosity about natural history. This interest led many European rulers, who had in the past collected stuffed animals, shells, and other natural objects, to form menageries of rare live animals. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jan-brueghel-the-elder-the-entry-of-the-animals-into-noahs-ark-1613/?attribute_size=16%22+x+20%22+%28Image%3A+10.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12022,https://www.theibis.net/wp-content/uploads/2019/05/enoah_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12010,"Sebastiano Ricci : ""Triumph of Marine Venus"" (c. 1713) 16"" x 20"" (Image: 13"" x 17"")","Born from the sea, the mythological goddess Venus sits upon a throne pulled by muscular men and surrounded by her entourage. Her son Cupid flies nearby and grasps a handful of coral from a plate held by an attendant. Perched above Venus, a woman holds a string of pearls, a typical adornment of the goddess. The pearls fall through her hair and down along her shoulder. The composition is arranged in a loose pyramidal shape with Venus at the apex. Sebastiano Ricci used an array of flesh tones to describe and model the playful, graceful figures, from the reddish-brown tanned skin of the athletic men to the light brownish-peach skin of the cherub blowing a conch shell in the lower right-hand corner and the even lighter flesh of the women. Venuss softly painted skin is a creamy white with touches of pink in her cheeks, chest, stomach, and knees; her flesh glows as if lit from within. Against the blue sky, streaks of pink paint describe wispy clouds and fading sunlight. With the Triumph of the Marine Venus , Ricci made a transition from a more classical Baroque style of dramatic gestures, bold colors, and serious subject matter to a more Rococo style of light, pastel colors, elegant, graceful figures, and decorative compositional elements. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/sebastiano-ricci-triumph-of-marine-venus-c-1713/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12010,https://www.theibis.net/wp-content/uploads/2019/05/sric_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 12000,"Winslow Homer : ""Home, Sweet Home"" (c. 1863) 16"" x 20"" (Image: 12.81"" x 17"")","As an illustrator for Harpers, Winslow Homer witnessed the Civil War from the front lines, but was unusual in that he dealt more often with the circumstances of everyday camp life than with the more dramatic battle scenes that enticed his colleagues. Back in his New York studio he referred to his sketches for a series of war-related works which he exhibited at the National Academy of Design. Of these, Home, Sweet Home won particular praise, critics noting its ""real feeling,"" ""delicacy and strength of emotion,"" and technical sophistication. ""Winslow Homer,"" wrote one observer, ""is one of those few young artists who make a decided impression of their power with their very first contributions."" Depicting a pair of Union infantrymen at camp, the regimental band playing in the background, the title of the painting may allude to the song of the same name. When Union and rebel armies camped in proximity, their rival bands would sometimes try to drown each other out with their respective anthems, but Home, Sweet Home was the one song that everyone could agree upon.",https://www.theibis.net/product/winslow-homer-home-sweet-home-c-1863/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=12000,https://www.theibis.net/wp-content/uploads/2019/05/camp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11987,"Paul Cezanne : ""Still Life with Blue Pot"" (1900-1906) 16"" x 20"" (Image: 12.88"" x 17"")","The still life was a principal theme throughout Paul Cézannes artistic career. Using a repertoire of everyday objects such as fruit, jugs, bottles, and plates, he experimented with relationships of form, color, and pattern. Although the groupings seem casual, Cézanne is known to have taken great care with the arrangement, sometimes spending hours positioning the objects. In this brightly colored watercolor, Cézannes monumental conception of form is evident: the jug, the two pots, one white, one blue, and the seven apples assume a physical presence beyond normal perception of their existence. Using small patches of color laid next to one another, Cézanne evoked the plasticity of substance, building form rather like bricks build structures. His fresh and vigorous brushstrokes are visible against the background wall as areas of greens and blues are juxtaposed. The apples are described with red arcs around the perimeter, then yellow brushstrokes next to the red; the empty middle suggests light reflecting off the surface. Curving brushstrokes of brown, green, and blue that seem to blend with the bottom half of the wall actually compose the tablecloth. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/paul-cezanne-still-life-with-blue-pot-1900-1906/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11987,https://www.theibis.net/wp-content/uploads/2019/05/cezz21_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11977,"Paul Cezanne : ""Still Life with a Ginger Jar and Eggplants"" (1893-1894) 16"" x 20"" (Image: 13"" x 16.5"")","Cézannes still lifes explore the geometric simplification of optical phenomena. His technique of careful, repetitious outlining was so time consuming that he was unable to complete a painting of real flowers before they had wilted. He sought to ""treat nature by the cylinder, the sphere, the cone,"" reducing his subjects to simple forms and color planes in order to emphasize the classical harmony of the overall composition. Though ridiculed for much of his career, his work became a major influence upon the development of modern art, Pablo Picasso having once claimed him as ""my one and only master.""",https://www.theibis.net/product/paul-cezanne-still-life-with-a-ginger-jar-and-eggplants-1893-1894/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11977,https://www.theibis.net/wp-content/uploads/2019/05/cezz20_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11965,"Paul Cezanne : ""Madame Cezanne in a Red Dress"" (1888-1890) 16"" x 20"" (Image: 13"" x 17"")","Cézanne met Marie-Hortense Fiquet in 1869 and had a child by her in 1872, but they did not marry until 1886 and perhaps only then to please the artists dying father—an authoritative banker who had scorned their relationship, when it finally came to his attention in March, 1878. Though little is known of the intimate details of their relationship, his devotion to her is suggested by a series of more than forty enigmatic portraits for which she sat, her expressions remote and melancholy. An emotionally charged and haunting body of work, they have been described by art curator Joseph J. Rishel as ""among the most moving portraits of the nineteenth century.""",https://www.theibis.net/product/paul-cezanne-madame-cezanne-in-a-red-dress-1888-1890/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11965,https://www.theibis.net/wp-content/uploads/2019/05/cezz19_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11929,"Paul Cezanne : ""Madame Cezanne in the Conservatory"" (1891) 16"" x 20"" (Image: 13"" x 16.5"")","Cézanne met Marie-Hortense Fiquet in 1869 and had a child by her in 1872, but they did not marry until 1886 and perhaps only then to please the artists dying father—an authoritative banker who had scorned their relationship, when it finally came to his attention in March, 1878. Though little is known of the intimate details of their relationship, his devotion to her is suggested by a series of more than forty enigmatic portraits for which she sat, her expressions remote and melancholy. An emotionally charged and haunting body of work, they have been described by art curator Joseph J. Rishel as ""among the most moving portraits of the nineteenth century.""",https://www.theibis.net/product/paul-cezanne-madame-cezanne-in-the-conservatory-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11929,https://www.theibis.net/wp-content/uploads/2019/05/cezz18_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11918,"Paul Cezanne : ""Mont Sainte-Victoire and the Viaduct of the Arc River Valley"" (1882-1885) 16"" x 20"" (Image: 13"" x 16.31"")","This landscape of southern France is a product of Cézannes mature period. Beyond a railroad bridge crossing the Arc River Valley lie the artists hometown of Aix-en-Provence and the limestone ridges of Montagne Sainte-Victoire. The Metropolitan Museum of Art, noting Cézannes aspiration to ""make of Impressionism something solid and durable, like the art of museums,"" observes how ""the railroad viaduct that cuts through this pastoral scene is evocative of a Roman aqueduct, recalling paintings by Nicolas Poussin.""",https://www.theibis.net/product/paul-cezanne-mont-sainte-victoire-and-the-viaduct-of-the-arc-river-valley-1882-1885/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11918,https://www.theibis.net/wp-content/uploads/2019/05/cezz17_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11908,"Paul Cezanne : ""Antoine Dominique Sauveur Aubert, the Artists Uncle"" (1866) 16"" x 20"" (Image: 13"" x 16.25"")","During the autumn of 1866 Cézanne stayed with his family at Jas de Bouffan, where he completed nine portraits of his material uncle, Antoine Dominique Sauveur Aubert, in various guises. In an artistic fury he attacked his canvases with a palette knife, laying the thick impastos that would lend these works their remarkably bold and direct character. In so doing, he was not only emulating, but to some degree exaggerating, the signature technique of his hero Gustave Courbet who, in his own use of the palette knife, never built to quite the same density, nor abandoned chiaroscuro quite to the same degree.",https://www.theibis.net/product/paul-cezanne-antoine-dominique-sauveur-aubert-the-artists-uncle-1866/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11908,https://www.theibis.net/wp-content/uploads/2019/05/cezz16_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11897,"Paul Cezanne : ""Antoine Dominique Sauveur Aubert, the Artists Uncle, as a Monk"" (1866) 16"" x 20"" (Image: 13"" x 15.75"")","During the autumn of 1866 Cézanne stayed with his family at Jas de Bouffan, where he completed nine portraits of his material uncle, Antoine Dominique Sauveur Aubert, in various guises. In an artistic fury he attacked his canvases with a palette knife, laying the thick impastos that would lend these works their remarkably bold and direct character. In so doing, he was not only emulating, but to some degree exaggerating, the signature technique of his hero Gustave Courbet who, in his own use of the palette knife, never built to quite the same density, nor abandoned chiaroscuro quite to the same degree. The Metropolitan Museum of Art describes this, the most outstanding portrait of the series, as ""one of the pivotal masterpieces marking Cezannes first realization of his tremendously vigorous powers of innovation.""",https://www.theibis.net/product/paul-cezanne-antoine-dominique-sauveur-aubert-the-artists-uncle-as-a-monk-1866/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11897,https://www.theibis.net/wp-content/uploads/2019/05/cezz15_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11886,"Paul Cezanne : ""Young Italian Woman at a Table"" (c. 1895-1900) 16"" x 20"" (Image: 13"" x 16.38"")","Leaning on a fabric-covered table and resting her head in her hand, this young woman looks out with an enigmatic expression. Since the Renaissance, artists have used this pose to portray melancholy. The pose, combined with her hauntingly unreadable face, gives a human poignancy and psychological tension to the figure. Juxtaposing bold, individual strokes of color, Paul Cézanne built up the womans powerful physical presence and the space she occupies. As a twentieth-century painter and admirer of Cézanne observed, his later works, such as Young Italian Woman , have ""an enormous sense of volume, breathing, pulsating, expanding, contracting, through his use of colors."" While the womans form is convincing, the space behind and around her can appear contradictory and even confusing. How far away is the wall? Is the tabletop flat underneath the cloth? Does she sit or stand? These questions give tension and movement to an otherwise stable composition. From the 1890s until the end of his life, Cézanne painted a number of these grand figure studies, usually relying upon local workers or residents for his models. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/paul-cezanne-young-italian-woman-at-a-table-c-1895-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11886,https://www.theibis.net/wp-content/uploads/2019/05/cezz14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11875,"Paul Cezanne : ""The Eternal Feminine"" (c. 1877) 16"" x 20"" (Image: 13"" x 16.13"")","The nude played a central role in Paul Cézannes art throughout his career, but, paradoxically for an artist who usually drew from life, he seldom used nude models in his working process: he was said to be ill-at-ease with naked sitters. ""I paint still lifes,"" he once told Renoir, ""Women models frighten me."" Cezanne contented instead with studying earlier artists and using the drawings after nude models that he had made in art school in Paris. The meaning of this enigmatic painting is unclear, and it has been known by several titles. This woman is confronted by devotees from different arts and occupations, among them a mitered bishop, whose admiration seems intrusive, even aggressive. A painter sometimes identified as Eugène Delacroix stands at his easel painting the scene. The bald figure at the paintings bottom may be Cézanne himself. Whether she encourages their adoration, passively accepts it, or is trapped by her cult is unclear. Like many of Cézannes nudes, the womans face is nearly blank, except for her red eye sockets. Around 1877 Cézanne began to use the parallel diagonal strokes seen here to impose order and to unify his pictures surface. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/paul-cezanne-the-eternal-feminine-c-1877/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11875,https://www.theibis.net/wp-content/uploads/2019/05/efem_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11863,"Paul Cezanne : ""The Fishermen (Fantastic Scene)"" (c. 1875) 16"" x 20"" (Image: 11.5"" x 17"")","A fantasy painting by Cézanne, The Fishermen was exhibited at the third Impressionist exhibition of 1877, where it hung above the door of a room devoted to pastoral themes. ""It is strikingly majestic and extraordinarily calm,"" wrote critic Georges Rivière, ""It seems that the scene takes place in memory while he turns the pages of life."" Indeed, it is thought that the figure in the lower left was originally intended to depict an artist, perhaps Cézanne himself.",https://www.theibis.net/product/paul-cezanne-the-fishermen-fantastic-scene-c-1875/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11863,https://www.theibis.net/wp-content/uploads/2019/05/cezz13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11853,"Paul Cezanne : ""Still Life with Apples and a Pot of Primroses"" (c. 1890) 16"" x 20"" (Image: 13"" x 16.5"")","Cézannes still lifes explore the geometric simplification of optical phenomena. His technique of careful, repetitious outlining was so time consuming that he was unable to complete a painting of real flowers before they had wilted. He sought to ""treat nature by the cylinder, the sphere, the cone,"" reducing his subjects to simple forms and color planes in order to emphasize the classical harmony of the overall composition. Though ridiculed for much of his career, his work became a major influence upon the development of modern art, Pablo Picasso having once claimed him as ""my one and only master.""",https://www.theibis.net/product/paul-cezanne-still-life-with-apples-and-a-pot-of-primroses-c-1890/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11853,https://www.theibis.net/wp-content/uploads/2019/05/cezz12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11840,"Paul Cezanne : ""Still Life with Jar, Cup, and Apples"" (c. 1877) 16"" x 20"" (Image: 13"" x 15.81"")","Cézannes still lifes explore the geometric simplification of optical phenomena. His technique of careful, repetitious outlining was so time consuming that he was unable to complete a painting of real flowers before they had wilted. He sought to ""treat nature by the cylinder, the sphere, the cone,"" reducing his subjects to simple forms and color planes in order to emphasize the classical harmony of the overall composition. Though ridiculed for much of his career, his work became a major influence upon the development of modern art, Pablo Picasso having once claimed him as ""my one and only master.""",https://www.theibis.net/product/paul-cezanne-still-life-with-jar-cup-and-apples-c-1877/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11840,https://www.theibis.net/wp-content/uploads/2019/05/cezz11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11830,"Paul Cezanne : ""Trees and Houses Near the Jas de Bouffan"" (1885-1886) 16"" x 20"" (Image: 12.5"" x 17"")","Cézanne produced no fewer than 39 oil paintings and 17 watercolors at Jas de Bouffan, his family home in Aix-en-Provence. Painted directly from nature, this view looks north to the eighteenth-century bastide that he shared with his mother. ""Cézanne treats his subject with great economy,"" observes the Metropolitan Museum of Art, ""his brush marks are lean and articulated, his palette of yellows and greens is relatively simple, and areas of the canvas are unbrushed, exposing ground in patches that read as color. All his life, Cézanne played with spatial relationships in nature, whether working from life or from memory. Here the bare, attenuated trees appear as a frieze against the zones of recessive color, applied as though watercolor, not oil, were the medium.""",https://www.theibis.net/product/paul-cezanne-trees-and-houses-near-the-jas-de-bouffan-1885-1886/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11830,https://www.theibis.net/wp-content/uploads/2019/05/cezz10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11819,"Paul Cezanne : ""Seated Peasant"" (c. 1892-1896) 16"" x 20"" (Image: 13"" x 15.75"")","The subject of Seated Peasant is almost certainly one of the farmhands who worked at Jas de Bouffan , Cézannes family estate in Aix-en-Provence. Appearing in numerous figure studies that he completed during the 1890s, and, most famously, in his series of card players, they were, according to the Metropolitan Museum of Art, ""older men with whom he felt great sympathy and perhaps identified to some extent, admiring their simplicity and natural dignity. Like him, they had stayed in their native region, rejecting the modern ways of the North."" Indeed, the seated peasants jacket, vest and knotted string tie closely resemble clothes that Cézanne himself is known to have worn.",https://www.theibis.net/product/paul-cezanne-seated-peasant-c-1892-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11819,https://www.theibis.net/wp-content/uploads/2019/05/cezz9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11807,"Eigon Bessho : ""Blackbird Near Reeds in Snow"" (c. 1890-1920) 16"" x 20"" (Image: 6.88"" x 17"")","Blackbird Near Reeds in Snow is an Edo period woodcut of the kachoga (""bird and flower"") genre. Its minimalist composition is characteristic of Japanese art, where aesthetic statements are often made in the taper of a few lines, or the gradients of an ink wash. Whereas Western art, with its three-point perspective and advanced techniques of realism, sometimes borders on the novelistic, traditional Japanese art observes the same economy and precision as its poetry.",https://www.theibis.net/product/eigon-bessho-blackbird-near-reeds-in-snow-c-1890-1920/?attribute_size=16%22+x+20%22+%28Image%3A+6.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11807,https://www.theibis.net/wp-content/uploads/2019/05/bessho_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11796,"Okuhara Seiko : ""Crow on a Willow Branch"" (c. 1890) 16"" x 20"" (Image: 13"" x 14.63"")","Crow on a Willow Branch was produced circa 1890 by Okuhara Seiko. A renown literati artist, or bunjin , she is noted for having eschewed a female persona. She wore masculine clothing and short hair, and changed her name from the feminine Setsuko to the gender-neutral Seiko, which means ""clear lake."" She lived with her student and companion Watanabe Seiran and, during the 1870s, opened a co-ed school that afforded girls the opportunity to study away from the demands of home. The prints minimalist composition is characteristic of Japanese art, where aesthetic statements are often made in the taper of a few lines, or the gradients of an ink wash. Whereas Western art, with its three-point perspective and advanced techniques of realism, sometimes borders on the novelistic, traditional Japanese art observes the same economy and precision as its poetry.",https://www.theibis.net/product/okuhara-seiko-crow-on-a-willow-branch-c-1890/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11796,https://www.theibis.net/wp-content/uploads/2019/05/croww_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11784,"Hiroshige III : ""River Trout (Ayu zu)"" (c. 1868-1894) 16"" x 20"" (Image: 13"" x 14.88"")","River Trout is a simple, elegant composition, and as such is characteristic of Japanese art, where aesthetic statements are often made in the taper of a few lines, or the gradients of an ink wash. Whereas Western art, with its three-point perspective and advanced techniques of realism, sometimes borders on the novelistic, traditional Japanese art observes the same economy and precision as its poetry. The artist, born Goto Torakichi, was a student of the ukiyo-e master Utagawa (Ando) Hiroshige. After Hiroshige Is death the name passed to his stepson, Suzuki Chinpei, who became Hiroshige II. The couple eventually divorced and the masters daughter remarried Torakichi, who in turn became Hiroshige III.",https://www.theibis.net/product/hiroshige-iii-river-trout-ayu-zu-c-1868-1894/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11784,https://www.theibis.net/wp-content/uploads/2019/05/rtrou_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11774,"Paul Cezanne : ""Rocks in the Forest"" (1890s) 16"" x 20"" (Image: 13"" x 16.31"")","Rocks in the Forest reflects the melancholy of Cézannes final years; a period of solitude, introspection and personal crisis during which he felt himself attuned to desolate landscapes and abandoned homes. ""The landscape,"" he reflected, ""becomes human, becomes a thinking, living being within me. I become one with my picture...We merge in an iridescent chaos."" The setting is traditionally identified as the forest of Fontainebleau, though a site near his studio in Aix has also been suggested. The Metropolitan Museum of Art observes that Cézanne ""treated the rocks in this composition much as he did the fruits in his still lifes, rendering the shapes with passages of subtly varied color. Green, blue, and purple tints, with an accent of golden sunlight at center, impart a shimmering vibrancy to the stones. The sense of delicacy is enhanced by the thin, watercolor-like application of pigment, typical of Cézanne’s oils in the mid-1890s.""",https://www.theibis.net/product/paul-cezanne-rocks-in-the-forest-1890s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11774,https://www.theibis.net/wp-content/uploads/2019/05/cezz8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11762,"Paul Cezanne : ""The Pool at Jas de Bouffan"" (c. 1885-1886) 16"" x 20"" (Image: 13"" x 16.19"")","Cézanne produced no fewer than 39 oil paintings and 17 watercolors at Jas de Bouffan, his family home in Aix-en-Provence. This view is of the road which led from the back of the house. Adjoining it, and visible in the middle ground, is a pool used for collecting water and washing trough. At the time of this work Cezanne was residing at Jas de Bouffan with his mother, having established an atelier in the attic. Following her death in 1897 he would be forced to relocate. The site is currently owned by the city of Aix-en-Provence and maintained as an official historical monument.",https://www.theibis.net/product/paul-cezanne-the-pool-at-jas-de-bouffan-c-1885-1886/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11762,https://www.theibis.net/wp-content/uploads/2019/05/cezz7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11752,"Paul Cezanne : ""Still Life with Apples and Pears"" (c. 1891-1892) 16"" x 20"" (Image: 12.75"" x 17"")","Cézannes still lifes explore the geometric simplification of optical phenomena. His technique of careful, repetitious outlining was so time consuming that he was unable to complete a painting of real flowers before they had wilted. He sought to ""treat nature by the cylinder, the sphere, the cone,"" reducing his subjects to simple forms and color planes in order to emphasize the classical harmony of the overall composition. Though ridiculed for much of his career, his work became a major influence upon the development of modern art, Pablo Picasso having once claimed him as ""my one and only master.""",https://www.theibis.net/product/paul-cezanne-still-life-with-apples-and-pears-c-1891-1892/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11752,https://www.theibis.net/wp-content/uploads/2019/05/cezz6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11740,"Paul Cezanne : ""The House with the Cracked Walls"" (1892-1894) 16"" x 20"" (Image: 13"" x 16.31"")","It is hardly surprising that Cézanne painted The House with the Cracked Walls during a period of personal crisis. The damage to the home is more than superficial wear and tear. Its fissures tracing a path to the crevice below, it appears to have cracked apart like an egg, struck with such force as to shatter the underlying terrain. When Cézannes mother died in 1897, he must have felt a similar blow.",https://www.theibis.net/product/paul-cezanne-the-house-with-the-cracked-walls-1892-1894/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11740,https://www.theibis.net/wp-content/uploads/2019/05/cezz5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11727,"Hiroshige II : ""Whale Hunting at the Island of Goto in Hizen Province"" (1859) 16"" x 20"" (Image: 11.5"" x 17"")","Born Suzuki Chinpei, Hiroshige II was the stepson and artistic successor of the ukiyo-e master Utagawa (Ando) Hiroshige. So closely did his work resemble that of his teacher that early Western scholars did not even recognize him as a separate artist. Whale Hunting at the Island of Goto in Hizen Province is one of his series One Hundred Famous Views in the Various Provinces , published from 1859-1861. Of the one hundred advertised prints, only eighty-one have been cataloged. The full series may never have been completed.",https://www.theibis.net/product/hiroshige-ii-whale-hunting-at-the-island-of-goto-in-hizen-province-1859/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11727,https://www.theibis.net/wp-content/uploads/2019/05/hizen_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11716,"Hiroshige II : ""Hasedera in Yamato Province"" (1859) 16"" x 20"" (Image: 11.75"" x 17"")","Born Suzuki Chinpei, Hiroshige II was the stepson and artistic successor of the ukiyo-e master Utagawa (Ando) Hiroshige. So closely did his work resemble that of his teacher that early Western scholars did not even recognize him as a separate artist. Hasedera in Yamato Province is one of his series One Hundred Famous Views in the Various Provinces , published from 1859-1861. Of the one hundred advertised prints, only eighty-one have been cataloged. The full series may never have been completed.",https://www.theibis.net/product/hiroshige-ii-hasedera-in-yamato-province-1859/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11716,https://www.theibis.net/wp-content/uploads/2019/05/hased_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11703,"Hiroshige II : ""Chuzenji Lake in Shimotsuke Province"" (1860) 16"" x 20"" (Image: 11.5"" x 17"")","Born Suzuki Chinpei, Hiroshige II was the stepson and artistic successor of the ukiyo-e master Utagawa (Ando) Hiroshige. So closely did his work resemble that of his teacher that early Western scholars did not even recognize him as a separate artist. Chuzenji Lake in Shimotsuke Province is one of his series One Hundred Famous Views in the Various Provinces , published from 1859-1861. Of the one hundred advertised prints, only eighty-one have been cataloged. The full series may never have been completed.",https://www.theibis.net/product/hiroshige-ii-chuzenji-lake-in-shimotsuke-province-1860/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11703,https://www.theibis.net/wp-content/uploads/2019/05/chuz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11692,"Paul Cezanne : ""The Card Players"" (1890-1892) 16"" x 20"" (Image: 13"" x 16.25"")","The Card Players is the first in a series of five paintings by Cézanne, depicting Provençal peasants immersed in their pipes and playing cards. Conspicuously absent are the moralizing overtones and bawdy associations characteristic of this motif in earlier French and Dutch genre paintings. There is no money on the table, no alcohol in view. During the 1890s, this interpretation may have been read as political. Cézannes native Provence was one of the oldest regions for the production of playing cards in France, and its manufacturers were being threatened by new restrictions on gambling. Anyone viewing The Card Players would be hard-pressed to explain why these quiet, hard-working peasants should be deprived of their pastime. While Cézannes attitudes toward card playing would certainly have influenced his execution, his motivation for taking on the subject is likely have to been more purely aesthetic. Art critic Richard Dorment speculates that ""As he considered tackling a genre subject, he must have asked himself how he could show several figures interacting naturally with one another and yet retain the architectonic structure that permeates his paintings of static landscapes and inert still lifes. The answer was to show a scene from everyday life in which nobody moves – a card game. In what other subject could several men be shown sitting around a table facing each other without talking, gesturing, or even looking up? In a card game, each player studies the hand he has been dealt so intently that his lack of movement and the absence of even the slightest expressive reaction to his opponents, looks quite natural. The subject of a card game was as close as Cézanne could find to a human still life.""",https://www.theibis.net/product/paul-cezanne-the-card-players-1890-1892/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11692,https://www.theibis.net/wp-content/uploads/2019/05/cezz4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11681,"Utagawa Ando Hiroshige : ""Sudden Shower at Shono"" (c. 1833-1836) 16"" x 20"" (Image: 11.25"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Sudden Shower at Shono is number 46 of his best-known series, The Fifty-three Stations of the Tokaido . Connecting the shoguns capital, Edo, to the imperial capital, Kyoto, the Tokaido, or ""Eastern Sea Road"" was served by 53 post stations providing food, lodging and stables to weary travelers. Hiroshige made this journey as part of an official delegation in 1832 and began work on the series immediately upon his return. Its widespread international success established ""famous views"" ( meisho ) as a major new theme of ukiyo-e and Hiroshige as the most prominent printmaker of the Tokugawa era.",https://www.theibis.net/product/utagawa-ando-hiroshige-sudden-shower-at-shono-c-1833-1836/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11681,https://www.theibis.net/wp-content/uploads/2019/05/shono_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11671,"Utagawa Ando Hiroshige : ""Evening Snow at Kanbara"" (c. 1833-1836) 16"" x 20"" (Image: 11.25"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Evening Snow at Kanbara is number 16 of his best-known series, The Fifty-three Stations of the Tokaido . Connecting the shoguns capital, Edo, to the imperial capital, Kyoto, the Tokaido, or ""Eastern Sea Road"" was served by 53 post stations providing food, lodging and stables to weary travelers. Hiroshige made this journey as part of an official delegation in 1832 and began work on the series immediately upon his return. Its widespread international success established ""famous views"" ( meisho ) as a major new theme of ukiyo-e and Hiroshige as the most prominent printmaker of the Tokugawa era.",https://www.theibis.net/product/utagawa-ando-hiroshige-evening-snow-at-kanbara-c-1833-1836/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11671,https://www.theibis.net/wp-content/uploads/2019/05/kanbara_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11659,"Utagawa Ando Hiroshige : ""Kogane Fields in Shimosa Province"" (1858) 16"" x 20"" (Image: 11.38"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Kogane Fields in Shimosa Province is one of his 1858 series, Thirty-six Views of Mount Fuji , depicting Japans highest peak in various perspectives, seasons and weather conditions. Held sacred since ancient times, Mount Fuji is revered in Shinto mythology as one of the two gods born from ""something like a reed that arose from the soil"" when the earth was chaotic. An important motif in Japanese art and literature, it had previously been the subject of two similarly-titled series by Hokusai, Thirty-six Views of Mount Fuji and One Hundred Views of Mount Fuji , published during the 1830s.",https://www.theibis.net/product/utagawa-ando-hiroshige-kogane-fields-in-shimosa-province-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11659,https://www.theibis.net/wp-content/uploads/2019/05/kogane_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11646,"Utagawa Ando Hiroshige : ""Suido Bridge and Surugadai"" (1857) 16"" x 20"" (Image: 11.63"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Suido Bridge and Surugadai is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. The Brooklyn Museum observes that ""Without the three immense carp banners, this view would have been a classic depiction of samurai Edo, looking southwest over the densest single concentration of samurai households in the city, from Surugadai on the left through Bancho in the distance. The banners and streamers indicate that the time is the Boys Festival, the fifth day of the Fifth Month. The three carp are standards used by commoners in imitation of the military streamers, which they were prohibited from flying. The banners drew on a Chinese legend of a fish so strong that it could leap a waterfall—an image considered appropriate for young boys. This view thus seems to depict witty merchant-class mimicry of the samurai version of the Boys Festival.""",https://www.theibis.net/product/utagawa-ando-hiroshige-suido-bridge-and-surugadai-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11646,https://www.theibis.net/wp-content/uploads/2019/05/suido_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11635,"Utagawa Ando Hiroshige : ""Zojoji Pagoda and Akabane"" (1857) 16"" x 20"" (Image: 11.69"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Zojoji Pagoda and Akabane is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. According to the Brooklyn Museum, ""The Zojoji Pagoda was part of the mausoleum of the second shogun, Hidetada. It lay at the southern edge of a hill above the tomb itself. Hiroshige chooses to show only the pagodas top two stories, painted a splendid red. The dense mass of evergreens pressing close around the building was believed to protect against fire. The six vertical banners rising behind the stylized cloud in the center signify the famous Suitengo Shrine, known for assuring safe births. The area became crowded on the fifth day of each month, when the shrine was opened to the public. The view is to the southwest with Akabane Bridge spanning the Furukawa River in the center.""",https://www.theibis.net/product/utagawa-ando-hiroshige-zojoji-pagoda-and-akabane-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11635,https://www.theibis.net/wp-content/uploads/2019/05/zoj_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11623,"Utagawa Ando Hiroshige : ""Blossoms on the Tama River Embankment"" (1856) 16"" x 20"" (Image: 11.5"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Blossoms on the Tama River Embankment is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. According to the Brooklyn Museum, ""The Tama River, actually the Tama River Aqueduct, carried much of the drinking water for the city of Edo along a thirty-mile course. Hiroshiges springtime view vividly conveys a freshness and vitality befitting this lifeline. The cherry trees were planted along much of the embankment in the 1730s. The placement was not only aesthetic but also practical: the trees roots strengthened the banks, and their petals and leaves were thought to possess antitoxic powers that kept the water pure.""",https://www.theibis.net/product/utagawa-ando-hiroshige-blossoms-on-the-tama-river-embankment-1856/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11623,https://www.theibis.net/wp-content/uploads/2019/05/tama_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11611,"Utagawa Ando Hiroshige : ""Golden Pheasant and Pine Shoots in Snow"" (c. 1835) 16"" x 20"" (Image: 7.5"" x 17"")","While best-known for his popular travel series, including The Fifty-three Stations of the Tokaido and One Hundred Famous Views of Edo , Utagawa Hiroshige also produced a large body of kachoga , or literally ""bird and flower pictures."" Because these were not printed in the massive quantities of his landscape subjects, fewer have survived. Typically printed in long, narrow formats and accompanied by haiku or kyoka poems, they benefited from advancements that enabled the application of richer palettes and use of gradients to aid in the representation of texture, perspective and atmospheric effects.",https://www.theibis.net/product/utagawa-ando-hiroshige-golden-pheasant-and-pine-shoots-in-snow-c-1835/?attribute_size=16%22+x+20%22+%28Image%3A+7.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11611,https://www.theibis.net/wp-content/uploads/2019/05/kachoga2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11599,"Utagawa Ando Hiroshige : ""Mallard and Snow-covered Reeds"" (c. 1843) 16"" x 20"" (Image: 8"" x 17"")","While best-known for his popular travel series, including The Fifty-three Stations of the Tokaido and One Hundred Famous Views of Edo , Utagawa Hiroshige also produced a large body of kachoga , or literally ""bird and flower pictures."" Because these were not printed in the massive quantities of his landscape subjects, fewer have survived. Typically printed in long, narrow formats and accompanied by haiku or kyoka poems, they benefited from advancements that enabled the application of richer palettes and use of gradients to aid in the representation of texture, perspective and atmospheric effects. The poem that accompanies Mallard and Snow-covered Reeds reads as follows: ""A duck quacks— / as the wind wrinkles / the face of the water.""",https://www.theibis.net/product/utagawa-ando-hiroshige-mallard-and-snow-covered-reeds-c-1843/?attribute_size=16%22+x+20%22+%28Image%3A+8%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11599,https://www.theibis.net/wp-content/uploads/2019/05/kachoga1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11587,"Utagawa Ando Hiroshige : ""Sparrows and Camellias in Snow"" (c. 1830-1858) 16"" x 20"" (Image: 7.63"" x 17"")","While best-known for his popular travel series, including The Fifty-three Stations of the Tokaido and One Hundred Famous Views of Edo , Utagawa Hiroshige also produced a large body of kachoga , or literally ""bird and flower pictures."" Because these were not printed in the massive quantities of his landscape subjects, fewer have survived. Typically printed in long, narrow formats and accompanied by haiku or kyoka poems, they benefited from advancements that enabled the application of richer palettes and use of gradients to aid in the representation of texture, perspective and atmospheric effects. Sparrows and Camellias in Snow is accompanied by the first two lines of the poem Inquiry of a Stork by Hakurakuten, which reads as follows: ""Crows and storks fight over something to eat / and sparrows over where to sleep, / You stand there all alone by the pond, / the wind blows and snow piles up.""",https://www.theibis.net/product/utagawa-ando-hiroshige-sparrows-and-camellias-in-snow-c-1830-1858/?attribute_size=16%22+x+20%22+%28Image%3A+7.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11587,https://www.theibis.net/wp-content/uploads/2019/05/sparsnow_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11575,"Utagawa Ando Hiroshige : ""Mandarin Ducks"" (c. 1830-1858) 16"" x 20"" (Image: 7.56"" x 17"")","While best-known for his popular travel series, including The Fifty-three Stations of the Tokaido and One Hundred Famous Views of Edo , Utagawa Hiroshige also produced a large body of kachoga , or literally ""bird and flower pictures."" Because these were not printed in the massive quantities of his landscape subjects, fewer have survived. Typically printed in long, narrow formats and accompanied by haiku or kyoka poems, they benefited from advancements that enabled the application of richer palettes and use of gradients to aid in the representation of texture, perspective and atmospheric effects. The poem which accompanies Mandarin Ducks reads as follows: ""Out in a morning wind, / Have seen a pair of mandarin ducks parting. / Even the best loving couple makes a quarrel.""",https://www.theibis.net/product/utagawa-ando-hiroshige-mandarin-ducks-c-1830-1858/?attribute_size=16%22+x+20%22+%28Image%3A+7.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11575,https://www.theibis.net/wp-content/uploads/2019/05/manducks_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11563,"Utagawa Ando Hiroshige : ""Bamboo Yards, Kyobashi"" (1857) 16"" x 20"" (Image: 11.13"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Bamboo Yards, Kyobashi is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. According to the Brooklyn Museum, ""The characters Hori-Take on the lantern of the figure just left of center on the bridge are the hidden signature of Yokogawa Hori-Take, one of the best known carvers of the day, an artisan responsible for engraving many of Hiroshiges designs of the 1850s. Here he has inserted his name on the one print most appropriate to its literal meanin Carver Bamboo.""",https://www.theibis.net/product/utagawa-ando-hiroshige-bamboo-yards-kyobashi-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11563,https://www.theibis.net/wp-content/uploads/2019/05/kyob_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11550,"Utagawa Ando Hiroshige : ""Minowa, Kanasugi, Mikawashima"" (1857) 16"" x 20"" (Image: 11.31"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Minowa, Kanasugi, Mikawashima is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. It was published in serial from 1856-1859, with Hiroshige II completing the series after his death in 1858. According to the Brooklyn Museum, ""The title of this print lists three different villages northwest of the Yoshiwara pleasure quarters. The names that appear first probably represent the nearest places in the view. This would mean that it is a scene looking from Minowa and Kanasugi toward Mikawashima, to the west or northwest. Mikawashima was where the shoguns Crane Hunt occurred almost every year during the winter months, when cranes migrated to Japan. The auspicious nature of the crane made it an important ceremonial gift. Aside from the one or two birds taken on each hunt, the cranes of Mikawashima were carefully protected, as Hiroshige has depicted: the figure in the background is carrying buckets filled with rice with which to feed them.""",https://www.theibis.net/product/utagawa-ando-hiroshige-minowa-kanasugi-mikawashima-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11550,https://www.theibis.net/wp-content/uploads/2019/05/minowa_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11539,"Utagawa Ando Hiroshige : ""Suruga-cho"" (1856) 16"" x 20"" (Image: 11.56"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Suruga-cho is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. It was published in serial from 1856-1859, with Hiroshige II completing the series after his death in 1858. ""What distinguishes Hiroshiges design in this print,"" observes the Brooklyn Museum, ""is its resolute symmetry, softened only by the irregular stylized cloud forms traditionally used in Japanese paintings to separate scenes in pictorial narratives. Here this compositional device focuses attention on Mount Fuji above and the urban bustle below in the street called Suruga-cho. Included in this scene is Japans premier store, Echigoya, presently Mitsukoshi Department Store, still the most venerable of all the great merchandisers of Tokyo. It is identified by its crest, a circle around the characters for three and well, which together read Mitsui.""",https://www.theibis.net/product/utagawa-ando-hiroshige-suruga-cho-1856/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11539,https://www.theibis.net/wp-content/uploads/2019/05/surug_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11527,"Utagawa Ando Hiroshige : ""Atagoshita and Yabu Lane"" (1857) 16"" x 20"" (Image: 11.5"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Atagoshita and Yabu Lane is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. According to the Brooklyn Museum, it is ""the last of four famous snow scenes that feature bright colors against falling snow. In the distance is the district known as Atagoshita, after its location beneath Mount Atago, the hill rising to the right. The clump of bamboo shown here was an established landmark recognizable to Edo residents. It lay just outside the northeast corner of the mansion of the daimyo of Minakuchi, and served to protect the site from the dangerous northeast, where the Kimon, the devils gate, lay. The bamboo gave its name to Yabu (Thicket) Lane, an alley that ran along the back of the wall of the mansion. Although mentioned in the title, Yabu Lane is out of sight in this view, behind to the right.""",https://www.theibis.net/product/utagawa-ando-hiroshige-atagoshita-and-yabu-lane-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11527,https://www.theibis.net/wp-content/uploads/2019/05/atagos_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11498,"Thomas Eakins : ""The Champion Single Sculls (Max Schmitt in a Single Scull)"" (1871) 16"" x 20"" (Image: 11.75"" x 17"")","Though his is hardly a household name, Thomas Eakins is widely credited as one of the most important figures in American art history. His principal source of inspiration was his own middle-class social environment. He was, in the words of art critic John Canaday, ""a supreme realist"" who seems to ""have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization."" The Metropolitan Museum of Art identifies The Champion Single Sculls as the first major work in a series of representations of the sport of sculling, ""believed to commemorate the victory of Max Schmitt (1843-1900), an attorney and skilled amateur rower, in an important race on the Schuylkill River in October 1870. Also an avid rower, Eakins depicted himself pulling the oars of the scull in the middle distance.""",https://www.theibis.net/product/thomas-eakins-the-champion-single-sculls-max-schmitt-in-a-single-scull-1871/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11498,https://www.theibis.net/wp-content/uploads/2019/05/eak7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11474,"Utagawa Ando Hiroshige : ""Sagami River"" (1858) 16"" x 20"" (Image: 11.31"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Sagami River is a member of his 1858 series, Thirty-six Views of Mount Fuji , depicting Japans highest peak in various perspectives, seasons and weather conditions. Held sacred since ancient times, Mount Fuji is revered in Shinto mythology as one of the two gods born from ""something like a reed that arose from the soil"" when the earth was chaotic. An important motif in Japanese art and literature, it had previously been the subject of two similarly-titled series by Hokusai, Thirty-six Views of Mount Fuji and One Hundred Views of Mount Fuji , published during the 1830s.",https://www.theibis.net/product/utagawa-ando-hiroshige-sagami-river-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11474,https://www.theibis.net/wp-content/uploads/2019/05/sagami_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11463,"Utagawa Ando Hiroshige : ""New Years Eve Foxfires at the Changing Tree, Oji"" (1857) 16"" x 20"" (Image: 11.5"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. New Years Eve Foxfires at the Changing Tree, Oji is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. Together with Sudden Shower over Shin-Ohashi Bridge and Ataki and The Ten Thousand Acre Plain at Suzaki, Fukagawa , it is widely cited as one of the best three prints in the series. According to the Brooklyn Museum catalog description, ""In the late 1850s, while Japanese color prints were dominated by themes of the fantastic, Hiroshige emphasized the realities of the observed world in his work. However, here he has ventured into the world of spirits. It was believed that on New Years Eve all the foxes of the surrounding provinces would gather at a particular tree near Oji Inari Shrine, the headquarters of the regional cult of the god Inari. There the foxes would change their dress for a visit to the shrine, where they would be given orders for the coming year. On the way, the animals would emit distinctive flames by which local farmers were able to predict the crops of the coming year."" (Text CC BY 3.0)",https://www.theibis.net/product/utagawa-ando-hiroshige-new-years-eve-foxfires-at-the-changing-tree-oji-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11463,https://www.theibis.net/wp-content/uploads/2019/05/foxf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11452,"James Ward : ""The Reapers"" (1800) 16"" x 20"" (Image: 12.56"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England;"" a ""brilliant and neglected artist"" who ""worked well into the mid-nineteenth century, creating dynamic compositions that epitomized Romanticism."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. The Reapers is one such work. Depicting men and women farming alongside their pets and children, its central figure pausing to converse with a passing acquaintance, it highlights the social and domestic virtues of an agrarian way of life.",https://www.theibis.net/product/james-ward-the-reapers-1800/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11452,https://www.theibis.net/wp-content/uploads/2019/05/ward6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11440,"James Ward : ""Ravager, One of the Lambton Hounds"" (1835) 16"" x 20"" (Image: 11.81"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. During his lifetime he produced a large body of animal portraiture depicting horses, pets and livestock; the latter as part of a Board of Agriculture project to document particular breeds of farm animals. Their anatomical precision boasts of Wards careful observation, and often they express something of the animals individual mood or personality. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook.",https://www.theibis.net/product/james-ward-ravager-one-of-the-lambton-hounds-1835/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11440,https://www.theibis.net/wp-content/uploads/2019/05/ward5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11430,"James Ward : ""Rough-Coated Collie"" (1809) 16"" x 20"" (Image: 10.63"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. During his lifetime he produced a large body of animal portraiture depicting horses, pets and livestock; the latter as part of a Board of Agriculture project to document particular breeds of farm animals. Their anatomical precision boasts of Wards careful observation, and often they express something of the animals individual mood or personality. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook.",https://www.theibis.net/product/james-ward-rough-coated-collie-1809/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11430,https://www.theibis.net/wp-content/uploads/2019/05/ward4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11419,"Utagawa Ando Hiroshige : ""Ochanomizu in the Eastern Capital"" (1858) 16"" x 20"" (Image: 11.38"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Ochanomizo in the Eastern Capital is one of his 1858 series, Thirty-six Views of Mount Fuji , depicting Japans highest peak in various perspectives, seasons and weather conditions. Held sacred since ancient times, Mount Fuji is revered in Shinto mythology as one of the two gods born from ""something like a reed that arose from the soil"" when the earth was chaotic. An important motif in Japanese art and literature, it had previously been the subject of two similarly-titled series by Hokusai, Thirty-six Views of Mount Fuji and One Hundred Views of Mount Fuji , published during the 1830s.",https://www.theibis.net/product/utagawa-ando-hiroshige-ochanomizu-in-the-eastern-capital-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11419,https://www.theibis.net/wp-content/uploads/2019/05/teawater_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11407,"Utagawa Ando Hiroshige : ""The Ten Thousand Acre Plain at Suzaki, Fukagawa (Fukagawa Susaki and Jumantsubo)"" (1857) 16"" x 20"" (Image: 11.5"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. The Ten Thousand Acre Plain at Suzaki, Fukagawa is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. Together with Sudden Shower over Shin-Ohashi Bridge and Ataki and New Years Eve Foxfires at the Changing Tree, Oji , it is widely cited as one of the best three prints in the series. Identifying the scene as a ""view looking northwest from Fukagawa Susaki, a spit of land along Edo Bay, toward J?mantsubo, a tract of land named after its approximate area of one hundred thousand tsubo (about eighty acres),"" the Brooklyn Museum observes that ""Its appeal lies in the contrast between the powerful form of the eagle as it prepares to dive for prey and the desolate wintry marshes below. As in other views devoid of people, there is still a pervasive human presence—in the roofs huddled to the left, in the poles of the lumber-yards beyond, and, above all, in the lone wooden bucket floating at the edge of the bay, surrounded by water birds on which the eagle seems to have its eye.""",https://www.theibis.net/product/utagawa-ando-hiroshige-the-ten-thousand-acre-plain-at-suzaki-fukagawa-fukagawa-susaki-and-jumantsubo-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11407,https://www.theibis.net/wp-content/uploads/2019/05/falcon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11396,"Utagawa Ando Hiroshige : ""Kanesaka of Tanba"" (1853) 16"" x 20"" (Image: 11.56"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Kanesaka of Tanba is a one of his series Famous Views of the Sixty-odd Provinces . Consisting of one view of each of the 68 provinces, one of Edo (modern Tokyo), and a contents page, it was the first major Japanese landscape series to feature a vertical layout. Documenting a world on the brink of change, its publication from 1853-1856 coincides with the arrival of Commodore Perrys ""Black Ships"" and the end of Japanese isolation.",https://www.theibis.net/product/utagawa-ando-hiroshige-kanesaka-of-tanba-1853/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11396,https://www.theibis.net/wp-content/uploads/2019/05/tanba_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11383,"James Ward : ""Portrait of Reformer, Blucher, Tory and Crib, the Property of Rowland Alston, Esq., M.P."" (1835) 16"" x 20"" (Image: 13"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. During his lifetime he produced a large body of animal portraiture depicting horses, pets and livestock; the latter as part of a Board of Agriculture project to document particular breeds of farm animals. Their anatomical precision boasts of Wards careful observation, and often they express something of the animals individual mood or personality. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook.",https://www.theibis.net/product/james-ward-portrait-of-reformer-blucher-tory-and-crib-the-property-of-rowland-alston-esq-m-p-1835/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11383,https://www.theibis.net/wp-content/uploads/2019/05/ward3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11371,"James Ward : ""Dr. Syntax, a Bay Racehorse, Standing in a Coastal Landscape, an Estuary Beyond"" (1820) 16"" x 20"" (Image: 13"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. During his lifetime he produced a large body of animal portraiture depicting horses, pets and livestock; the latter as part of a Board of Agriculture project to document particular breeds of farm animals. Their anatomical precision boasts of Wards careful observation, and often they express something of the animals individual mood or personality. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook.",https://www.theibis.net/product/james-ward-dr-syntax-a-bay-racehorse-standing-in-a-coastal-landscape-an-estuary-beyond-1820/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11371,https://www.theibis.net/wp-content/uploads/2019/05/ward2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11361,"James Ward : ""Grey Arabian Stallion, the Property of Sir Watkin Williams-Wynn"" (c. 1817) 16"" x 20"" (Image: 13"" x 16.38"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. During his lifetime he produced a large body of animal portraiture depicting horses, pets and livestock; the latter as part of a Board of Agriculture project to document particular breeds of farm animals. Their anatomical precision boasts of Wards careful observation, and often they express something of the animals individual mood or personality. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook. Writing for The New York Times Art Review, Grace Glueck calls Grey Arabian Stallion ""truly magnificent,"" observing that ""tail bobbed, mane combed, and bulging with powerful muscles, the stallion is seen not in open countryside but in a dense forest, a fairy tale steed seemingly conjured up by a magic word.""",https://www.theibis.net/product/james-ward-grey-arabian-stallion-the-property-of-sir-watkin-williams-wynn-c-1817/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11361,https://www.theibis.net/wp-content/uploads/2019/05/ward1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11349,"James Ward : ""Eagle, a Celebrated Stallion"" (1809) 16"" x 20"" (Image: 12.5"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. During his lifetime he produced a large body of animal portraiture depicting horses, pets and livestock; the latter as part of a Board of Agriculture project to document particular breeds of farm animals. Their anatomical precision boasts of Wards careful observation, and often they express something of the animals individual mood or personality. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook. Writing for The New York Times Art Review, Grace Glueck describes Eagle, a Celebrated Stallion as ""one of Wards best animal likenesses...evocative of a dashing human type, its long, aristocratic face, faintly disheveled hairdo, intense expression and elegant stance in an open landscape giving it a romantically anthropomorphic presence.""",https://www.theibis.net/product/james-ward-eagle-a-celebrated-stallion-1809/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11349,https://www.theibis.net/wp-content/uploads/2019/05/eagle_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11339,"James Ward : ""Portraits of Two Oxen, the Property of the Earl of Powis"" (1814) 16"" x 20"" (Image: 11"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. During his lifetime he produced a large body of animal portraiture depicting horses, pets and livestock; the latter as part of a Board of Agriculture project to document particular breeds of farm animals. Their anatomical precision boasts of Wards careful observation, and often they express something of the animals individual mood or personality. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook.",https://www.theibis.net/product/james-ward-portraits-of-two-oxen-the-property-of-the-earl-of-powis-1814/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11339,https://www.theibis.net/wp-content/uploads/2019/05/exox_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11327,"James Ward : ""Theophilus Levett Hunting at Wychnor, Staffordshire"" (1817) 16"" x 20"" (Image: 13"" x 16.75"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. Commercially successful for most of his career, Ward lived well and counted the Levett family of Wynchnor Park, Staffordshire among his friends and patrons. In this, one of his outstanding works, Theophilus Levett (or possibly his brother John) gestures after a fleeing fox ahead of the hounds and hunters dashing across the landscape below. Known by a variety of titles, including Theophilus Levett and a Favorite Hunter and Captain John Levett out Hunting , it epitomizes the English country rustic aesthetic of the 19th century.",https://www.theibis.net/product/james-ward-theophilus-levett-hunting-at-wychnor-staffordshire-1817/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11327,https://www.theibis.net/wp-content/uploads/2019/05/levett_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11317,"Louis Wain : ""Three Cats Singing"" (1925/1939) 16"" x 20"" (Image: 13"" x 17"")","Louis Wains whimsical anthropomorphic cats were a phenomenon during the late 19th and early 20th centuries. ""He has made the cat his own,"" said H. G. Wells. ""He invented a cat style, a cat society, a whole cat world. English cats that do not look like and live like Louis Wain cats are ashamed of themselves."" Initially appearing unclothed and on all fours, they developed into more elaborate human caricatures as his career progressed. However, sometime after 1900 he began displaying signs of mental illness, his behavior becoming increasingly violent and erratic until he was finally committed to an insane asylum in 1924. During this period, vivid, psychedelic patterns emerged from, and in some cases overcame his works until their remaining catlike features were barely discernible beneath fractal-like explosions of kaleidoscopic shapes and colors. Around the time of his death the story emerged that he had suffered from schizophrenia (possibly triggered by toxoplasmosis) and that his style had become increasingly abstract as a consequence of his deteriorating condition. This was illustrated by a famous series of his paintings that found its way into psychology textbooks, purporting to show an artists descent into madness. These, however, were undated and it is unclear that they were actually produced in the order presented, or whether Wain continued to paint his traditional caricatures while experimenting in another direction. Research has likewise questioned the nature of his illness (Aspergers syndrome and dementia have also been proposed) and its relationship to these late works. Are they the product of madness, genius, or a mad genius? To the legions of devoted admirers who collect Louis Wain, his madness may remain an enigma, but there is no doubt as to his genius. (Image by the Wellcome Library, London, CC BY 4.0.)",https://www.theibis.net/product/louis-wain-three-cats-singing-1925-1939/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11317,https://www.theibis.net/wp-content/uploads/2019/05/wain3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11306,"Louis Wain : ""A Cat Standing on its Hind Legs"" (1925/1939) 16"" x 20"" (Image: 11.5"" x 17"")","Louis Wains whimsical anthropomorphic cats were a phenomenon during the late 19th and early 20th centuries. ""He has made the cat his own,"" said H. G. Wells. ""He invented a cat style, a cat society, a whole cat world. English cats that do not look like and live like Louis Wain cats are ashamed of themselves."" Initially appearing unclothed and on all fours, they developed into more elaborate human caricatures as his career progressed. However, sometime after 1900 he began displaying signs of mental illness, his behavior becoming increasingly violent and erratic until he was finally committed to an insane asylum in 1924. During this period, vivid, psychedelic patterns emerged from, and in some cases overcame his works until their remaining catlike features were barely discernible beneath fractal-like explosions of kaleidoscopic shapes and colors. Around the time of his death the story emerged that he had suffered from schizophrenia (possibly triggered by toxoplasmosis) and that his style had become increasingly abstract as a consequence of his deteriorating condition. This was illustrated by a famous series of his paintings that found its way into psychology textbooks, purporting to show an artists descent into madness. These, however, were undated and it is unclear that they were actually produced in the order presented, or whether Wain continued to paint his traditional caricatures while experimenting in another direction. Research has likewise questioned the nature of his illness (Aspergers syndrome and dementia have also been proposed) and its relationship to these late works. Are they the product of madness, genius, or a mad genius? To the legions of devoted admirers who collect Louis Wain, his madness may remain an enigma, but there is no doubt as to his genius. (Image by the Wellcome Library, London, CC BY 4.0.)",https://www.theibis.net/product/louis-wain-a-cat-standing-on-its-hind-legs-1925-1939/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11306,https://www.theibis.net/wp-content/uploads/2019/05/wain2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11293,"Louis Wain : ""A Cat in the Gothic Style"" (1925/1939) 16"" x 20"" (Image: 11.38"" x 17"")","Louis Wains whimsical anthropomorphic cats were a phenomenon during the late 19th and early 20th centuries. ""He has made the cat his own,"" said H. G. Wells. ""He invented a cat style, a cat society, a whole cat world. English cats that do not look like and live like Louis Wain cats are ashamed of themselves."" Initially appearing unclothed and on all fours, they developed into more elaborate human caricatures as his career progressed. However, sometime after 1900 he began displaying signs of mental illness, his behavior becoming increasingly violent and erratic until he was finally committed to an insane asylum in 1924. During this period, vivid, psychedelic patterns emerged from, and in some cases overcame his works until their remaining catlike features were barely discernible beneath fractal-like explosions of kaleidoscopic shapes and colors. Around the time of his death the story emerged that he had suffered from schizophrenia (possibly triggered by toxoplasmosis) and that his style had become increasingly abstract as a consequence of his deteriorating condition. This was illustrated by a famous series of his paintings that found its way into psychology textbooks, purporting to show an artists descent into madness. These, however, were undated and it is unclear that they were actually produced in the order presented, or whether Wain continued to paint his traditional caricatures while experimenting in another direction. Research has likewise questioned the nature of his illness (Aspergers syndrome and dementia have also been proposed) and its relationship to these late works. Are they the product of madness, genius, or a mad genius? To the legions of devoted admirers who collect Louis Wain, his madness may remain an enigma, but there is no doubt as to his genius. (Image by the Wellcome Library, London, CC BY 4.0.)",https://www.theibis.net/product/louis-wain-a-cat-in-the-gothic-style-1925-1939/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11293,https://www.theibis.net/wp-content/uploads/2019/05/wain1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11282,"J.M.W. Turner : ""Modern Rome - Campo Vaccino"" (1839) 16"" x 20"" (Image: 12.63"" x 17"")","Ten years after his final journey to Rome, Turner envisioned the Eternal City through a veil of memory. Baroque churches and ancient monuments in and around the Roman Forum seem to dissolve in iridescent light shed by a moon rising at left and a sun setting behind the Capitoline Hill at right. Amidst these splendors, the citys inhabitants carry on with their daily activities. The pictures nacreous palette and shimmering light effects exemplify Turner at his most accomplished. When first exhibited at the Royal Academy in 1839 with its pendant, Ancient Rome; Agrippina Landing with the Ashes of Germanicus , the painting was accompanied by a modified quotation from Lord Byrons masterpiece, Childe Harolds Pilgrimage (1818): ""The moon is up, and yet it is not night, / The sun as yet divides the day with her."" Like the poem, Turners painting evokes the enduring sublimity of Rome, which had been for artists throughout history less a place in the real world than one in the imagination. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/j-m-w-turner-modern-rome-campo-vaccino-1839/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11282,https://www.theibis.net/wp-content/uploads/2019/05/modrome_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11270,"Franz Xaver Winterhalter : ""Portrait of Leonilla, Princess of Sayn-Wittgenstein-Sayn"" (1843) 16"" x 20"" (Image: 11.38"" x 17"")","In a daring pose reminiscent of harem scenes and odalisques, the princess Leonilla of Sayn-Wittgenstein-Sayn reclines on a low Turkish sofa on a veranda overlooking a lush tropical landscape. Only her unassailable social position made it possible for Franz Xaver Winterhalter to use such a sensual pose for a full-length portrait in Paris in 1843. Known for her great beauty and intellect, the princess is resplendent in a luxurious gown of ivory silk moiré with a pink sash around her waist. A deep purple mantle wraps around her back and falls across her smooth arms. Under carefully arched eyebrows, her heavy lidded eyes gaze languidly at the viewer while she artfully toys with the large pearls around her neck. Winterhalter contrasted sumptuous fabrics and vivid colors against creamy flesh to heighten the sensuality of the pose, the model, and the luxuriant setting. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/franz-xaver-winterhalter-portrait-of-leonilla-princess-of-sayn-wittgenstein-sayn-1843/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11270,https://www.theibis.net/wp-content/uploads/2019/05/sayn_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11260,"James Ward : ""Heath Ewe and Lambs"" (1810) 16"" x 20"" (Image: 13"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. The influence of both artists is apparent in the barnyard vignettes that he produced after the turn of the century, but what makes these truly remarkable has less to do with technique than expression: Wards animals have personality. Their moods are open to us and they have a story to tell—in this case, it is one of hope and renewal, as symbolized by the sprig of wheat that lies on the stable floor. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook.",https://www.theibis.net/product/james-ward-heath-ewe-and-lambs-1810/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11260,https://www.theibis.net/wp-content/uploads/2019/05/wardewe_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11248,"James Ward : ""The Straw Yard"" (1810) 16"" x 20"" (Image: 11.75"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England."" Apprenticed to an engraver at age twelve, he took up painting in order gain admission to the Royal Academy, initially founding his reputation on rustic genre scenes informed by those of his brother-in-law, George Moreland. Later, he adopted the bolder forms and more intense palette of Peter Paul Rubens. The influence of both artists is apparent in the barnyard vignettes that he produced after the turn of the century, but what makes these truly remarkable has less to do with technique than expression: Wards animals have personality. Their moods are open to us and they have a story to tell—in this case, it is one of the burdens of farm life, in which all species share a part. A romanticist who aspired to become a history painter, he was gifted to see the inner nobility of whatever subject he undertook.",https://www.theibis.net/product/james-ward-the-straw-yard-1810/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11248,https://www.theibis.net/wp-content/uploads/2019/05/strawyard_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11225,"Claude Monet : ""The Houses of Parliament (Effect of Fog)"" (1903-1904) 16"" x 20"" (Image: 13"" x 14.75"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. Whereas in France he had painted wheatstacks near his home in Giverny and more than thirty views of the Rouen Cathedral, in London he became transfixed by effects of fog on the architecture of the river Thames—Waterloo Bridge, Charing Cross Bridge, and the Houses of Parliament. London, he wrote, wouldnt be a beautiful city,"" but for ""the fog that gives it its magnificent breadth,"" and it was this—the citys surrounding atmosphere, or ""envelope""—that he sought to capture. ""To me the motif was an insignificant factor,"" he said. ""What I want is to reproduce what exists between the motif and me.""",https://www.theibis.net/product/claude-monet-the-houses-of-parliament-effect-of-fog-1903-1904/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11225,https://www.theibis.net/wp-content/uploads/2019/05/monet32_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11189,"Claude Monet : ""The Portal of Rouen Cathedral in Morning Light"" (1894) 16"" x 20"" (Image: 11"" x 17"")","""Everything changes, even stone."" Claude Monet wrote these words in a letter and vividly demonstrated them in paint, conveying a wondrous combination of permanence and mutability as the sun daily transformed the facade of Rouen Cathedral. Extending the buildings encrusted stone surface to the richly varied impasto surface of his painting, he portrayed the cathedral perpetually re-emerging in the suffused light of early morning. Monet created several groups of paintings exploring the color, light, and form of a single subject at various times of day, but his Rouen Cathedral series was his most intense effort on a single site. He painted there in late winter in both 1892 and 1893, then reworked his thirty canvases from memory in the studio through 1894. He began this example in 1893, working in an improvised studio in the front room of a dressmakers shop across from the cathedral. After creating a coherent ensemble, Monet selected twenty paintings that he considered ""complete"" and ""perfect,"" including this one, for an exhibition at his Paris dealers gallery in May 1895. Pissarro and Cézanne visited and praised the series, and patrons quickly purchased eight paintings from the group. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/claude-monet-the-portal-of-rouen-cathedral-in-morning-light-1894/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11189,https://www.theibis.net/wp-content/uploads/2019/05/rouen4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11183,"Claude Monet : ""Rouen Cathedral: The Portal (Sunlight)"" (1894) 16"" x 20"" (Image: 11.13"" x 17"")","Throughout his long career Claude Monet sought to understand the phenomenon of light as separate from the particulars of any given motif. To this end, he often painted the same subject under different conditions, striving to capture the surrounding atmosphere, or ""envelope,"" as he called it. ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" According to the J. Paul Getty Museum, his series of the Rouen Cathedral represented ""his most intense effort on a single site. He painted there in late winter in both 1892 and 1893, then reworked his thirty canvases from memory in the studio through 1894. ""After creating a coherent ensemble, Monet selected twenty paintings that he considered complete and perfect...for an exhibition at his Paris dealers gallery in May 1895. Pissarro and Cézanne visited and praised the series, and patrons quickly purchased eight paintings from the group.""",https://www.theibis.net/product/claude-monet-rouen-cathedral-the-portal-sunlight-1894/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11183,https://www.theibis.net/wp-content/uploads/2019/05/rouen3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11172,"Claude Monet : ""The Manneporte near Etretat"" (1886) 16"" x 20"" (Image: 13"" x 16"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. The Manneporte is the largest of three natural arch formations on the Normandy coast near Étretat. According to the Metropolitan Museum of Art, Monet painted it ""six times from this angle: twice during each of three visits to the Normandy coast in 1883, 1885 and 1886."" The writer Guy de Maupassant observed him at work during his 1886 excursion, writing that ""the artist walked along the beach, followed by children carrying five or six canvases representing the same subject at different times of the day and with different effects. He took them up and put them aside by turns according to changes in the sky and shadows."" Like many of the French Impressionists, Monet was enamored of Japanese art and printmaking, and may have drawn inspiration for this composition from Hiroshiges 1853 print, The Entrance to the Cave at Enoshima Island in Sagami Province . The National Gallery in Washington notes that in both works ""the rock arch is cut by the frame, and seems both to plunge into the sea and to thrust upwards, while water surges around the base of the arch and isolated rocks,"" each containing ""minute figures that indicate the mighty scale"" of the formation.",https://www.theibis.net/product/claude-monet-the-manneporte-near-etretat-1886/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11172,https://www.theibis.net/wp-content/uploads/2019/05/monet31_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11161,"Claude Monet : ""The Four Trees"" (1891) 16"" x 20"" (Image: 13"" x 13"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. His Poplars series was produced during the summer and fall of 1891. The trees themselves stood along an S-curve in the Epte River, upstream from his estate at Giverny. Whereas in some instances he painted from the riverbank, The Four Trees was executed from on board a floating studio that he had outfitted to hold multiple canvases. While the series was in process the village of Limetz decided to auction to the trees, and Monet was obliged to pay a local timber merchant to keep them standing long enough for him to finish.",https://www.theibis.net/product/claude-monet-the-four-trees-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11161,https://www.theibis.net/wp-content/uploads/2019/05/monet30_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11150,"Jean-Honore Fragonard : ""The Fountain of Love"" (1785) 16"" x 20"" (Image: 13"" x 15.88"")","In the midst of a verdant forest, a young man and woman eagerly rush forward, their feet just reaching the edge of a fountains basin. Putti frolic in the fountains waters and billowing spray, and one of them offers a cup of the magical liquid for the young lovers to drink. The story of the Garden of Love, an allegory of the nature and progress of love that has its origins in the poetry of classical antiquity and the Middle Ages, centers on this Fountain of Love. The fountain brings forth the water, into which Cupid dips his arrows or from which lovers drink and fall in love. In nearly every period, artists have painted this romantic motif. During the 1700s, artists came to treat the Fountain of Love almost as a genre subject, with lovers in contemporary dress flirting in a garden around a decorative fountain. With this version, Jean-Honoré Fragonard returned the allegory to its classical origins and imbued it with the thrilling rush of those first beguiling moments of love. The quintessential Rococo artist, Fragonard responded to the Neoclassical movement in an extremely inventive manner, adding a soft, steamy atmosphere to his cameo-like figures. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jean-honore-fragonard-the-fountain-of-love-1785/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11150,https://www.theibis.net/wp-content/uploads/2019/05/frago3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11139,"Claude Monet : ""Haystacks (Effect of Snow and Sun)"" (1891) 16"" x 20"" (Image: 12"" x 17"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. Consisting of twenty-five canvases that he began in late summer of 1890 and continued until spring of the following year, Haystacks (or more properly, Wheatstacks ) was the first such series that he exhibited. The stacks belonged to his farmer-neighbor, Monsieur Quéruel, and were situated just outside his door. Initially he had asked his stepdaughter, Blanche Hoschedé, to bring him two canvases—one for sunny and one for overcast weather—but as he became attuned to many nuanced and transient effects of light that each warranted his separate attention, his original two canvases expanded into a wheelbarrow full. Rising at 3:30 a.m., he worked on each for as long as the desired conditions persisted before moving on to the next. In May 1891 fifteen of these canvases were exhibited in the Galerie Durand-Ruel and all sold within just a few days. Camille Pissarro remarked that they ""breathe contentment,"" whereas Octave Mirbeau described the series as representing ""what lies beyond progress itself."" In his memoirs, Wassily Kandinsky wrote that Haystacks had suddenly made clear ""the unsuspected power of the palette, which I had not understood before and which surpassed my wildest dreams.""",https://www.theibis.net/product/claude-monet-haystacks-effect-of-snow-and-sun-1891/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11139,https://www.theibis.net/wp-content/uploads/2019/05/monet29_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11129,"Claude Monet : ""Ice Floes"" (1893) 16"" x 20"" (Image: 10.88"" x 17"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. He produced his Ice Floes series during the severe winter of 1892-1893. Consisting of ""some two dozen pictures of snowy stands of trees and their reflections in the ice-choked waters of the Seine,"" art historian Steven Z. Levine observes that ""these frozen waterscapes instantiate a monumentality of scale and a morbidity of mood which Monet increasingly exploits during the coming decade.""",https://www.theibis.net/product/claude-monet-ice-floes-1893/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11129,https://www.theibis.net/wp-content/uploads/2019/05/monet28_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11117,"Claude Monet : ""Wheatstacks, Snow Effect, Morning"" (1891) 16"" x 20"" (Image: 11"" x 17"")","In the fall of 1890, Impressionist Claude Monet arranged to have the wheatstacks near his home left out over the winter. By the following summer he had painted them at least thirty times, at different times throughout the seasons. Wheatstacks was Monets first series and the first in which he concentrated on a single subject, differentiating pictures only by color, touch, composition, and lighting and weather conditions. He said, ""For me a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" After beginning outdoors, Monet reworked each painting in his studio to create the color harmonies that unify each canvas. The pinks in the sky echo the snows reflections, and the blues of the wheatstacks shadows are found in the wintry light shining on the stacks, in the houses roofs, and in the snowy earth. With raised, broken brushstrokes, Monet captured nuances of light and created a solid, geometric structure that prevents the surface from simply melting into blobs. The wheatstacks are solid forms, and, while the outlying houses are indecipherable close-up, they are clear from a distance. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/claude-monet-wheatstacks-snow-effect-morning-1891/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11117,https://www.theibis.net/wp-content/uploads/2019/05/monet27_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11107,"Claude Monet : ""Camille Monet in the Garden at Argenteuil"" (1876) 16"" x 20"" (Image: 12.5"" x 17"")","Monet and his wife Camille once fled Paris to escape their creditors. Their eldest son Jean became seriously ill due to their inability pay for his medical treatment. After the outbreak of the Franco-Prussian War they sought refuge in England and the Netherlands. By 1876, however, their fortunes were changing. They had returned to France, renting a house in Argenteuil, a suburb northwest of Paris. Monet had met the art dealer Paul Durand-Ruel in London, and through him their finances were growing. In Argenteuil he was embarked upon one of the most formative creative periods of his life, gaining new insights into the effects of light and color on objects, and the juxtaposition of colors with each other. Camille Monet in the Garden of Argenteuil is set in the backyard of their rented home. Much as in The Artists Garden at Vétheuil , wherein their young son Michel is dwarfed by rows of tall sunflowers, Camille appears nestled among behind the trees and hollyhocks that dominate the composition, the vertical of her light blue dress serving to guide the eye up into the canopy and along the branches. Monets second wife having ordered the destruction of all pictures and mementos of the artists life with Camille, it is almost solely through paintings like these that her image survives.",https://www.theibis.net/product/claude-monet-camille-monet-in-the-garden-at-argenteuil-1876/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11107,https://www.theibis.net/wp-content/uploads/2019/05/monet26_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11095,"Claude Monet : ""Morning on the Seine near Giverny"" (1897) 16"" x 20"" (Image: 13"" x 14.75"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. Produced from 1896-1897, his Mornings on the Seine series was painted from a floating platform that he converted into a studio. According to The National Museum of Western Art, the works of this series are known for the ""introduction of a decorative effect and the numerous colors used in their depiction of the misty Seine river on summer mornings."" The Art Institute of Chicago, meanwhile, observes that each piece ""is nearly square in shape, a format that allowed the artist to play with the concepts of symmetry and balance...the equivalence of object and reflection, and the tension between the two-dimensionality of the canvas and the three-dimensional space depicted on it.""",https://www.theibis.net/product/claude-monet-morning-on-the-seine-near-giverny-1897/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11095,https://www.theibis.net/wp-content/uploads/2019/05/monet25_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11085,"James Ward : ""A Human Skeleton II"" (undated) 16"" x 20"" (Image: 13"" x 14.25"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England;"" a ""brilliant and neglected artist"" who ""worked well into the mid-nineteenth century, creating dynamic compositions that epitomized Romanticism."" As this study of a human skeleton illustrates, the artists Romantic sensibilities and gift for expression were as conspicuous in his sketches as in his finished work. Rendered in graphite and brown ink with brown and gray washes, it is one of the pair of terror-stricken skeletons by Ward, evocative of the unearthed ruins of Pompeii, or some ancient upheaval equally sublime.",https://www.theibis.net/product/james-ward-a-human-skeleton-ii-undated/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11085,https://www.theibis.net/wp-content/uploads/2019/05/humskel2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11073,"James Ward : ""A Human Skeleton I"" (undated) 16"" x 20"" (Image: 11.38"" x 17"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England;"" a ""brilliant and neglected artist"" who ""worked well into the mid-nineteenth century, creating dynamic compositions that epitomized Romanticism."" As this study of a human skeleton illustrates, the artists Romantic sensibilities and gift for expression were as conspicuous in his sketches as in his finished work. Rendered in graphite and brown ink with brown and gray washes, it is one of the pair of terror-stricken skeletons by Ward, evocative of the unearthed ruins of Pompeii, or some ancient upheaval equally sublime.",https://www.theibis.net/product/james-ward-a-human-skeleton-i-undated/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11073,https://www.theibis.net/wp-content/uploads/2019/05/humskel1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11063,"J.M.W. Turner : ""Van Tromp, going about to please his Masters, Ships a Sea, getting a Good Wetting"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","In this narrative history painting, Joseph Mallord William Turner expressed the power of nature and the heroism of man through the eyes of a Romantic painter. Turner used quick, slanting brushstrokes to describe the stormy sky. The application of scumbled white paint suggests churning, turbulent seas and the heavy spray of waves hitting the ships bow. Tones of brown paint near the bottom of the canvas give a sense of the seas violent power. On the foredeck of a ship that strains against the waves, a man stands in a white uniform and waves with confidence. While scholars are uncertain of the exact historical event Turner described, one probable interpretation is that the man depicted here is Dutch naval officer Cornelis Van Tromp, who was dismissed from naval service in 1666 after failing to follow orders. Van Tromp was reinstated in service and reconciled with his navy superiors in 1673. In perhaps a symbolic overture signaling his submission to authority, Tromp is shown, in Turners words, ""going about to please his Masters."" (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/j-m-w-turner-van-tromp-going-about-to-please-his-masters-ships-a-sea-getting-a-good-wetting-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11063,https://www.theibis.net/wp-content/uploads/2019/05/turner1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11051,"Max Liebermann : ""An Old Woman with Cat"" (1878) 16"" x 20"" (Image: 13"" x 16.75"")","An old woman sits alone with a cat in front of a rough wall. Her head bowed to the side and her large coarse hands gently embracing the cat emphasize the emotional bond between the woman and her pet. Through such gestures, Max Liebermann filled the subject with his own understated and affecting humanity. He depicted the woman in bright light and wearing a richly colored skirt, thus omitting obvious signs of poverty and avoiding an unnecessary display of sentimentality. Influenced by the Dutch Masters of the 1600s, Liebermann became fascinated with themes that concerned contemplative states. He also absorbed the lessons of French painters; his richly worked execution of this painting reflects the painterly style he learned in Paris in the 1870s. The Old Woman with Cat was painted in 1878 in Venice, where Liebermann went to recuperate after breaking his leg. He captured that citys famous golden light to harmonize the rich and disparate colors and textures of the woman and the setting. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/max-liebermann-an-old-woman-with-cat-1878/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11051,https://www.theibis.net/wp-content/uploads/2019/05/lieb1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11016,"John Frederick Herring : ""The Suffolk Hunt: The Death"" (1833) 16"" x 20"" (Image: 12.38"" x 17"")","The works of John Frederick Herring, Sr. epitomize the British country rustic aesthetic of the mid-19th century. A painter of horses, barnyard animals, fox hunts and rural life, he began his career in Doncaster, England, painting inn signs and coach insignias. On receiving employment as a night coach driver, he devoted his spare time to painting portraits of horses for inn parlors, earning a reputation as the ""artist coachman."" His work, thus displayed, attracted the attention of local gentry, who commissioned him to paint hunters and racehorses. By 1840 he was visiting Paris on an invitation from the Duc dOrleans, and in 1845 was appointed Animal Painter to HRH the Duchess of Kent. His first commission from Queen Victoria was soon to follow. By the end of his career the artist coachman had secured a legacy alongside Edwin Landseer as one of the greatest animal painters of his time. Produced in 1833, The Suffolk Hunt is a four-part series consisting of Going to Cover near Herringswell , Gone Away , Full Cry and The Death .",https://www.theibis.net/product/john-frederick-herring-the-suffolk-hunt-the-death-1833/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11016,https://www.theibis.net/wp-content/uploads/2019/05/herring6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 11006,"John Frederick Herring : ""The Suffolk Hunt: Full Cry"" (1833) 16"" x 20"" (Image: 12.38"" x 17"")","The works of John Frederick Herring, Sr. epitomize the British country rustic aesthetic of the mid-19th century. A painter of horses, barnyard animals, fox hunts and rural life, he began his career in Doncaster, England, painting inn signs and coach insignias. On receiving employment as a night coach driver, he devoted his spare time to painting portraits of horses for inn parlors, earning a reputation as the ""artist coachman."" His work, thus displayed, attracted the attention of local gentry, who commissioned him to paint hunters and racehorses. By 1840 he was visiting Paris on an invitation from the Duc dOrleans, and in 1845 was appointed Animal Painter to HRH the Duchess of Kent. His first commission from Queen Victoria was soon to follow. By the end of his career the artist coachman had secured a legacy alongside Edwin Landseer as one of the greatest animal painters of his time. Produced in 1833, The Suffolk Hunt is a four-part series consisting of Going to Cover near Herringswell , Gone Away , Full Cry and The Death .",https://www.theibis.net/product/john-frederick-herring-the-suffolk-hunt-full-cry-1833/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=11006,https://www.theibis.net/wp-content/uploads/2019/05/herring5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10995,"John Frederick Herring : ""The Suffolk Hunt: Gone Away"" (1833) 16"" x 20"" (Image: 12.38"" x 17"")","The works of John Frederick Herring, Sr. epitomize the British country rustic aesthetic of the mid-19th century. A painter of horses, barnyard animals, fox hunts and rural life, he began his career in Doncaster, England, painting inn signs and coach insignias. On receiving employment as a night coach driver, he devoted his spare time to painting portraits of horses for inn parlors, earning a reputation as the ""artist coachman."" His work, thus displayed, attracted the attention of local gentry, who commissioned him to paint hunters and racehorses. By 1840 he was visiting Paris on an invitation from the Duc dOrleans, and in 1845 was appointed Animal Painter to HRH the Duchess of Kent. His first commission from Queen Victoria was soon to follow. By the end of his career the artist coachman had secured a legacy alongside Edwin Landseer as one of the greatest animal painters of his time. Produced in 1833, The Suffolk Hunt is a four-part series consisting of Going to Cover near Herringswell , Gone Away , Full Cry and The Death .",https://www.theibis.net/product/john-frederick-herring-the-suffolk-hunt-gone-away-1833/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10995,https://www.theibis.net/wp-content/uploads/2019/05/herring4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10985,"John Frederick Herring : ""The Suffolk Hunt: Going to Cover near Herringsworth"" (1833) 16"" x 20"" (Image: 12.38"" x 17"")","The works of John Frederick Herring, Sr. epitomize the British country rustic aesthetic of the mid-19th century. A painter of horses, barnyard animals, fox hunts and rural life, he began his career in Doncaster, England, painting inn signs and coach insignias. On receiving employment as a night coach driver, he devoted his spare time to painting portraits of horses for inn parlors, earning a reputation as the ""artist coachman."" His work, thus displayed, attracted the attention of local gentry, who commissioned him to paint hunters and racehorses. By 1840 he was visiting Paris on an invitation from the Duc dOrleans, and in 1845 was appointed Animal Painter to HRH the Duchess of Kent. His first commission from Queen Victoria was soon to follow. By the end of his career the artist coachman had secured a legacy alongside Edwin Landseer as one of the greatest animal painters of his time. Produced in 1833, The Suffolk Hunt is a four-part series consisting of Going to Cover near Herringswell , Gone Away , Full Cry and The Death .",https://www.theibis.net/product/john-frederick-herring-the-suffolk-hunt-going-to-cover-near-herringsworth-1833/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10985,https://www.theibis.net/wp-content/uploads/2019/05/herring3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10973,"Francisco Goya y Lucientes : ""Bullfight, Suerte de Varas"" (1825) 16"" x 20"" (Image: 13"" x 16"")","Before a mesmerized crowd, man and beast dramatically confront one another. The fiercely determined picador leans forward and gathers all his strength, readying himself to stab the impassive bull with his sharp lance. Dying or wounded animals lie on the ground, and the bloody undersides of the picadors horse convey the abusive and violent aspects of the sport of bullfighting. The bull coolly eyes his opponent as a group of fearful men try to distract the savage animal. Francisco José de Goya y Lucientes painted this work late in his career when he had begun experimenting with different techniques. Showing remarkable freedom, Goya used a heavily loaded brush, a palette knife, a rag, and even his fingers to apply paint to the canvas. Thick black strokes of paint suggest tension and movement, while dark shadows and a faceless crowd in the background lend an ominous air to this emotional confrontation. (Text courtesy of the Gettys Open Content Program, CC BY 4.0.)",https://www.theibis.net/product/francisco-goya-y-lucientes-bullfight-suerte-de-varas-1825/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10973,https://www.theibis.net/wp-content/uploads/2019/05/goya_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10961,"Utagawa Ando Hiroshige : ""Senju Great Bridge"" (1856) 16"" x 20"" (Image: 11.56"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Senju Great Bridge is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. It was published in serial from 1856-1859, with Hiroshige II completing the series after his death in 1858.",https://www.theibis.net/product/utagawa-ando-hiroshige-senju-great-bridge-1856/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10961,https://www.theibis.net/wp-content/uploads/2019/05/senju_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10950,"Utagawa Ando Hiroshige : ""Yoroi Ferry at Koami District"" (1857) 16"" x 20"" (Image: 11.19"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Yoroi Ferry in Koami District is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. It was published in serial from 1856-1859, with Hiroshige II completing the series after his death in 1858.",https://www.theibis.net/product/utagawa-ando-hiroshige-yoroi-ferry-at-koami-district-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10950,https://www.theibis.net/wp-content/uploads/2019/05/koami_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10938,"Albert Gantner : ""The Death of the Green Fairy, Absinthe Prohibition in Switzerland"" (1910) 16"" x 20"" (Image: 11.25"" x 17"")","Originally published in the satirical revue Le Guguss , Albert Gantners La Fin de la ""Fee Verte"" decries the prohibition of absinthe in Switzerland. ""Sirs, it is time!"" it reads, ""The Death of the Green Fairy, Absinthe Prohibition in Switzerland, 7th October 1910."" It depicts a rat-faced prohibitionist standing over the corpse of the green fairy. By her side, wreaths have been laid on behalf of the cantons of Neuchâtel and Geneva, and ""in the name of individual liberty."" The background contrasts the vigorous free spirit that inspired the oath of the Old Swiss Confederacy in 1291 with Helvetias decrepitude in 1910. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/albert-gantner-the-death-of-the-green-fairy-absinthe-prohibition-in-switzerland-1910/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10938,https://www.theibis.net/wp-content/uploads/2019/05/feever_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10925,"John Frederick Herring : ""Exercising the Royal Horses"" (between 1847 and 1855) 16"" x 20"" (Image: 13"" x 17"")","The works of John Frederick Herring, Sr. epitomize the British country rustic aesthetic of the mid-19th century. A painter of horses, barnyard animals, fox hunts and rural life, he began his career in Doncaster, England, painting inn signs and coach insignias. On receiving employment as a night coach driver, he devoted his spare time to painting portraits of horses for inn parlors, earning a reputation as the ""artist coachman."" His work, thus displayed, attracted the attention of local gentry, who commissioned him to paint hunters and racehorses. By 1840 he was visiting Paris on an invitation from the Duc dOrleans, and in 1845 was appointed Animal Painter to HRH the Duchess of Kent. His first commission from Queen Victoria was soon to follow. By the end of his career the artist coachman had secured a legacy alongside Edwin Landseer as one of the greatest animal painters of his time.",https://www.theibis.net/product/john-frederick-herring-exercising-the-royal-horses-between-1847-and-1855/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10925,https://www.theibis.net/wp-content/uploads/2019/05/herring2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10915,"John Frederick Herring : ""A Clydesdale Stallion"" (1820) 16"" x 20"" (Image: 11.5"" x 17"")","The works of John Frederick Herring, Sr. epitomize the British country rustic aesthetic of the mid-19th century. A painter of horses, barnyard animals, fox hunts and rural life, he began his career in Doncaster, England, painting inn signs and coach insignias. On receiving employment as a night coach driver, he devoted his spare time to painting portraits of horses for inn parlors, earning a reputation as the ""artist coachman."" His work, thus displayed, attracted the attention of local gentry, who commissioned him to paint hunters and racehorses. By 1840 he was visiting Paris on an invitation from the Duc dOrleans, and in 1845 was appointed Animal Painter to HRH the Duchess of Kent. His first commission from Queen Victoria was soon to follow. By the end of his career the artist coachman had secured a legacy alongside Edwin Landseer as one of the greatest animal painters of his time.",https://www.theibis.net/product/john-frederick-herring-a-clydesdale-stallion-1820/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10915,https://www.theibis.net/wp-content/uploads/2019/05/herring1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10904,"John Frederick Herring : ""Foxhuntin Clearing a Ditch"" (1839) 16"" x 20"" (Image: 13"" x 16"")","The works of John Frederick Herring, Sr. epitomize the British country rustic aesthetic of the mid-19th century. A painter of horses, barnyard animals, fox hunts and rural life, he began his career in Doncaster, England, painting inn signs and coach insignias. On receiving employment as a night coach driver, he devoted his spare time to painting portraits of horses for inn parlors, earning a reputation as the ""artist coachman."" His work, thus displayed, attracted the attention of local gentry, who commissioned him to paint hunters and racehorses. By 1840 he was visiting Paris on an invitation from the Duc dOrleans, and in 1845 was appointed Animal Painter to HRH the Duchess of Kent. His first commission from Queen Victoria was soon to follow. By the end of his career the artist coachman had secured a legacy alongside Edwin Landseer as one of the greatest animal painters of his time.",https://www.theibis.net/product/john-frederick-herring-foxhunting-clearing-a-ditch-1839/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10904,https://www.theibis.net/wp-content/uploads/2019/05/foxhunt_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10894,"John Frederick Herring : ""Harvest"" (1857) 16"" x 20"" (Image: 9.69"" x 17"")","The works of John Frederick Herring, Sr. epitomize the British country rustic aesthetic of the mid-19th century. A painter of horses, barnyard animals, fox hunts and rural life, he began his career in Doncaster, England, painting inn signs and coach insignias. On receiving employment as a night coach driver, he devoted his spare time to painting portraits of horses for inn parlors, earning a reputation as the ""artist coachman."" His work, thus displayed, attracted the attention of local gentry, who commissioned him to paint hunters and racehorses. By 1840 he was visiting Paris on an invitation from the Duc dOrleans, and in 1845 was appointed Animal Painter to HRH the Duchess of Kent. His first commission from Queen Victoria was soon to follow. By the end of his career the artist coachman had secured a legacy alongside Edwin Landseer as one of the greatest animal painters of his time.",https://www.theibis.net/product/john-frederick-herring-harvest-1857/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10894,https://www.theibis.net/wp-content/uploads/2019/05/herharv_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10882,"Joaquin Sorolla y Bastida : ""Hall of the Ambassadors, Alhambra, Grenada"" (1909) 16"" x 20"" (Image: 13"" x 16.63"")","The play of light on the water and against the sun-drenched walls of the Alhambra, one of Spains most influential architectural achievements, was ideally suited to Joaquín Sorolla y Bastidas artistic mission: exploring the changing effects of light under the broadest possible range of conditions. Just as the Alhambras architects had interwoven light and shade, stone and water, Sorolla captured the myriad patterns created by the architecture, water, and light together. The shadows of the thin columns against the walls create a pattern reflected in the water, whose liquidity is remarkable, given the thick gestural paint that Sorolla applied. The thirty-five-acre Alhambra, built between 1238 and 1358, was the last Moslem stronghold in Western Europe in the late Middle Ages. The Moorish architectural style reached its ultimate refinement here, an airy fantasy that almost seems to float, despite its solid construction of stone and stucco. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/joaquin-sorolla-y-bastida-hall-of-the-ambassadors-alhambra-grenada-1909/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10882,https://www.theibis.net/wp-content/uploads/2019/05/sorolla_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10870,"Ettore Forti : ""Interior of Roman Building with Figures"" (late 19th century) 16"" x 20"" (Image: 10.19"" x 17"")","Ettore Forti meticulously researched the classical objects and decorations in this historical genre painting, but he improbably combined a grand, luxurious setting with an intimate, domestic social gathering. He copied the painted architecture, swags of fruit and leaves, hanging masks, and instruments from Roman frescoes and based the floor marble and mosaic patterns, window grill pattern, and the klismos chair type on Roman models. The statues copy examples in Roman public and private collections. By the late 1800s, such paintings of ancient Greece and Rome were very popular. Artists researched the elements of their settings and painted with careful photographic realism to present plausible representations of daily life in classical times. Many of these genre scenes also have erotic undercurrents, with languidly beautiful young women in the company of older men. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/ettore-forti-interior-of-roman-building-with-figures-late-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+10.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10870,https://www.theibis.net/wp-content/uploads/2019/05/ettore_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10859,"Claude Monet : ""The Seine at Vetheuil"" (1880) 16"" x 20"" (Image: 10"" x 17"")","Painting plein air views of the river Seine, the Paris suburbs and French countryside, Claude Monet spent much of the 1870s fleshing out the techniques of Impressionism. By 1880 he had embarked on a new creative period, during which he produced some of the greatest paintings of the nineteenth century. Of The Seine at Vétheuil , the Metropolitan Museum of Art notes ""the extreme horizontality, the sweeping arc of the riverbank and the types of brushstrokes used in the foreground,"" as ""characteristic of Monets work of the early 1880s,"" during which he ""had begun to experiment with new compositional formats, a different palette, and a variety of brushstrokes and surface effects.""",https://www.theibis.net/product/claude-monet-the-seine-at-vetheuil-1880/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10859,https://www.theibis.net/wp-content/uploads/2019/05/monet24_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10849,"Claude Monet : ""The Parc Monceau"" (1878) 16"" x 20"" (Image: 12.5"" x 17"")","Painting plein air views of the river Seine, the Paris suburbs and French countryside, Claude Monet spent the middle part of the 1870s fleshing out the techniques of Impressionism, and was soon to produce some of the greatest paintings of the nineteenth century. The Parc Monceau is a product of this period. An eighteenth century park planned in the style of an English garden, Parc Monceau had recently been renovated as part of Baron Haussmanns grand transformation of Paris. Monet painted six views of it during his career—three in 1876 and three in 1878. ""In this canvas,"" observes the Metropolitan Museum of Art, ""the disposition of light and shade in the foreground, the patterns of the leaves, and the broad contours beginning to develop in areas of strong contrast suggest that Monet had already begun to experiment with the boldly two-dimensional motifs that would characterize his work of the 1880s and 1890s.""",https://www.theibis.net/product/claude-monet-the-parc-monceau-1878/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10849,https://www.theibis.net/wp-content/uploads/2019/05/monet23_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10836,"Claude Monet : ""Palm Trees at Bordighera"" (1884) 16"" x 20"" (Image: 13"" x 16.38"")","""Everything is superb and I want on paint it all,"" wrote Claude Monet during his three-month sojourn to the Italian Riviera, ""there are many experiments to make. This landscape is a new experience for me."" Whereas it was customary for European artists to visit Italy as students, Monet was 43 when he made his first trips in 1883 and 1884. Accordingly, the landscapes he produced are wholly original statements in a mature impressionist style; an exciting new lens on a region beloved by artists for millennia. ""For this view,"" writes the Metropolitan Museum of Art, Monet ""ventured from his hotel in Bordighera and looked across the Bay of Ventimiglia toward the Alps on the French border. The dazzling colors challenged him to dare to use all the tones of pink and blue, although what he truly needed was a palette of diamonds and jewels.""",https://www.theibis.net/product/claude-monet-palm-trees-at-bordighera-1884/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10836,https://www.theibis.net/wp-content/uploads/2019/05/monet22_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10824,"Claude Monet : ""The Valley of Nervia"" (1884) 16"" x 20"" (Image: 13"" x 16.13"")","""Everything is superb and I want on paint it all,"" wrote Claude Monet during his three-month sojourn to the Italian Riviera, ""there are many experiments to make. This landscape is a new experience for me."" Whereas it was customary for European artists to visit Italy as students, Monet was 43 when he made his first trips in 1883 and 1884. Accordingly, the landscapes he produced are wholly original statements in a mature impressionist style; an exciting new lens on a region beloved by artists for millennia. The Metropolitan Museum of Art observes that in The Valley of the Nervia Monet ""employed light, bright tones to depict the snowy Maritime Alps along the border with France. Nestled among the hills is the village of Camporosso, on the banks of the Nervia, not far from the rivers outlet in the Mediterranean Sea.""",https://www.theibis.net/product/claude-monet-the-valley-of-nervia-1884/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10824,https://www.theibis.net/wp-content/uploads/2019/05/monet21_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10814,"Claude Monet : ""Houses on the Achterzaan"" (1871) 16"" x 20"" (Image: 11"" x 17"")","In 1871 Claude Monet was on the cusp of the artistic breakthrough that the world would come to know as Impressionism. In this tranquil view of Dutch homes along the river Achterzaan, as in the plein air paintings of the Seine that were soon to follow, he was seeking to understand the phenomenon of light itself; how it interacts with objects, moves through the atmosphere, and plays upon the surface of the waters. ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me.""",https://www.theibis.net/product/claude-monet-houses-on-the-achterzaan-1871/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10814,https://www.theibis.net/wp-content/uploads/2019/05/monet20_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10803,"Kalighat Painting : ""Kali Holding a Demons Head"" 16"" x 20"" (Image: 10.5"" x 17"")","Souvenir watercolors like this one were sold to pilgrims arriving at the Kalighat Temple in Calcutta during the 19th century, where the goddess Kali is revered as the mother of all the Universe. She is depicted with a third eye and protruding tongue. In her left hands she holds a scimitar and severed head, representing divine knowledge and the human ego, respectively. As the British set up schools to impart European style academic training to local artists, Kalighat painting blossomed into a distinct school of Indian art, placing western techniques at the service of eastern themes and motifs. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/kalighat-painting-kali-holding-a-demons-head/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10803,https://www.theibis.net/wp-content/uploads/2019/05/skali_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10790,"William Henry Bradley : ""Victor Bicycles"" (1896) 16"" x 20"" (Image: 11.75"" x 17"")","William Henry Bradleys Victor Bicycles is one of the iconic posters of golden age of the American bicycle, and of art nouveau more generally. A visual poem, gracefully balancing form and color, commercial graphics arts expert Jack Rennert describes it as one of Bradleys very best designs, and therefore ""one of the best American-designed posters ever."" The absence of spokes, he writes, ""gives a feeling of lightness and airiness to the bicycle, and the entire design. The gentleman to the left, we may assume, is also on a bicycle, but it is not clear if hes eying her or her Victor."" The Overman Wheel Company was one of the first to embrace the modern ""safety bicycle,"" with its identical wheel construction. This more practical design led to an explosion in bike sales, peaking at 1,200,000 per year, but a proliferation of cheap imitations caused the company to fold in 1899, a victim of its own success.",https://www.theibis.net/product/william-henry-bradley-victor-bicycles-1896/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10790,https://www.theibis.net/wp-content/uploads/2019/05/vicbic_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10780,"Utagawa Ando Hiroshige : ""Evening Glow at Koganei Bridge"" (1838) 16"" x 20"" (Image: 11.5"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Evening Glow at Koganei Bridge is a member of his 1838 series, Eight Views of the Environs of Edo . Author Basil Stewert identifies ""eight views"" as a ""theme borrowed from Chinese poetry and adapted to various scenes in Japan, the subject of each being the same, with its attendant poem, whatever the locality. The eight subjects were: (1) Snow; (2) Evening Rain; (3) Autumn Moon; (4) Vesper Bells; (5) Boats Returning at Evening; (6) Geese Flying to Rest; (7) Sunset; and (8) Clearing Weather after Rain."" Evening Glow at Koganei Bridge corresponds to number seven, sunset.",https://www.theibis.net/product/utagawa-ando-hiroshige-evening-glow-at-koganei-bridge-1838/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10780,https://www.theibis.net/wp-content/uploads/2019/05/kogbridge_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10759,"Utagawa Ando Hiroshige : ""Asakusa Ricefields and Torinomachi Festival"" (1857) 16"" x 20"" (Image: 11.56"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Asakusa Ricefields and Torinomachi Festival is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. According to the Brooklyn Museum, ""Hiroshige here presents the Yoshiwara pleasure quarters on the single busiest day of the year. However, from the second story of a brothel, the noise and activity seems far away. In the distance, crossing the Asakusa Ricefields, is a procession celebrating the Torinomachi Festival. On this day, the Yoshiwara was open to everyone, including ordinary women. It was also a monbi , one of the special days on which each courtesan was required by tradition to take a customer—or to pay the fee to the brothel owner if she failed. Casually arranged in the foreground are a courtesans accouterments. Peeping out from behind the border of a screen are tissue papers delicately known as paper for the honorable act.""",https://www.theibis.net/product/utagawa-ando-hiroshige-asakusa-ricefields-and-torinomachi-festival-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10759,https://www.theibis.net/wp-content/uploads/2019/05/torino_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10753,"Utagawa Ando Hiroshige : ""The Drum Bridge and Sunset Hill at Meguro"" (1857) 16"" x 20"" (Image: 11.63"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Depicting pedestrians crossing a stone bridge in winter, The Drum Bridge and Sunset Hill at Meguro is a one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. It was published in serial from 1856-1859, with Hiroshige II completing the series after his death in 1858. ""Of the two attractions mentioned in the title,"" observes the Brooklyn Museum, ""the Drum Bridge was the more celebrated site in the Meguro area. Arched bridges were unusual enough in Edo, but even more curious was a stone bridge, which offered few advantages in a city prone to earthquakes. Rounded forms and stone structures were more common in China than in Japan, suggesting a Chinese prototype for this bridge, although it is said to have been designed in the 1740s by a wandering priest inspired by a similar one in Kyushu, Japan. Hiroshige evokes a greater sense of isolation, even loneliness, in this snow scene by offering an oblique view.""",https://www.theibis.net/product/utagawa-ando-hiroshige-the-drum-bridge-and-sunset-hill-at-meguro-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10753,https://www.theibis.net/wp-content/uploads/2019/05/dbridge_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10742,"Claude Monet : ""View of Vetheuil"" (1880) 16"" x 20"" (Image: 12.81"" x 17"")","By the time that Monet settled in Vétheuil he had largely developed the impressionist style and, making regular forays into the French countryside, would go on to produce some of the greatest paintings of the nineteenth century. He painted View of Vétheuil from an island on the Seine, obscuring its waters behind a stand of poplars. The village beyond is nestled comfortably within the landscape, its church tower treated with no greater significance than the surrounding trees. Much as in the Japanese prints that Monet so admired, humans occupy the landscape in apparent harmony with nature.",https://www.theibis.net/product/claude-monet-view-of-vetheuil-1880/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10742,https://www.theibis.net/wp-content/uploads/2019/05/monet19_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10731,"Claude Monet : ""Vetheuil in Summer"" (1880) 16"" x 20"" (Image: 10.25"" x 17"")","By the time that Monet settled in Vétheuil he had largely developed the impressionist style and, making regular forays into the French countryside, would go on to produce some of the greatest paintings of the nineteenth century. Vétheuil in Summer looks at the village from across the Seine, the landscape reflected in its shimmering waters. Here, observes the Metropolitan Museum of Art, ""Monets concern with recording sensations of light and color as accurately as possible"" has the effect of rendering the piece abstract, so that its ""imagery nearly dissolves in the myriad touches of paint.""",https://www.theibis.net/product/claude-monet-vetheuil-in-summer-1880/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10731,https://www.theibis.net/wp-content/uploads/2019/05/monet18_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10721,"Claude Monet : ""The Doges Palace Seen from San Giorgio Maggiore"" (1908) 16"" x 20"" (Image: 12"" x 17"")","Having been transfixed by his lily ponds at Giverny, Monet was awestruck on arriving in Venice on October 1, 1908: ""It is too beautiful to be painted! It is untranslatable!"" he exclaimed. Whereas most European artists who visited Venice did so early in their careers, Monet was making his first and only trip age of 68, bringing with him a lifetime of artistic experience. Determined to make an original statement, Monet focused less upon the storied architecture than the Venetian light and haze, the reflections of its buildings on the shimmering waters of the Grand Canal. Repeating many of the same views under different conditions, he strove to capture the surrounding atmosphere, or what he called the ""envelope."" ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" During his ten weeks stay in Venice he began thirty-seven canvases, which he later completed in his studio. When twenty-nine of these were put on exhibit at the Bernheim-Jeune gallery in Paris, they enjoyed enormous success, Paul Signac writing warmly to Monet ""of the joy of seeing a large part of your newest works,"" which ""I admire...as the highest expression of your art.""",https://www.theibis.net/product/claude-monet-the-doges-palace-seen-from-san-giorgio-maggiore-1908/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10721,https://www.theibis.net/wp-content/uploads/2019/05/monet17_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10711,"Claude Monet : ""Water Lilies"" (1919) 16"" x 20"" (Image: 8.5"" x 17"")","Claude Monets long career was a quest to understand the effects of light and color on objects, and of the juxtaposition of colors with each other. To this end, of often painted the same subjects under different atmospheric conditions. ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" These motifs included haystacks, the Rouen Cathedral, the River Seine, Waterloo Bridge, and the Houses of Parliament, but it was in his lily ponds at Giverny that his muse would find her purest expression. Populated with varicolored species from France, South America and Egypt, their alternating light and mirror-like reflections transfixed Monet for the last thirty years of his life, during which he painted them in some 250 variations. By the mid-1910s Monet had achieved, in the words of art curator Gary Tinerow, ""a completely new, fluid and somewhat audacious style of painting in which the water-lily pond became the departure for an almost abstract art.""",https://www.theibis.net/product/claude-monet-water-lilies-1919/?attribute_size=16%22+x+20%22+%28Image%3A+8.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10711,https://www.theibis.net/wp-content/uploads/2019/05/monet16_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10701,"John Singer Sargent : ""Arab Woman"" (1905-1906) 16"" x 20"" (Image: 11.25"" x 17"")","During his career John Singer Sargent produced over 2,000 watercolors of his travels through the English countryside, Venice, the Tyrol, the Middle East, Montana, Maine and Florida. Unconstrained by the preferences of audiences or patrons, and unburdened of the obligation to entertain sitters for hours on end, he was free to experiment and immerse himself in the joy of painting. ""To live with Sargents water-colors,"" wrote his biographer Evan Charteris, ""is to live with sunshine captured and held, with the luster of a bright and legible world, the refluent shade and the Ambient ardours of the noon.""",https://www.theibis.net/product/john-singer-sargent-arab-woman-1905-1906/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10701,https://www.theibis.net/wp-content/uploads/2019/05/sar13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10689,"Claude Monet : ""The Doges Palace"" (1908) 16"" x 20"" (Image: 13"" x 16.06"")","Having been transfixed by his lily ponds at Giverny, Monet was awestruck on arriving in Venice on October 1, 1908: ""It is too beautiful to be painted! It is untranslatable!"" he exclaimed. Whereas most European artists who visited Venice did so early in their careers, Monet was making his first and only trip age of 68, bringing with him a lifetime of artistic experience. Determined to make an original statement, Monet focused less upon the storied architecture than the Venetian light and haze, the reflections of its buildings on the shimmering waters of the Grand Canal. Repeating many of the same views under different conditions, he strove to capture the surrounding atmosphere, or what he called the ""envelope."" ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" During his ten weeks stay in Venice he began thirty-seven canvases, which he later completed in his studio. When twenty-nine of these were put on exhibit at the Bernheim-Jeune gallery in Paris, they enjoyed enormous success, Paul Signac writing warmly to Monet ""of the joy of seeing a large part of your newest works,"" which ""I admire...as the highest expression of your art.""",https://www.theibis.net/product/claude-monet-the-doges-palace-1908/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.06%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10689,https://www.theibis.net/wp-content/uploads/2019/05/doges_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10679,"Claude Monet : ""The Church of San Giorgio Maggiore, Venice"" (1908) 16"" x 20"" (Image: 12"" x 17"")","Having been transfixed by his lily ponds at Giverny, Monet was awestruck on arriving in Venice on October 1, 1908: ""It is too beautiful to be painted! It is untranslatable!"" he exclaimed. Whereas most European artists who visited Venice did so early in their careers, Monet was making his first and only trip age of 68, bringing with him a lifetime of artistic experience. Determined to make an original statement, Monet focused less upon the storied architecture than the Venetian light and haze, the reflections of its buildings on the shimmering waters of the Grand Canal. Repeating many of the same views under different conditions, he strove to capture the surrounding atmosphere, or what he called the ""envelope."" ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" During his ten weeks stay in Venice he began thirty-seven canvases, which he later completed in his studio. When twenty-nine of these were put on exhibit at the Bernheim-Jeune gallery in Paris, they enjoyed enormous success, Paul Signac writing warmly to Monet ""of the joy of seeing a large part of your newest works,"" which ""I admire...as the highest expression of your art.""",https://www.theibis.net/product/claude-monet-the-church-of-san-giorgio-maggiore-venice-1908/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10679,https://www.theibis.net/wp-content/uploads/2019/05/sang_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10667,"Claude Monet : ""Springtime"" (1872) 16"" x 20"" (Image: 13"" x 17"")","Monet moved to Argenteuil, a suburban town on the right bank of the Seine River northwest of Paris, in late December 1871. Many of the types of scenes that he and the other Impressionists favored could be found in this small town, conveniently connected by rail to nearby Paris. In this painting, Monet was less interested in capturing a likeness than in studying how unblended dabs of color could suggest the effect of brilliant sunlight filtered through leaves. During the early 1870s, Monet frequently depicted views of his backyard garden that included his wife, Camille, and their son, Jean. However, when exhibited at the Second Impressionist Exhibition in 1876, this painting was titled more generically, Woman Reading . (Text courtesy of The Walters Art Museum, GNU FPL-1.3).",https://www.theibis.net/product/claude-monet-springtime-1872/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10667,https://www.theibis.net/wp-content/uploads/2019/05/monspr_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10655,"Claude Monet : ""Still Life with Flowers and Fruit"" (1869) 16"" x 20"" (Image: 13"" x 16.25"")","Although painted in his studio, this still life shows the influence of the outdoor experiments that Claude Monet undertook in the summer and fall of 1869, while he was living at Bougival on the Seine River. His exercises in different painting techniques are seen in the way he softened the outlines of forms and the manner in which he explored the descriptive possibilities of brushstrokes: broad and flat in the tablecloth, sketchy in the apples, and short and dense in the flower petals. Monets technique is also apparent in the use of light to animate the surfaces of the flowers, fruit, and tablecloth, and in the way the colors are affected by the light, by reflections, and by each other. These pictorial innovations became the foundation for the development of the Impressionist technique in the decades that followed. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/claude-monet-still-life-with-flowers-and-fruit-1869/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10655,https://www.theibis.net/wp-content/uploads/2019/05/monflo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10644,"Claude Monet : ""Water Lilies"" (1916-1919) 16"" x 20"" (Image: 11"" x 17"")","Claude Monets long career was a quest to understand the effects of light and color on objects, and of the juxtaposition of colors with each other. To this end, of often painted the same subjects under different atmospheric conditions. ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" These motifs included haystacks, the Rouen Cathedral, the River Seine, Waterloo Bridge, and the Houses of Parliament, but it was in his lily ponds at Giverny that his muse would find her purest expression. Populated with varicolored species from France, South America and Egypt, their alternating light and mirror-like reflections transfixed Monet for the last thirty years of his life, during which he painted them in some 250 variations. By the mid-1910s Monet had achieved, in the words of art curator Gary Tinerow, ""a completely new, fluid and somewhat audacious style of painting in which the water-lily pond became the departure for an almost abstract art.""",https://www.theibis.net/product/claude-monet-water-lilies-1916-1919/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10644,https://www.theibis.net/wp-content/uploads/2019/05/monet15_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10632,"Claude Monet : ""Ile aux Fleurs near Vetheuil"" (1880) 16"" x 20"" (Image: 13"" x 16.31"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. In 1880 he completed two views of the Île aux Fleurs, or ""Island of Flowers:"" Île aux Fleurs near Vétheuil and Banks of the Seine, Vétheuil . Virtually identical compositions, the former being of a warmer complexion than the latter, they show Monet awakening to the properties of painted surface itself. The National Gallerys remarks on Banks of the Seine, Vétheuil are equally applicable to both paintings: ""Here, brushstrokes vary in response to the different textures they portray—contrast, for example, the quick horizontal skips in the rivers gently rippled surface with the rounder, swirling forms of the sky. But it is the foreground, where thick grasses and flowers are painted with crowded, exuberant strokes, that draws our attention. These heavy layers of paint were probably not completed on the spot, but instead carefully reworked in the studio. The strokes assume an importance in their own right, becoming decorative as well as descriptive. Monet, however, never strays far from the natural forms that were his inspiration.""",https://www.theibis.net/product/claude-monet-ile-aux-fleurs-near-vetheuil-1880/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10632,https://www.theibis.net/wp-content/uploads/2019/05/monet14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10622,"Utagawa Ando Hiroshige : ""Sea at Satta in Suruga Province"" (1858) 16"" x 20"" (Image: 11.38"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Sea at Satta in Suruga Province is a member of his 1858 series, Thirty-six Views of Mount Fuji , depicting Japans highest peak in various perspectives, seasons and weather conditions. Held sacred since ancient times, Mount Fuji is revered in Shinto mythology as one of the two gods born from ""something like a reed that arose from the soil"" when the earth was chaotic. An important motif in Japanese art and literature, it had previously been the subject of two similarly-titled series by Hokusai, Thirty-six Views of Mount Fuji and One Hundred Views of Mount Fuji , published during the 1830s.",https://www.theibis.net/product/utagawa-ando-hiroshige-sea-at-satta-in-suruga-province-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10622,https://www.theibis.net/wp-content/uploads/2019/05/satta_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10610,"Utagawa Ando Hiroshige : ""Pine Beach at Miho in Suruga"" (1858) 16"" x 20"" (Image: 11.31"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Pine Beach at Miho in Suruga is a member of his 1858 series, Thirty-six Views of Mount Fuji , depicting Japans highest peak in various perspectives, seasons and weather conditions. Held sacred since ancient times, Mount Fuji is revered in Shinto mythology as one of the two gods born from ""something like a reed that arose from the soil"" when the earth was chaotic. An important motif in Japanese art and literature, it had previously been the subject of two similarly-titled series by Hokusai, Thirty-six Views of Mount Fuji and One Hundred Views of Mount Fuji , published during the 1830s.",https://www.theibis.net/product/utagawa-ando-hiroshige-pine-beach-at-miho-in-suruga-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10610,https://www.theibis.net/wp-content/uploads/2019/05/suruga_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10598,"Utagawa Ando Hiroshige : ""Sunset Hill, Meguro in the Eastern Capital"" (1858) 16"" x 20"" (Image: 11.38"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Sunset Hill, Meguro in the Eastern Capital is a member of his 1858 series, Thirty-six Views of Mount Fuji , depicting Japans highest peak in various perspectives, seasons and weather conditions. Held sacred since ancient times, Mount Fuji is revered in Shinto mythology as one of the two gods born from ""something like a reed that arose from the soil"" when the earth was chaotic. An important motif in Japanese art and literature, it had previously been the subject of two similarly-titled series by Hokusai, Thirty-six Views of Mount Fuji and One Hundred Views of Mount Fuji , published during the 1830s.",https://www.theibis.net/product/utagawa-ando-hiroshige-sunset-hill-meguro-in-the-eastern-capital-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10598,https://www.theibis.net/wp-content/uploads/2019/05/sunhill_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10587,"Claude Monet : ""Bridge over a Pond of Water Lilies"" (1899) 16"" x 20"" (Image: 13"" x 16.38"")","Claude Monets long career was a quest to understand the effects of light and color on objects, and of the juxtaposition of colors with each other. To this end, of often painted the same subjects under different atmospheric conditions. ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" These motifs included haystacks, the Rouen Cathedral, the River Seine, Waterloo Bridge, and the Houses of Parliament, but it was in his lily ponds at Giverny that his muse would find her purest expression. Populated with varicolored species from France, South America and Egypt, their alternating light and mirror-like reflections transfixed Monet for the last thirty years of his life, during which he painted them in some 250 variations. Rendered in an overall cool palette accented by white lilies turning pink with age, this piece is part of an early sub-series within this body of work, consisting of eighteen views of his Japanese footbridge spanning a pond. By the mid-1910s Monet would achieve, in the words of art curator Gary Tinerow, ""a completely new, fluid and somewhat audacious style of painting in which the water-lily pond became the departure for an almost abstract art.""",https://www.theibis.net/product/claude-monet-bridge-over-a-pond-of-water-lilies-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10587,https://www.theibis.net/wp-content/uploads/2019/05/monet13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10574,"Claude Monet : ""The Bodmer Oak, Fontainebleau Forest"" (1865) 16"" x 20"" (Image: 12.63"" x 17"")","During the 1860s, while studying in the atelier of Charles Gleyre, Monet would escape to the Forest of Fontainebleau, south of Paris, to paint en plein air . Though plein air painting has a long history before Monet, his method, concerned with capturing a lived experience of the real world, represented a radical departure for his time. Whereas other artists would make studies from nature and incorporate these into larger studio works, or paint with indifference to changing conditions, Monet would only paint his subject in context, and only while his desired lighting conditions prevailed. In The Bodmer Oak, Fontainebleau Forest , he revisits a subject which had been previously treated by the Swiss artist Karl Bodmer. Capturing the effect of light flowing through the canopy onto the October leaves below, he gives expression to the experiential elements of the scene, implying our presence within the landscape. Whereas we approach Bodmers paintings as detached observers, we participate within Monets.",https://www.theibis.net/product/claude-monet-the-bodmer-oak-fontainebleau-forest-1865/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10574,https://www.theibis.net/wp-content/uploads/2019/05/monet12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10562,"Claude Monet : ""Apples and Grapes"" (1879-1880) 16"" x 20"" (Image: 12.81"" x 17"")","In Apples and Grapes Monet applies the same lively brushwork and advanced color theory that he used in his landscapes to a traditional still life subject, rendering it positively energetic. The juxtaposition of red and yellow with deep purple in the arrangement of fruit, and in the background pigmentation, adds to the intensity of his richly saturated palette. Even anchored to static objects, Monets colors appear to dance.",https://www.theibis.net/product/claude-monet-apples-and-grapes-1879-1880/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10562,https://www.theibis.net/wp-content/uploads/2019/05/monet11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10552,"Claude Monet : ""Landscape: The Parc Monceau"" (1876) 16"" x 20"" (Image: 12.38"" x 17"")","Claude Monet has been rightfully described as ""the driving force behind Impressionism."" Dedicated to understanding the effects of light and color on objects, and of the juxtaposition of colors with each other, he obtained the groundbreaking insights that lesser artists would merely apply. Settling in Argenteuil (a northwest suburb of Paris) in the aftermath of the Franco-Prussian war, he embarked upon one of the most formative creative periods of his career. Here he constructed a floating platform that allowed him to paint en plein air from the surface of the Seine and made extensive studies of the same setting under different atmospheric conditions. In the process of thus deepening his understanding of light and color, he conceived some of his best-known works. Landscape: The Parc Monceau is a product of this period. An eighteenth century park planned in the style of an English garden, Parc Monceau had recently been renovated as part of Baron Haussmanns grand transformation of Paris. Monet painted six views of it during his career—three in 1876 and three in 1878—exhibiting this one in the Impressionist exhibition of 1877.",https://www.theibis.net/product/claude-monet-landscape-the-parc-monceau-1876/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10552,https://www.theibis.net/wp-content/uploads/2019/05/monet10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10540,"Claude Monet : ""Spring (Fruit Trees in Bloom)"" (1873) 16"" x 20"" (Image: 10.25"" x 17"")","Claude Monet has been rightfully described as ""the driving force behind Impressionism."" Dedicated to understanding the effects of light and color on objects, and of the juxtaposition of colors with each other, he obtained the groundbreaking insights that lesser artists would merely apply. Settling in Argenteuil (a northwest suburb of Paris) in the aftermath of the Franco-Prussian war, he embarked upon one of the most formative creative periods of his career. Here he constructed a floating platform that allowed him to paint en plein air from the surface of the Seine and made extensive studies of the same setting under different atmospheric conditions. In the process of thus deepening his understanding of light and color, he conceived some of his best-known works. Spring (Fruit Trees in Bloom) was a product of this period. The Metropolitan Museum of Art notes that ""Although the scene has previously been called Plum Blossoms and Apple Trees in Bloom , the type of tree cannot be determined from the flurry of white buds evoked by the artist. The pastel shades of spring and the clear light inspired him to represent nature almost purely in terms of color.""",https://www.theibis.net/product/claude-monet-spring-fruit-trees-in-bloom-1873/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10540,https://www.theibis.net/wp-content/uploads/2019/05/monet9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10530,"Claude Monet : ""Poppy Fields near Argenteuil"" (1875) 16"" x 20"" (Image: 12.44"" x 17"")","Claude Monet has been rightfully described as ""the driving force behind Impressionism."" Dedicated to understanding the effects of light and color on objects, and of the juxtaposition of colors with each other, he obtained the groundbreaking insights that lesser artists would merely apply. Settling in Argenteuil (a northwest suburb of Paris) in the aftermath of the Franco-Prussian war, he embarked upon one of the most formative creative periods of his career. Here he constructed a floating platform that allowed him to paint en plein air from the surface of the Seine and made extensive studies of the same setting under different atmospheric conditions. In the process of thus deepening his understanding of light and color, he conceived some of his best-known works. This Heaven-like landscape was a product of this period. The Metropolitan Museum of Art identifies it as ""one of four similar views of the plain of Gennevilliers, just southeast of Argenteuil, which Monet executed in the summer of 1875.""",https://www.theibis.net/product/claude-monet-poppy-fields-near-argenteuil-1875/?attribute_size=16%22+x+20%22+%28Image%3A+12.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10530,https://www.theibis.net/wp-content/uploads/2019/05/monet8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10519,"Thomas Eakins : ""The Artists Wife and His Setter Dog"" (c. 1884-1889) 16"" x 20"" (Image: 13"" x 17"")","Though his is hardly a household name, Thomas Eakins is widely credited as one of the most important figures in American art history. His principal source of inspiration was his own middle-class social environment. He was, in the words of art critic John Canaday, ""a supreme realist"" who seems to ""have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization."" Eakins and his former student, Susan Hannah Macdowell, married in January of 1884, and he began this portrait shortly thereafter. Noting that ""a photogravure of the painting from 1886 reveals a more robust woman,"" the Metropolitan Museum of Art speculates that Eakins may have rendered the piece more languid in the emotional aftermath of his dismissal from the Pennsylvania Academy of Fine Arts.",https://www.theibis.net/product/thomas-eakins-the-artists-wife-and-his-setter-dog-c-1884-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10519,https://www.theibis.net/wp-content/uploads/2019/05/eak6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10508,"Claude Monet : ""Chrysanthemums"" (1882) 16"" x 20"" (Image: 13"" x 15.88"")","Monets chrysanthemums are rendered in short strokes of pure color that vibrate against one another, creating the effect of energetic growth straining against the edges of the canvas. Where an academic realist might rendered each leaf and petal in naturalistic detail, Monets fluid brushwork captures the chaotic growth of thriving plant life, emphasizing the act of flourishing above the flowers themselves. He has not frozen his subjects in time, but endowed them with eternal life.",https://www.theibis.net/product/claude-monet-chrysanthemums-1882/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10508,https://www.theibis.net/wp-content/uploads/2019/05/monet7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10495,"Claude Monet : ""Regatta at Sainte-Adresse"" (1867) 16"" x 20"" (Image: 12.56"" x 17"")","Impressionism was born on the beaches of Normandy, where, at the urging of Eugène Boudin, a young caricature artist named Claude Monet quite literally saw the light and awoke to the possibilities of landscape painting. By 1867, when he visited the resort town of Sainte-Adresse, he had learned to paint en plein air and become attuned to the subtleties of light and atmosphere that would become focus of his long career. Writing to his colleague Frédéric Bazille, he reported that he had ""about 20 canvases well underway, some stunning seascapes and some figures and gardens, everything in short."" Where Monet incorporated figures into these works, he often had his relatives pose for him. In Regatta at Sainte-Adresse his father appears as the standing man in the gray suit. Overall a fairly conventional landscape painting, its high-keyed palette and use of broken colors on the waters surface anticipate the mature impressionist works that were soon to follow.",https://www.theibis.net/product/claude-monet-regatta-at-sainte-adresse-1867/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10495,https://www.theibis.net/wp-content/uploads/2019/05/monet6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10483,"Claude Monet : ""Garden at Sainte-Adresse"" (1867) 16"" x 20"" (Image: 12.75"" x 17"")","Impressionism was born on the beaches of Normandy, where, at the urging of Eugène Boudin, a young caricature artist named Claude Monet quite literally saw the light and awoke to the possibilities of landscape painting. By 1867, when he visited the resort town of Sainte-Adresse, he had learned to paint en plein air and become attuned to the subtleties of light and atmosphere that would become focus of his long career. Writing to his colleague Frédéric Bazille, he reported that he had ""about 20 canvases well underway, some stunning seascapes and some figures and gardens, everything in short."" Where Monet incorporated figures into these works, he often had his relatives pose for him. In Garden at Sainte-Adresse his father appears as the man in the panama hat. The Metropolitan Museum of Art observes in it the influence of Japanese prints, noting how, ""by adopting an elevated viewpoint and painting the terrace, sea and sky as three distinct bands of high-keyed color, Monet emphasized the flat surface of the canvas.""",https://www.theibis.net/product/claude-monet-garden-at-sainte-adresse-1867/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10483,https://www.theibis.net/wp-content/uploads/2019/05/monet5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10473,"Utagawa Ando Hiroshige : ""Inume Pass in Kai Province"" (1858) 16"" x 20"" (Image: 11.38"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Imune Pass in Kai Province is a member of his 1858 series, Thirty-six Views of Mount Fuji , depicting Japans highest peak in various perspectives, seasons and weather conditions. Held sacred since ancient times, Mount Fuji is revered in Shinto mythology as one of the two gods born from ""something like a reed that arose from the soil"" when the earth was chaotic. An important motif in Japanese art and literature, it had previously been the subject of two similarly-titled series by Hokusai, Thirty-six Views of Mount Fuji and One Hundred Views of Mount Fuji , published during the 1830s.",https://www.theibis.net/product/utagawa-ando-hiroshige-inume-pass-in-kai-province-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10473,https://www.theibis.net/wp-content/uploads/2019/05/inume_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10461,"Claude Monet : ""Woman with a Parasol - Madame Monet and Her Son"" (1875) 16"" x 20"" (Image: 13"" x 16.13"")","Monet and his wife once fled Paris to escape their creditors. Their son Jean—seven years-old in this painting—became seriously ill due to their inability pay for his medical treatment. After the outbreak of the Franco-Prussian War they sought refuge in England and the Netherlands. By 1875, however, their fortunes had changed. They had returned to France, renting a house in Argenteuil, a suburb northwest of Paris. Monet had met the art dealer Paul Durand-Ruel in London, and through him their finances were growing. In Argenteuil he was embarked upon one of the most formative creative periods of his life, gaining new insights into the effects of light and color on objects, and the juxtaposition of colors with each other. Also known as The Stroll , Woman with Parasol - Madame Monet and Her Son was conceived as a genre painting, rather than a portrait, depicting a mother and son on a summers outing. Here, Monets calligraphic brushwork and advanced color theory combine to create a flawless impression of a bright and windy day, made all the more remarkable by the fact that the entire scene was probably captured in a single plein air session of just a few hours. Monet once said that he liked to paint ""as the bird sings."" This is one of his high notes.",https://www.theibis.net/product/claude-monet-woman-with-a-parasol-madame-monet-and-her-son-1875/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10461,https://www.theibis.net/wp-content/uploads/2019/05/madmon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10450,"Thomas Eakins : ""Arcadia"" (c. 1883) 16"" x 20"" (Image: 13"" x 15.13"")","Thomas Eakins became a salaried professor at the Pennsylvania Academy of Fine Arts in 1878 and its director in 1882. Emphasizing the nude as the basis of art instruction, his curriculum afforded students of both genders ample opportunity to learn the human form. Under Eakins, the Academys art course became the most liberal and advanced in the world. One of his innovations was the introduction of photography to the art studio. Though still frowned upon by traditionalists, Eakins recognized its value as a source of useful anatomical references. He photographed himself, friends and students in the nude, and displayed the results for study. For Arcadia he used a magic lantern to project photographic references onto the canvas, enabling him to render the figures with mechanical precision. Here the models—his nephew Ben Crowell, future wife Susan Macdowell, and teaching assistant J. Laurie Wallace—are transported to an era of pagan innocence; one which Eakins must have envied when, in 1886, he was forced to resign for removing the loincloth from a male model in the presence of female students. The world was not yet ready to let it all hang out.",https://www.theibis.net/product/thomas-eakins-arcadia-c-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10450,https://www.theibis.net/wp-content/uploads/2019/05/teakins_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10438,"Utagawa Ando Hiroshige : ""Yatsumi Bridge"" (1857) 16"" x 20"" (Image: 11.5"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Yatsumi Bridge is a member of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. It was published in serial from 1856-1859, with Hiroshige II completing the series after his death in 1858. ""Although Yatsumi Bridge literally means Eight-View Bridge,"" observes the Brooklyn Museum, ""a more accurate translation would be Eight-Bridge View since from it one could see eight different bridges, including Yatsumi itself, on which the viewer is standing. This bridge was one of the busiest in Edo and joined the mouth of the Nihonbashi River with the outer moat of Edo Castle. So heavily traveled was the bridge that its southern approach served as the site of a stone post on which notices of lost children were pasted. The only allusion to this bustling site in an otherwise placid scene is the two parasols moving along at the lower left.""",https://www.theibis.net/product/utagawa-ando-hiroshige-yatsumi-bridge-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10438,https://www.theibis.net/wp-content/uploads/2019/05/ybridge_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10426,"Claude Monet : ""The Path Through the Irises"" (1914-1917) 16"" x 20"" (Image: 13"" x 14.5"")","Monet was in his 70s and suffering from cataracts when he produced this vibrant canvas, depicting one of the iris-lined pathways that led up to the house and Japanese footbridge at Giverny. The Metropolitan Museum of Art identifies it as one of ""a series of monumental works painted during the First World War that capture the vital essence of these flowers with an intensity and breadth of vision,"" observing how, in consequence of his failing eyesight, he had ""dispensed with subtlety and took in the motif in large masses."" Monet once said that he liked to paint ""as the bird sings."" The Path Through the Irises is one of his high notes.",https://www.theibis.net/product/claude-monet-the-path-through-the-irises-1914-1917/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10426,https://www.theibis.net/wp-content/uploads/2019/05/monet4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10415,"Claude Monet : ""Jean Monet on His Hobby Horse"" (1872) 16"" x 20"" (Image: 13"" x 16"")","Jean Monet (1867-1913) was the artists eldest son by Camille Doncieux. Born into poverty, he soon became ill. His parents, having fled Paris to escape creditors, were unable to pay for his medical treatment. After the outbreak of the Franco-Prussian War they sought refuge in England and the Netherlands. When this picture of Jean on a hobby horse was painted in the summer of 1872 their fortunes had begun to change. They had returned to France, renting a house in Argenteuil, a suburb northwest of Paris. Claude Monet had met the art dealer Paul Durand-Ruel in London, and through him their finances were growing. This painting, however, he neither sold nor exhibited, but kept throughout his life.",https://www.theibis.net/product/claude-monet-jean-monet-on-his-hobby-horse-1872/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10415,https://www.theibis.net/wp-content/uploads/2019/05/monet3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10403,"Thomas Eakins : ""The Dancing Lesson"" (1878) 16"" x 20"" (Image: 13"" x 16.25"")","Though his is hardly a household name, Thomas Eakins is widely credited as one of the most important figures in American art history. His principal source of inspiration was his own middle-class social environment. He was, in the words of art critic John Canaday, ""a supreme realist"" who seems to ""have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization."" The Dancing Lesson is illustrative of music—and its ability to touch people of all walks of life—as a persistent theme in his work. A jubilant watercolor celebrating music, family and freedom, the Metropolitan Museum of Art observes that in the upper left corner ""a framed copy of the famous photograph of Abraham Lincoln and his son Thad suggests the figures familial relationships and emphasizes their emancipation.""",https://www.theibis.net/product/thomas-eakins-the-dancing-lesson-1878/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10403,https://www.theibis.net/wp-content/uploads/2019/05/eak5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10393,"Thomas Eakins : ""The Chess Players"" (1876) 16"" x 20"" (Image: 12.38"" x 17"")","Though his is hardly a household name, Thomas Eakins is widely credited as one of the most important figures in American art history. His principal source of inspiration was his own middle-class social environment. He was, in the words of art critic John Canaday, ""a supreme realist"" who seems to ""have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization."" Set in a Renaissance Revival parlor in Philadelphia, The Chess Players pays homage to two of the artists mentors. His father is the central figure observing the chess game, which is played on a table bearing the inscription ""Benjamin Eakinss son painted this in 76."" Hanging above the mantle is a reproduction of a painting by Jean-Léon Gérôme. Eakinss principal instructor in France, the inclusion of his work in a painting of the artists father pays tribute to him as the father-figure in his own right; the father of his artistic and professional life.",https://www.theibis.net/product/thomas-eakins-the-chess-players-1876/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10393,https://www.theibis.net/wp-content/uploads/2019/05/eak4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10381,"Claude Monet : ""Rapids on the Petite Creuse at Fresselines"" (1889) 16"" x 20"" (Image: 12"" x 17"")","Monet painted Rapids on the Petite Creuse at Fresselines looking down from a steep slope adjoining the river. The absence of spatial cues combined with the artists loose brushwork renders the composition flat and difficult to read as a conventional landscape painting. Rather, Monet presents the rapids to us as an arrangement of colors; the variegated hues of the river bed, stones and foliage, accentuated by the bold white breakers of tumbling water. His art would continue to develop toward abstraction with the installation of his famous lily ponds at Giverny; a subject that would preoccupy him for the remainder of his career.",https://www.theibis.net/product/claude-monet-rapids-on-the-petite-creuse-at-fresselines-1889/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10381,https://www.theibis.net/wp-content/uploads/2019/05/monet2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10371,"Claude Monet : ""Cabin of the Customs Watch"" (1882) 16"" x 20"" (Image: 12.63"" x 17"")","Between February and mid-April of 1882 Monet settled in the seaside resort of Pourville-sur-Mer, where he wrote to his future wife, Alice Hoschedé, ""How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!"" In Cabin of the Customs Watch the artists calligraphic brushwork creates the suggestion of wind-tossed foliage. The eye progresses into the painting through a succession of jumps from one overlapping plane to the next, from the foreground to the cabin and beyond to the distant blue horizon. By his subtle yet deliberate use of color, texture and perspective, Monet creates the impression of spacious and airy terrain.",https://www.theibis.net/product/claude-monet-cabin-of-the-customs-watch-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10371,https://www.theibis.net/wp-content/uploads/2019/05/monet1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10337,"Johannes Vermeer : ""Portrait/Study of a Young Woman"" (c. 1665-1667) 16"" x 20"" (Image: 13"" x 14.56"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. Art historian Edward Snow has described Portrait of a Young Woman as conveying ""the desire for beauty and perfection into a loving acceptance of what is flawed."" According to the Metropolitan Museum of Art, it was intended not as a formal portrait but as a tronie —a genre painting in portrait format intended to highlight ""unusual costumes, intriguing physiognomies, suggestion of personality, and demonstration of artistic skill,"" rather than to achieve the likeness of an identifiable person. It is certain, however, that a live model was used, and indeed possible that she was one of the artists daughters. Also known as Study of a Young Woman and Girl with a Veil , it may have been conceived as a pendant to Vermeers better-known painting, Girl with a Pearl Earring .",https://www.theibis.net/product/johannes-vermeer-portrait-study-of-a-young-woman-c-1665-1667/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10337,https://www.theibis.net/wp-content/uploads/2019/05/verm8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10324,"Johannes Vermeer : ""Woman in Blue Reading a Letter"" (c. 1663) 16"" x 20"" (Image: 13"" x 15.56"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. The subject of Woman in Blue Reading a Letter is situated in front of an unseen window, bathed in the soft light of morning. Reading intently, she wears a padded blue bed jacket, or beddejak . On the wall behind her is a map of Holland and West Friesland, and on the table a box of pearls, hinting at a traveling husband or lover. The J. Paul Getty Museum comments that while her figure has suggested pregnancy to some viewers, this would be an ""untypical subject for the period. As seen in other paintings by Vermeer and his contemporaries, the conical shape in style in the mid-1660s was achieved by wearing a flared jacket over a thick skirt turned over at the waist.""",https://www.theibis.net/product/johannes-vermeer-woman-in-blue-reading-a-letter-c-1663/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10324,https://www.theibis.net/wp-content/uploads/2019/05/verm7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10313,"Johannes Vermeer : ""The Love Letter"" (c. 1669-1670) 16"" x 20"" (Image: 13"" x 15.13"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. The Love Letter looks into a private room where a housemaid offers an item of correspondence to a young woman holding a lute. The iconography of the painting leaves little doubt that the letter is a billet doux . The lute itself was a symbol of carnal love ( luit having been slang for vagina), as were the removed slippers that appear in the foreground. The broom, meanwhile, having been laid aside, implies tension between romantic love and the Dutch ideal of a well-ordered home.",https://www.theibis.net/product/johannes-vermeer-the-love-letter-c-1669-1670/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10313,https://www.theibis.net/wp-content/uploads/2019/05/verm6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10301,"Johannes Vermeer : ""A Maid/Girl Asleep"" (c. 1656-1657) 16"" x 20"" (Image: 13"" x 15"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. Vermeers works often treat the inner lives and relationships of domestic servants coexisting in tension with their proscribed duties. The well-dressed subject of A Maid Asleep (also known as A Woman Asleep , A Woman Asleep at Table , and A Girl Asleep ) has just been entertaining a visitor, as evidenced by the wine pitcher, glass and cutlery on the table before her. The bowl of fruit adjacent to an open-mouthed jug and knife symbolize carnal temptation. Above her, a painting depicts Cupid unmasked. Resting, she wears a dreamy smile.",https://www.theibis.net/product/johannes-vermeer-a-maid-girl-asleep-c-1656-1657/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10301,https://www.theibis.net/wp-content/uploads/2019/05/verm5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10290,"Johannes Vermeer : ""Young Woman with a Water Pitcher"" (c. 1662) 16"" x 20"" (Image: 13"" x 14.81"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. Like most of Vermeers paintings, Young Woman with a Water Pitcher is set in the artists home in Delft. Noting the harmonious effect of its balanced shapes and colors, the Metropolitan Museum of Art describes its subject as ""an ideal woman in an ideal home."" For the Dutch—the conscientious stewards of a global trading empire—domestic harmony resulting from a well-ordered home was an important basis of national strength and prosperity.",https://www.theibis.net/product/johannes-vermeer-young-woman-with-a-water-pitcher-c-1662/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10290,https://www.theibis.net/wp-content/uploads/2019/05/verm4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10277,"Johannes Vermeer : ""The Little Street (Het Straatje)"" (c. 1658) 16"" x 20"" (Image: 13"" x 16"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. The setting of Little Street (Het Straatje) is Vlamingstraat 40-42 in Delft. The property at the right belonged to the artists aunt, Ariaentgen Claes van der Minne, who sold tripe; the passageway between was known as Penspoort , or ""Tripe Gate."" A rare outdoor piece by Vermeer, it is one of only three views of Delft that he is known to have painted.",https://www.theibis.net/product/johannes-vermeer-the-little-street-het-straatje-c-1658/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10277,https://www.theibis.net/wp-content/uploads/2019/05/verm3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10257,"Johannes Vermeer : ""The Milkmaid"" (c. 1660) 16"" x 20"" (Image: 13"" x 14.63"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. The Milkmaid reflects the uncertainty of Dutch households toward their female domestic servants. Will their efforts lay the foundations of domestic harmony, or will their dreams and dalliances sow familial discord? On one hand, the subject is engaged in labor necessary to maintain a well-ordered home. Specifically (suggests art historian Harry Rand), she is in the process of making bread pudding, which requires a careful measure of milk to make a palatable meal of otherwise stale and useless bread. On the other, the iconography of the painting alludes to her as an object of male desire. Art historians have pointed out the tile at the foot of the wall behind her, depicting cupid; the wide-mouthed jug, reminiscent of female anatomy; and the foot warmer, which served to heat the body below the waist. Last but not least is her enigmatic expression, displaying ""a little bit of a Mona Lisa effect,"" in the words of European art curator Walter Liedtke. Do her downcast eyes and pursed lips express wistfulness, or concentration? Is her mind on her work, or is she in love?",https://www.theibis.net/product/johannes-vermeer-the-milkmaid-c-1660/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10257,https://www.theibis.net/wp-content/uploads/2019/04/verm2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10246,"Alfred Sisley : ""The Road from Versailles to Louveciennes"" (c. 1879) 16"" x 20"" (Image: 13"" x 16"")","Together with Claude Monet, Pierre-Auguste Renoir and Frédéric Bazille, Alfred Sisley was a member of the first impressionist circle who met in the atelier of Charles Gleyre. His work consists almost entirely of tranquil, plein air landscapes characterized by beautiful skies. Noting ""Sisleys juxtaposition of the two figures on the road—a laborer pushing a cart and a man wearing a sophisticated black suit and top hat,"" The Metropolitan Museum of Art comments on The Road from Versailles to Louveciennes as evocative of ""the contrast between old-fashioned country life and modern urban society.""",https://www.theibis.net/product/alfred-sisley-the-road-from-versailles-to-louveciennes-c-1879/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10246,https://www.theibis.net/wp-content/uploads/2019/04/sis7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10236,"Pierre-Auguste Renoir : ""A Young Girl with Daisies"" (1889) 16"" x 20"" (Image: 13"" x 15.88"")","Renoirs canvases are perpetually active. Their soft, fluid quality gives the impression of wet, free-flowing paint that has only recently coalesced into its latest form. Their glazed effect owes much to Renoirs youthful career as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, yielding a uniquely disciplined style that blends the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-a-young-girl-with-daisies-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10236,https://www.theibis.net/wp-content/uploads/2019/04/renpor15_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10225,"Pierre-Auguste Renoir : ""In the Meadow"" (1888-1892) 16"" x 20"" (Image: 13"" x 16.19"")","Renoirs canvases are perpetually active. Their soft, fluid quality gives the impression of wet, free-flowing paint that has only recently coalesced into its latest form. Their glazed effect owes much to Renoirs youthful career as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, yielding a uniquely disciplined style that blends the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-in-the-meadow-1888-1892/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10225,https://www.theibis.net/wp-content/uploads/2019/04/renpor14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10214,"Agostino Veneziano : ""The Carcass / Lo Stregozzo"" (c. 1520) 16"" x 20"" (Image: 8.13"" x 17"")","An Italian engraving of the 16th century, The Carcass , or Lo Stregozzo , depicts a cruel hag leading a diabolical procession atop a bizarre skeletal wagon, towed by nude human figures. In one hand she holds a vessel of flaming fire, evocative of lust; in the other, she seizes a frightened baby by the head—to crush, perhaps, or to consume. In Exorcising our Demons: Magic, Witchcraft and Visual Culture in Early Modern Europe , historian Charles Zika suggests that Veneziano may have been alluding to the ""wild hunt"" or ""furious horde"" of German folklore; a procession of ghostly or supernatural figures who ravaged the countryside, presaging war or plague. Those who chanced upon them might be punished, slain or compelled to join their procession, but those who remained indoors might placate the evil spirits by setting out offerings of food and drink. Its central figure was traditionally identified with any number of divinities and legendary figures, including Freya, Wodan, Odin, Diana/Artemis, Proserpina/Hecate, and, of course, the Devil. In The Carcass , however, she is more than likely a witch, cribbed from a contemporary engraving by Albrecht Dürer, Witch Riding Backwards on a Goat . ""The wild ride of witches,"" writes Zika, ""had become established as a fundamental feature in literary accounts of the witches repertoire of evil by the early sixteenth century. And some early visual images of witchcraft...would also represent witchcraft as a line of women riding on animals."" The Carcass thus exemplifies early modern Europes dread of ""the destructive powers of witchcraft...linking it to the powers associated with the dead and fears of female sexuality.""",https://www.theibis.net/product/agostino-veneziano-the-carcass-lo-stregozzo-c-1520/?attribute_size=16%22+x+20%22+%28Image%3A+8.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10214,https://www.theibis.net/wp-content/uploads/2019/04/carcass_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10203,"Alfred Sisley : ""The Road from Moret to Saint-Mammes"" (1883-1885) 16"" x 20"" (Image: 13"" x 16"")","Together with Claude Monet, Pierre-Auguste Renoir and Frédéric Bazille, Alfred Sisley was a member of the first impressionist circle who met in the atelier of Charles Gleyre. His work consists almost entirely of tranquil, plein air landscapes characterized by beautiful skies. The Road from Moret to Saint-Mammès looks upon a small home on the banks of the River Loing, west of the Forest of Fontainebleau. Captivated by its ""picturesque views,"" Sisley would later take up residence in Moret-sur-Loing, remaining there until his death in 1899.",https://www.theibis.net/product/alfred-sisley-the-road-from-moret-to-saint-mammes-1883-1885/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10203,https://www.theibis.net/wp-content/uploads/2019/04/sis6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10192,"Johannes Vermeer : ""Woman Holding a Balance"" (c. 1664) 16"" x 20"" (Image: 13"" x 14.81"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. Posed with a painting of the Last Judgment in the background and a variety of earthly treasures arrayed on the table before her, the subject of Woman Holding a Balance allegorically weighs the contents of her soul. The National Gallery in Washington describes the piece as ""a superb example of Johannes Vermeers exquisite sense of stability and rhythm,"" noting how ""the woman is so pensive that the viewer almost hesitates to intrude on her quiet moment of contemplation.""",https://www.theibis.net/product/johannes-vermeer-woman-holding-a-balance-c-1664/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10192,https://www.theibis.net/wp-content/uploads/2019/04/vbal_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10181,"Utagawa Ando Hiroshige : ""Sudden Shower over Shin-Ohashi Bridge and Atake"" (1857) 16"" x 20"" (Image: 11.5"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. Sudden Shower over Shin-Ohashi Bridge and Atake is one of his final series, One Hundred Famous Views of Edo , which he began on retiring from the world to become a Buddhist monk in 1856. ""One can almost hear the crack of thunder as the roiling black clouds burst into sheets of heavy rain, scattering the huddled shapes on the bridge below,"" reads the Brooklyn Museum catalog description. ""On the blue-gray expanse of the Sumida River, a solitary boatman poles his log raft downstream past the area known as Atake, impervious to the storm. This is a yudachi —an ""evening descent"" of the thunder god—a summer rain in which the heavens suddenly darken late in the day, releasing torrents of rain in large drops that then quickly clear. The undisputed masterpiece of the series, this print was accorded the honor of a copy in oil by Vincent van Gogh, now in Amsterdam."" (Text CC BY 3.0)",https://www.theibis.net/product/utagawa-ando-hiroshige-sudden-shower-over-shin-ohashi-bridge-and-atake-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10181,https://www.theibis.net/wp-content/uploads/2019/04/obridge_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10168,"Utagawa Ando Hiroshige : ""Fukeiga: Moonlight on Riverbank"" 16"" x 20"" (Image: 11.25"" x 17"")","Utagawa (also called Ando) Hiroshige is recognized as one of the last great masters of the ukiyo-e tradition. Literally, ""pictures of the floating world,"" ukiyo-e had largely emphasized erotic and pop cultural subjects, such as beautiful women, kabuki actors, and scenes from history and folk tales, but Hiroshige—following Hokusai—chose to specialize in landscapes and travel series which dovetailed with the rising popularity of tourism in Edo Japan. It is estimated that he created more than 5,000 prints during his lifetime and each is a visual poem unto itself. A moonlit river scene with figures in fishing in boats and along the shore, Fukeiga: Moonlight on Riverbank is a standalone piece and not part of a series. A genre of ukiyo-e print, Fukeiga may be translated as ""scenes and scenery,"" or simply ""landscape.""",https://www.theibis.net/product/utagawa-ando-hiroshige-fukeiga-moonlight-on-riverbank/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10168,https://www.theibis.net/wp-content/uploads/2019/04/moonriver_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10156,"Jacob van Ruisdael : ""Two Watermills and an Open Sluice"" (1653) 16"" x 20"" (Image: 13"" x 16.25"")","Jacob van Ruisdael captured the tension between natures power and human needs. Glimpsed from the bank of a stream amid thick foliage, turbulent waters rush through an open sluice. Inclement weather is suggested by the dark clouds; uneven, craggy branches and spreading trees grow on either side of the river. Against the ominous sky, the buildings appear solid and sturdy, and a solitary male figure with his dog seems dwarfed by the natural setting. Sunlight breaks through the heavily clouded sky and settles on the central motif of the two half-timber thatched millhouses. When he was in his early twenties, Ruisdael traveled to Germany from his native Haarlem. He became captivated by watermills on his travels and painted a series of views featuring them as a central motif. This painting is one of six known variations on this theme and the only one that is dated. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jacob-van-ruisdael-two-watermills-and-an-open-sluice-1653/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10156,https://www.theibis.net/wp-content/uploads/2019/04/ruis2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10146,"Johannes Vermeer : ""Allegory of the Catholic Faith"" (c. 1670-1672) 16"" x 20"" (Image: 13"" x 16.75"")","It has been said of Vermeer that he created a world more prefect than any he had witnessed. His almost photorealistic attention to detail, combined with his lack of formal training, has led scholars to suppose that he may have made use of a mechanical aid, such as a camera obscura, camera lucida, or some variation thereof. Working on top of a gray or monochrome underpainting, he made use of extravagantly expensive pigments such as natural ultramarine and lapis lazuli, rendering each object in a combination of its native color and the reflected light of its surroundings. Though he left no school in his wake and faded into obscurity following his death in 1675, his works were rediscovered during the 1860s and he has since been acknowledged as one of the greatest painters of the Dutch Golden Age. Allegory of the Catholic Faith is one of only two allegories that Vermeer produced during his career. The Metropolitan Museum of Art explicates it as follows: ""The emotive figure of Faith with the world at her feet (according to Ripa’s compendium of allegories) casts her eyes to Heaven, symbolized by a glass sphere. On the floor, the apple of Original Sin sits near a serpent, representing Satan, who is crushed by Christ, the cornerstone of the church."" Vermeer had converted to the faith when he married a Catholic girl, Catharina Bolenes (Bolnes), in 1653. In Holland Catholicism was tolerated on condition that it remain discreet. Catholics therefore met in schuilkerks , or ""hidden churches."" By setting this piece in what appears to be a private chapel—readily obscured behind the tapestry that hangs at left—Vermeer was commenting upon the marginalization of the Catholic religion in the Dutch Republic.",https://www.theibis.net/product/johannes-vermeer-allegory-of-the-catholic-faith-c-1670-1672/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10146,https://www.theibis.net/wp-content/uploads/2019/04/verm1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10133,"Alfred Sisley : ""Rue Eugene Moussoir at Moret: Winter"" (1891) 16"" x 20"" (Image: 13"" x 15.75"")","Together with Claude Monet, Pierre-Auguste Renoir and Frédéric Bazille, Alfred Sisley was a member of the first impressionist circle who met in the atelier of Charles Gleyre. His work consists almost entirely of tranquil, plein air landscapes characterized by beautiful skies. Citing the influence of Gustave Courbet, who exhibited a series of snowy landscapes in 1867, the Metropolitan Museum of Art identifies this work, ""with its nuanced palette and expertly rendered brushstrokes,"" as ""one of several that Sisley made in winter 1891 at Moret, south of Paris. It depicts the rue Eugène Moussoir, bordered by the wall of the village hospital, just minutes from Sisley’s home.",https://www.theibis.net/product/alfred-sisley-rue-eugene-moussoir-at-moret-winter-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10133,https://www.theibis.net/wp-content/uploads/2019/04/sis5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10123,"Alfred Sisley : ""Allee of Chestnut Trees"" (1878) 16"" x 20"" (Image: 13"" x 16"")","Together with Claude Monet, Pierre-Auguste Renoir and Frédéric Bazille, Alfred Sisley was a member of the first impressionist circle who met in the atelier of Charles Gleyre. His work consists almost entirely of tranquil, plein air landscapes characterized by beautiful skies. He painted Allée of Chestnut Trees while residing Sèvres, a commune in the southwestern suburbs of Paris. The bend of the pathway follows the River Seine.",https://www.theibis.net/product/alfred-sisley-allee-of-chestnut-trees-1878/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10123,https://www.theibis.net/wp-content/uploads/2019/04/sis4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10112,"Alfred Sisley : ""View of Marly-le-Roi from Coeur-Volant"" (1876) 16"" x 20"" (Image: 11.88"" x 17"")","Together with Claude Monet, Pierre-Auguste Renoir and Frédéric Bazille, Alfred Sisley was a member of the first impressionist circle who met in the atelier of Charles Gleyre. His work consists almost entirely of tranquil, plein air landscapes characterized by beautiful skies. This view of Marly-le-Roi in the western suburbs of Paris was painted from a location just uphill from the artists rented home, looking out over the town from the northwest.",https://www.theibis.net/product/alfred-sisley-view-of-marly-le-roi-from-coeur-volant-1876/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10112,https://www.theibis.net/wp-content/uploads/2019/04/sis3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10102,"Alfred Sisley : ""The Bridge at Villeneuve-la-Garenne"" (1872) 16"" x 20"" (Image: 12.88"" x 17"")","Together with Claude Monet, Pierre-Auguste Renoir and Frédéric Bazille, Alfred Sisley was a member of the first impressionist circle who met in the atelier of Charles Gleyre. His work consists almost entirely of tranquil, plein air landscapes characterized by beautiful skies. The subject of The Bridge at Villeneuve-la-Garenne is a cast-iron and stone suspension bridge that crosses the Seine north of Paris. The Metropolitan Museum of Art notes the holidaymakers that enliven the scene and the artists use of ""flat strokes of high-keyed color"" to ""convey the fleeting effect of sunlight on water.""",https://www.theibis.net/product/alfred-sisley-the-bridge-at-villeneuve-la-garenne-1872/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10102,https://www.theibis.net/wp-content/uploads/2019/04/sis2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10090,"Alfred Sisley : ""Sahurs Meadows in Morning Sun"" (1894) 16"" x 20"" (Image: 13"" x 16.31"")","Together with Claude Monet, Pierre-Auguste Renoir and Frédéric Bazille, Alfred Sisley was a member of the first impressionist circle who met in the atelier of Charles Gleyre. His work consists almost entirely of tranquil, plein air landscapes characterized by beautiful skies. He produced Sahurs Meadows in Morning Sun while staying in Le Mesnil-Esnard, a Norman commune southeast of Rouen, during the summer of 1894.",https://www.theibis.net/product/alfred-sisley-sahurs-meadows-in-morning-sun-1894/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10090,https://www.theibis.net/wp-content/uploads/2019/04/sis1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10078,"Harry R. Hopps : ""Destroy this Mad Brute – Enlist U.S. Army"" (1917) 16"" x 20"" (Image: 11.63"" x 17"")","In 1914 Germany violated the neutrality of Belgium, committing war crimes against its civilians. The so-called ""Rape of Belgium"" provided the Entente Powers with a moral justification for the war, and its propagandists a potent caricature of German barbarism, as in this 1917 recruitment poster by Harry R. Hopps. With Europe devastated, the German brute stamps ashore. He wears the pickelhaube helmet of militarism, grasping a half-naked woman—possibly intended to represent Liberty—in one arm. In the other he carries the cudgel of ""kultur;"" an ironic term intended to demote German civilization. ""Destroy this Mad Brute,"" reads the caption, ""Enlist U.S. Army—660 Market St.""",https://www.theibis.net/product/harry-r-hopps-destroy-this-mad-brute-enlist-u-s-army-1917/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10078,https://www.theibis.net/wp-content/uploads/2019/04/mbrut_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10067,"Marsden Hartley : ""Painting No. 48"" (1913) 16"" x 20"" (Image: 13"" x 13"")","Art critic Roberta Smith describes Marsden Hartley as ""Americas first great modern painter of the 20th century."" His style is a synthesis of Cubism and German Expressionism that reflects a wide variety of European and American influences. As a young artist studying in New York City he admired the eccentric proto-modernist Albert Pinkham Ryder and the writings of the transcendentalists, Whitman, Emerson and Thoreau. In 1912 he traveled to Paris and joined Gertude Steins circle, where he met Picasso. Then, from 1913-1916, he lived in Berlin, befriending Wassily Kandinsky and Franz Marc. Painting No. 48 is a product of this period, reflecting his mystical proclivities and fascination with military regalia. According to the Brooklyn Museum, Hartley, writing from Berlin, ""revealed that the painting represented the mystical embodiment of eight (in many religions, a number associated with transcendence from the material to the spiritual). Although he offered no additional explanation, hints of his experience of pre–World War I Germany emerge in the arrangement of forms that are suggestive of military insignias and the brash sounds of military bands.""",https://www.theibis.net/product/marsden-hartley-painting-no-48-1913/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10067,https://www.theibis.net/wp-content/uploads/2019/04/eight_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10055,"Luis Melendez : ""The Afternoon Meal (La Merienda)"" (c. 1772) 16"" x 20"" (Image: 11.63"" x 17"")","Though he lived in obscurity and died in poverty, Luis Meléndez is now considered to have been one of the greatest still life painters in all of Europe. Each of his paintings is a visually arresting masterpiece. His skillful arrangements of Spanish foods, tableware and vessels are strongly lit to enhance the illusion of volume; the variegated hues and textures of each object rendered with virtuoso precision. He was inspired not by lofty mythological, religious or historical themes, but by the beauty of the everyday. By presenting his subject matter at a close distance and low vantage point, he invited the viewer to make a detailed observation of each of the surfaces and forms he had so carefully described. ""The world around you is filled with unsung wonders,"" he seems to say, ""if only you would look.""",https://www.theibis.net/product/luis-melendez-the-afternoon-meal-la-merienda-c-1772/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10055,https://www.theibis.net/wp-content/uploads/2019/04/melend2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10043,"Marsden Hartley : ""Lobster Fishermen"" (1940-1941) 16"" x 20"" (Image: 12.38"" x 17"")","Art critic Roberta Smith describes Marsden Hartley as ""Americas first great modern painter of the 20th century."" His style is a synthesis of Cubism and German Expressionism that reflects a wide variety of European and American influences. As a young artist studying in New York City he admired the eccentric proto-modernist Albert Pinkham Ryder and the writings of the transcendentalists, Whitman, Emerson and Thoreau. In 1912 he traveled to Paris and joined Gertude Steins circle, where he met Picasso. Then, from 1913-1916, he lived in Berlin, befriending Wassily Kandinsky and Franz Marc. When it became apparent that America would enter World War I, he toured the United States before residing once again in Europe, this time from 1921-1930. His travels finally ended in 1937, when he settled in his native state of Maine. Now in his 60s, he rediscovered American life at the local level and declared his intention to become ""the painter of Maine."" The setting for Lobster Fishermen is the coastal town of Corea, where Hartley had taken up residence in 1940. ""Aware of Maines reputation as a natural oasis from city life and responsive to the popularity of folk art,"" observes the Metropolitan Museum of Art, ""Hartley adopted a self-consciously primitive style...Here, he painted men gathered on a wharf with their lobster traps, a scene that conveys the profound integration of man and nature.""",https://www.theibis.net/product/marsden-hartley-lobster-fishermen-1940-1941/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10043,https://www.theibis.net/wp-content/uploads/2019/04/mhart4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10033,"Marsden Hartley : ""The Virgin of Guadalupe"" (c. 1918-1919) 16"" x 20"" (Image: 12.56"" x 17"")","Art critic Roberta Smith describes Marsden Hartley as ""Americas first great modern painter of the 20th century."" His style is a synthesis of Cubism and German Expressionism that reflects a wide variety of European and American influences. As a young artist studying in New York City he admired the eccentric proto-modernist Albert Pinkham Ryder and the writings of the transcendentalists, Whitman, Emerson and Thoreau. In 1912 he traveled to Paris and joined Gertude Steins circle, where he met Picasso. Then, from 1913-1916, he lived in Berlin, befriending Wassily Kandinsky and Franz Marc before returning to the United States, where he continued his travels, visiting Taos and Sante Fe in 1918-1919. According to the Metropolitan Museum of Art, "" The Virgin of Guadalupe depicts a bulto, a small carved and painted religious statue. Hartley likely based the painting on a specific bulto of the Virgin Mary to which he had access. Artists and collectors were attracted to bultos because they seemed to be made by their (usually anonymous) creators with both directness and sincerity, qualities to which Hartley similarly aspired.""",https://www.theibis.net/product/marsden-hartley-the-virgin-of-guadalupe-c-1918-1919/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10033,https://www.theibis.net/wp-content/uploads/2019/04/mhart3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10020,"George Inness : ""Delaware Water Gap"" (1861) 16"" x 20"" (Image: 12"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-delaware-water-gap-1861/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10020,https://www.theibis.net/wp-content/uploads/2019/04/dwat_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 10010,"Marsden Hartley : ""Cemetery, New Mexico"" (1924) 16"" x 20"" (Image: 13"" x 16.25"")","Art critic Roberta Smith describes Marsden Hartley as ""Americas first great modern painter of the 20th century."" His style is a synthesis of Cubism and German Expressionism that reflects a wide variety of European and American influences. As a young artist studying in New York City he admired the eccentric proto-modernist Albert Pinkham Ryder and the writings of the transcendentalists, Whitman, Emerson and Thoreau. In 1912 he traveled to Paris and joined Gertude Steins circle, where he met Picasso. Then, from 1913-1916, he lived in Berlin, befriending Wassily Kandinsky and Franz Marc before returning to the United States, where he continued his travels, visiting Taos and Sante Fe in 1918-1919. Cemetery, New Mexico was painted from memory while the artist was once again residing in Europe, this time from 1921-1930. Describing the piece as evocative of ""the natural wave rhythms in the land and sky,"" the Metropolitan Museum of Art identifies the setting as ""likely...the graveyard of the Taos Pueblo, located beside the ruins of the missionary church of San Geronimo, where converted native people were buried according to indigenous practices.""",https://www.theibis.net/product/marsden-hartley-cemetery-new-mexico-1924/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=10010,https://www.theibis.net/wp-content/uploads/2019/04/mhart2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9999,"Marsden Hartley : ""Portrait of a German Officer"" (1914) 16"" x 20"" (Image: 10.25"" x 17"")","Art critic Roberta Smith describes Marsden Hartley as ""Americas first great modern painter of the 20th century."" His style is a synthesis of Cubism and German Expressionism that reflects a wide variety of European and American influences. As a young artist studying in New York City he admired the eccentric proto-modernist Albert Pinkham Ryder and the writings of the transcendentalists, Whitman, Emerson and Thoreau. In 1912 he traveled to Paris and joined Gertude Steins circle, where he met Picasso. Then, from 1913-1916, he lived in Berlin, befriending Wassily Kandinsky and Franz Marc. While in Berlin he became enamored of a Prussian lieutenant, Karl van Freyburg, who died during the war, and is here memorialized by way of German military emblems and regalia. According to the Metropolitan Museum of Art, ""Von Freyburg is portrayed symbolically with the initials, K.v.F.; his regiment number, 4; his age at death, 24; and the Iron Cross that he received posthumously.""",https://www.theibis.net/product/marsden-hartley-portrait-of-a-german-officer-1914/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9999,https://www.theibis.net/wp-content/uploads/2019/04/mhart1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9980,"Jan Brueghel the Younger and Frans Fracken the Younger : ""Landscape with Allegories of the Four Elements"" (1635) 16"" x 20"" (Image: 11"" x 17"")","Four seated women representing water, air, earth, and fire are surrounded by a lush landscape. The fish flowing from the water jug and the cornucopia of abundance cradled in the arms of the figure on the right correspond to the tactile elements of water and earth. The birds in the sky and trees and the accoutrements of battle in the foreground correspond to the intangible elements of fire and air. The figures, the still life objects, and the landscape work together as a unified scene, yet two different artists worked to create this painting. Frequent collaborators, the skilled figure painter Frans Francken II painted the women and background figures, and Jan Brueghel the Younger described the landscape. Such collaboration between artists was common in Antwerp during the 1600s, as artists often specialized in either landscape or figure painting. Flemish artists of the time repeatedly painted representations of the four elements, suggesting that it was a popular subject with buyers. The widely admired Brueghel the Younger depicted the senses, the elements, or the seasons as allegories many times throughout his career, either together or individually, as in the pendant to this painting, Landscape with Ceres (Allegory of Earth) . (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jan-brueghel-the-younger-and-frans-fracken-the-younger-landscape-with-allegories-of-the-four-elements-1635/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9980,https://www.theibis.net/wp-content/uploads/2019/04/4ele_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9970,"Jan Brueghel the Younger and Hendrik van Balen : ""Landscape with Ceres (Allegory of Earth)"" (1630s) 16"" x 20"" (Image: 11"" x 17"")","Shown separately or together, as in this paintings pendant, Landscape with Allegories of the Four Elements , the four elements were a popular subject for Jan Brueghel the Younger and his collaborator Hendrik van Balen. Here, earth is represented by the goddess Ceres, who is surrounded with a satyr, putti, and a figure holding a sheaf of wheat. Ceres, the goddess of agriculture and fertility, was worshiped over a large part of ancient Italy. Together Jan Brueghel the Younger and Van Balen often painted the four elements, which had also been part of the repertoire of Brueghel the Youngers father, Jan Brueghel the Elder. Brueghel the Elder taught his son the lush, decorative, yet highly detailed landscape and still-life style seen in this painting. Van Balen, one of Brueghel the Youngers most consistent collaborators, was known for his attractive nudes. This panel was probably one of his latest works; he had begun painting figures for the Brueghel family years before, working with his friend Brueghel the Elder in addition to collaborating with Frans Snyders and Frans Francken the Younger. (Modified text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jan-brueghel-the-younger-and-hendrik-van-balen-landscape-with-ceres-allegory-of-earth-1630s/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9970,https://www.theibis.net/wp-content/uploads/2019/04/landcer_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9960,"Oliver Tarbell Eddy : ""The Alling Children"" (c. 1839) 16"" x 20"" (Image: 12.75"" x 17"")","The tragedy of child mortality in the 19th century coincided with, and was heightened by, emerging modern attitudes toward children and the sanctity of childhood. Its most enduring expression may be found the memorial art of the period, of which Oliver Tarbell Eddys The Alling Children is a poignant example. The Metropolitan Museum of art identifies it as ""the four children of Stephen Ball Alling and Jane H. Weir of New Jersey, in commemoration of the death of the only boy, standing apart at left."" Bathed in heavenly light, he remains present with—and, indeed, painfully close to his sisters, even as he is separate from them.",https://www.theibis.net/product/oliver-tarbell-eddy-the-alling-children-c-1839/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9960,https://www.theibis.net/wp-content/uploads/2019/04/alling_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9950,"John Ferguson Weir : ""Forging the Shaft"" (1874-1877) 16"" x 20"" (Image: 12"" x 17"")","As a young artist John Ferguson Weir became fascinated by the West Point Iron and Cannon Factory, situated across the Hudson from the United States Military Academy. In 1866 he painted The Gun Foundry , an interior view of the factory showing the casting of a Parrott Gun for use in the Civil War. Then, in 1868, he followed up with its peacetime pendant, Forging the Shaft , which depicts the fabrication of an ocean liners propeller shaft. The original of this painting was destroyed by fire in 1869, but Weir painted this replica between 1874 and 1877. Identifying him as one of the few painters of the period to address burgeoning industrialization, The Metropolitan Museum of Art observes that his ""subjects translated into modern terms the stories of Vulcan at the forge, the twelve labors of Hercules, and other traditional pretexts for depicting heroic work.""",https://www.theibis.net/product/john-ferguson-weir-forging-the-shaft-1874-1877/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9950,https://www.theibis.net/wp-content/uploads/2019/04/shaft_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9939,"George Inness : ""Landscape"" (1884 or 1889) 16"" x 20"" (Image: 11.81"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-landscape-1884-or-1889/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9939,https://www.theibis.net/wp-content/uploads/2019/04/inld_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9929,"El Greco : ""View of Toledo"" (c. 1598-1599) 16"" x 20"" (Image: 13"" x 14.5"")","When Julius Meier-Graefe rediscovered El Greco in the early 20th century, he observed that the artist had more in common with Renoir and Cézanne than his own master, Titian. His works are an improbable island of proto-modernism situated within, and largely ignoring, the prevailing currents of Renaissance art. Characterized by the use of bold, dissonant colors, otherworldly lighting and elongated figures that move in paroxysms of religious ecstasy, his works dramatize rather than describe, subordinating nature to the requirements of expression. Much like the religious icons that he painted as a young artist, El Greco viewed himself, in the words of art historian James Romaine, as ""a vessel through which the spirit might move, his art drawing us into the light of Christ."" Centuries ahead of his time, El Greco was widely disdained by the generations immediately following his death. Spanish commentators variously described him as ""contemptible,"" ""ridiculous,"" ""strange,"" ""queer,"" ""eccentric,"" and ""odd,"" and yet he would go on to become a major influence upon the likes of Paul Cézanne, Eugène Delacroix, Édouard Manet, Pablo Picasso, Franz Marc and Jackson Pollock. As late as 1920, the artist and critic Roger Fry described him as ""an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way."" In View of Toledo he conceived one of the most famous skies in Western Art, evocative of the cosmic struggle between light and darkness. ""Although its subject is secular,"" writes Romaine, "" View of Toledo has an undeniably spiritual, even apocalyptic, dimension. The work has an air of expectation, that something has begun to unfold, the main act is about to reveal itself, and the whole earth is being transformed into a temple, the new Jerusalem.""",https://www.theibis.net/product/el-greco-view-of-toledo-c-1598-1599/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9929,https://www.theibis.net/wp-content/uploads/2019/04/toledo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9917,"El Greco : ""Laocoon"" (c. 1610/1614) 16"" x 20"" (Image: 13"" x 16.31"")","When Julius Meier-Graefe rediscovered El Greco in the early 20th century, he observed that the artist had more in common with Renoir and Cézanne than his own master, Titian. His works are an improbable island of proto-modernism situated within, and largely ignoring, the prevailing currents of Renaissance art. Characterized by the use of bold, dissonant colors, otherworldly lighting and elongated figures that move in paroxysms of religious ecstasy, his works dramatize rather than describe, subordinating nature to the requirements of expression. Much like the religious icons that he painted as a young artist, El Greco viewed himself, in the words of art historian James Romaine, as ""a vessel through which the spirit might move, his art drawing us into the light of Christ."" Centuries ahead of his time, El Greco was widely disdained by the generations immediately following his death. Spanish commentators variously described him as ""ridiculous,"" ""queer,"" ""eccentric,"" and ""odd,"" and yet he would go on to become a major influence upon the likes of Paul Cézanne, Eugène Delacroix, Édouard Manet, Pablo Picasso, Franz Marc and Jackson Pollock. As late as 1920, the artist and critic Roger Fry described him as ""an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way."" El Grecos only classically-inspired piece, Laocoön refers to a mythical priest who threw a spear at the Trojan horse—consecrated to Athena—in order to prove it hollow. In retaliation, the gods sent serpents against him and his two sons. The National Gallery remarks that: ""Utilizing every available means—writhing line, lurid color, and illogically conceived space—the artist projected an unrelieved sense of doom. The figures seem incorporeal; sinuous outlines and anti–natural flesh tones contribute to their specterlike appearance. The striking setting carries this visionary late work of El Greco to an apocalyptic extreme.""",https://www.theibis.net/product/el-greco-laocoon-c-1610-1614/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9917,https://www.theibis.net/wp-content/uploads/2019/04/voledo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9907,"El Greco : ""Cardinal Fernando Nino de Guevara"" (c. 1600) 16"" x 20"" (Image: 10.75"" x 17"")","When Julius Meier-Graefe rediscovered El Greco in the early 20th century, he observed that the artist had more in common with Renoir and Cézanne than his own master, Titian. His works are an improbable island of proto-modernism situated within, and largely ignoring, the prevailing currents of Renaissance art. Characterized by the use of bold, dissonant colors, otherworldly lighting and elongated figures that move in paroxysms of religious ecstasy, his works dramatize rather than describe, subordinating nature to the requirements of expression. Much like the religious icons that he painted as a young artist, El Greco viewed himself, in the words of art historian James Romaine, as ""a vessel through which the spirit might move, his art drawing us into the light of Christ."" Centuries ahead of his time, El Greco was widely disdained by the generations immediately following his death. Spanish commentators variously described him as ""contemptible,"" ""ridiculous,"" ""strange,"" ""queer,"" ""eccentric,"" and ""odd,"" and yet he would go on to become a major influence upon the likes of Paul Cézanne, Eugène Delacroix, Édouard Manet, Pablo Picasso, Franz Marc and Jackson Pollock. As late as 1920, the artist and critic Roger Fry described him as ""an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way."" A psychologically compelling piece that emanates the power and authority of an Inquisitor General in 16th/17th-century Spain, Cardinal Fernando Niño de Guevara illustrates El Grecos expressive genius as applied to portraiture; a genre in which he has been compared to Titian and Rembrandt.",https://www.theibis.net/product/el-greco-cardinal-fernando-nino-de-guevara-c-1600/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9907,https://www.theibis.net/wp-content/uploads/2019/04/elgr4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9894,"El Greco : ""Saint Jerome as Scholar"" (c. 1610) 16"" x 20"" (Image: 13"" x 15.75"")","When Julius Meier-Graefe rediscovered El Greco in the early 20th century, he observed that the artist had more in common with Renoir and Cézanne than his own master, Titian. His works are an improbable island of proto-modernism situated within, and largely ignoring, the prevailing currents of Renaissance art. Characterized by the use of bold, dissonant colors, otherworldly lighting and elongated figures that move in paroxysms of religious ecstasy, his works dramatize rather than describe, subordinating nature to the requirements of expression. Much like the religious icons that he painted as a young artist, El Greco viewed himself, in the words of art historian James Romaine, as ""a vessel through which the spirit might move, his art drawing us into the light of Christ."" Centuries ahead of his time, El Greco was widely disdained by the generations immediately following his death. Spanish commentators variously described him as ""contemptible,"" ""ridiculous,"" ""strange,"" ""queer,"" ""eccentric,"" and ""odd,"" and yet he would go on to become a major influence upon the likes of Paul Cézanne, Eugène Delacroix, Édouard Manet, Pablo Picasso, Franz Marc and Jackson Pollock. As late as 1920, the artist and critic Roger Fry described him as ""an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way."" Described by the Metropolitan Museum of Art as ""notable for the novel way in which the artist synthesized the two aspects of Saint Jerome, the scholarly and aesthetic,"" Saint Jerome as Scholar illustrates El Grecos expressive genius as applied to portraiture; a genre in which he has been compared to Titian and Rembrandt.",https://www.theibis.net/product/el-greco-saint-jerome-as-scholar-c-1610/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9894,https://www.theibis.net/wp-content/uploads/2019/04/elgr3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9882,"El Greco : ""Christ Carrying the Cross"" (c. 1577-1587) 16"" x 20"" (Image: 12.19"" x 17"")","When Julius Meier-Graefe rediscovered El Greco in the early 20th century, he observed that the artist had more in common with Renoir and Cézanne than his own master, Titian. His works are an improbable island of proto-modernism situated within, and largely ignoring, the prevailing currents of Renaissance art. Characterized by the use of bold, dissonant colors, otherworldly lighting and elongated figures that move in paroxysms of religious ecstasy, his works dramatize rather than describe, subordinating nature to the requirements of expression. Much like the religious icons that he painted as a young artist, El Greco viewed himself, in the words of art historian James Romaine, as ""a vessel through which the spirit might move, his art drawing us into the light of Christ."" Centuries ahead of his time, El Greco was widely disdained by the generations immediately following his death. Spanish commentators variously described him as ""contemptible,"" ""ridiculous,"" ""strange,"" ""queer,"" ""eccentric,"" and ""odd,"" and yet he would go on to become a major influence upon the likes of Paul Cézanne, Eugène Delacroix, Édouard Manet, Pablo Picasso, Franz Marc and Jackson Pollock. As late as 1920, the artist and critic Roger Fry described him as ""an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way.""",https://www.theibis.net/product/el-greco-christ-carrying-the-cross-c-1577-1587/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9882,https://www.theibis.net/wp-content/uploads/2019/04/elgr2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9871,"El Greco : ""The Adoration of the Shepherds"" (c. 1605-1610) 16"" x 20"" (Image: 11"" x 17"")","When Julius Meier-Graefe rediscovered El Greco in the early 20th century, he observed that the artist had more in common with Renoir and Cézanne than his own master, Titian. His works are an improbable island of proto-modernism situated within, and largely ignoring, the prevailing currents of Renaissance art. Characterized by the use of bold, dissonant colors, otherworldly lighting and elongated figures that move in paroxysms of religious ecstasy, his works dramatize rather than describe, subordinating nature to the requirements of expression. Much like the religious icons that he painted as a young artist, El Greco viewed himself, in the words of art historian James Romaine, as ""a vessel through which the spirit might move, his art drawing us into the light of Christ."" Centuries ahead of his time, El Greco was widely disdained by the generations immediately following his death. Spanish commentators variously described him as ""contemptible,"" ""ridiculous,"" ""strange,"" ""queer,"" ""eccentric,"" and ""odd,"" and yet he would go on to become a major influence upon the likes of Paul Cézanne, Eugène Delacroix, Édouard Manet, Pablo Picasso, Franz Marc and Jackson Pollock. As late as 1920, the artist and critic Roger Fry described him as ""an old master who is not merely modern, but actually appears a good many steps ahead of us, turning back to show us the way.""",https://www.theibis.net/product/el-greco-the-adoration-of-the-shepherds-c-1605-1610/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9871,https://www.theibis.net/wp-content/uploads/2019/04/elgr1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9858,"George Inness : ""Evening at Medfield, Massachusetts"" (1875) 16"" x 20"" (Image: 10.13"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-evening-at-medfield-massachusetts-1875/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9858,https://www.theibis.net/wp-content/uploads/2019/04/medf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9847,"Jan Brueghel the Younger : ""Aeneas and the Sibyl in the Underworld"" (1630s) 16"" x 20"" (Image: 12.81"" x 17"")","Jan Brueghel the Younger was a member of the third generation of the artistic dynasty founded by Pieter Bruegel the Elder. His father, nicknamed ""Hell Brueghel"" for his Boschian hellscapes and demon scenes, died unexpectedly in 1625, leaving the younger Jan Brueghel—then just 23—to manage his studio. It is little wonder, then, that the son drew heavily upon his fathers compositions, and particularly this representation of Aeneas descending into the Underworld to seek advice from his fathers spirit.",https://www.theibis.net/product/jan-brueghel-the-younger-aeneas-and-the-sibyl-in-the-underworld-1630s/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9847,https://www.theibis.net/wp-content/uploads/2019/04/jby2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9837,"Jan Brueghel the Younger : ""A Basket of Flowers"" (probably 1620s) 16"" x 20"" (Image: 12"" x 17"")","Jan Brueghel the Younger was a member of the third generation of the artistic dynasty founded by Pieter Bruegel the Elder. His father, nicknamed ""Flower Brueghel"" for his contributions to the flower still life, died unexpectedly in 1625, leaving the younger Jan Brueghel—then just 23—to manage his studio. It is little wonder, then, that the son drew heavily upon his fathers compositions, as in this piece, A Basket of Flowers . Like many still lifes of the Dutch Golden Age, it reflects a growing interest with the natural world, but may also be read as an allegory of death and resurrection, symbolized by the fallen flowers and butterfly, respectively.",https://www.theibis.net/product/jan-brueghel-the-younger-a-basket-of-flowers-probably-1620s/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9837,https://www.theibis.net/wp-content/uploads/2019/04/jby1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9825,"George Inness : ""Autumn Meadows"" (1869) 16"" x 20"" (Image: 11.31"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-autumn-meadows-1869/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9825,https://www.theibis.net/wp-content/uploads/2019/04/amead_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9813,"John Carlin : ""After a Long Cruise"" (1857) 16"" x 20"" (Image: 11.13"" x 17"")","A trio of drunken sailors espouse the merits of anarchism in this comical piece by John Carlin, described by the Metropolitan Museum of Art as ""striking"" in its ""attention to detail, seen especially in the costumes and ships riggings,"" and in the artists ""use of vibrant color."" An American painter born deaf and mute from birth, he was also a successful poet, remarkable for his ability to compose verse without having ever heard human speech or song. His efforts contributed to the establishment of the National Deaf-Mute College in Washington, D.C., which went on to become Gallaudet University.",https://www.theibis.net/product/john-carlin-after-a-long-cruise-1857/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9813,https://www.theibis.net/wp-content/uploads/2019/04/lcru_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9803,"Bartolomeo Eustachi and Bernhard Siegfried Albinus : ""Standing Ecorche, Right Arm Raised, Detailing Muscles"" (1522/1744) 16"" x 20"" (Image: 11.38"" x 17","Together with Andreas Vesalius, Bartolomeo Eustachi shares the reputation of having created the science of human anatomy; or, at least, he might have, had his full series of 47 anatomical engravings been published during his lifetime. Completed in 1552, only eight were ever issued. His magnum opus, Anatomical Engravings , was never realized, and its plates languished in the Vatican Library until they were finally published by the papal physician, Giovanni Maria Lancisi, in 1714. This engraving of an écorché figure appears in a subsequent reprint by the German-born Dutch anatomist Bernhard Siegfried Albinus. A composite of many different anatomical observations, it is framed by numbered rules that provide a coordinate system by which any given feature can be specified. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/bartolomeo-eustachi-and-bernhard-siegfried-albinus-standing-ecorche-right-arm-raised-detailing-muscles-1522-1744/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9803,https://www.theibis.net/wp-content/uploads/2019/04/ecor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9791,"Bernhard Siegfried Albinus : ""Table IV (Human Anatomy)"" (1747) 16"" x 20"" (Image: 12.56"" x 17"")","Bernhard Siegfried Albinus published Tabulae sceleti et musculorum corpis humani (1747) in an effort to improve the scientific accuracy of anatomical illustrations. Arguably the most important medical atlas of the 18th century, it contained a total of 40 copperplate engravings, including three of full human skeletons and nine of écorché figures illustrating successively higher orders of musculature. Albinuss partner in the project was the artist-engraver Jan Wandelaar, a gifted draftsman with prior experience as a scientific illustrator. Together they developed a drawing technique wherein nets of square webbing were placed between the artist and the specimen, allowing the image to be copied by reference to a grid. Albinus vetted each figure for objectivity, symmetry and vitality, ordering Wandelaar to redo illustrations until they met his standards of perfection. In total, the project required 20 years to complete; 13 to produce the artwork, and a further 7 or 8 to engrave. In order to enhance the illusion of three-dimensionality, Wandelaar was given permission to place his figures in naturalistic settings. Two such plates feature Clara, the first living rhinoceros calf brought to Europe, whose celebrity assisted in the marketing of the book. While these artistic flourishes met with some controversy in their time, they are much appreciated in our own.",https://www.theibis.net/product/bernhard-siegfried-albinus-table-iv-human-anatomy-1747/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9791,https://www.theibis.net/wp-content/uploads/2019/04/albin4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9778,"Bernhard Siegfried Albinus : ""Table IIIa (Human Musculature)"" (1747) 16"" x 20"" (Image: 12.56"" x 17"")","Bernhard Siegfried Albinus published Tabulae sceleti et musculorum corpis humani (1747) in an effort to improve the scientific accuracy of anatomical illustrations. Arguably the most important medical atlas of the 18th century, it contained a total of 40 copperplate engravings, including three of full human skeletons and nine of écorché figures illustrating successively higher orders of musculature. Albinuss partner in the project was the artist-engraver Jan Wandelaar, a gifted draftsman with prior experience as a scientific illustrator. Together they developed a drawing technique wherein nets of square webbing were placed between the artist and the specimen, allowing the image to be copied by reference to a grid. Albinus vetted each figure for objectivity, symmetry and vitality, ordering Wandelaar to redo illustrations until they met his standards of perfection. In total, the project required 20 years to complete; 13 to produce the artwork, and a further 7 or 8 to engrave. In order to enhance the illusion of three-dimensionality, Wandelaar was given permission to place his figures in naturalistic settings. Two such plates feature Clara, the first living rhinoceros calf brought to Europe, whose celebrity assisted in the marketing of the book. While these artistic flourishes met with some controversy in their time, they are much appreciated in our own.",https://www.theibis.net/product/bernhard-siegfried-albinus-table-iiia-human-musculature-1747/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9778,https://www.theibis.net/wp-content/uploads/2019/04/albin3a_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9767,"Bernhard Siegfried Albinus : ""Table III (Human Skeleton)"" (1747) 16"" x 20"" (Image: 12.56"" x 17"")","Bernhard Siegfried Albinus published Tabulae sceleti et musculorum corpis humani (1747) in an effort to improve the scientific accuracy of anatomical illustrations. Arguably the most important medical atlas of the 18th century, it contained a total of 40 copperplate engravings, including three of full human skeletons and nine of écorché figures illustrating successively higher orders of musculature. Albinuss partner in the project was the artist-engraver Jan Wandelaar, a gifted draftsman with prior experience as a scientific illustrator. Together they developed a drawing technique wherein nets of square webbing were placed between the artist and the specimen, allowing the image to be copied by reference to a grid. Albinus vetted each figure for objectivity, symmetry and vitality, ordering Wandelaar to redo illustrations until they met his standards of perfection. In total, the project required 20 years to complete; 13 to produce the artwork, and a further 7 or 8 to engrave. In order to enhance the illusion of three-dimensionality, Wandelaar was given permission to place his figures in naturalistic settings. Two such plates feature Clara, the first living rhinoceros calf brought to Europe, whose celebrity assisted in the marketing of the book. While these artistic flourishes met with some controversy in their time, they are much appreciated in our own.",https://www.theibis.net/product/bernhard-siegfried-albinus-table-iii-human-skeleton-1747/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9767,https://www.theibis.net/wp-content/uploads/2019/04/albin3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9755,"Bernhard Siegfried Albinus : ""Table II (Human Skeleton)"" (1747) 16"" x 20"" (Image: 12.56"" x 17"")","Bernhard Siegfried Albinus published Tabulae sceleti et musculorum corpis humani (1747) in an effort to improve the scientific accuracy of anatomical illustrations. Arguably the most important medical atlas of the 18th century, it contained a total of 40 copperplate engravings, including three of full human skeletons and nine of écorché figures illustrating successively higher orders of musculature. Albinuss partner in the project was the artist-engraver Jan Wandelaar, a gifted draftsman with prior experience as a scientific illustrator. Together they developed a drawing technique wherein nets of square webbing were placed between the artist and the specimen, allowing the image to be copied by reference to a grid. Albinus vetted each figure for objectivity, symmetry and vitality, ordering Wandelaar to redo illustrations until they met his standards of perfection. In total, the project required 20 years to complete; 13 to produce the artwork, and a further 7 or 8 to engrave. In order to enhance the illusion of three-dimensionality, Wandelaar was given permission to place his figures in naturalistic settings. Two such plates feature Clara, the first living rhinoceros calf brought to Europe, whose celebrity assisted in the marketing of the book. While these artistic flourishes met with some controversy in their time, they are much appreciated in our own.",https://www.theibis.net/product/bernhard-siegfried-albinus-table-ii-human-skeleton-1747/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9755,https://www.theibis.net/wp-content/uploads/2019/04/albin2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9744,"Bernhard Siegfried Albinus : ""Table I (Human Skeleton)"" (1747) 16"" x 20"" (Image: 12.56"" x 17"")","Bernhard Siegfried Albinus published Tabulae sceleti et musculorum corpis humani (1747) in an effort to improve the scientific accuracy of anatomical illustrations. Arguably the most important medical atlas of the 18th century, it contained a total of 40 copperplate engravings, including three of full human skeletons and nine of écorché figures illustrating successively higher orders of musculature. Albinuss partner in the project was the artist-engraver Jan Wandelaar, a gifted draftsman with prior experience as a scientific illustrator. Together they developed a drawing technique wherein nets of square webbing were placed between the artist and the specimen, allowing the image to be copied by reference to a grid. Albinus vetted each figure for objectivity, symmetry and vitality, ordering Wandelaar to redo illustrations until they met his standards of perfection. In total, the project required 20 years to complete; 13 to produce the artwork, and a further 7 or 8 to engrave. In order to enhance the illusion of three-dimensionality, Wandelaar was given permission to place his figures in naturalistic settings. Two such plates feature Clara, the first living rhinoceros calf brought to Europe, whose celebrity assisted in the marketing of the book. While these artistic flourishes met with some controversy in their time, they are much appreciated in our own.",https://www.theibis.net/product/bernhard-siegfried-albinus-table-i-human-skeleton-1747/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9744,https://www.theibis.net/wp-content/uploads/2019/04/albin1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9732,"Gustave Courbet : ""The Source"" (1862) 16"" x 20"" (Image: 10.25"" x 17"")","A lifelong maverick imprisoned for his involvement in the Paris Commune, Gustave Courbet proudly defied artistic convention. ""I have studied the art of the ancients and the art of the moderns,"" he wrote, ""avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of art for arts sake. No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality...to be not only a painter, but a man as well; in short, to create living art—this is my goal."" The Source may have been intended as a realist response to the painting of the same name by Jean-Auguste-Dominique Ingres, a history painter and self-appointed guardian of academic orthodoxy. Whereas The Source by Ingres is an idealized nude who refers to the muses of classical antiquity as she faces the spectator, pouring water from a vessel, Courbets is by comparison naturalistic, if not cheeky. Posed with her back to the viewer, his model is not the source, but rather shows us to look to the source in nature. For Courbet, true inspiration resided in real world, and in the lived experience of the individual artist.",https://www.theibis.net/product/gustave-courbet-the-source-1862/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9732,https://www.theibis.net/wp-content/uploads/2019/04/courb7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9719,"Gustave Courbet : ""Woman in a Riding Habit (LAmazone)"" (1856) 16"" x 20"" (Image: 13"" x 17"")","Originally supposed to have been a portrait of the poet and novelist Louise Colet, the subject of Woman in a Riding Habit has subsequently been identified as Madame Clément Laurier, the wife of a controversial French politician, having been produced on the occasion of their marriage. According to the Metropolitan Museum of Art, ""the modernity of a woman dressed en amazone in an outdoor setting, as painted by Courbet, prefigures the central tenets of Impressionism,"" making it little wonder that Mary Cassatt ""admired this work as the finest womans portrait Courbet ever did.""",https://www.theibis.net/product/gustave-courbet-woman-in-a-riding-habit-lamazone-1856/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9719,https://www.theibis.net/wp-content/uploads/2019/04/courb6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9693,"Gustave Courbet : ""View of Ornans"" (probably mid-1850s) 16"" x 20"" (Image: 13"" x 16.38"")","A lifelong maverick imprisoned for his involvement in the Paris Commune, Gustave Courbet proudly defied artistic convention. ""I have studied the art of the ancients and the art of the moderns,"" he wrote, ""avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of art for arts sake. No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality...to be not only a painter, but a man as well; in short, to create living art—this is my goal."" Consistent with his belief that the only possible source of living art was the artists own experience, Courbet frequently painted in the environs of his hometown of Ornans, situated in the Bourgogne-Franche-Comté region of eastern France. In View of Ornans he looks upstream from the river Loue and beyond to overhanging cliffs of the Roche du Mont. In the foreground a stone bridge leads to the nearby town of Scey-en-Varais.",https://www.theibis.net/product/gustave-courbet-view-of-ornans-probably-mid-1850s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9693,https://www.theibis.net/wp-content/uploads/2019/04/courb5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9683,"Gustave Courbet : ""The Fishing Boat"" (1865) 16"" x 20"" (Image: 13"" x 16.25"")","A lifelong maverick imprisoned for his involvement in the Paris Commune, Gustave Courbet proudly defied artistic convention. ""I have studied the art of the ancients and the art of the moderns,"" he wrote, ""avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of art for arts sake. No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality...to be not only a painter, but a man as well; in short, to create living art—this is my goal."" During the 1860s he visited the Normandy coast, painting alongside Eugène Boudin, James McNeill Whistler and Claude Monet. His resulting ""sea landscapes"" are characterized by crashing waves, dramatic atmospheric effects and generous use of the palette knife. Painted largely en plein air , they uphold his belief that the only possible source for living art was the artists own experience.",https://www.theibis.net/product/gustave-courbet-the-fishing-boat-1865/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9683,https://www.theibis.net/wp-content/uploads/2019/04/courb4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9673,"Gustave Courbet : ""The Sea"" (1865 or later) 16"" x 20"" (Image: 13"" x 15.88"")","A lifelong maverick imprisoned for his involvement in the Paris Commune, Gustave Courbet proudly defied artistic convention. ""I have studied the art of the ancients and the art of the moderns,"" he wrote, ""avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of art for arts sake. No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality...to be not only a painter, but a man as well; in short, to create living art—this is my goal."" During the 1860s he visited the Normandy coast, painting alongside Eugène Boudin, James McNeill Whistler and Claude Monet. His resulting ""sea landscapes"" are characterized by crashing waves, dramatic atmospheric effects and generous use of the palette knife. Painted largely en plein air , they uphold his belief that the only possible source for living art was the artists own experience.",https://www.theibis.net/product/gustave-courbet-the-sea-1865-or-later/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9673,https://www.theibis.net/wp-content/uploads/2019/04/courb3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9663,"Gustave Courbet : ""The Calm Sea"" (1869) 16"" x 20"" (Image: 13"" x 15.88"")","A lifelong maverick imprisoned for his involvement in the Paris Commune, Gustave Courbet proudly defied artistic convention. ""I have studied the art of the ancients and the art of the moderns,"" he wrote, ""avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of art for arts sake. No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality...to be not only a painter, but a man as well; in short, to create living art—this is my goal."" During the 1860s he visited the Normandy coast, painting alongside Eugène Boudin, James McNeill Whistler and Claude Monet. His resulting ""sea landscapes"" are characterized by crashing waves, dramatic atmospheric effects and generous use of the palette knife, The Calm Sea representing something of a departure for its more tranquil composition. Painted largely en plein air , they uphold his belief that the only possible source for living art was the artists own experience.",https://www.theibis.net/product/gustave-courbet-the-calm-sea-1869/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9663,https://www.theibis.net/wp-content/uploads/2019/04/courb2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9652,"Gustave Courbet : ""Marine: The Waterspout"" (1870) 16"" x 20"" (Image: 11.75"" x 17"")","A lifelong maverick imprisoned for his involvement in the Paris Commune, Gustave Courbet proudly defied artistic convention. ""I have studied the art of the ancients and the art of the moderns,"" he wrote, ""avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of art for arts sake. No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality...to be not only a painter, but a man as well; in short, to create living art—this is my goal."" During the 1860s he visited the Normandy coast, painting alongside Eugène Boudin, James McNeill Whistler and Claude Monet. Depicting a tornado at sea near the cliffs of Étretat, Marine: The Waterspout is representative of his ""sea landscapes"" in its flair for the dramatic and generous use of the palette knife. Having personally witnessed these phenomena—the first near Trouville in 1865 or 1866—it upholds his belief that the only possible source for living art was the artists own experience.",https://www.theibis.net/product/gustave-courbet-marine-the-waterspout-1870/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9652,https://www.theibis.net/wp-content/uploads/2019/04/courb1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9642,"William Glackens : ""Central Park, Winter"" (c. 1905) 16"" x 20"" (Image: 13"" x 15.5"")","Though William Glackens figures among the Ashcan realists and ""The Eight"" who rebelled against the genteel traditions of the National Academy, his true passion was for the sensuousness of his art form—the unrestrained flow of oil on canvas—rather than factional politics or social criticism. While other realists depicted the urban poor, immigrant communities and underground boxing matches, Glackens favored the brighter side of everyday life. His paintings, wrote Leslie Kate, were ""haunted by the spectre of happiness, obsessed with the contemplation of joy."" He worked in bold, saturated colors, emulating the impressionist style of Pierre-Auguste Renoir. His focus upon vivid color effects, said Forbes Watson, reflected the fact that ""the color of the world makes him thoroughly happy and to express that happiness in color has become his first and most natural impulse."" If the 20th century darkened around him, his own life was hardly that of a tortured artist. His friend Jerome Myers, writing in his autobiography Artist in Manhattan , recalls his visits to the Glackens home: ""The studio home of William Glackens, on Ninth Street just off Fifth Avenue, partook of the charm of this fine, boasted period. It was a delightful privilege for my wife and me to participate occasionally in the at-homes of the Glackens during the season. Surrounded by the masterpieces of William Glackens, friends would gather in congenial remembrance: Edith Glackens, always an amusing hostess; William Glackens, quietly reminiscing with his companions. The young Glackens , Lenna and Ira, filled out the family picture, happy with their young artist friends, as well as with older friends who had known them since childhood. Of the latter were Everett Shinn and Guy Pène du Bois....the whole scene imbued with the spirit of a New York that is now passing.""",https://www.theibis.net/product/william-glackens-central-park-winter-c-1905/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9642,https://www.theibis.net/wp-content/uploads/2019/04/glack5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9630,"William Glackens : ""Crowd at the Seashore"" (c. 1910) 16"" x 20"" (Image: 13"" x 15.75"")","Though William Glackens figures among the Ashcan realists and ""The Eight"" who rebelled against the genteel traditions of the National Academy, his true passion was for the sensuousness of his art form—the unrestrained flow of oil on canvas—rather than factional politics or social criticism. While other realists depicted the urban poor, immigrant communities and underground boxing matches, Glackens favored the brighter side of everyday life. His paintings, wrote Leslie Kate, were ""haunted by the spectre of happiness, obsessed with the contemplation of joy."" He worked in bold, saturated colors, emulating the impressionist style of Pierre-Auguste Renoir. His focus upon vivid color effects, said Forbes Watson, reflected the fact that ""the color of the world makes him thoroughly happy and to express that happiness in color has become his first and most natural impulse."" If the 20th century darkened around him, his own life was hardly that of a tortured artist. His friend Jerome Myers, writing in his autobiography Artist in Manhattan , recalls his visits to the Glackens home: ""The studio home of William Glackens, on Ninth Street just off Fifth Avenue, partook of the charm of this fine, boasted period. It was a delightful privilege for my wife and me to participate occasionally in the at-homes of the Glackens during the season. Surrounded by the masterpieces of William Glackens, friends would gather in congenial remembrance: Edith Glackens, always an amusing hostess; William Glackens, quietly reminiscing with his companions. The young Glackens , Lenna and Ira, filled out the family picture, happy with their young artist friends, as well as with older friends who had known them since childhood. Of the latter were Everett Shinn and Guy Pène du Bois....the whole scene imbued with the spirit of a New York that is now passing.""",https://www.theibis.net/product/william-glackens-crowd-at-the-seashore-c-1910/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9630,https://www.theibis.net/wp-content/uploads/2019/04/glack4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9620,"William Glackens : ""The Green Car"" (1910) 16"" x 20"" (Image: 12.81"" x 17"")","Though William Glackens figures among the Ashcan realists and ""The Eight"" who rebelled against the genteel traditions of the National Academy, his true passion was for the sensuousness of his art form—the unrestrained flow of oil on canvas—rather than factional politics or social criticism. While other realists depicted the urban poor, immigrant communities and underground boxing matches, Glackens favored the brighter side of everyday life. His paintings, wrote Leslie Kate, were ""haunted by the spectre of happiness, obsessed with the contemplation of joy."" He worked in bold, saturated colors, emulating the impressionist style of Pierre-Auguste Renoir. His focus upon vivid color effects, said Forbes Watson, reflected the fact that ""the color of the world makes him thoroughly happy and to express that happiness in color has become his first and most natural impulse."" If the 20th century darkened around him, his own life was hardly that of a tortured artist. His friend Jerome Myers, writing in his autobiography Artist in Manhattan , recalls his visits to the Glackens home: ""The studio home of William Glackens, on Ninth Street just off Fifth Avenue, partook of the charm of this fine, boasted period. It was a delightful privilege for my wife and me to participate occasionally in the at-homes of the Glackens during the season. Surrounded by the masterpieces of William Glackens, friends would gather in congenial remembrance: Edith Glackens, always an amusing hostess; William Glackens, quietly reminiscing with his companions. The young Glackens , Lenna and Ira, filled out the family picture, happy with their young artist friends, as well as with older friends who had known them since childhood. Of the latter were Everett Shinn and Guy Pène du Bois....the whole scene imbued with the spirit of a New York that is now passing.""",https://www.theibis.net/product/william-glackens-the-green-car-1910/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9620,https://www.theibis.net/wp-content/uploads/2019/04/glack3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9608,"Henri de Toulouse-Lautrec : ""The Sofa"" (c. 1894-1896) 16"" x 20"" (Image: 13"" x 17"")","Depicting a lesbian couple stretched out on divans, The Sofa is associated with a broader series of artworks documenting the lives of prostitutes, which Toulouse-Lautrec executed between 1892 and 1896. Suffering from congenital health conditions that left him saddled with an adult-sized torso on child-sized legs, he often resorted to sex with prostitutes, but far from treating them with contempt, he rather identified with their marginalized condition. ""The real reasons for his behavior,"" said Édouard Vuillard, ""were moral ones...Lautrec was too proud to submit to his lot, as a physical freak, an aristocrat cut off from his kind by his grotesque appearance. He found an affinity between his own condition and the moral penury of the prostitute.""",https://www.theibis.net/product/henri-de-toulouse-lautrec-the-sofa-c-1894-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9608,https://www.theibis.net/wp-content/uploads/2019/04/toul3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9598,"Henri de Toulouse-Lautrec : ""Divan Japonais"" (1892) 16"" x 20"" (Image: 13"" x 16.56"")","Henri de Toulouse-Lautrecs posters evoke the bohemian spirit of Belle Époque Paris. Commissioned in 1892, Divan Japonais advertises a newly renovated nightclub that was frequented by the artist himself. It depicts two of his good friends, the cancan dancer Jane Avril and writer Édouard Dujardin, attending a performance by Yvette Guilbert; identifiable by the long, black gloves that were her signature. Toulouse-Lautrec promises not only a good show, but the opportunity to partake of his own trendy lifestyle.",https://www.theibis.net/product/henri-de-toulouse-lautrec-divan-japonais-1892/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9598,https://www.theibis.net/wp-content/uploads/2019/04/toul2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9585,"John Singer Sargent : ""Tyrolese Interior"" (1915) 16"" x 20"" (Image: 13"" x 16.75"")","The Metropolitan Museum of Art identifies the probable setting of Tyrolese Interior as ""in or near Sankt Lorenzen, in an old castle that had long since been transformed into farmers quarters."" It depicts a peasant family sitting down for a midday meal, their room adorned with religious icons. An undercurrent of tension and foreboding may be read in their somber circumspection. At the time of Sargents visit, Austria had just declared war on Serbia in what proved to be the opening act of the first world war.",https://www.theibis.net/product/john-singer-sargent-tyrolese-interior-1915/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9585,https://www.theibis.net/wp-content/uploads/2019/04/sar12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9574,"John Singer Sargent : ""The Hermit (Il solitario)"" (1908) 16"" x 20"" (Image: 13"" x 13"")","A solitary figure and two deer merge seamlessly into an Alpine landscape. The boundaries between self and other, living organisms and their environment, are dissolved in a Zen-like motif that invites comparison to the late works of Odilon Redon. According to the Metropolitan Museum of Art, while Sargent approved The Hermit as the translated title of the picture, he wrote to its director: “I wish there were another simple word that did not bring with it any Christian association, and that rather suggested quietness and pantheism.”",https://www.theibis.net/product/john-singer-sargent-the-hermit-il-solitario-1908/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9574,https://www.theibis.net/wp-content/uploads/2019/04/sar11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9563,"John Singer Sargent : ""Mr. and Mrs. I. N. Phelps Stokes"" (1897) 16"" x 20"" (Image: 7.88"" x 17"")","John Singer Sargents portraits are loose, yet refined; painterly in their execution, while stunning in their realism. He worked with a loaded brush directly upon canvas, without the aid of a drawing or underpainting; capturing every nuance of mood and personality, every play of light upon flowing garment, with an apparent swanlike ease. Working in this fashion he completed many hundreds of portraits during his career, and each is a fully realized masterwork with its own particular voice. The Metropolitan Museum of Art describes Mr. and Mrs. I. N. Phelps Stokes as one of Sargents most important double portraits, noting that the artist had actually intended to portray Edith Stokes with a Great Dane at her side. When the dog became unavailable, her husband—Sargent recalled—had ""a sudden inspiration"" and ""offered to assume the role of the Great Dane in the picture.""",https://www.theibis.net/product/john-singer-sargent-mr-and-mrs-i-n-phelps-stokes-1897/?attribute_size=16%22+x+20%22+%28Image%3A+7.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9563,https://www.theibis.net/wp-content/uploads/2019/04/sar10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9551,"John Singer Sargent : ""The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant"" (1899) 16"" x 20"" (Image: 12.38"" x 17"")","John Singer Sargents portraits are loose, yet refined; painterly in their execution, while stunning in their realism. He worked with a loaded brush directly upon canvas, without the aid of a drawing or underpainting; capturing every nuance of mood and personality, every play of light upon flowing garment, with an apparent swanlike ease. Working in this fashion he completed many hundreds of portraits during his career, and each is a fully realized masterwork with its own particular voice.",https://www.theibis.net/product/john-singer-sargent-the-wyndham-sisters-lady-elcho-mrs-adeane-and-mrs-tennant-1899/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9551,https://www.theibis.net/wp-content/uploads/2019/04/sar9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9538,"George Inness : ""Sunrise"" (1887) 16"" x 20"" (Image: 11.13"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-sunrise-1887/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9538,https://www.theibis.net/wp-content/uploads/2019/04/ginn2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9528,"George Inness : ""Spring Blossoms, Montclair, New Jersey"" (c.1891) 16"" x 20"" (Image: 12"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-spring-blossoms-montclair-new-jersey-c-1891/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9528,https://www.theibis.net/wp-content/uploads/2019/04/ginn1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9517,"Abraham Ortelius : ""Map of Italy"" (1570) 16"" x 20"" (Image: 12"" x 17"")","Abraham Orteliuss Theatrum Orbis Terrarum (""Theatre of the World"") is conventionally recognized as the first modern atlas, consisting of a systematic overview of the known world compiled into a single bound volume for which copper plates were specifically engraved. In its first edition, Theatrum drew upon the work some thirty-three cartographers, incorporating several maps which no longer exist in their original form. Following its initial release it was continuously revised and expanded, remaining Europes most authoritative cartographic reference into the early 17th century. Ortelius, in addition to his achievements as a publisher and cartographer, is also remembered as the first person to have imagined that the continents were once joined together.",https://www.theibis.net/product/abraham-ortelius-map-of-italy-1570/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9517,https://www.theibis.net/wp-content/uploads/2019/04/orbis7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9507,"Abraham Ortelius : ""Map of Hispania"" (1570) 16"" x 20"" (Image: 13"" x 17"")","Abraham Orteliuss Theatrum Orbis Terrarum (""Theatre of the World"") is conventionally recognized as the first modern atlas, consisting of a systematic overview of the known world compiled into a single bound volume for which copper plates were specifically engraved. In its first edition, Theatrum drew upon the work some thirty-three cartographers, incorporating several maps which no longer exist in their original form. Following its initial release it was continuously revised and expanded, remaining Europes most authoritative cartographic reference into the early 17th century. Ortelius, in addition to his achievements as a publisher and cartographer, is also remembered as the first person to have imagined that the continents were once joined together.",https://www.theibis.net/product/abraham-ortelius-map-of-hispania-1570/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9507,https://www.theibis.net/wp-content/uploads/2019/04/orbis6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9495,"Abraham Ortelius : ""Map of Africa"" (1570) 16"" x 20"" (Image: 12.63"" x 17"")","Abraham Orteliuss Theatrum Orbis Terrarum (""Theatre of the World"") is conventionally recognized as the first modern atlas, consisting of a systematic overview of the known world compiled into a single bound volume for which copper plates were specifically engraved. In its first edition, Theatrum drew upon the work some thirty-three cartographers, incorporating several maps which no longer exist in their original form. Following its initial release it was continuously revised and expanded, remaining Europes most authoritative cartographic reference into the early 17th century. Ortelius, in addition to his achievements as a publisher and cartographer, is also remembered as the first person to have imagined that the continents were once joined together.",https://www.theibis.net/product/abraham-ortelius-map-of-africa-1570/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9495,https://www.theibis.net/wp-content/uploads/2019/04/orbis5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9484,"Abraham Ortelius : ""Map of Asia"" (1570) 16"" x 20"" (Image: 12.75"" x 17"")","Abraham Orteliuss Theatrum Orbis Terrarum (""Theatre of the World"") is conventionally recognized as the first modern atlas, consisting of a systematic overview of the known world compiled into a single bound volume for which copper plates were specifically engraved. In its first edition, Theatrum drew upon the work some thirty-three cartographers, incorporating several maps which no longer exist in their original form. Following its initial release it was continuously revised and expanded, remaining Europes most authoritative cartographic reference into the early 17th century. Ortelius, in addition to his achievements as a publisher and cartographer, is also remembered as the first person to have imagined that the continents were once joined together.",https://www.theibis.net/product/abraham-ortelius-map-of-asia-1570/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9484,https://www.theibis.net/wp-content/uploads/2019/04/orbis4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9474,"Abraham Ortelius : ""Map of Europe"" (1570) 16"" x 20"" (Image: 12.5"" x 17"")","Abraham Orteliuss Theatrum Orbis Terrarum (""Theatre of the World"") is conventionally recognized as the first modern atlas, consisting of a systematic overview of the known world compiled into a single bound volume for which copper plates were specifically engraved. In its first edition, Theatrum drew upon the work some thirty-three cartographers, incorporating several maps which no longer exist in their original form. Following its initial release it was continuously revised and expanded, remaining Europes most authoritative cartographic reference into the early 17th century. Ortelius, in addition to his achievements as a publisher and cartographer, is also remembered as the first person to have imagined that the continents were once joined together.",https://www.theibis.net/product/abraham-ortelius-map-of-europe-1570/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9474,https://www.theibis.net/wp-content/uploads/2019/04/orbis3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9462,"Abraham Ortelius : ""Map of America or the New World"" (1570) 16"" x 20"" (Image: 12.38"" x 17"")","Abraham Orteliuss Theatrum Orbis Terrarum (""Theatre of the World"") is conventionally recognized as the first modern atlas, consisting of a systematic overview of the known world compiled into a single bound volume for which copper plates were specifically engraved. In its first edition, Theatrum drew upon the work some thirty-three cartographers, incorporating several maps which no longer exist in their original form. Following its initial release it was continuously revised and expanded, remaining Europes most authoritative cartographic reference into the early 17th century. Ortelius, in addition to his achievements as a publisher and cartographer, is also remembered as the first person to have imagined that the continents were once joined together.",https://www.theibis.net/product/abraham-ortelius-map-of-america-or-the-new-world-1570/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9462,https://www.theibis.net/wp-content/uploads/2019/04/orbis2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9450,"Abraham Ortelius and Fernando Seco : ""A Current and Precise Description of Portugal, Which Was Once Called Lusitania"" (1570) 16"" x 20"" (Image: 11.31""","Abraham Orteliuss Theatrum Orbis Terrarum (""Theatre of the World"") is conventionally recognized as the first modern atlas, consisting of a systematic overview of the known world compiled into a single bound volume for which copper plates were specifically engraved. In its first edition, Theatrum drew upon the work some thirty-three cartographers, incorporating several maps which no longer exist in their original form. Following its initial release it was continuously revised and expanded, remaining Europes most authoritative cartographic reference into the early 17th century. Ortelius, in addition to his achievements as a publisher and cartographer, is also remembered as the first person to have imagined that the continents were once joined together.",https://www.theibis.net/product/abraham-ortelius-and-fernando-seco-a-current-and-precise-description-of-portugal-which-was-once-called-lusitania-1570/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9450,https://www.theibis.net/wp-content/uploads/2019/04/portu_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9440,"Abraham Ortelius : ""Typus Orbis Terrarum (World Map)"" (1570) 16"" x 20"" (Image: 11.5"" x 17"")","Abraham Orteliuss Theatrum Orbis Terrarum (""Theatre of the World"") is conventionally recognized as the first modern atlas, consisting of a systematic overview of the known world compiled into a single bound volume for which copper plates were specifically engraved. In its first edition, Theatrum drew upon the work some thirty-three cartographers, incorporating several maps which no longer exist in their original form. Following its initial release it was continuously revised and expanded, remaining Europes most authoritative cartographic reference into the early 17th century. Ortelius, in addition to his achievements as a publisher and cartographer, is also remembered as the first person to have imagined that the continents were once joined together.",https://www.theibis.net/product/abraham-ortelius-typus-orbis-terrarum-world-map-1570/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9440,https://www.theibis.net/wp-content/uploads/2019/04/orbis_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9422,"Compendium Rarissimum : ""Wamdial"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-wamdial-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9422,https://www.theibis.net/wp-content/uploads/2019/04/wamdial_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9411,"Compendium Rarissimum : ""The Prince of Darkness: Dagol"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.81"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-the-prince-of-darkness-dagol-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9411,https://www.theibis.net/wp-content/uploads/2019/04/dagol_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9400,"Compendium Rarissimum : ""The Animal Protector of Hell Amahbuel"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-the-animal-protector-of-hell-amahbuel-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9400,https://www.theibis.net/wp-content/uploads/2019/04/amahbuel_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9389,"Compendium Rarissimum : ""Sigils of the Evil Spirits"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.56"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-sigils-of-the-evil-spirits-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9389,https://www.theibis.net/wp-content/uploads/2019/04/esigil_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9378,"Compendium Rarissimum : ""Necromantic Operation"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-necromantic-operation-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9378,https://www.theibis.net/wp-content/uploads/2019/04/nigro_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9367,"Compendium Rarissimum : ""Necromancy Operation Room"" (c. 1775) 16"" x 20"" (Image: 12.88"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-necromancy-operation-room-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9367,https://www.theibis.net/wp-content/uploads/2019/04/operoom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9355,"Compendium Rarissimum : ""Fury of Hell"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-fury-of-hell-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9355,https://www.theibis.net/wp-content/uploads/2019/04/furyhell_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9342,"Compendium Rarissimum : ""Folio 43"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.5"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-43-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9342,https://www.theibis.net/wp-content/uploads/2019/04/fol43_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9331,"Compendium Rarissimum : ""Folio 40"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.69"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-40-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9331,https://www.theibis.net/wp-content/uploads/2019/04/fol40_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9319,"Compendium Rarissimum : ""Folio 39"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.5"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-39-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9319,https://www.theibis.net/wp-content/uploads/2019/04/fol39_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9308,"Compendium Rarissimum : ""Folio 38"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.63"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-38-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9308,https://www.theibis.net/wp-content/uploads/2019/04/fol38_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9295,"Compendium Rarissimum : ""Folio 23"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-23-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9295,https://www.theibis.net/wp-content/uploads/2019/04/fol23_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9282,"Compendium Rarissimum : ""Folio 21"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-21-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9282,https://www.theibis.net/wp-content/uploads/2019/04/fol21_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9271,"Compendium Rarissimum : ""Tiphour"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-tiphour-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9271,https://www.theibis.net/wp-content/uploads/2019/04/fol20_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9259,"Compendium Rarissimum : ""Folio 17"" (c. 1775) 16"" x 20"" (Image: 12.88"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-17-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9259,https://www.theibis.net/wp-content/uploads/2019/04/fol17_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9248,"Compendium Rarissimum : ""Folio 16"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.69"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-16-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9248,https://www.theibis.net/wp-content/uploads/2019/04/fol16_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9235,"Compendium Rarissimum : ""Folio 14"" (c. 1775) 16"" x 20"" (Image: 12.81"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-14-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9235,https://www.theibis.net/wp-content/uploads/2019/04/fol14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9223,"Compendium Rarissimum : ""Astaroth"" (c. 1775) 16"" x 20"" (Image: 12.75"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-astaroth-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9223,https://www.theibis.net/wp-content/uploads/2019/04/fol13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9212,"Compendium Rarissimum : ""Folio 9"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.81"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-folio-9-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9212,https://www.theibis.net/wp-content/uploads/2019/04/fol9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9199,"Compendium Rarissimum : ""Chiromancy Chart (Front of the Hand)"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-chiromancy-chart-front-of-the-hand-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9199,https://www.theibis.net/wp-content/uploads/2019/04/chi1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9186,"Compendium Rarissimum : ""Chiromancy Chart (Back of the Hand)"" (c. 1775) 16"" x 20"" (Image: 12.81"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-chiromancy-chart-back-of-the-hand-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9186,https://www.theibis.net/wp-content/uploads/2019/04/chi2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9175,"Compendium Rarissimum : ""Cerberus"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.38"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-cerberus-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9175,https://www.theibis.net/wp-content/uploads/2019/04/cerby_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9163,"Compendium Rarissimum : ""Catoptromancy"" (c. 1775) 16"" x 20"" (Image: 12.88"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-catoptromancy-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9163,https://www.theibis.net/wp-content/uploads/2019/04/catop_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9153,"Compendium Rarissimum : ""Beelzebub"" (c. 1775) 16"" x 20"" (Image: 13"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-beelzebub-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9153,https://www.theibis.net/wp-content/uploads/2019/04/beel_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9140,"Compendium Rarissimum : ""Astrological Influences"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.38"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-astrological-influences-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9140,https://www.theibis.net/wp-content/uploads/2019/04/influ_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9127,"Compendium Rarissimum : ""Asmodeus"" (c. 1775) 16"" x 20"" (Image: 12.88"" x 17"")","Compendium Rarissimum is an extraordinary occult manuscript held in the collections of Londons Wellcome Library. Its title page reads in full: ""Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros, Anno 1057. Noli me tangere,"" or ""Most rare summary of the entire Magical Art put together by the most famous Masters of this Art. Year 1057. Do not touch me."" Professing to have been authored in the 11th century, it is actually a product of the Enlightenment; a bizarre repository of supernatural horror still lingering in the age of science and reason. Written in Latin and German, it contains, in total, 31 watercolor illustrations of demons, kabalistic signs, sigils and other figures; its demonology corresponding closely to the Hell hierarchy laid out in The Book of Abramelin . Its authorship remains unknown. Image by the Wellcome Library, London (CC BY 4.0).",https://www.theibis.net/product/compendium-rarissimum-asmodeus-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9127,https://www.theibis.net/wp-content/uploads/2019/04/asmo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9116,"John Singer Sargent : ""Alpine Pool"" (1907) 16"" x 20"" (Image: 12.13"" x 17"")","Alpine Pool is one of a series of oil and watercolor images that Sargent painted in the Northern Italian hamlet of Purtud. In streams and pools like these, he discovered delicate universes of light, form and color that must have fascinated him in much the same way that lily ponds had inspired Monet. In treating these as worthy subjects unto themselves, rather than as features of a broader landscape, both artists were making tentative forays into the uncharted territory of abstract art.",https://www.theibis.net/product/john-singer-sargent-alpine-pool-1907/?attribute_size=16%22+x+20%22+%28Image%3A+12.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9116,https://www.theibis.net/wp-content/uploads/2019/04/sar8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9104,"John Singer Sargent : ""Two Girls with Parasols"" (1888) 16"" x 20"" (Image: 13"" x 15.5"")","Two Girls with Parasols depicts the artists sister and a friend strolling the Berkshire countryside. In 1885 Sargent had visited Claude Monet at Giverny, painted alongside him and purchased four of his works. Afterwards, he began to work outdoors, making use of impressionist techniques as they suited him, but without fully adopting the style as his own. While British critics identified him with impressionism and described his painting style as ""Frenchified,"" the French felt differently; Monet remarking that ""He is not an impressionist in the sense that we use the word, he is too much under the influence of Carolus-Duran."" It was, however, Sargents pragmatism, his willingness to make use of what was available without limiting himself to a particular school, that allowed his work to develop in its own, singular direction.",https://www.theibis.net/product/john-singer-sargent-two-girls-with-parasols-1888/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9104,https://www.theibis.net/wp-content/uploads/2019/04/sar7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9093,"John Singer Sargent : ""Padre Sebastiano"" (c. 1904-1906) 16"" x 20"" (Image: 13"" x 16.56"")","John Singer Sargents portraits are loose, yet refined; painterly in their execution, while stunning in their realism. He worked with a loaded brush directly upon canvas, without the aid of a drawing or underpainting; capturing every nuance of mood and personality, every play of light upon flowing garment, with an apparent swanlike ease. Working in this fashion he completed many hundreds of portraits during his career, and each is a fully realized masterwork with its own particular voice. According to the Metropolitan Museum of Art, Sargent completed this portrait of a ""botanizing priest"" while on holiday at Giomein, a village in the Italian Alps.",https://www.theibis.net/product/john-singer-sargent-padre-sebastiano-c-1904-1906/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9093,https://www.theibis.net/wp-content/uploads/2019/04/sar6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9081,"John Singer Sargent : ""Reapers Resting in a Wheat Field"" (1885) 16"" x 20"" (Image: 13"" x 16.75"")","The Cotswolds are a grassy expanse of rolling hills in south central England, where local deposits of golden limestone have contributed greatly toward the regions picturesque architecture. Sargent completed Reapers Resting in a Wheat Field while residing in the village of Broadway, the so-called ""Jewel of the Cotswolds,"" during the summer and fall of 1885. An impressionistic piece that invites comparison to Georges Seurats oil sketches of men with hoes, Sargent employed complementary blues and violets to heighten the color and contrast of the foreground, his short, curling brushstrokes echoing the shape and motion of the reapers sickles. As a result, the entire field seems to vibrate with the latent energy of the mens labor.",https://www.theibis.net/product/john-singer-sargent-reapers-resting-in-a-wheat-field-1885/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9081,https://www.theibis.net/wp-content/uploads/2019/04/sar5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9071,"John Singer Sargent : ""Egyptians Raising Water from the Nile"" (1890-1891) 16"" x 20"" (Image: 13"" x 15.69"")","Having received a commission to paint the third-floor murals of the Boston Public Library, and decided upon the origins of Western religion as his subject, John Singer Sargent embarked for Greece, Turkey and Egypt, where he completed this impressionistic vignette of life on the banks of the River Nile. According to the Metropolitan Museum of Art, it ""shows a man using a simple irrigation device called a shaduf to fill a ditch, from which others are drinking and waiting to fill containers. Like many of his contemporaries, the artist may have believed that life in the region was essentially unchanged since biblical times.""",https://www.theibis.net/product/john-singer-sargent-egyptians-raising-water-from-the-nile-1890-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9071,https://www.theibis.net/wp-content/uploads/2019/04/sar4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9058,"John Singer Sargent : ""Venetian Canal"" (1913) 16"" x 20"" (Image: 12.69"" x 17"")","During his career John Singer Sargent produced over 2,000 watercolors of his travels through the English countryside, Venice, the Tyrol, the Middle East, Montana, Maine and Florida. Unconstrained by the preferences of audiences or patrons, and unburdened of the obligation to entertain sitters for hours on end, he was free to experiment and immerse himself in the joy of painting. ""To live with Sargents water-colors,"" wrote his biographer Evan Charteris, ""is to live with sunshine captured and held, with the luster of a bright and legible world, the refluent shade and the Ambient ardours of the noon.""",https://www.theibis.net/product/john-singer-sargent-venetian-canal-1913/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9058,https://www.theibis.net/wp-content/uploads/2019/04/swat3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9048,"John Singer Sargent : ""Tyrolese Crucifix"" (1914) 16"" x 20"" (Image: 12.75"" x 17"")","During his career John Singer Sargent produced over 2,000 watercolors of his travels through the English countryside, Venice, the Tyrol, the Middle East, Montana, Maine and Florida. Unconstrained by the preferences of audiences or patrons, and unburdened of the obligation to entertain sitters for hours on end, he was free to experiment and immerse himself in the joy of painting. ""To live with Sargents water-colors,"" wrote his biographer Evan Charteris, ""is to live with sunshine captured and held, with the luster of a bright and legible world, the refluent shade and the Ambient ardours of the noon.""",https://www.theibis.net/product/john-singer-sargent-tyrolese-crucifix-1914/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9048,https://www.theibis.net/wp-content/uploads/2019/04/swat2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9036,"John Singer Sargent : ""Figure in a Hammock, Florida"" (1917) 16"" x 20"" (Image: 11"" x 17"")","During his career John Singer Sargent produced over 2,000 watercolors of his travels through the English countryside, Venice, the Tyrol, the Middle East, Montana, Maine and Florida. Unconstrained by the preferences of audiences or patrons, and unburdened of the obligation to entertain sitters for hours on end, he was free to experiment and immerse himself in the joy of painting. ""To live with Sargents water-colors,"" wrote his biographer Evan Charteris, ""is to live with sunshine captured and held, with the luster of a bright and legible world, the refluent shade and the Ambient ardours of the noon.""",https://www.theibis.net/product/john-singer-sargent-figure-in-a-hammock-florida-1917/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9036,https://www.theibis.net/wp-content/uploads/2019/04/swat1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9026,"John Singer Sargent : ""Santa Sofia"" (c. 1891) 16"" x 20"" (Image: 13"" x 16.75"")","Having received a commission to paint the third-floor murals of the Boston Public Library, and decided upon the origins of Western religion as his subject, John Singer Sargent embarked for Egypt, Greece and Turkey, where he executed this interior view of Hagia Sophia. Rendered in a fluid, impressionistic style, it forgoes architectural detail in order to emphasize the effect of light flowing in through the golden dome. At the time of his visit, Hagia Sophia was still operating as a mosque—as it had since 1493—only to be redesignated a museum by the secular government of Mustafa Kemal Atatürk in 1935.",https://www.theibis.net/product/john-singer-sargent-santa-sofia-c-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9026,https://www.theibis.net/wp-content/uploads/2019/04/ssofia_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9013,"Johan Christian Dahl : ""Eruption of the Volcano Vesuvius"" (1821) 16"" x 20"" (Image: 11.88"" x 17"")","Naples was on the itinerary for many of the nineteenth centurys greatest artists, who made the pilgrimage hoping to witness the eruption of Mount Vesuvius. Johan Christian Dahl, the father of Norwegian landscape painting, was one of the lucky ones. When he received an invitation to Italy from Prince Christian Frederik, he quickly married the woman he had been courting and embarked the next day. He witnessed the eruption on December 20th, 1821, and signed this painting four days later. According to the National Gallery of Denmark, ""The artist described the event as an interesting and horribly wondrous sight, a choice of words that made it clear the volcanic eruption, with all its majesty and horror, should be seen as an example of the kind of awe-inspiring, sublime phenomena that had thrown philosophers, artists, and art lovers into a bittersweet state of dread and titillating awe ever since the early Romantic period.""",https://www.theibis.net/product/johan-christian-dahl-eruption-of-the-volcano-vesuvius-1821/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9013,https://www.theibis.net/wp-content/uploads/2019/04/dvol_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 9002,"Johan Christian Dahl : ""Winter Landscape Near Vordingborg, Denmark"" (1829) 16"" x 20"" (Image: 13"" x 15.75"")","A megalithic tomb situated among a cluster of gnarled trees occupies the foreground of this romantic landscape by Johan Christian Dahl. Bare branches and icy stone are juxtaposed with the warm hues of sunset and the tableau of a distant figure treading toward a genial home. An earlier piece by Dahl depicts the same scene in cooler colors, with an identical figure in the distance, but absent the home; as yet unconstructed. Here, life is shown moving forward in the shadow of death.",https://www.theibis.net/product/johan-christian-dahl-winter-landscape-near-vordingborg-denmark-1829/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=9002,https://www.theibis.net/wp-content/uploads/2019/04/dahlwint_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8992,"John Singer Sargent : ""Portrait of Madame X (Madame Pierre Gautreau)"" (1884) 16"" x 20"" (Image: 8.69"" x 17"")","Portrait of Madame X scandalized Paris with its subtly erotic representation of an upper-class lady. It is a study of opposition, of sexuality under the professional control of the sitter. She is posed with her body faced forward, but her head turned away in profile. Her black dress and darkened environment accentuate her flesh; its aristocratic pallor and elegant contours. As originally displayed, her left shoulder strap hung loose. ""One more struggle,"" wrote a critic for Le Figaro , ""and the lady will be free."" Sargent ultimately overpainted the strap to rest more securely on her shoulder. Even so, the furor over the piece effectively ended his career as a portrait painter in Paris and resulted in his permanent exile to London. When he finally sold the painting to the Metropolitan Museum of Art in 1916 he supposed, nevertheless, that it was the best thing he had ever done, and art history has been inclined to agree.",https://www.theibis.net/product/john-singer-sargent-portrait-of-madame-x-madame-pierre-gautreau-1884/?attribute_size=16%22+x+20%22+%28Image%3A+8.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8992,https://www.theibis.net/wp-content/uploads/2019/04/madx_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8979,"Odilon Redon : ""Armor"" (1891) 16"" x 20"" (Image: 12.38"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-armor-1891/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8979,https://www.theibis.net/wp-content/uploads/2019/04/noir17_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8967,"Edward Lamson Henry : ""The 9:45 Accommodation"" (1867) 16"" x 20"" (Image: 8.88"" x 17"")","Edward Lamson Henry studied in Paris with Charles Gleyre and Gustave Courbet at roughly the same time as the founding members of the impressionist circle. Rather than join the French avant-garde, however, he returned to America, where he enlisted in the Civil War on the side of the Union, afterwards establishing himself as a painter of genre art and ""historical fictions."" His attention to detail was such that his paintings were regarded by his contemporaries as authentic historical reconstructions, his wife Frances remarking that ""Nothing annoyed him more than to see a wheel, a bit of architecture, etc., carelessly drawn or out of keeping with the time it was supposed to portray."" His works may be understood as a comment on social change in the late 19th century. He depicted wartime incidents and the advent of railway system, but emphasized that which was being lost; an America as yet unspoiled by the forces of war and industrialization. ""Perhaps no artist,"" writes art professor William T. Oedel,"" played so consistently and so durably to the American cult of nostalgia in the last quarter of the 19th century as Edward Lamson Henry.""",https://www.theibis.net/product/edward-lamson-henry-the-945-accommodation-1867/?attribute_size=16%22+x+20%22+%28Image%3A+8.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8967,https://www.theibis.net/wp-content/uploads/2019/04/lams1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8955,"Perkins Harnly : ""Entrance Hall"" (1935/1942) 16"" x 20"" (Image: 13"" x 16.31"")","Perkins Harnly was an American watercolorist, best-known for his renderings of Victorian and contemporary interiors. Born in a paupers farmhouse in Ogallala, Nebraska, he was impressed by the flamboyant Victorian décor he observed in his grandmothers parlor and in Lincolns Lyric Theater, their glitz and ornamentation contrasting sharply with the more subdued environments in which they were situated. After studying at the School of Interior Design in New York City, he was hired by the WPA to document Victorian interiors and exteriors for the Index of American Design, and later designed stage sets for the MGM film producer, director and screenwriter Albert Lewin. During his career he also painted film stars, churches, cemeteries, castles and other landmarks that he visited in Europe and Mexico, and though he exhibited his artwork, he never identified as an artist. In an 1981 interview for the Smithsonian he rejected the label, opting to describe himself as a ""food handler"" and ""a doodler,"" albeit one ""with an idea and a purpose.""",https://www.theibis.net/product/perkins-harnly-entrance-hall-1935-1942/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8955,https://www.theibis.net/wp-content/uploads/2019/04/perk7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8945,"Perkins Harnly : ""Womans Bedroom"" (1935/1942) 16"" x 20"" (Image: 10.81"" x 17"")","Perkins Harnly was an American watercolorist, best-known for his renderings of Victorian and contemporary interiors. Born in a paupers farmhouse in Ogallala, Nebraska, he was impressed by the flamboyant Victorian décor he observed in his grandmothers parlor and in Lincolns Lyric Theater, their glitz and ornamentation contrasting sharply with the more subdued environments in which they were situated. After studying at the School of Interior Design in New York City, he was hired by the WPA to document Victorian interiors and exteriors for the Index of American Design, and later designed stage sets for the MGM film producer, director and screenwriter Albert Lewin. During his career he also painted film stars, churches, cemeteries, castles and other landmarks that he visited in Europe and Mexico, and though he exhibited his artwork, he never identified as an artist. In an 1981 interview for the Smithsonian he rejected the label, opting to describe himself as a ""food handler"" and ""a doodler,"" albeit one ""with an idea and a purpose.""",https://www.theibis.net/product/perkins-harnly-womans-bedroom-1935-1942/?attribute_size=16%22+x+20%22+%28Image%3A+10.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8945,https://www.theibis.net/wp-content/uploads/2019/04/perk6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8917,"Perkins Harnly : ""Barber Shop"" (1935/1942) 16"" x 20"" (Image: 13"" x 16.5"")","Perkins Harnly was an American watercolorist, best-known for his renderings of Victorian and contemporary interiors. Born in a paupers farmhouse in Ogallala, Nebraska, he was impressed by the flamboyant Victorian décor he observed in his grandmothers parlor and in Lincolns Lyric Theater, their glitz and ornamentation contrasting sharply with the more subdued environments in which they were situated. After studying at the School of Interior Design in New York City, he was hired by the WPA to document Victorian interiors and exteriors for the Index of American Design, and later designed stage sets for the MGM film producer, director and screenwriter Albert Lewin. During his career he also painted film stars, churches, cemeteries, castles and other landmarks that he visited in Europe and Mexico, and though he exhibited his artwork, he never identified as an artist. In an 1981 interview for the Smithsonian he rejected the label, opting to describe himself as a ""food handler"" and ""a doodler,"" albeit one ""with an idea and a purpose.""",https://www.theibis.net/product/perkins-harnly-barber-shop-1935-1942/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8917,https://www.theibis.net/wp-content/uploads/2019/04/perk5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8907,"Perkins Harnly : ""Rural Kitchen"" (1935/1942) 16"" x 20"" (Image: 12.25"" x 17"")","Perkins Harnly was an American watercolorist, best-known for his renderings of Victorian and contemporary interiors. Born in a paupers farmhouse in Ogallala, Nebraska, he was impressed by the flamboyant Victorian décor he observed in his grandmothers parlor and in Lincolns Lyric Theater, their glitz and ornamentation contrasting sharply with the more subdued environments in which they were situated. After studying at the School of Interior Design in New York City, he was hired by the WPA to document Victorian interiors and exteriors for the Index of American Design, and later designed stage sets for the MGM film producer, director and screenwriter Albert Lewin. During his career he also painted film stars, churches, cemeteries, castles and other landmarks that he visited in Europe and Mexico, and though he exhibited his artwork, he never identified as an artist. In an 1981 interview for the Smithsonian he rejected the label, opting to describe himself as a ""food handler"" and ""a doodler,"" albeit one ""with an idea and a purpose.""",https://www.theibis.net/product/perkins-harnly-rural-kitchen-1935-1942/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8907,https://www.theibis.net/wp-content/uploads/2019/04/perk4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8897,"Perkins Harnly : ""Cocktail Lounge, 1946"" (1935/1942) 16"" x 20"" (Image: 12.38"" x 17"")","Perkins Harnly was an American watercolorist, best-known for his renderings of Victorian and contemporary interiors. Born in a paupers farmhouse in Ogallala, Nebraska, he was impressed by the flamboyant Victorian décor he observed in his grandmothers parlor and in Lincolns Lyric Theater, their glitz and ornamentation contrasting sharply with the more subdued environments in which they were situated. After studying at the School of Interior Design in New York City, he was hired by the WPA to document Victorian interiors and exteriors for the Index of American Design, and later designed stage sets for the MGM film producer, director and screenwriter Albert Lewin. During his career he also painted film stars, churches, cemeteries, castles and other landmarks that he visited in Europe and Mexico, and though he exhibited his artwork, he never identified as an artist. In an 1981 interview for the Smithsonian he rejected the label, opting to describe himself as a ""food handler"" and ""a doodler,"" albeit one ""with an idea and a purpose.""",https://www.theibis.net/product/perkins-harnly-cocktail-lounge-1946-1935-1942/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8897,https://www.theibis.net/wp-content/uploads/2019/04/perk3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8887,"Perkins Harnly : ""Pool Room, 1890"" (1935/1942) 16"" x 20"" (Image: 13"" x 17"")","Perkins Harnly was an American watercolorist, best-known for his renderings of Victorian and contemporary interiors. Born in a paupers farmhouse in Ogallala, Nebraska, he was impressed by the flamboyant Victorian décor he observed in his grandmothers parlor and in Lincolns Lyric Theater, their glitz and ornamentation contrasting sharply with the more subdued environments in which they were situated. After studying at the School of Interior Design in New York City, he was hired by the WPA to document Victorian interiors and exteriors for the Index of American Design, and later designed stage sets for the MGM film producer, director and screenwriter Albert Lewin. During his career he also painted film stars, churches, cemeteries, castles and other landmarks that he visited in Europe and Mexico, and though he exhibited his artwork, he never identified as an artist. In an 1981 interview for the Smithsonian he rejected the label, opting to describe himself as a ""food handler"" and ""a doodler,"" albeit one ""with an idea and a purpose.""",https://www.theibis.net/product/perkins-harnly-pool-room-1890-1935-1942/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8887,https://www.theibis.net/wp-content/uploads/2019/04/perk2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8877,"Alfred Jacob Miller : ""Two Shoshone Indian Girls"" (1837-1838) 16"" x 20"" (Image: 12"" x 17"")","Alfred Jacob Miller was a struggling Baltimore artist who traveled west in search of his muse. In New Orleans he met the Scottish adventurer William Drummond Stewart, who hired him to document his 1837 hunting journey into the Rocky Mountains, where he captured the images of aboriginal life for which is best-known. In addition to a body of oil paintings, he produced a series of watercolor sketches depicting Native Americans, their daily lives, environs, and the men of Drummonds expedition. Warm, loose and expressive, they represent a truer and more direct record of the people who inhabited the frontier than the more finished work of the period, which was typically completed in a studio years after the fact.",https://www.theibis.net/product/alfred-jacob-miller-two-shoshone-indian-girls-1837-1838/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8877,https://www.theibis.net/wp-content/uploads/2019/04/miller2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8866,"Alfred Jacob Miller : ""Giving a Drink to a Thirsty Trapper"" (1837-1838) 16"" x 20"" (Image: 13"" x 14.75"")","Alfred Jacob Miller was a struggling Baltimore artist who traveled west in search of his muse. In New Orleans he met the Scottish adventurer William Drummond Stewart, who hired him to document his 1837 hunting journey into the Rocky Mountains, where he captured the images of aboriginal life for which is best-known. In addition to a body of oil paintings, he produced a series of watercolor sketches depicting Native Americans, their daily lives, environs, and the men of Drummonds expedition. Warm, loose and expressive, they represent a truer and more direct record of the people who inhabited the frontier than the more finished work of the period, which was typically completed in a studio years after the fact.",https://www.theibis.net/product/alfred-jacob-miller-giving-a-drink-to-a-thirsty-trapper-1837-1838/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8866,https://www.theibis.net/wp-content/uploads/2019/04/miller3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8853,"Alfred Jacob Miller : ""Chinook - Columbia River"" (1837-1838) 16"" x 20"" (Image: 13"" x 16.5"")","Alfred Jacob Miller was a struggling Baltimore artist who traveled west in search of his muse. In New Orleans he met the Scottish adventurer William Drummond Stewart, who hired him to document his 1837 hunting journey into the Rocky Mountains, where he captured the images of aboriginal life for which is best-known. In addition to a body of oil paintings, he produced a series of watercolor sketches depicting Native Americans, their daily lives, environs, and the men of Drummonds expedition. Warm, loose and expressive, they represent a truer and more direct record of the people who inhabited the frontier than the more finished work of the period, which was typically completed in a studio years after the fact.",https://www.theibis.net/product/alfred-jacob-miller-chinook-columbia-river-1837-1838/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8853,https://www.theibis.net/wp-content/uploads/2019/04/miller4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8840,"Alfred Jacob Miller : ""Wounded Buffalo"" (1837-1838) 16"" x 20"" (Image: 12"" x 17"")","Alfred Jacob Miller was a struggling Baltimore artist who traveled west in search of his muse. In New Orleans he met the Scottish adventurer William Drummond Stewart, who hired him to document his 1837 hunting journey into the Rocky Mountains, where he captured the images of aboriginal life for which is best-known. In addition to a body of oil paintings, he produced a series of watercolor sketches depicting Native Americans, their daily lives, environs, and the men of Drummonds expedition. Warm, loose and expressive, they represent a truer and more direct record of the people who inhabited the frontier than the more finished work of the period, which was typically completed in a studio years after the fact.",https://www.theibis.net/product/alfred-jacob-miller-wounded-buffalo-1837-1838/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8840,https://www.theibis.net/wp-content/uploads/2019/04/miller5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8830,"Alfred Jacob Miller : ""Snake Girl Swinging"" (1837-1838) 16"" x 20"" (Image: 13"" x 16.81"")","Alfred Jacob Miller was a struggling Baltimore artist who traveled west in search of his muse. In New Orleans he met the Scottish adventurer William Drummond Stewart, who hired him to document his 1837 hunting journey into the Rocky Mountains, where he captured the images of aboriginal life for which is best-known. In addition to a body of oil paintings, he produced a series of watercolor sketches depicting Native Americans, their daily lives, environs, and the men of Drummonds expedition. Warm, loose and expressive, they represent a truer and more direct record of the people who inhabited the frontier than the more finished work of the period, which was typically completed in a studio years after the fact.",https://www.theibis.net/product/alfred-jacob-miller-snake-girl-swinging-1837-1838/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8830,https://www.theibis.net/wp-content/uploads/2019/04/miller1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8817,"Camille Pissarro : ""The House of the Deaf Woman and the Belfry at Eragny"" (1886) 16"" x 20"" (Image: 13"" x 16.13"")","Set in the yard of Pissarros home in Normandy, The House of the Deaf Woman and the Belfry at Eragny is a key work from the artists brief period of experimentation with pointillism; a technique pioneered by Georges Seurat and Paul Signac in which small patches of pure color blend together when viewed from a distance. His grandson, the art historian Joachim Pissarro, declared that in this painting he ""manages to blend his abiding respect for the new technical rules with a sense of freedom and spontaneity. The pulverizing chromatic effect of this new technique is extraordinary light, dazzling colors...a brilliant energy that seems to radiate from the canvas.""",https://www.theibis.net/product/camille-pissarro-the-house-of-the-deaf-woman-and-the-belfry-at-eragny-1886/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8817,https://www.theibis.net/wp-content/uploads/2019/04/deafw_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8807,"Perkins Harnly : ""14th Street Theatre"" (c. 1940) 16"" x 20"" (Image: 13"" x 16.5"")","Perkins Harnly was an American watercolorist, best-known for his renderings of Victorian and contemporary interiors. Born in a paupers farmhouse in Ogallala, Nebraska, he was impressed by the flamboyant Victorian décor he observed in his grandmothers parlor and in Lincolns Lyric Theater, their glitz and ornamentation contrasting sharply with the more subdued environments in which they were situated. After studying at the School of Interior Design in New York City, he was hired by the WPA to document Victorian interiors and exteriors for the Index of American Design, and later designed stage sets for the MGM film producer, director and screenwriter Albert Lewin. During his career he also painted film stars, churches, cemeteries, castles and other landmarks that he visited in Europe and Mexico, and though he exhibited his artwork, he never identified as an artist. In an 1981 interview for the Smithsonian he rejected the label, opting to describe himself as a ""food handler"" and ""a doodler,"" albeit one ""with an idea and a purpose.""",https://www.theibis.net/product/perkins-harnly-14th-street-theatre-c-1940/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8807,https://www.theibis.net/wp-content/uploads/2019/04/perk1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8796,"Odilon Redon : ""The Celestial Art"" (1894) 16"" x 20"" (Image: 13"" x 16.13"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-celestial-art-1894/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8796,https://www.theibis.net/wp-content/uploads/2019/04/noir16_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8785,"Odilon Redon : ""Pegasus and Bellerophon"" (c. 1888) 16"" x 20"" (Image: 12"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-pegasus-and-bellerophon-c-1888/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8785,https://www.theibis.net/wp-content/uploads/2019/04/noir15_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8772,"Edmund Charles Tarbell : ""Across the Room"" (c. 1899) 16"" x 20"" (Image: 13"" x 15.69"")","Edmund Charles Tarbell was a member of ""The Ten;"" a group of American painters who adopted impressionism and, like their European counterparts, clashed with the artistic establishment of their time. Across the Room is executed in this French avant-garde style, and yet, as the Metropolitan Museum of Art notes, at once refers back to the seventeenth century and the work of Johannes Vermeer, ""whose quiet, light-filled rooms with their timeless images of a solitary female occupant inspired many of his pictures.""",https://www.theibis.net/product/edmund-charles-tarbell-across-the-room-c-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8772,https://www.theibis.net/wp-content/uploads/2019/04/xroom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8760,"Odilon Redon : ""Etruscan Vase with Flowers"" (c. 1900-1910) 16"" x 20"" (Image: 12.31"" x 17"")","Odilon Redon painted from life ""as an exercise and as a sustenance,"" but preferred to work from imagination, delving into ""the ambiguous realm of the undetermined"" to place ""the logic of the visible at the service of the invisible."" His early works, his so-called noirs , were conceived entirely in black and skewed heavily toward the nightmarish and baroque. During the 1890s, however, he took up pastels and oils and began to paint vivid dreamscapes and radiant still lifes lush with wonderfully stylized flowers. Turning away from the dark corners of the unconscious, these new works evoked the Zen-like serenity of a mind at peace with itself.",https://www.theibis.net/product/odilon-redon-etruscan-vase-with-flowers-c-1900-1910/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8760,https://www.theibis.net/wp-content/uploads/2019/04/ostill4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8749,"Odilon Redon : ""Bouquet in a Chinese Vase"" (c. 1912-1914) 16"" x 20"" (Image: 13"" x 17"")","Odilon Redon painted from life ""as an exercise and as a sustenance,"" but preferred to work from imagination, delving into ""the ambiguous realm of the undetermined"" to place ""the logic of the visible at the service of the invisible."" His early works, his so-called noirs , were conceived entirely in black and skewed heavily toward the nightmarish and baroque. During the 1890s, however, he took up pastels and oils and began to paint vivid dreamscapes and radiant still lifes lush with wonderfully stylized flowers. Turning away from the dark corners of the unconscious, these new works evoked the Zen-like serenity of a mind at peace with itself.",https://www.theibis.net/product/odilon-redon-bouquet-in-a-chinese-vase-c-1912-1914/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8749,https://www.theibis.net/wp-content/uploads/2019/04/ostill3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8737,"Ernest Meissonier : ""1807, Friedland"" (c. 1861-1875) 16"" x 20"" (Image: 9.38"" x 17"")","Napoleon gives the signal for his cavalry to charge in 1807, Friedland , a masterwork of academic realism by Ernest Meissonier. To learn exactly how trampled wheat fields looked in June, he planted a wheat field, waited until June, and hired cavalry trample it. To accurately depict galloping horses, he laid a section of railway and sketched alongside this same cavalry as it charged. The product of an incredible 14 years of work, 1807, Friedland represents one of the greatest extremes to which a history painter has ever ventured to recreate a single moment.",https://www.theibis.net/product/ernest-meissonier-1807-friedland-c-1861-1875/?attribute_size=16%22+x+20%22+%28Image%3A+9.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8737,https://www.theibis.net/wp-content/uploads/2019/04/meis_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8725,"Odilon Redon : ""Vase of Flowers (Pink Background)"" (c. 1906) 16"" x 20"" (Image: 12.63"" x 17"")","Odilon Redon painted from life ""as an exercise and as a sustenance,"" but preferred to work from imagination, delving into ""the ambiguous realm of the undetermined"" to place ""the logic of the visible at the service of the invisible."" His early works, his so-called noirs , were conceived entirely in black and skewed heavily toward the nightmarish and baroque. During the 1890s, however, he took up pastels and oils and began to paint vivid dreamscapes and radiant still lifes lush with wonderfully stylized flowers. Turning away from the dark corners of the unconscious, these new works evoked the Zen-like serenity of a mind at peace with itself.",https://www.theibis.net/product/odilon-redon-vase-of-flowers-pink-background-c-1906/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8725,https://www.theibis.net/wp-content/uploads/2019/04/ostill2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8714,"Odilon Redon : ""Bouquet of Flowers"" (c. 1905) 16"" x 20"" (Image: 13"" x 16.38"")","Odilon Redon painted from life ""as an exercise and as a sustenance,"" but preferred to work from imagination, delving into ""the ambiguous realm of the undetermined"" to place ""the logic of the visible at the service of the invisible."" His early works, his so-called noirs , were conceived entirely in black and skewed heavily toward the nightmarish and baroque. During the 1890s, however, he took up pastels and oils and began to paint vivid dreamscapes and radiant still lifes lush with wonderfully stylized flowers. Turning away from the dark corners of the unconscious, these new works evoked the Zen-like serenity of a mind at peace with itself.",https://www.theibis.net/product/odilon-redon-bouquet-of-flowers-c-1905/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8714,https://www.theibis.net/wp-content/uploads/2019/04/ostill1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8702,"Frederic Bazille : ""Young Woman with Peonies"" (1870) 16"" x 20"" (Image: 13"" x 16.44"")","Frédéric Bazille, was a founding member of the impressionist movement who worked alongside Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Édouard Manet, but his promising, and indeed already remarkable career was cut short by the Franco-Prussian War. He died in a heroic charge at the age of 28, leaving the world to wonder at the unseen masterworks that perished with him. Young Woman with Peonies is one of his final works, completed just before the outbreak of the war in 1870. The National Gallery in Washington notes that ""The proffered peonies, flowers cultivated by Manet and the subject of a series of still lifes he painted in 1864–1865, are firmly portrayed in a manner reminiscent of Manet. Extending his modest tribute to the debonair leader of the avant–garde, Bazilles composition also alludes to one of Manets most celebrated and notorious works, Olympia (Musée dOrsay, Paris), in which a black servant offers a floral tribute to a naked prostitute.""",https://www.theibis.net/product/frederic-bazille-young-woman-with-peonies-1870/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8702,https://www.theibis.net/wp-content/uploads/2019/04/4baz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8692,"Frederic Bazille : ""Porte de la Reine at Aigues-Mortes"" (1867) 16"" x 20"" (Image: 13"" x 16.13"")","Medieval ramparts enclose the marshland town of Aigues-Mortes in the south of France. Fortified in the 13th century by Louis IX and his successor, Philip III the Bold, it provided the staging area for the seventh and eighth crusades. The artist, Frédéric Bazille, was a founding member of the impressionist movement who worked alongside Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Édouard Manet, but his promising, and indeed already remarkable career was cut short by the Franco-Prussian War. He died in a heroic charge at the age of 28, leaving the world to wonder at the unseen masterworks that perished with him.",https://www.theibis.net/product/frederic-bazille-porte-de-la-reine-at-aigues-mortes-1867/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8692,https://www.theibis.net/wp-content/uploads/2019/04/3baz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8680,"Jean-Francois Millet : ""Man with a Hoe"" (1860-1862) 16"" x 20"" (Image: 13"" x 16"")",""" s I have never seen anything but fields since I was born, I try to say as best I can what I saw and felt when I was at work,"" wrote Jean-François Millet. At the Salon of 1863, Man with a Hoe caused a storm of controversy. The man in the picture was considered brutish and frightening by Parisian bourgeoisie. The Industrial Revolution had caused a steady exodus from French farms, and Man with a Hoe was interpreted as a socialist protest about the peasants plight. Though his paintings were judged in political terms, Millet declared that he was neither a socialist nor an agitator. A religious fatalist, Millet believed that man was condemned to bear his burdens. This farmer is Everyman. His face is lit, yet composed of blots of color that give him no individuality. He is big and dirty and utterly exhausted by the backbreaking work of turning this rocky, thistle-ridden earth into a productive field like the one being worked in the distance. A tribute to dignity and courage in the face of a life of unremitting exertion, Man with a Hoe was long considered a symbol of the laboring class. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jean-francois-millet-man-with-a-hoe-1860-1862/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8680,https://www.theibis.net/wp-content/uploads/2019/04/milhoe_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8668,"Camille Pissarro : ""Jalais Hill, Pontoise"" (1867) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1860s Pissarro differentiated himself by painting rural scenes entirely from nature, unadulterated and free of artifice. He painted what he saw, including unsightly elements of the landscape that would have registered to his contemporaries (says one art historian) much like ""garbage cans or beer bottles on the side of a street scene."" While this departure from convention led to refusals by the Salon, it garnered praise from such forward-thinking critics as Émile Zola. When Jalais Hill, Pontoise was exhibited in 1868, Zola wrote: ""This is the modern countryside. One feels that man has passed by, turning and cutting the earth. . . . And this little valley, this hill have a heroic simplicity and forthrightness. Nothing would be more banal were it not so grand. From ordinary reality the painters temperament has drawn a rare poem of life and strength.""",https://www.theibis.net/product/camille-pissarro-jalais-hill-pontoise-1867/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8668,https://www.theibis.net/wp-content/uploads/2019/04/jalais_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8658,"Camille Pissarro : ""Still Life with Apples and Pitcher"" (1872) 16"" x 20"" (Image: 13"" x 15.88"")","Still Life with Apples and Pitcher was completed two years prior to the first impressionist exhibition, held in 1874. Pissarros loose brushwork, and particularly the bright, unmixed colors in which he has rendered the fruit, anticipate what was to become a controversial artistic breakthrough. The Metropolitan Museum of Art identifies it as one of the few still lifes that Pissarro completed during his career, calling it ""exceptional for its subject, as well as for its clearly expressed forms and subtle manipulation of light.""",https://www.theibis.net/product/camille-pissarro-still-life-with-apples-and-pitcher-1872/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8658,https://www.theibis.net/wp-content/uploads/2019/04/apitch_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8641,"Maria Sibylla Merian : ""Pineapple with German and Australian Cockroaches"" (1705) 16"" x 20"" (Image: 13"" x 16"")","Metamorphosis Insectorum Surinamensium , or Insects of Surinam , was landmark work by the scientific illustrator and naturalist Maria Sibylla Merian. Merian grew up under the artistic influence of her stepfather, the German still life painter Jacob Marrel, and his pupil, Abraham Mignon. Both were significant figures in the golden age of flower painting who, like their contemporaries, frequently populated their still lifes with insects and spiders—but for Merian these small flourishes took on greater significance; their strange metamorphoses unlocked new worlds. She recalled of her youth that: ""I spent my time investigating insects. At the beginning, I started with silk worms in my home town of Frankfurt. I realized that other caterpillars produced beautiful butterflies and moths, and that silkworms did the same. This led me to collect all of the caterpillars I could find in order to see how they changed."" Merian published her first book of natural history illustrations at the age of 28 and, fascinated by the ""beautiful animals"" she had observed in Dutch collections, undertook an expedition to the South American colony of Surinam, where she documented the life cycles of some 186 insect species; their habitats, habits and uses to indigenous people. In an era when it widely imagined that insects were ""born of mud"" by spontaneous generation, her direct observations altered Europes basic understanding of the insect kingdom and lit the path to modern entomology. More recently, her work having entered a period of rediscovery, she has been honored on currency, postage stamps, and in a 2013 Google Doodle.",https://www.theibis.net/product/maria-sibylla-merian-pineapple-with-german-and-australian-cockroaches-1705/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8641,https://www.theibis.net/wp-content/uploads/2019/04/surinam1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8630,"Maria Sibylla Merian : ""Tarantulas and Army Ants"" (1705) 16"" x 20"" (Image: 13"" x 16"")","Metamorphosis Insectorum Surinamensium , or Insects of Surinam , was landmark work by the scientific illustrator and naturalist Maria Sibylla Merian. Merian grew up under the artistic influence of her stepfather, the German still life painter Jacob Marrel, and his pupil, Abraham Mignon. Both were significant figures in the golden age of flower painting who, like their contemporaries, frequently populated their still lifes with insects and spiders—but for Merian these small flourishes took on greater significance; their strange metamorphoses unlocked new worlds. She recalled of her youth that: ""I spent my time investigating insects. At the beginning, I started with silk worms in my home town of Frankfurt. I realized that other caterpillars produced beautiful butterflies and moths, and that silkworms did the same. This led me to collect all of the caterpillars I could find in order to see how they changed."" Merian published her first book of natural history illustrations at the age of 28 and, fascinated by the ""beautiful animals"" she had observed in Dutch collections, undertook an expedition to the South American colony of Surinam, where she documented the life cycles of some 186 insect species; their habitats, habits and uses to indigenous people. In an era when it widely imagined that insects were ""born of mud"" by spontaneous generation, her direct observations altered Europes basic understanding of the insect kingdom and lit the path to modern entomology. More recently, her work having entered a period of rediscovery, she has been honored on currency, postage stamps, and in a 2013 Google Doodle.",https://www.theibis.net/product/maria-sibylla-merian-tarantulas-and-army-ants-1705/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8630,https://www.theibis.net/wp-content/uploads/2019/04/surinam2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8619,"Maria Sibylla Merian : ""Banana Tree Flower with Io Moth"" (1705) 16"" x 20"" (Image: 13"" x 16"")","Metamorphosis Insectorum Surinamensium , or Insects of Surinam , was landmark work by the scientific illustrator and naturalist Maria Sibylla Merian. Merian grew up under the artistic influence of her stepfather, the German still life painter Jacob Marrel, and his pupil, Abraham Mignon. Both were significant figures in the golden age of flower painting who, like their contemporaries, frequently populated their still lifes with insects and spiders—but for Merian these small flourishes took on greater significance; their strange metamorphoses unlocked new worlds. She recalled of her youth that: ""I spent my time investigating insects. At the beginning, I started with silk worms in my home town of Frankfurt. I realized that other caterpillars produced beautiful butterflies and moths, and that silkworms did the same. This led me to collect all of the caterpillars I could find in order to see how they changed."" Merian published her first book of natural history illustrations at the age of 28 and, fascinated by the ""beautiful animals"" she had observed in Dutch collections, undertook an expedition to the South American colony of Surinam, where she documented the life cycles of some 186 insect species; their habitats, habits and uses to indigenous people. In an era when it widely imagined that insects were ""born of mud"" by spontaneous generation, her direct observations altered Europes basic understanding of the insect kingdom and lit the path to modern entomology. More recently, her work having entered a period of rediscovery, she has been honored on currency, postage stamps, and in a 2013 Google Doodle.",https://www.theibis.net/product/maria-sibylla-merian-banana-tree-flower-with-io-moth-1705/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8619,https://www.theibis.net/wp-content/uploads/2019/04/surinam3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8608,"Maria Sibylla Merian : ""Water Hyacinth with Veined Tree Frog and Giant Water Bug"" (1705) 16"" x 20"" (Image: 13"" x 16"")","Metamorphosis Insectorum Surinamensium , or Insects of Surinam , was landmark work by the scientific illustrator and naturalist Maria Sibylla Merian. Merian grew up under the artistic influence of her stepfather, the German still life painter Jacob Marrel, and his pupil, Abraham Mignon. Both were significant figures in the golden age of flower painting who, like their contemporaries, frequently populated their still lifes with insects and spiders—but for Merian these small flourishes took on greater significance; their strange metamorphoses unlocked new worlds. She recalled of her youth that: ""I spent my time investigating insects. At the beginning, I started with silk worms in my home town of Frankfurt. I realized that other caterpillars produced beautiful butterflies and moths, and that silkworms did the same. This led me to collect all of the caterpillars I could find in order to see how they changed."" Merian published her first book of natural history illustrations at the age of 28 and, fascinated by the ""beautiful animals"" she had observed in Dutch collections, undertook an expedition to the South American colony of Surinam, where she documented the life cycles of some 186 insect species; their habitats, habits and uses to indigenous people. In an era when it widely imagined that insects were ""born of mud"" by spontaneous generation, her direct observations altered Europes basic understanding of the insect kingdom and lit the path to modern entomology. More recently, her work having entered a period of rediscovery, she has been honored on currency, postage stamps, and in a 2013 Google Doodle.",https://www.theibis.net/product/maria-sibylla-merian-water-hyacinth-with-veined-tree-frog-and-giant-water-bug-1705/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8608,https://www.theibis.net/wp-content/uploads/2019/04/surinam4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8597,"Maria Sibylla Merian : ""Cardinals Guard Butterfly with Idomeneus Giant Owl Butterfly"" (1705) 16"" x 20"" (Image: 13"" x 16"")","Metamorphosis Insectorum Surinamensium , or Insects of Surinam , was landmark work by the scientific illustrator and naturalist Maria Sibylla Merian. Merian grew up under the artistic influence of her stepfather, the German still life painter Jacob Marrel, and his pupil, Abraham Mignon. Both were significant figures in the golden age of flower painting who, like their contemporaries, frequently populated their still lifes with insects and spiders—but for Merian these small flourishes took on greater significance; their strange metamorphoses unlocked new worlds. She recalled of her youth that: ""I spent my time investigating insects. At the beginning, I started with silk worms in my home town of Frankfurt. I realized that other caterpillars produced beautiful butterflies and moths, and that silkworms did the same. This led me to collect all of the caterpillars I could find in order to see how they changed."" Merian published her first book of natural history illustrations at the age of 28 and, fascinated by the ""beautiful animals"" she had observed in Dutch collections, undertook an expedition to the South American colony of Surinam, where she documented the life cycles of some 186 insect species; their habitats, habits and uses to indigenous people. In an era when it widely imagined that insects were ""born of mud"" by spontaneous generation, her direct observations altered Europes basic understanding of the insect kingdom and lit the path to modern entomology. More recently, her work having entered a period of rediscovery, she has been honored on currency, postage stamps, and in a 2013 Google Doodle.",https://www.theibis.net/product/maria-sibylla-merian-cardinals-guard-butterfly-with-idomeneus-giant-owl-butterfly-1705/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8597,https://www.theibis.net/wp-content/uploads/2019/04/surinam5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8586,"Maria Sibylla Merian : ""Giant Silk Moth on a Purple Coral Tree"" (1705) 16"" x 20"" (Image: 13"" x 16"")","Metamorphosis Insectorum Surinamensium , or Insects of Surinam , was landmark work by the scientific illustrator and naturalist Maria Sibylla Merian. Merian grew up under the artistic influence of her stepfather, the German still life painter Jacob Marrel, and his pupil, Abraham Mignon. Both were significant figures in the golden age of flower painting who, like their contemporaries, frequently populated their still lifes with insects and spiders—but for Merian these small flourishes took on greater significance; their strange metamorphoses unlocked new worlds. She recalled of her youth that: ""I spent my time investigating insects. At the beginning, I started with silk worms in my home town of Frankfurt. I realized that other caterpillars produced beautiful butterflies and moths, and that silkworms did the same. This led me to collect all of the caterpillars I could find in order to see how they changed."" Merian published her first book of natural history illustrations at the age of 28 and, fascinated by the ""beautiful animals"" she had observed in Dutch collections, undertook an expedition to the South American colony of Surinam, where she documented the life cycles of some 186 insect species; their habitats, habits and uses to indigenous people. In an era when it widely imagined that insects were ""born of mud"" by spontaneous generation, her direct observations altered Europes basic understanding of the insect kingdom and lit the path to modern entomology. More recently, her work having entered a period of rediscovery, she has been honored on currency, postage stamps, and in a 2013 Google Doodle.",https://www.theibis.net/product/maria-sibylla-merian-giant-silk-moth-on-a-purple-coral-tree-1705/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8586,https://www.theibis.net/wp-content/uploads/2019/04/surinam6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8574,"Maria Sibylla Merian : ""Grapevine with Gaudy Sphinx Moth"" (1705) 16"" x 20"" (Image: 13"" x 16"")","Metamorphosis Insectorum Surinamensium , or Insects of Surinam , was landmark work by the scientific illustrator and naturalist Maria Sibylla Merian. Merian grew up under the artistic influence of her stepfather, the German still life painter Jacob Marrel, and his pupil, Abraham Mignon. Both were significant figures in the golden age of flower painting who, like their contemporaries, frequently populated their still lifes with insects and spiders—but for Merian these small flourishes took on greater significance; their strange metamorphoses unlocked new worlds. She recalled of her youth that: ""I spent my time investigating insects. At the beginning, I started with silk worms in my home town of Frankfurt. I realized that other caterpillars produced beautiful butterflies and moths, and that silkworms did the same. This led me to collect all of the caterpillars I could find in order to see how they changed."" Merian published her first book of natural history illustrations at the age of 28 and, fascinated by the ""beautiful animals"" she had observed in Dutch collections, undertook an expedition to the South American colony of Surinam, where she documented the life cycles of some 186 insect species; their habitats, habits and uses to indigenous people. In an era when it widely imagined that insects were ""born of mud"" by spontaneous generation, her direct observations altered Europes basic understanding of the insect kingdom and lit the path to modern entomology. More recently, her work having entered a period of rediscovery, she has been honored on currency, postage stamps, and in a 2013 Google Doodle.",https://www.theibis.net/product/maria-sibylla-merian-grapevine-with-gaudy-sphinx-moth-1705/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8574,https://www.theibis.net/wp-content/uploads/2019/04/surinam7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8561,"Camille Pissarro : ""Barges at Pontoise"" (1876) 16"" x 20"" (Image: 13"" x 15.63"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived.",https://www.theibis.net/product/camille-pissarro-barges-at-pontoise-1876/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8561,https://www.theibis.net/wp-content/uploads/2019/04/cpis13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8549,"Camille Pissarro : ""Rue de lEpicerie, Rouen (Effect of Sunlight)"" (1898) 16"" x 20"" (Image: 13"" x 16.13"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Rue de lEpicerie, Rouen (Effect of Sunlight) is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-rue-de-lepicerie-rouen-effect-of-sunlight-1898/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8549,https://www.theibis.net/wp-content/uploads/2019/04/cpis12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8538,"Camille Pissarro : ""The Harvest, Pontoise"" (1881) 16"" x 20"" (Image: 13"" x 16"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. In the early 1880s Pissarro entered a neo-impressionist period, during which he sought to ""educate the public"" by painting ordinary country folk in realistic settings. Unadorned by any hint of romanticism, carrying no overt political message, these works were nonetheless described as ""revolutionary"" by Pierre-Auguste Renoir. In 1885 he would meet Georges Seurat and Paul Signac and have his dalliance with pointillism before finally returning to impressionism with renewed vigor.",https://www.theibis.net/product/camille-pissarro-the-harvest-pontoise-1881/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8538,https://www.theibis.net/wp-content/uploads/2019/04/cpis11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8527,"Camille Pissarro : ""Steamboats in the Port of Rouen"" (1896) 16"" x 20"" (Image: 13"" x 15.5"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Steamboats in the Port of Rouen is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-steamboats-in-the-port-of-rouen-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8527,https://www.theibis.net/wp-content/uploads/2019/04/cpis10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8517,"Camille Pissarro : ""A Cowherd at Valhermeil, Auvers-sur-Oise"" (1874) 16"" x 20"" (Image: 10.06"" x 17"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived.",https://www.theibis.net/product/camille-pissarro-a-cowherd-at-valhermeil-auvers-sur-oise-1874/?attribute_size=16%22+x+20%22+%28Image%3A+10.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8517,https://www.theibis.net/wp-content/uploads/2019/04/cpis9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8505,"Camille Pissarro : ""Cote des Grouettes, near Pontoise"" (probably 1878) 16"" x 20"" (Image: 13"" x 16"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived.",https://www.theibis.net/product/camille-pissarro-cote-des-grouettes-near-pontoise-probably-1878/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8505,https://www.theibis.net/wp-content/uploads/2019/04/cpis8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8493,"Camille Pissarro : ""The Boulevard Montmarte on a Winter Morning"" (1897) 16"" x 20"" (Image: 13"" x 16.13"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. The Boulevard Montmarte on a Winter Morning is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-the-boulevard-montmarte-on-a-winter-morning-1897/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8493,https://www.theibis.net/wp-content/uploads/2019/04/cpis7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8483,"Camille Pissarro : ""Poplars, Eragny"" (1895) 16"" x 20"" (Image: 12"" x 17"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Likely the view from his studio window, Poplars, Éragny is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-poplars-eragny-1895/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8483,https://www.theibis.net/wp-content/uploads/2019/04/cpis6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8470,"Camille Pissarro : ""Morning, An Overcast Day, Rouen"" (1896) 16"" x 20"" (Image: 13"" x 15.56"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. A view of the Boieldieu Bridge, or Grand Pont, Morning, An Overcast Day, Rouen is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-morning-an-overcast-day-rouen-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8470,https://www.theibis.net/wp-content/uploads/2019/04/cpis5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8459,"Camille Pissarro : ""Haystacks, Morning, Eragny"" (1899) 16"" x 20"" (Image: 13"" x 16.25"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Haystacks, Morning, Éragny is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-haystacks-morning-eragny-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8459,https://www.theibis.net/wp-content/uploads/2019/04/cpis4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8449,"Camille Pissarro : ""The Garden of the Tuileries on a Winter Afternoon"" (1899) 16"" x 20"" (Image: 13"" x 16.38"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. The Garden of the Tuileries on a Winter Afternoon is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-the-garden-of-the-tuileries-on-a-winter-afternoon-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8449,https://www.theibis.net/wp-content/uploads/2019/04/cpis3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8437,"Camille Pissarro : ""Two Young Peasant Women"" (1891-1892) 16"" x 20"" (Image: 13"" x 17"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Set in a field near his home in Éragny, Two Young Peasant Women is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-two-young-peasant-women-1891-1892/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8437,https://www.theibis.net/wp-content/uploads/2019/04/cpis2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8427,"Camille Pissarro : ""Young Peasant Girls Resting in the Fields near Pontoise"" (1882) 16"" x 20"" (Image: 13"" x 16.25"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. In the early 1880s Pissarro entered a neo-impressionist period, during which he sought to ""educate the public"" by painting ordinary country folk in realistic settings. Unadorned by any hint of romanticism, carrying no overt political message, these works were nonetheless described as ""revolutionary"" by Pierre-Auguste Renoir. In 1885 he would meet Georges Seurat and Paul Signac and have his dalliance with pointillism before finally returning to impressionism with renewed vigor.",https://www.theibis.net/product/camille-pissarro-young-peasant-girls-resting-in-the-fields-near-pontoise-1882/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8427,https://www.theibis.net/wp-content/uploads/2019/04/cpis1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8415,"Mary Cassatt : ""Lydia Crocheting in the Garden at Marly"" (1880) 16"" x 20"" (Image: 11.94"" x 17"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-lydia-crocheting-in-the-garden-at-marly-1880/?attribute_size=16%22+x+20%22+%28Image%3A+11.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8415,https://www.theibis.net/wp-content/uploads/2019/04/mcas10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8404,"Mary Cassatt : ""Mother and Child (Baby Getting Up from His Nap)"" (c. 1899) 16"" x 20"" (Image: 13"" x 16.25"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-mother-and-child-baby-getting-up-from-his-nap-c-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8404,https://www.theibis.net/wp-content/uploads/2019/04/mcas9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8393,"Mary Cassatt : ""Young Mother Sewing"" (1900) 16"" x 20"" (Image: 13"" x 16.25"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-young-mother-sewing-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8393,https://www.theibis.net/wp-content/uploads/2019/04/mcas8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8380,"Mary Cassatt : ""Mother and Child (The Oval Mirror)"" (c. 1899) 16"" x 20"" (Image: 13"" x 16.13"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-mother-and-child-the-oval-mirror-c-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8380,https://www.theibis.net/wp-content/uploads/2019/04/mcas7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8360,"Mary Cassatt : ""Mother and Child with a Rose Scarf"" (c. 1908) 16"" x 20"" (Image: 13"" x 17"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-mother-and-child-with-a-rose-scarf-c-1908/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8360,https://www.theibis.net/wp-content/uploads/2019/04/mcas6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8349,"Mary Cassatt : ""Sprin Margot Standing in a Garden"" (1900) 16"" x 20"" (Image: 13"" x 15.5"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-spring-margot-standing-in-a-garden-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8349,https://www.theibis.net/wp-content/uploads/2019/04/mcas5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8338,"Mary Cassatt : ""Mother Feeding Child"" (1898) 16"" x 20"" (Image: 13"" x 16.31"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-mother-feeding-child-1898/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8338,https://www.theibis.net/wp-content/uploads/2019/04/mcas4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8328,"Mary Cassatt : ""Woman with a Fan"" (c. 1878-1879) 16"" x 20"" (Image: 13"" x 17"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-woman-with-a-fan-c-1878-1879/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8328,https://www.theibis.net/wp-content/uploads/2019/04/mcas3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8317,"Mary Cassatt : ""Young Girl at a Window"" (c. 1883-1884) 16"" x 20"" (Image: 11"" x 17"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-young-girl-at-a-window-c-1883-1884/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8317,https://www.theibis.net/wp-content/uploads/2019/04/mcas2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8305,"Mary Cassatt : ""The Cup of Tea"" (c. 1880-1881) 16"" x 20"" (Image: 12"" x 17"")","Unable to inhabit the public spaces accessible to her male colleagues, Mary Cassatt turned her talents to more intimate subjects; more often than not, women and children in domestic settings, sitting for portraits or going about the minutia of their daily lives. Her works are rendered in a loose and energetic hand, making use of the light and sometimes unnatural colors of the impressionists palette. Their exceedingly elegant compositions underscore a compelling psychological insight that enables the spectator to share in the relationships of the artist and her subjects.",https://www.theibis.net/product/mary-cassatt-the-cup-of-tea-c-1880-1881/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8305,https://www.theibis.net/wp-content/uploads/2019/04/mcas1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8294,"Jacob Hulsdonck : ""Still Life with Lemons, Oranges and a Pomegranate"" (c. 1620-1640) 16"" x 20"" (Image: 13"" x 15.13"")","Jacob van Hulsdonck, the master of a prosperous studio specializing in still life painting, meticulously rendered every surface and texture of fruit, porcelain, and wooden tabletop in this painting. He was careful to paint the still life from a high vantage point so that most of the table and the bowls contents could be seen. Lemons, oranges, and a pomegranate, some split open to expose their succulent insides, rest in a Chinese blue-and-white porcelain bowl, dating from the Wan-Li period of the Ming dynasty. The still life attests to the fragile and fleeting properties of the natural world. The dimpled skin of the lemons and oranges; the juicy, glistening insides of the pomegranate held gently together by the thin white tissue of the pulp; the leaves and blooms still attached to fruit; and the shiny droplets of water in the foreground are all brilliant, short-lived effects captured on panel. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jacob-hulsdonck-still-life-with-lemons-oranges-and-a-pomegranate-c-1620-1640/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8294,https://www.theibis.net/wp-content/uploads/2019/04/huls_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8282,"Edgar Degas : ""Young Woman with Ibis"" (1860-1862) 16"" x 20"" (Image: 13"" x 17"")","This enigmatic canvas is a product of Degass early career, and most likely his close friendship with the symbolist Gustave Moreau. He may have begun the figure while in Rome during the winter and spring of 1857-1858, then added the Middle Eastern cityscape and ibises, with their strong associations to Egypt and the wisdom god Thoth, in Paris around 1860-1862. Like many of his early paintings, he never finished it to his satisfaction, and kept it until his death in 1917.",https://www.theibis.net/product/edgar-degas-young-woman-with-ibis-1860-1862/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8282,https://www.theibis.net/wp-content/uploads/2019/04/sibis_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8269,"Edouard Vuillard : ""Flowers"" (1906) 16"" x 20"" (Image: 13"" x 16"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. Flowers represents a departure from the (sometimes overpowering) structure of his best-known work, in which he took after Cézanne and Gauguin. His forms are not clearly defined, but bleed into their surroundings. The paint appears wet and active, the subject lively and animated. If realist flowers live forever, Vuillards grow forever.",https://www.theibis.net/product/edouard-vuillard-flowers-1906/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8269,https://www.theibis.net/wp-content/uploads/2019/04/vflow_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8258,"George Stubbs : ""Zebra"" (1763) 16"" x 20"" (Image: 13"" x 16.31"")","George Stubbs was perhaps the most accomplished animal painter of his time. A largely self-taught artist, his technique was honed by a lifelong passion for anatomy. From 1745 to 1751 he studied human anatomy at York County Hospital and in 1756 rented a farmhouse in Lincolnshire, where he spent 18 months dissecting horses. In addition to the equine subjects for which he is best-known, he painted portraits, dogs and hounds, pastorals, historical subjects and exotic animals. His Zebra depicts the first of its kind seen in England. It was brought from South Africa in 1762 as a gift to Queen Charlotte and displayed in the menagerie at Buckingham Palace. There it quickly became a sensation with the public, who turned out in droves for a glimpse of ""the Queens she-ass."" ""Stubbss grasp of the anatomical differences between zebras and horses,"" notes Angus Trumble of the Yale Center for British Art,"" is, of course, masterly, and in the present work the backward direction of the ears, the dewlap on the underside of the neck or the front, and the gridiron pattern of the stripes on the nether regions, immediately above the tail—all these are exactly consistent with zoological verisimilitude and, in fact, identify the present animal as the smallest of three subspecies of zebra, the Cape Mountain.""",https://www.theibis.net/product/george-stubbs-zebra-1763/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8258,https://www.theibis.net/wp-content/uploads/2019/04/zebra_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8246,"George Stubbs : ""A Lion Attacking a Horse"" (1762) 16"" x 20"" (Image: 13"" x 17"")","George Stubbs was perhaps the most accomplished animal painter of his time. A largely self-taught artist, his technique was honed by a lifelong passion for anatomy. From 1745 to 1751 he studied human anatomy at York County Hospital and in 1756 rented a farmhouse in Lincolnshire, where he spent 18 months dissecting horses. In addition to the equine subjects for which he is best-known, he painted portraits, dogs and hounds, pastorals, historical subjects and exotic animals. These include several variations on the theme of a lion running down prey (usually a horse), which must have provided a vehicle for him to explore the anatomy of these animals in their more dramatic and unusual contortions.",https://www.theibis.net/product/george-stubbs-a-lion-attacking-a-horse-1762/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8246,https://www.theibis.net/wp-content/uploads/2019/04/lhorse_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8236,"George Stubbs : ""A Lion Attacking a Stag"" (between 1765 and 1766) 16"" x 20"" (Image: 12.25"" x 17"")","George Stubbs was perhaps the most accomplished animal painter of his time. A largely self-taught artist, his technique was honed by a lifelong passion for anatomy. From 1745 to 1751 he studied human anatomy at York County Hospital and in 1756 rented a farmhouse in Lincolnshire, where he spent 18 months dissecting horses. In addition to the equine subjects for which he is best-known, he painted portraits, dogs and hounds, pastorals, historical subjects and exotic animals. These include several variations on the theme of a lion running down prey (usually a horse), which must have provided a vehicle for him to explore the anatomy of these animals in their more dramatic and unusual contortions.",https://www.theibis.net/product/george-stubbs-a-lion-attacking-a-stag-between-1765-and-1766/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8236,https://www.theibis.net/wp-content/uploads/2019/04/lstag_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8224,"Jean-Honore Fragonard : ""Young Girl Reading"" (c. 1770) 16"" x 20"" (Image: 13"" x 16.31"")","Jean-Honoré Fragonard is best-known for his turgid contributions to the late Rococo, but when, during the 1760s, these works were met with an increasingly tepid response, he took up Neoclassicism and genre painting. Young Girl Reading is just this: a genre painting, rather than a portrait. The identity of the sitter is unknown. The light illuminating her face and body encompasses the act of reading in an almost religious aura, yet she is garbed in a luxuriant yellow dress and ruffed collar which reminisce of the courtly jubilation that Fragonard was, perhaps, too reluctant to leave behind. For later generations of French artists, the liseuse or ""reader"" genre would become a vehicle to explore female subjectivity, personal agency and the relationship between public and private.",https://www.theibis.net/product/jean-honore-fragonard-young-girl-reading-c-1770/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8224,https://www.theibis.net/wp-content/uploads/2019/04/fragg_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8213,"Claude Monet : ""Banks of the Seine, Vetheuil"" (1880) 16"" x 20"" (Image: 12.38"" x 17"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. In 1880 he completed two views of the Île aux Fleurs, or ""Island of Flowers:"" Île aux Fleurs near Vétheuil and Banks of the Seine, Vétheuil . Virtually identical compositions, the former being of a warmer complexion than the latter, they show Monet awakening to the properties of painted surface itself. The National Gallerys remarks on Banks of the Seine, Vétheuil are equally applicable to both paintings: ""Here, brushstrokes vary in response to the different textures they portray—contrast, for example, the quick horizontal skips in the rivers gently rippled surface with the rounder, swirling forms of the sky. But it is the foreground, where thick grasses and flowers are painted with crowded, exuberant strokes, that draws our attention. These heavy layers of paint were probably not completed on the spot, but instead carefully reworked in the studio. The strokes assume an importance in their own right, becoming decorative as well as descriptive. Monet, however, never strays far from the natural forms that were his inspiration.""",https://www.theibis.net/product/claude-monet-banks-of-the-seine-vetheuil-1880/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8213,https://www.theibis.net/wp-content/uploads/2019/04/bankss_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8202,"Claude Monet : ""The Artists Garden at Vetheuil"" (1880) 16"" x 20"" (Image: 13"" x 16.31"")","A series of blue and white vases, tinted by the reflected light of their surroundings, direct the eye to the focal point of The Artists Garden at Vétheuil ; Monets young son, Michel, who would one day inherit his estate at Giverny and will it to the Académie des Beaux-Arts. Pictured at the age of two, or thereabouts, he is dwarfed by rows of tall sunflowers that must have appeared to him as a gold and emerald forest. According to the National Gallery in Washington, this work was completed at a point in Monets life when he ""had become increasingly interested in the painted surface itself and less concerned with capturing a spontaneous effect of light and atmosphere. The very composition of this painting, with its high horizon, traps our eye in the canvas—even the path is blocked in the distance by the rising steps. We are forced back to the surface, where the paint is textured and heavily layered. At close range, these brushstrokes, though still inspired by nature, seem less descriptive than decorative.""",https://www.theibis.net/product/claude-monet-the-artists-garden-at-vetheuil-1880/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8202,https://www.theibis.net/wp-content/uploads/2019/04/veth_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8191,"Claude Monet : ""Cliffs at Pourville"" (1882) 16"" x 20"" (Image: 10.13"" x 17"")","Between February and mid-April of 1882 Monet settled in the seaside resort of Pourville-sur-Mer, where he wrote to his future wife, Alice Hoschedé, ""How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!"" In Cliffs at Pourville the artists calligraphic brushwork creates the suggestion of movement; the short, curving strokes of the womans wind-tossed hair and swaying foliage giving way to the long, flowing contours of the second hill. The eye progresses into the painting through a succession of jumps from one overlapping plane to the next, entering at the warm, roughly-textured foreground and leaving through the soft blue-gray vanishing point where the ocean meets the sky. By this subtle yet deliberate use of color, texture and perspective, Monet creates the impression of spacious and airy terrain.",https://www.theibis.net/product/claude-monet-cliffs-at-pourville-1882/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8191,https://www.theibis.net/wp-content/uploads/2019/04/pourv_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8179,"Edgar Degas : ""A Woman Seated beside a Vase of Flowers"" (1865) 16"" x 20"" (Image: 13"" x 16.25"")","A Woman Seated beside a Vase of Flowers invites comparison to Édouard Manets realist depictions of Parisian women drinking alone. Whereas works like Plum Brandy and In the Café (lAbsinthe) evoke a sense of disillusion or alienation, Degas juxtaposition of the thoughtful sitter with the lavish bouquet suggests a fertile and lovely imagination. According to the Metropolitan Museum of Art, the sitter is probably Madame Paul Valpinçon, the wife of a ""schoolboy friend"" whom Degas would visit at their country home in Normandy.",https://www.theibis.net/product/edgar-degas-a-woman-seated-beside-a-vase-of-flowers-1865/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8179,https://www.theibis.net/wp-content/uploads/2019/04/degmet5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8167,"Edgar Degas : ""The Dance Lesson"" (c. 1879) 16"" x 20"" (Image: 13"" x 14.81"")","Transfixed by a world of pink and white, Edgar Degas pulled strings with influential friends to gain backstage access to the Paris Opera, where he sketched the ballerinas in their private routines. ""He comes in here in the morning,"" noted a friend, ""He watches all the exercises in which the movements are analyzed...nothing in the most complicated step escapes his gaze."" Though their most graceful movements were on stage, it was their mundane hard work and preparation that most fascinated Degas; dancers rubbing sore muscles, fixing their hair, waiting to perform. In an 1889 sonnet, he empathized: ""One knows that in your world / Queens are made of distance and greasepaint.""",https://www.theibis.net/product/edgar-degas-the-dance-lesson-c-1879-2/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8167,https://www.theibis.net/wp-content/uploads/2019/04/degmet4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8156,"Edgar Degas : ""The Dancing Class"" (c. 1870) 16"" x 20"" (Image: 12.38"" x 17"")","Transfixed by a world of pink and white, Edgar Degas pulled strings with influential friends to gain backstage access to the Paris Opera, where he sketched the ballerinas in their private routines. ""He comes in here in the morning,"" noted a friend, ""He watches all the exercises in which the movements are analyzed...nothing in the most complicated step escapes his gaze."" Though their most graceful movements were on stage, it was their mundane hard work and preparation that most fascinated Degas; dancers rubbing sore muscles, fixing their hair, waiting to perform. In an 1889 sonnet, he empathized: ""One knows that in your world / Queens are made of distance and greasepaint.""",https://www.theibis.net/product/edgar-degas-the-dancing-class-c-1870/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8156,https://www.theibis.net/wp-content/uploads/2019/04/degmet3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8144,"Edgar Degas : ""The Rehearsal Onstage"" (c. 1874) 16"" x 20"" (Image: 12.31"" x 17"")","Transfixed by a world of pink and white, Edgar Degas pulled strings with influential friends to gain backstage access to the Paris Opera, where he sketched the ballerinas in their private routines. ""He comes in here in the morning,"" noted a friend, ""He watches all the exercises in which the movements are analyzed...nothing in the most complicated step escapes his gaze."" Though their most graceful movements were on stage, it was their mundane hard work and preparation that most fascinated Degas; dancers rubbing sore muscles, fixing their hair, waiting to perform. In an 1889 sonnet, he empathized: ""One knows that in your world / Queens are made of distance and greasepaint.""",https://www.theibis.net/product/edgar-degas-the-rehearsal-onstage-c-1874/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8144,https://www.theibis.net/wp-content/uploads/2019/04/degmet2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8134,"Edgar Degas : ""The Dance Class"" (1874) 16"" x 20"" (Image: 13"" x 14.06"")","Transfixed by a world of pink and white, Edgar Degas pulled strings with influential friends to gain backstage access to the Paris Opera, where he sketched the ballerinas in their private routines. ""He comes in here in the morning,"" noted a friend, ""He watches all the exercises in which the movements are analyzed...nothing in the most complicated step escapes his gaze."" Though their most graceful movements were on stage, it was their mundane hard work and preparation that most fascinated Degas; dancers rubbing sore muscles, fixing their hair, waiting to perform. In an 1889 sonnet, he empathized: ""One knows that in your world / Queens are made of distance and greasepaint.""",https://www.theibis.net/product/edgar-degas-the-dance-class-1874/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.06%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8134,https://www.theibis.net/wp-content/uploads/2019/04/degmet1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8122,"Edouard Vuillard : ""Luncheon"" (1901) 16"" x 20"" (Image: 8.5"" x 17"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. Interior scenes like Luncheon were Vuillards particular forte. Having lived with his mother, a dressmaker, until the age of sixty, he was particularly well-attuned to domestic environments. These canvases attend to the beauty of line and perspective, and to the tension between architectural structure and geometry with floral patterns and other organic elements.",https://www.theibis.net/product/edouard-vuillard-luncheon-1901/?attribute_size=16%22+x+20%22+%28Image%3A+8.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8122,https://www.theibis.net/wp-content/uploads/2019/04/vuil10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8110,"Edouard Vuillard : ""The Small Drawing-Room: Mme Hessel at Her Sewing Table"" (1917) 16"" x 20"" (Image: 11.06"" x 17"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. Interior scenes like The Small Drawing-Room: Mme Hessel at Her Sewing Table were Vuillards particular forte. Having lived with his mother, a dressmaker, until the age of sixty, he was particularly well-attuned to domestic environments. These canvases attend to the beauty of line and perspective, and to the tension between architectural structure and geometry with floral patterns and other organic elements.",https://www.theibis.net/product/edouard-vuillard-the-small-drawing-room-mme-hessel-at-her-sewing-table-1917/?attribute_size=16%22+x+20%22+%28Image%3A+11.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8110,https://www.theibis.net/wp-content/uploads/2019/04/vuil9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8100,"Edouard Vuillard : ""Interior with Paintings and a Pheasant"" (1928) 16"" x 20"" (Image: 13"" x 16.25"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. Interior with Paintings and a Pheasant is one of the more fluid and spontaneous canvases by Vuillard, who often worked in a highly formilinear style similar to Gauguin and Cézanne. According to the Metropolitan Museum of Art, ""the painting in the background of this work shows the daughter and grandson of the collector David David-Weill at his country house in Mareil-le-Gyuon. Supposedly Vuillard was working on the painting in his studio when David-Weill stopped by with a pheasant from a hunting expedition. Vuillard placed it before the unfinished canvas in progress and began to paint the present picture.""",https://www.theibis.net/product/edouard-vuillard-interior-with-paintings-and-a-pheasant-1928/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8100,https://www.theibis.net/wp-content/uploads/2019/04/vuil8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8080,"Edouard Vuillard : ""Garden at Vaucresson"" (1920-1936) 16"" x 20"" (Image: 12.5"" x 17"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. Garden at Vaucresson is illustrative of a prominent theme in Vuillards work: the tension between indoor and outdoor spaces, the natural and artificial. Whereas his interior scenes emphasized architectural structure and geometry to a degree sometimes served to stifle and constrain his subjects, his natural environments were rendered in winding lines and energetic patterns evocative of growth and recreation.",https://www.theibis.net/product/edouard-vuillard-garden-at-vaucresson-1920-1936/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8080,https://www.theibis.net/wp-content/uploads/2019/04/vuil7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8069,"Edouard Vuillard : ""Repast in the Garden"" (1898) 16"" x 20"" (Image: 13"" x 13.25"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. Repast in the Garden is illustrative of a prominent theme in Vuillards work: the tension between indoor and outdoor spaces, the natural and artificial. Whereas his interior scenes emphasized architectural structure and geometry to a degree sometimes served to stifle and constrain his subjects, his natural environments were rendered in winding lines and energetic patterns evocative of growth and recreation.",https://www.theibis.net/product/edouard-vuillard-repast-in-the-garden-1898/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8069,https://www.theibis.net/wp-content/uploads/2019/04/vuil6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8058,"Edgar Degas : ""Woman Ironing"" (c. 1876 - c. 1887) 16"" x 20"" (Image: 13"" x 16.25"")","On the surface, Degas portrayals of ballerinas and working women would seem to have little to do with one another, when in fact both motifs juxtapose two persistent themes in his work: graceful motion and the suffering of women. Observing ballerinas at the Paris Opera, he was most often backstage, attending to the tedium of their practice and preparation, the sore muscles and moments of boredom that led up to the stage. In documenting the routines of milliners, dressmakers and washerwomen, he was likewise interested in the movements and rhythms of their work; the dance within their drudgery.",https://www.theibis.net/product/edgar-degas-woman-ironing-c-1876-c-1887/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8058,https://www.theibis.net/wp-content/uploads/2019/04/wiron_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8047,"Edouard Vuillard : ""The Artists Paint Box and Moss Roses"" (1898) 16"" x 20"" (Image: 13"" x 15.5"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw.",https://www.theibis.net/product/edouard-vuillard-the-artists-paint-box-and-moss-roses-1898/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8047,https://www.theibis.net/wp-content/uploads/2019/04/vuil5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8037,"Edouard Vuillard : ""Vase of Flowers on a Mantelpiece"" (c. 1900) 16"" x 20"" (Image: 13"" x 16"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw.",https://www.theibis.net/product/edouard-vuillard-vase-of-flowers-on-a-mantelpiece-c-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8037,https://www.theibis.net/wp-content/uploads/2019/04/vuil4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8025,"Edouard Vuillard : ""Women Sewing"" (c. 1912) 16"" x 20"" (Image: 9"" x 17"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. A prominent theme in Vuillards work is tension between indoor and outdoor spaces. Whereas his outdoor scenes frequently incorporate winding lines and energetic patterns, his interiors emphasize architectural structure and geometry; elements that serve to stifle and enclose the two subjects of Women Sewing . Having lived with his mother, a dressmaker, until the age of sixty, Vuillard was well-attuned to the drudgery of womens labor and the ordeal of being confined to the home.",https://www.theibis.net/product/edouard-vuillard-women-sewing-c-1912/?attribute_size=16%22+x+20%22+%28Image%3A+9%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8025,https://www.theibis.net/wp-content/uploads/2019/04/vuil3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8012,"Edouard Vuillard : ""Theodore Duret"" (1912) 16"" x 20"" (Image: 13"" x 16.5"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. Théodore Duret was a French journalist, author and art critic who is best-known for his support of the Impressionist movement. His portrait had already been painted by the likes of Édouard Manet and James McNeill Whistler when Vuillard received this commission in 1912. The artist posed him in his study, enclosed by an overabundance of rectangles; books, papers, paintings and architecture which themselves form larger rectangles, expressive of Durets highly structured intellect. The small cat on his knee, meanwhile, intimates that if Duret was serious, he was also kind.",https://www.theibis.net/product/edouard-vuillard-theodore-duret-1912/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8012,https://www.theibis.net/wp-content/uploads/2019/04/vuil2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 8001,"Edouard Vuillard : ""Woman in a Striped Dress"" (1895) 16"" x 20"" (Image: 13"" x 14.5"")","A member of the French avant-garde group Les Nabis (""The Prophets""), Édouard Vuillard challenged the traditionally held belief that art should attempt to recreate nature. However skilled the artist, a painting could only ever be, as his colleague Maurice Denis put it, ""a flat surface covered with colors assembled in a certain order,""—but it neednt pretend to be anything else. Rather, Vuillard downplayed naturalistic detail in order to emphasize the aesthetic properties of line, color and form; bringing these to the fore in a manner that not only rendered his work beautiful in a strictly abstract sense, but also expressed his feelings toward the subject. Whereas the academic realists of the era were amply equipped to reproduce what they saw, Vuillard and the Nabis were better enabling artists to communicate how they saw. According to the National Gallery in Washington, "" Woman in a Striped Dress is one of five decorations painted in 1895 for Thadée Natanson, publisher of the avant-garde journal La Revue Blanche, and his wife Misia Godebska, an accomplished pianist...The introspective woman arranging flowers here perhaps represents the red-haired Misia, whom Vuillard admired greatly. Vuillard adopted the symbolist idea of synesthesia, whereby one sense can evoke another, and in Woman in a Striped Dress the sumptuous visual qualities of Vuillards reds may suggest the lush chords of music that Misia performed.""",https://www.theibis.net/product/edouard-vuillard-woman-in-a-striped-dress-1895/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=8001,https://www.theibis.net/wp-content/uploads/2019/04/vuil1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7989,"Claude Monet : ""Morning Haze"" (1888) 16"" x 20"" (Image: 13"" x 16.31"")","Like many of Monets paintings, the subject of Morning Haze is the atmosphere, rather than the setting of the piece; it is the light being refracted by mist and the mist softening the trees. ""For me,"" said the artist, ""a landscape does not exist in its own right, since its appearance changes at every moment; but its surroundings bring it to life—the air and the light, which vary continually...it is only the surrounding atmosphere which gives objects their true value.""",https://www.theibis.net/product/claude-monet-morning-haze-1888/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7989,https://www.theibis.net/wp-content/uploads/2019/04/mhaz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7979,"Claude Monet : ""Waterloo Bridge"" (1901) 16"" x 20"" (Image: 10.88"" x 17"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. Whereas in France he had painted wheatstacks near his home in Giverny and more than thirty views of the Rouen Cathedral, in London he became transfixed by effects of fog on the architecture of the river Thames—Waterloo Bridge, Charing Cross Bridge, and the Houses of Parliament. London, he wrote, wouldnt be a beautiful city,"" but for ""the fog that gives it its magnificent breadth,"" and it was this—the citys surrounding atmosphere, or ""envelope""—that he sought to capture. ""To me the motif was an insignificant factor,"" he said. ""What I want is to reproduce what exists between the motif and me.""",https://www.theibis.net/product/claude-monet-waterloo-bridge-1901/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7979,https://www.theibis.net/wp-content/uploads/2019/04/mwat2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7967,"Claude Monet : ""Waterloo Bridge, London, at Dusk"" (1904) 16"" x 20"" (Image: 10.88"" x 17"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. Whereas in France he had painted wheatstacks near his home in Giverny and more than thirty views of the Rouen Cathedral, in London he became transfixed by effects of fog on the architecture of the river Thames—Waterloo Bridge, Charing Cross Bridge, and the Houses of Parliament. London, he wrote, wouldnt be a beautiful city,"" but for ""the fog that gives it its magnificent breadth,"" and it was this—the citys surrounding atmosphere, or ""envelope""—that he sought to capture. ""To me the motif was an insignificant factor,"" he said. ""What I want is to reproduce what exists between the motif and me.""",https://www.theibis.net/product/claude-monet-waterloo-bridge-london-at-dusk-1904/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7967,https://www.theibis.net/wp-content/uploads/2019/04/mwat1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7956,"Claude Monet : ""Woman Seated under the Willows"" (1880) 16"" x 20"" (Image: 12.5"" x 17"")","In her book on women readers in French painting, Kathryn J. Brown writes that ""Throughout the 1870s, Monet experimented with pictorial structures that both cocooned and illuminated the female reader, revealing her in epiphanic fashion in a manner reminiscent of Renaissance paintings that portrayed the Virgin Mary secluded in her garden."" In Woman Seated under the Willows , she notes, the trees form a cathedral-like arch or cloister. Rendered in the same short, curving brushstrokes as the landscape, the woman blends seamlessly into her environment. The effect is to convey ""the isolation of the female physical and imaginative life with an idealized realm that is disconnected from wider social reality.""",https://www.theibis.net/product/claude-monet-woman-seated-under-the-willows-1880/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7956,https://www.theibis.net/wp-content/uploads/2019/04/uwil_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7945,"Claude Monet : ""The Houses of Parliament, Sunset"" (1903) 16"" x 20"" (Image: 13"" x 14.75"")","""For me,"" said Claude Monet, ""a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually."" In order to convey the dynamic nature of the landscape, or other motif in which he was interested, he often worked in series, painting the same subject under different conditions. Whereas in France he had painted wheatstacks near his home in Giverny and more than thirty views of the Rouen Cathedral, in London he became transfixed by effects of fog on the architecture of the river Thames—Waterloo Bridge, Charing Cross Bridge, and the Houses of Parliament. London, he wrote, wouldnt be a beautiful city,"" but for ""the fog that gives it its magnificent breadth,"" and it was this—the citys surrounding atmosphere, or ""envelope""—that he sought to capture. ""To me the motif was an insignificant factor,"" he said. ""What I want is to reproduce what exists between the motif and me.""",https://www.theibis.net/product/claude-monet-the-houses-of-parliament-sunset-1903/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7945,https://www.theibis.net/wp-content/uploads/2019/04/mhou_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7932,"John Henry Twachtman : ""Winter Harmony"" (c. 1890/1900) 16"" x 20"" (Image: 13"" x 16.25"")","Winter Harmony is a Whistlerian landscape whose beauty rests upon its balanced composition and subtle variations of cool colors, accented by dabs of orange. The subject is most likely Horseneck Brook, on the artists seven-acre farm at Cos Cob, Connecticut. Twachtman had a special affinity for snow, finding that it added mystery to the landscape. ""We must have snow and lots of it,"" he once wrote to J. Alden Weir, ""Never is nature more lovely than when it is snowing. Everything is so quiet and the whole earth seems wrapped in a mantle.""",https://www.theibis.net/product/john-henry-twachtman-winter-harmony-c-1890-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7932,https://www.theibis.net/wp-content/uploads/2019/04/whar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7922,"Jacob van Hulsdonck : ""Wild Strawberries and a Carnation in a Wan-Li Bowl"" (c. 1620) 16"" x 20"" (Image: 13"" x 16.63"")","Wild Strawberries and a Carnation in a Wan-Li Bowl is a still life of the Dutch Golden Age, executed on a copper surface to enhance the luster of its delicately rendered fruit and porcelain. Banquet pieces featuring exotic tableware and delectable foods reflected the prosperity of the Dutch trading empire, their celebratory spirit invariably tempered by minor elements symbolic of the transience of life; here, the fragile butterfly, resting upon a leaf, and the fly consuming the strawberry.",https://www.theibis.net/product/jacob-van-hulsdonck-wild-strawberries-and-a-carnation-in-a-wan-li-bowl-c-1620/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7922,https://www.theibis.net/wp-content/uploads/2019/04/huls2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7912,"George Stubbs : ""White Poodle in a Punt"" (c. 1780) 16"" x 20"" (Image: 13"" x 16.13"")","George Stubbs was perhaps the most accomplished animal painter of his time. A largely self-taught artist, his technique was honed by a lifelong passion for anatomy. From 1745 to 1751 he studied human anatomy at York County Hospital and in 1756 rented a farmhouse in Lincolnshire, where he spent 18 months dissecting horses. In addition to the equine subjects for which he is best-known, he painted human portraits, pastorals, exotic animals, hounds and single portraits of dogs, of which White Poodle in a Punt is an outstanding example.",https://www.theibis.net/product/george-stubbs-white-poodle-in-a-punt-c-1780/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7912,https://www.theibis.net/wp-content/uploads/2019/04/pood_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7900,"James McNeill Whistler : ""Mother of Pearl and Silver: The Andalusian"" (1888 (?) - 1900) 16"" x 20"" (Image: 7.88"" x 17"")","James McNeill Whistler had an avid interest in womens fashion. He collected fashion plates and even designed dresses for his female sitters. It has been proposed that the subject of this full-length portrait is not the woman, but the dress itself, and that ""The Andalusian"" is actually the model name of the garment; its flowing grey silks a natural vehicle for the artist to explicate the tonal harmonies and variations he so thoroughly enjoyed.",https://www.theibis.net/product/james-mcneill-whistler-mother-of-pearl-and-silver-the-andalusian-1888-1900/?attribute_size=16%22+x+20%22+%28Image%3A+7.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7900,https://www.theibis.net/wp-content/uploads/2019/04/andal_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7887,"James Rattray : ""Mosque and Tomb of the Emperor Sultan Mahmud, of Ghanzi"" (1848) 16"" x 20"" (Image: 13"" x 16.5"")","During the 19th century Britain and Russia vied for control of Afghanistan in what is popularly remembered as ""The Great Game."" The First Anglo-Afghan War (1839-1842) was an disastrous attempt by the British to replace the pro-Russian emir that ended after a series of harsh winters and violent uprisings forced their withdrawal. James Rattray was a second lieutenant in the Army of the Indus who participated in the conflict from 1841 onward. His sketches and narrative became the basis of a luxuriant travelogue titled Scenery, Inhabitants and Costumes of Afghaunistaun (1848). Illustrated with 30 exquisite chromolithographs, it depicts the rich culture and breathtaking landscape of a region that is too often associated with bloodshed.",https://www.theibis.net/product/james-rattray-mosque-and-tomb-of-the-emperor-sultan-mahmud-of-ghanzi-1848/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7887,https://www.theibis.net/wp-content/uploads/2019/04/rattray10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7877,"Fernand Khnopff : ""Jeanne Kefer"" (1885) 16"" x 20"" (Image: 13"" x 13"")","Fernand Khnopff depicted the daughter of a composer friend on a porch before a closed door, with her tiny thumb catching the edge of her bow as she reaches into her coat. With this small gesture, Khnopff captured the childs vulnerability and uncertainty in facing the outside world. To further evoke a childs perception of a world scaled for grown-ups, he framed Jeanne Kéfers tiny body against the adult-sized door and tilted the floor ever so slightly. Jeanne is further isolated by the free, abstract brushwork in the reflective door window behind her. Typical for Khnopff, Jeanne is not warm and inviting but cut off in the shallow background, a fixed, haunting gaze on her face. Khnopff became a popular society portrait painter in the 1880s, using elements that served him well as an avant-garde Symbolist painter: visual realism and a mood of silence, isolation, and reverie. He frequently posed his models leaning against a closed door, flattening the space and resulting in a meditative, hermetically sealed image. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/fernand-khnopff-jeanne-kefer-1885/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7877,https://www.theibis.net/wp-content/uploads/2019/04/kefer_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7864,"John Frederick Lewis : ""A Lady Receiving Visitors (The Reception)"" (1873) 16"" x 20"" (Image: 13"" x 15.56"")","A vivid, exquisitely detailed interior piece, A Lady Receiving Visitors reflects Lewiss passion for Islamic architecture and polite approach to female and domestic subjects. An English artist who traveled extensively through Europe and the Middle East, Lewis resided in Cairo from 1841 to 1851, where he maintained himself in languid opulence; his friend William Makepeace Thackeray describing him as a ""languid Lotus-eater"" leading a ""dreamy, hazy, lazy tobaccofied life."" In contrast other Orientalist painters, however, he refused be to salacious. According to author Nicholas Tromans, even he when he painted a harem, he imagined it ""as a place of almost English domesticity,... ...womens fully clothed respectability suggests a moral healthiness to go with their natural good looks.""",https://www.theibis.net/product/john-frederick-lewis-a-lady-receiving-visitors-the-reception-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7864,https://www.theibis.net/wp-content/uploads/2019/04/recep_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7854,"John Frederick Lewis : ""On the Banks of the Nile, Upper Egypt"" (1876) 16"" x 20"" (Image: 13"" x 15.56"")","Egyptian peasants form the backdrop to a menagerie of waterfowl and domestic animals in this Orientalist landscape by John Frederick Lewis, evocative of Caesar and Cleopatras voyage down the River Nile. An English painter who traveled extensively through Europe and the Middle East, Lewis resided in Cairo from 1841 to 1851, where he maintained himself in languid opulence; his friend William Makepeace Thackeray describing him as a ""languid Lotus-eater"" leading a ""dreamy, hazy, lazy tobaccofied life.""",https://www.theibis.net/product/john-frederick-lewis-on-the-banks-of-the-nile-upper-egypt-1876/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7854,https://www.theibis.net/wp-content/uploads/2019/04/banknile_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7842,"John Frederick Lewis : ""Roman Pilgrims"" (1854) 16"" x 20"" (Image: 12.31"" x 17"")","John Frederick Lewis was an English Orientalist painter who traveled extensively throughout Europe and the Middle East. With its brilliant color and stunning detail, Roman Pilgrims is an outstanding example of his virtuoso watercolor technique. Throughout his life, he would be forced to balance his passion for the medium against the preference of art patrons for oils. Complaining to a colleague, he one wrote that: ""Generally in spite of all my hard work, I find water colour to be thoroly unremunerative that I can stand it no longer—it is all, all always, rolling the stone up the hill—no rest, and such little pay!"" In 1858 he resigned as president of the Society of Painters in Water Colours, which forbade its members from exhibiting works in oil. Thereafter his usual practice was to paint the same composition in both formats, the more luminous and expressive watercolor invariably commanding a lesser price than the more rapidly executed oil painting. Though attitudes towards the medium have somewhat improved with the decline of academic realism, modern watercolorists still face much the same dilemma.",https://www.theibis.net/product/john-frederick-lewis-roman-pilgrims-1854/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7842,https://www.theibis.net/wp-content/uploads/2019/04/rpil_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7830,"Jean-Honore Fragonard : ""The Visit to the Nursery"" (c. 1775) 16"" x 20"" (Image: 13"" x 16.5"")","Jean-Honoré Fragonard is best-known for his turgid contributions to the late Rococo, but when, during the 1760s, these works were met with an increasingly tepid response, he took up Neoclassicism and genre painting. The Visit to the Nursery is a product of this period, depicting three generations gathered about a sleeping baby. The lantern at the open window may reflect the folk belief that an infant soul is but loosely tethered to its body and has need of a beacon to lead it back from its nightly rounds; an interpretation that is supported by the upward gaze and awed expression of the child with the with hat. In the 18th century—an era of ghastly infant mortality rates—it was in the nursery, not the womb, that life finally took hold.",https://www.theibis.net/product/jean-honore-fragonard-the-visit-to-the-nursery-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7830,https://www.theibis.net/wp-content/uploads/2019/04/fnurs_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7820,"Christoffer Wilhelm Eckersberg : ""View of the Cloaca Maxima, Rome"" (1814) 16"" x 20"" (Image: 11.31"" x 17"")","As a young artist Christoffer Wilhelm Eckersberg traveled to Rome, where he first experimented with open-air painting. In works like View of the Cloaca Maxima, Rome he thereby achieved a degree of freshness and immediacy that was new to Danish art. The National Gallery notes that while containing important architectural details such as the Janus Arch, Church of San Giorgio and the Cloaca Maxima itself—Romes ""Greatest Sewer""—the emphasis of the painting is on ""the architectural lines and their articulation of pictorial space rather than the famous buildings themselves."" As a professor in the Academy, Eckersberg would go on to pen a dissertation on linear perspective and bring a new generation of artists into the field, thereby revitalizing Danish art and laying the foundations for its impending golden age.",https://www.theibis.net/product/christoffer-wilhelm-eckersberg-view-of-the-cloaca-maxima-rome-1814/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7820,https://www.theibis.net/wp-content/uploads/2019/04/cloaca_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7804,"Ernst Ludwig Kirchner : ""Nude Figure"" (1907) 16"" x 20"" (Image: 5.63"" x 17"")","In 1905 Ernst Ludwig Kirchner and his associates founded Die Brücke (""The Bridge""); a seminal art group that laid the foundations of German Expressionism. Members of the group enjoyed bohemian lifestyles that flouted the norms of bourgeois society. They initially gathered at Kirchers first studio; a converted butcher shop where life-drawing mingled with casual sex. Nude Figure and Two Nudes (which occupies the opposite side of the canvas) were products of this environment. Later in life, Kirchners early works would haunt him, associated, as they were, with a happier time. He would serve in the First World War and experience its horrors, only to have his work maligned by the Nazis, who included it in their Degenerate Art Exhibition of 1937. While living in exile in Switzerland, he would look on the annexation of Austria with horror, and, fearing for his adopted homeland, take his own life.",https://www.theibis.net/product/ernst-ludwig-kirchner-nude-figure-1907/?attribute_size=16%22+x+20%22+%28Image%3A+5.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7804,https://www.theibis.net/wp-content/uploads/2019/04/enude2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7798,"Ernst Ludwig Kirchner : ""Two Nudes"" (1907) 16"" x 20"" (Image: 5.63"" x 17"")","In 1905 Ernst Ludwig Kirchner and his associates founded Die Brücke (""The Bridge""); a seminal art group that laid the foundations of German Expressionism. Members of the group enjoyed bohemian lifestyles that flouted the norms of bourgeois society. They initially gathered at Kirchers first studio; a converted butcher shop where life-drawing mingled with casual sex. Two Nudes and Nude Figure (which occupies the opposite side of the canvas) were products of this environment. Later in life, Kirchners early works would haunt him, associated, as they were, with a happier time. He would serve in the First World War and experience its horrors, only to have his work maligned by the Nazis, who included it in their Degenerate Art Exhibition of 1937. While living in exile in Switzerland, he would look on the annexation of Austria with horror, and, fearing for his adopted homeland, take his own life.",https://www.theibis.net/product/ernst-ludwig-kirchner-two-nudes-1907/?attribute_size=16%22+x+20%22+%28Image%3A+5.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7798,https://www.theibis.net/wp-content/uploads/2019/04/enude1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7787,"James Rattray : ""Meerz Fyze, an Oosbeg Eichee, or Ambassador"" (1848) 16"" x 20"" (Image: 13"" x 16.5"")","During the 19th century Britain and Russia vied for control of Afghanistan in what is popularly remembered as ""The Great Game."" The First Anglo-Afghan War (1839-1842) was an disastrous attempt by the British to replace the pro-Russian emir that ended after a series of harsh winters and violent uprisings forced their withdrawal. James Rattray was a second lieutenant in the Army of the Indus who participated in the conflict from 1841 onward. His sketches and narrative became the basis of a luxuriant travelogue titled Scenery, Inhabitants and Costumes of Afghaunistaun (1848). Illustrated with 30 exquisite chromolithographs, it depicts the rich culture and breathtaking landscape of a region that is too often associated with bloodshed.",https://www.theibis.net/product/james-rattray-meerz-fyze-an-oosbeg-eichee-or-ambassador-1848/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7787,https://www.theibis.net/wp-content/uploads/2019/04/rattray22_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7777,"Frederic Edwin Church : ""The Parthenon"" (1871) 16"" x 20"" (Image: 10.31"" x 17"")","Frederic Edwin Church was a student of Thomas Cole, the founder of the Hudson river School. Early in his career he had established himself as something of a maverick by refusing to go to Europe, instead devoting his energies to the tropical vistas of South America. In 1867, however, he and has family finally made the voyage, touring London, Rome and the Near East. He stayed for several weeks in Athens, where his observations became the basis of this large-scale painting of the Parthenon, which was displayed in the 1878 Paris Exposition Universelle. The Near Easts impression on Church was so strong that he developed plans to build a Persian villa in upstate New York, which exists today as the Olana State Historic Site.",https://www.theibis.net/product/frederic-edwin-church-the-parthenon-1871/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7777,https://www.theibis.net/wp-content/uploads/2019/04/parth_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7767,"Jean-Leon Gerome : ""View of Medinet El-Fayoum"" (c. 1868/1870) 16"" x 20"" (Image: 11.63"" x 17"")","Faiyum is the oldest city in Egypt, located southwest of Cairo on the Faiyum oasis. In the Pharaonic era it was the most significant center of the cult of the crocodile-god Sobek, but when Jean-Léon Gérôme painted it in the late 19th century, it was a mosque that was attracting worshippers. The National Gallery in Washington notes that ""Unlike many Orientalist pictures of the day—fantasies constructed in a Parisian artists studio—this painting is informed by empirical records, while maintaining a sense of the awe and mystery Egypt inspired in French visitors.""",https://www.theibis.net/product/jean-leon-gerome-view-of-medinet-el-fayoum-c-1868-1870/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7767,https://www.theibis.net/wp-content/uploads/2019/04/fayi_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7757,"Frederik Hansen Sodring : ""View of Bregentved Forest, Sjaeeland"" (mid 1830s) 16"" x 20"" (Image: 10.19"" x 17"")","View of Bregentved Forest, Sjaeeland expresses the romantic sensibility in landscape art. The ambiance of the medieval woodland is heightened by the use of vivid colors and wondrously gnarled tree forms. Further in light falls onto a path that leads deeper into the woods, inviting the spectator to imagine what lies ahead. This is the Denmark of Hans Christian Andersen, the enchanted forest of dreams and legend.",https://www.theibis.net/product/frederik-hansen-sodring-view-of-bregentved-forest-sjaeeland-mid-1830s/?attribute_size=16%22+x+20%22+%28Image%3A+10.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7757,https://www.theibis.net/wp-content/uploads/2019/04/sodr_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7746,"Francois van Daellen : ""Vanitas Still Life"" (c. 1650) 16"" x 20"" (Image: 13"" x 16.75"")","The National Gallery describes Vanitas Still Life (c. 1650) as one of François van Daellens finest known works, noting the ""refined manner that allowed him to masterfully imitate the range of textures in the combinations of objects found in such subjects."" An obscure Dutch artist, his oeuvre consists of about seven vanitas still lifes, each containing similar elements in unique architectural environments. Fashionable in the 16th and 17th centuries, the purpose of the vanitas was to remind the spectator—otherwise absorbed in worldly pursuits—of lifes transience and the passage of time.",https://www.theibis.net/product/francois-van-daellen-vanitas-still-life-c-1650/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7746,https://www.theibis.net/wp-content/uploads/2019/04/dae_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7735,"Johan Christian Dahl : ""View from Vaekero near Christiania"" (1827) 16"" x 20"" (Image: 10.75"" x 17"")","Johan Christian Dahl is credited as the first great romantic painter in Norway, and one of the greatest European landscape artists of all time. He executed View from Vaekero near Christiania while living in Dresen with the German romantic landscape painter Caspar David Friedrich. A kindred spirit who likewise sought the divine in nature, Dahl recounts how they once strolled the park of the Grösser Garten among many lovely trees of different kinds, and the moon looked beautiful behind the dark fir trees.” His influence in View from Vaekero near Christiania is palpable. The National Gallery describes it as ""one of Dahls most Friedrich-like landscapes,"" noting that ""The painting is infused with a melancholy, nocturnal mood frequently found in the art of Friedrich, and the repertoire of romantic motifs—cloud-covered moon, rocky inlet, misty hills, haunting ship riding at anchor, drying nets, and the couple contemplating the nocturnal scene—can also be found in the great German painters works.""",https://www.theibis.net/product/johan-christian-dahl-view-from-vaekero-near-christiania-1827/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7735,https://www.theibis.net/wp-content/uploads/2019/04/vaek_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7724,"John Frederick Lewis : ""Figures and Animals in a Vineyard"" (c. 1829) 16"" x 20"" (Image: 13"" x 16.19"")","Figures and Animals in a Vineyard is an early work by John Frederick Lewis, who first took up watercolor during his 1827 tour of Europe. Throughout his life, he would be forced to balance his passion for the medium against the preference of art patrons for oils. Complaining to a colleague, he one wrote that: ""Generally in spite of all my hard work, I find water colour to be thoroly unremunerative that I can stand it no longer—it is all, all always, rolling the stone up the hill—no rest, and such little pay!"" In 1858 he resigned as president of the Society of Painters in Water Colours, which forbade its members from exhibiting works in oil. Thereafter his usual practice was to paint the same composition in both formats, the more luminous and expressive watercolor invariably commanding a lesser price than the more rapidly executed oil painting. Though attitudes towards the medium have somewhat improved with the decline of academic realism, modern watercolorists still face much the same dilemma.",https://www.theibis.net/product/john-frederick-lewis-figures-and-animals-in-a-vineyard-c-1829/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7724,https://www.theibis.net/wp-content/uploads/2019/04/figvin_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7714,"Jacques Callot : ""The Temptation of Saint Anthony"" (1635) 16"" x 20"" (Image: 13"" x 16.5"")","While spending the night in an abandoned tomb, St. Anthony was viciously tormented by a gaggle of horrifying demons, only to return the next day, exclaimin ""Here is Anthony. I do not flee your beatings nor pain, nor torture; nothing can separate me from the love of God."" According to St. Athanasius, bishop of Alexandria, they came next ""in droves, taking the form of all kinds of monstrous beasts and hideous reptiles,"" yet St. Anthony, groaning in pain, ""faced the demons, laughin If you had any power, only one of you would be enough to kill me; but the Lord has taken away your strength..."" For centuries the Temptation of St. Anthony has provided a template for imaginative artists to indulge their propensities for the fantastic and bizarre, and this etching by the baroque printmaker Jacques Callot is no exception. Saint Anthony himself appears in the lower right of the composition, using his crucifix to fend off an elaborate horde of Boschian perversities that pour in from land and sky. An important figure in the development of the old master print, Callot pioneered a series of technical innovations that allowed to him to achieve theretofore unseen levels of detail.",https://www.theibis.net/product/jacques-callot-the-temptation-of-saint-anthony-1635/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7714,https://www.theibis.net/wp-content/uploads/2019/04/tempa_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7702,"Frederic Edwin Church : ""The Heart of the Andes"" (1859) 16"" x 20"" (Image: 9.31"" x 17"")","When The Heart of the Andes was first shown in New York, it created a sensation, drawing twelve to thirteen thousand visitors per month. A monumental landscape of the Ecuadorian tropics, it was composed from memory, sketches and watercolors gathered during Churchs second trip to South America—journeys that had been inspired by the work of the Prussian polymath geographer Alexander von Humboldt. The Carl Sagan of his time, von Humboldts popular treatise Kosmos —itself inspired by a trip to the Andes—described ""a beautifully ordered and harmonious system"" underlying the apparent chaos of the natural world. Church retraced von Humboldts route, carefully recording the geographical and ecological details of the region. As a result, The Heart of the Andes is not only a sublime landscape, but a scientific document in which all of the plant and animal species are readily identifiable. One contemporary critic therefore described Church as ""the very painter Humboldt so longs for in his writings.""",https://www.theibis.net/product/frederic-edwin-church-the-heart-of-the-andes-1859/?attribute_size=16%22+x+20%22+%28Image%3A+9.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7702,https://www.theibis.net/wp-content/uploads/2019/04/handy_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7691,"Illuminated Manuscript Page : ""Hunters Pursuing a Deer"" (Gaston Phebus, Book of the Hunt, 1430-1440) 16"" x 20"" (Image: 11.5"" x 17"")","Produced in Brittany around 1430-1440, this illumination from Gaston Phébuss Livre de la Chasse ( Book of the Hunt ) is an outstanding specimen of medieval book arts. An elegant border, decorative initial and black-letter text frame the scene of a stag hunt. While hunters approach on horseback with their dogs on point, their servants flush out the deer, sparing the aristocrats the necessity of stalking their prey in favor of the dramatic final pursuit. Phébus, who penned the volume in 1387, was an important military and political leader in addition to an avid hunter who owed sixteen hundred sporting dogs and two hundred horses.",https://www.theibis.net/product/illuminated-manuscript-page-hunters-pursuing-a-deer-gaston-phebus-book-of-the-hunt-1430-1440/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7691,https://www.theibis.net/wp-content/uploads/2019/04/hunters_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7678,"James Rattray : ""Hawkers of the Kohistan. With the Valley of Kabul and the Mountains of Hindu Kush"" (1848) 16"" x 20"" (Image: 13"" x 16.5"")","During the 19th century Britain and Russia vied for control of Afghanistan in what is popularly remembered as ""The Great Game."" The First Anglo-Afghan War (1839-1842) was an disastrous attempt by the British to replace the pro-Russian emir that ended after a series of harsh winters and violent uprisings forced their withdrawal. James Rattray was a second lieutenant in the Army of the Indus who participated in the conflict from 1841 onward. His sketches and narrative became the basis of a luxuriant travelogue titled Scenery, Inhabitants and Costumes of Afghaunistaun (1848). Illustrated with 30 exquisite chromolithographs, it depicts the rich culture and breathtaking landscape of a region that is too often associated with bloodshed.",https://www.theibis.net/product/james-rattray-hawkers-of-the-kohistan-with-the-valley-of-kabul-and-the-mountains-of-hindu-kush-1848/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7678,https://www.theibis.net/wp-content/uploads/2019/04/rattray4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7668,"Thomas Sully : ""Lady with a Harp: Eliza Ridgely"" (1818) 16"" x 20"" (Image: 11.25"" x 17"")","Thomas Sully was prolific portrait artist whose commissions included such historical figures as John Quincy Adams and the Marquis de Lafayette, but his most celebrated paintings are of high society women like Eliza Ridgely; the fifteen year-old daughter of a Baltimore merchant. Turned out in neo-Grecian style, she poses with her fingers at the harp strings, gazing into the distance like one of the seven muses of classical antiquity. It is a bit of artifice, which Sully was more than happy to indulge. Often, he embellished his figures, writing that ""From long experience I know that resemblance in a portrait is essential; but no fault will be found with the artist, at least by the sitter, if he improve the appearance."" In Lady with a Harp: Eliza Ridgely , he was concerned less with the individuality of his subject than the intrinsic beauty of the art object he was creating, and accordingly makes a statement that has less to do with the personality of a particular musician than with the broader correspondence of musical and visual harmony.",https://www.theibis.net/product/thomas-sully-lady-with-a-harp-eliza-ridgely-1818/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7668,https://www.theibis.net/wp-content/uploads/2019/04/eliza_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7655,"Julian Alden Weir : ""The Factory Village"" (1897) 16"" x 20"" (Image: 13"" x 17"")","The American artist Julian Alden Weir was a reluctant convert to Impressionism. On first encountering the style while studying in Europe, he wrote: ""I never in my life saw more horrible things...They do not observe drawing nor form but give you an impression of what they call nature. It was worse than a Chamber of Horrors."" By 1891 he had adopted the style as his own, but nonetheless approached it in a distinctly conservative spirit of which The Factory Village is illustrative. An idyllic view of Willimantic, Connecticut, and the facilities of the Willimantic Linen Company, the Metropolitan Museum of Art describes it as a celebration of ""picturesque New England industry, offering symbols of progress in harmony with nature,"" while containing ""no hint of the companys labor woes or financial problems."" Weir himself lacked the temperament for busy environments, having previously quit New York City for a farm in Ridgefield, Connecticut. ""Life on the street could often frustrate and aggravate,"" wrote art historian Hollis Clayson, ""but contemplated from far off, experienced exclusively as a visual phenomenon, it could satisfy.""",https://www.theibis.net/product/julian-alden-weir-the-factory-village-1897/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7655,https://www.theibis.net/wp-content/uploads/2019/04/weir4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7645,"Julian Alden Weir : ""The Red Bridge"" (1895) 16"" x 20"" (Image: 12"" x 17"")","The American artist Julian Alden Weir was a reluctant convert to Impressionism. On first encountering the style while studying in Europe, he wrote: ""I never in my life saw more horrible things...They do not observe drawing nor form but give you an impression of what they call nature. It was worse than a Chamber of Horrors."" By 1891 he had adopted the style as his own, but nonetheless approached it in a distinctly conservative spirit of which The Red Bridge is illustrative. Depicting a red truss bridge over the Shetucket River in Windham, Connecticut, it owes as much to the traditional woodblock prints of Japan as to the European avant-garde.",https://www.theibis.net/product/julian-alden-weir-the-red-bridge-1895/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7645,https://www.theibis.net/wp-content/uploads/2019/04/weir3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7633,"Julian Alden Weir : ""U.S. Thread Company Mills, Willimantic, Connecticut"" (c. 1893/1897) 16"" x 20"" (Image: 13"" x 15.56"")","The American artist Julian Alden Weir was a reluctant convert to Impressionism. On first encountering the style while studying in Europe, he wrote: ""I never in my life saw more horrible things...They do not observe drawing nor form but give you an impression of what they call nature. It was worse than a Chamber of Horrors."" By 1891, however, he had adopted the style as his own. With its light, airy palette and broken brushwork, U.S. Thread Company Mills, Willimantic, Connecticut , is an outstanding example. Its subject, the stone arch bridge crossing the Willimantic River at the center of the Jillson Mills complex, suggests the influence of Japanese art, with its many picturesque footbridges. Constructed in 1857, it is now styled as the ""Garden on the Bridge,"" while the mill complex itself, having ceased operations in 1985, now enjoys an entry on the National Register of Historic Places.",https://www.theibis.net/product/julian-alden-weir-u-s-thread-company-mills-willimantic-connecticut-c-1893-1897/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7633,https://www.theibis.net/wp-content/uploads/2019/04/weir2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7623,"Camille Pissarro : ""Hampton Court Green"" (1891) 16"" x 20"" (Image: 12.5"" x 17"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Hampton Court Green is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-hampton-court-green-1891/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7623,https://www.theibis.net/wp-content/uploads/2019/04/hampton_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7611,"James Pollard : ""The Louth-London Royal Mail Traveling by Train from Peterborough East, Northamptonshire"" (1845) 16"" x 20"" (Image: 12.56"" x 17"")","James Pollard was a British artist who specialized in equestrian subjects, including horse races, mail coaches and fox hunts. In The Louth-London Royal Mail Traveling by Train from Peterborough East, Northamptonshire , he documents social change in the early Victorian period, as the railway was supplanting the coach as the preferred means of long-distance travel. A superficially ""old-fashioned"" image to the modern spectator, it is better understood as a reflection upon what was being lost—and what was being gained—by the advancement of technology and industrialization in the 19th century.",https://www.theibis.net/product/james-pollard-the-louth-london-royal-mail-traveling-by-train-from-peterborough-east-northamptonshire-1845/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7611,https://www.theibis.net/wp-content/uploads/2019/04/roymail_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7601,"James Pollard : ""The London-Faringdon Coach Passing Buckland House, Berkshire"" (1835) 16"" x 20"" (Image: 12.13"" x 17"")","A coach passes through the Berkshire countryside in this late Georgian piece by James Pollard. A sometimes-collaborator with the ""coachman-artist"" John Frederick Herring Sr., his oeuvre is of a decidedly equestrian flavor. Horse races, mail coaches, and fox hunts feature prominently in his work. In 1835 the coach was still in widespread use as a means of long-distance travel, but was soon to be marginalized by the advent of the railway system; a social change that Pollard would both witness and document during his lifetime.",https://www.theibis.net/product/james-pollard-the-london-faringdon-coach-passing-buckland-house-berkshire-1835/?attribute_size=16%22+x+20%22+%28Image%3A+12.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7601,https://www.theibis.net/wp-content/uploads/2019/04/lcoach_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7590,"Camille Pissarro : ""Two Women Chatting by the Sea, St. Thomas"" (1856) 16"" x 20"" (Image: 11.44"" x 17"")","A glimpse at the budding genius of a lifelong artistic revolutionary. Camille Pissarro was born to French-Jewish parents on the island of St. Thomas. At the age of twelve he was sent away to boarding school in France, where he developed an early appreciation for the French art masters. Upon his return he worked as a cargo clerk in his fathers business, but devoted his spare time to sketching from nature. At twenty-one he met the Danish artist Fritz Melbye and moved to Venezuela for the next two years, where he worked as a professional painter in Carcas and La Guaira. He returned to France in 1855 with a sketchbook filled with topical vistas, including the present landscape of his native island.",https://www.theibis.net/product/camille-pissarro-two-women-chatting-by-the-sea-st-thomas-1856/?attribute_size=16%22+x+20%22+%28Image%3A+11.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7590,https://www.theibis.net/wp-content/uploads/2019/04/wchat_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7580,"Camille Pissarro : ""Orchard in Bloom, Louveciennes"" (1872) 16"" x 20"" (Image: 13"" x 15.88"")","Camille Pissarro painted Orchard in Bloom, Louveciennes in the aftermath of the Franco-Prussian War; a humiliating defeat for France and a costly one for Pissarro, whose home had been ruined by the enemy. Out of some 1,500 paintings he had produced during the preceding 20 years, only 40 survived the ravages of the Prussian soldiers, who in some cases used them as doormats. The National Gallery points out the strong personal associations the image is likely to have held for the artist: ""As France began to rebuild, the artist also gradually recovered from the disaster. In Orchard in Bloom, Louveciennes , painted the following spring, abundant white blossoms and freshly plowed soil are tokens of hope and renewal.""",https://www.theibis.net/product/camille-pissarro-orchard-in-bloom-louveciennes-1872/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7580,https://www.theibis.net/wp-content/uploads/2019/04/obloom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7568,"Ernst Ludwig Kirchner : ""Dance Hall Bellevue"" (1909/1910) 16"" x 20"" (Image: 11.13"" x 17"")","In 1905 Ernst Ludwig Kirchner and his associates founded Die Brücke (""The Bridge""); a seminal art group that laid the foundations of German Expressionism. Members of the group enjoyed bohemian lifestyles that flouted the norms of bourgeois society. They initially gathered at Kirchers first studio; a converted butcher shop where life-drawing mingled with casual sex. Dance Hall Bellevue was a product of this exuberant period. Later in life, Kirchners early works would haunt him, associated, as they were, with a happier time. He would serve in the First World War and experience its horrors, only to have his work maligned by the Nazis, who included it in their Degenerate Art Exhibition of 1937. While living in exile in Switzerland, he would look on the annexation of Austria with horror, and, fearing for his adopted homeland, take his own life.",https://www.theibis.net/product/ernst-ludwig-kirchner-dance-hall-bellevue-1909-1910/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7568,https://www.theibis.net/wp-content/uploads/2019/04/dancehall_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7535,"John Mix Stanley : ""The Trappers Cabin"" (1858) 16"" x 20"" (Image: 13"" x 16.19"")","From humble beginnings as a coach makers apprentice, and later an itinerant sign and portrait painter, John Mix Stanley became one of the most accomplished artists to document the American West. Inspired, perhaps, by the career of artist-explorer George Catlin, he traveled the frontier painting landscapes, Native American portraits and vignettes of life on the outskirts of European civilization. His works numbered in the hundreds and included a grand panorama of 42 western scenes that required the span of two hours to view in its entirety. Tragically, most of his paintings were destroyed by fire, his panorama lost, and his reputation thereby obscured. His surviving works are precious keepsakes of a time, a place and a way of life that were soon to vanish.",https://www.theibis.net/product/john-mix-stanley-the-trappers-cabin-1858/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7535,https://www.theibis.net/wp-content/uploads/2019/04/jmix_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7517,"Charles Spencer Humphreys : ""The Trotter"" (c. 1860) 16"" x 20"" (Image: 9.25"" x 17"")","As a resident of Camden, New Jersey, Charles Spencer Humphreys lived in close proximity to Philadelphia; the birthplace of trotting and harness racing as sports. His first studio was located behind a harness shop, and he was, for a time, employed in painting harnesses and breast straps. Of the twenty works that are signed or attributed to him, most are concerned with equestrian subjects. These include signs, carriages and interior decoration projects. He took up nondecorative work around 1853 and appears to have excelled, attracting commissions from wealthy patrons and exhibiting at the Centennial Exposition in Philadelphia in 1876. His death in 1880 is said to have been reported in both American and foreign newspapers. A tradesman who pulled himself up by the bootstraps, his art documents 19th century horse racing in a style that is quintessentially American.",https://www.theibis.net/product/charles-spencer-humphreys-the-trotter-c-1860/?attribute_size=16%22+x+20%22+%28Image%3A+9.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7517,https://www.theibis.net/wp-content/uploads/2019/04/humph2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7507,"Charles Spencer Humphreys : ""Budd Doble Driving Goldsmith Maid at Belmont Driving Park"" (1876) 16"" x 20"" (Image: 12.06"" x 17"")","As a resident of Camden, New Jersey, Charles Spencer Humphreys lived in close proximity to Philadelphia; the birthplace of trotting and harness racing as sports. His first studio was located behind a harness shop, and he was, for a time, employed in painting harnesses and breast straps. Of the twenty works that are signed or attributed to him, most are concerned with equestrian subjects. These include signs, carriages and interior decoration projects. He took up nondecorative work around 1853 and appears to have excelled, attracting commissions from wealthy patrons and exhibiting at the Centennial Exposition in Philadelphia in 1876. His death in 1880 is said to have been reported in both American and foreign newspapers. A tradesman who pulled himself up by the bootstraps, his art documents 19th century horse racing in a style that is quintessentially American.",https://www.theibis.net/product/charles-spencer-humphreys-budd-doble-driving-goldsmith-maid-at-belmont-driving-park-1876/?attribute_size=16%22+x+20%22+%28Image%3A+12.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7507,https://www.theibis.net/wp-content/uploads/2019/04/humph1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7497,"Edouard Manet : ""The Tragic Actor (Rouviere as Hamlet)"" (1866) 16"" x 20"" (Image: 9.69"" x 17"")","This homage to the actor Philibert Rouvière was completed not long after his death in 1865. The image of him in a tragic role would have been cathartic to Manet and his audience; tragedy had befallen the tragedian. The sword at his feet serves the dual purpose of enhancing the illusion of space while informing the spectator that life has been lost.",https://www.theibis.net/product/edouard-manet-the-tragic-actor-rouviere-as-hamlet-1866/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7497,https://www.theibis.net/wp-content/uploads/2019/04/hamlet_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7486,"Follower of Pieter Bruegel the Elder : ""The Temptation of Saint Anthony"" (c. 1550/1575) 16"" x 20"" (Image: 11.56"" x 17"")","While spending the night in an abandoned tomb, St. Anthony was viciously tormented by a gaggle of horrifying demons, only to return the next day, exclaimin ""Here is Anthony. I do not flee your beatings nor pain, nor torture; nothing can separate me from the love of God."" According to St. Athanasius, bishop of Alexandria, they came next ""in droves, taking the form of all kinds of monstrous beasts and hideous reptiles,"" yet St. Anthony, groaning in pain, ""faced the demons, laughin If you had any power, only one of you would be enough to kill me; but the Lord has taken away your strength..."" For centuries the Temptation of St. Anthony has provided a template for imaginative artists to indulge their propensities for the fantastic and bizarre. In this 16th century rendition by a follower of Pieter Bruegel the Elder, St. Anthony appears first in the foreground, inhabiting the tomb, and again in the background, being carried away by flying demons. What is most notable in this painting, however, is not the religious or supernatural subject matter, but the emphasis given to the landscape. According to the National Gallery in Washington, ""This change of emphasis marks an important advance toward the development of pure landscape painting, in which Pieter Bruegel the Elder was an instrumental figure. Already, that delight in the natural world is apparent here in the shadowy depths of leafy forests, contrasting with open vistas of waterways, villages, and towns bathed in pearly light.""",https://www.theibis.net/product/follower-of-pieter-bruegel-the-elder-the-temptation-of-saint-anthony-c-1550-1575/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7486,https://www.theibis.net/wp-content/uploads/2019/04/stanny_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7475,"Frederic Edwin Church : ""Tamaca Palms"" (1854) 16"" x 20"" (Image: 12.5"" x 17"")","A monumental landscape set on the Magdalena River in Colombia, Tamaca Palms was the product of Frederic Edwin Churchs first excursion to South America. A pupil of Thomas Cole, the founder of the Hudson River School, his inspiration for the journey originated in the writings of Prussian polymath geographer Alexander von Humboldt. The Carl Sagan of his time, von Humboldts popular treatise Kosmos —itself inspired by a trip to the Andes—described ""a beautifully ordered and harmonious system"" underlying the apparent chaos of the natural world. Church retraced von Humboldts route, faithfully recording the tropical features of the region and rendering them in such detail that botanists can readily identify the individual species that make up his dense foliage. According to one critic, Church was ""the very painter Humboldt so longs for in his writings.""",https://www.theibis.net/product/frederic-edwin-church-tamaca-palms-1854/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7475,https://www.theibis.net/wp-content/uploads/2019/04/tamaca_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7465,"James Rattray : ""Kandahar Lady of Rank, Engaged in Smoking"" (1848) 16"" x 20"" (Image: 13"" x 16.5"")","During the 19th century Britain and Russia vied for control of Afghanistan in what is popularly remembered as ""The Great Game."" The First Anglo-Afghan War (1839-1842) was an disastrous attempt by the British to replace the pro-Russian emir that ended after a series of harsh winters and violent uprisings forced their withdrawal. James Rattray was a second lieutenant in the Army of the Indus who participated in the conflict from 1841 onward. His sketches and narrative became the basis of a luxuriant travelogue titled Scenery, Inhabitants and Costumes of Afghaunistaun (1848). Illustrated with 30 exquisite chromolithographs, it depicts the rich culture and breathtaking landscape of a region that is too often associated with bloodshed.",https://www.theibis.net/product/james-rattray-kandahar-lady-of-rank-engaged-in-smoking-1848/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7465,https://www.theibis.net/wp-content/uploads/2019/04/rattray29_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7447,"Berthe Morisot : ""The Mother and Sister of the Artist"" (1869/1870) 16"" x 20"" (Image: 13"" x 16"")","As teenagers in an affluent bourgeoisie family, Berthe Morisot and her sister Edma received routine drawing lessons, but the talent they displayed was anything but ordinary. Their instructor, Joseph Guichard, warned their mother: ""With natures like those of your daughters my teaching will not confer the meagre talents of genteel accomplishment, they will become painters. Do you have any idea what that means? In your milieu of the grande bourgeoisie it would be a revolution."" Though Edma would find little time to paint after her marriage, Berthe certainly went on to become an artistic revolutionary. Gustave Geffroy famously described her as of the three ""grandes dames"" of the Impressionist movement, the others being Marie Bracquemond and Mary Cassatt. She was, in fact, more popular in her own time than Monet, Renoir or Picasso. Like the other impressionists, she painted her social environment, which, as an upper-class woman in the 19th century, meant that she was often limited to depicting family and friends in domestic settings. Yet, she was able to do so with a compelling psychological depth that absorbs the spectator in nuances, ambiguities and subtext that often describe her own experience of the entrapment of women. In the words of the poet Paul Valéry, ""Berthe Morisots uniqueness was to live her painting, and to paint her life...she took up, put down, returned to her brush like a thought that comes to us, is clean forgotten, and then occurs to us once again.""",https://www.theibis.net/product/berthe-morisot-the-mother-and-sister-of-the-artist-1869-1870/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7447,https://www.theibis.net/wp-content/uploads/2019/04/momsis_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7436,"Folk Art : ""Stylized Landscape"" (19th century) 16"" x 20"" (Image: 7.25"" x 17"")","This splendid folk art piece is believed to have originated in Connecticut in the later part of the 19th century. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-stylized-landscape-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+7.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7436,https://www.theibis.net/wp-content/uploads/2019/04/style_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7426,"Odilon Redon : ""Pandora"" (c. 1914) 16"" x 20"" (Image: 7.25"" x 17"")","Posed amid a swirling dreamscape of beautiful flowers, the first woman holds—but has not yet opened—the box that will unleash the evils of humanity. Whereas other artists have tended to focus upon Pandoras mischief, Redon depicts her in her innocence; the gentle inhabitant of the word that appeared to us as children, and which persists in our collective memory as Eden. A masterwork of pure mood and imagination, it reflects Redons philosophy of art as an exploration of the psychic realm, placing ""the visible at the service of the invisible.""",https://www.theibis.net/product/odilon-redon-pandora-c-1914/?attribute_size=16%22+x+20%22+%28Image%3A+7.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7426,https://www.theibis.net/wp-content/uploads/2019/04/pandora_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7415,"Paul Sandby : ""Bridgenorth, Shropshire"" (c. 1801) 16"" x 20"" (Image: 12.31"" x 17"")","Thomas Gainsborough once testified that for ""real Views from Nature in this Country,"" there was no better artist than Paul Sandby, who often ""employd his pencil that way."" A British mapmaker turned landscape painter, he traveled extensively throughout Britain and Ireland, recording the countryside as it appeared on dawn of the Industrial Revolution. His exquisite draftsmanship is on full display in this watercolor of the outskirts of Bridgenorth; a town in Shropshire, England, nestled in a valley on the River Severn. Its distant architecture and topography are rendered with consummate precision. Small figures meanwhile contribute to the rustic atmosphere and the demonstrate the full scale of the massive tree that dominates the foreground.",https://www.theibis.net/product/paul-sandby-bridgenorth-shropshire-c-1801/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7415,https://www.theibis.net/wp-content/uploads/2019/04/bnorth_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7404,"Elihu Vedder : ""Soul in Bondage"" (1892) 16"" x 20"" (Image: 11"" x 17"")","In this brooding Symbolist subject titled Soul in Bondage , the American expatriate Elihu Vedder brought together his key interests in idealized human form, abstracted design, and the themes of internal spiritual conflict. Profoundly inspired by the writer Edward Fitzgeralds translation of mystical Persian verse in the Rubáiyát of Omar Khayyám (Vedder illustrated a lush 1884 edition), he created numerous subjects representing the individual bound by the dilemma of choice between good and evil symbolized here by the butterfly and the serpent. Behind the figure Vedder employed his signature ""double swirl,"" a motif he had used repeatedly in the Rubáiyát illustrations to suggest the forces that converge and then disperse around the brief point that constitutes an individual human life. (Text by the Brooklyn Museum, CC BY 3.0).",https://www.theibis.net/product/elihu-vedder-soul-in-bondage-1892/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7404,https://www.theibis.net/wp-content/uploads/2019/04/boundsoul_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7393,"Alexandre Calame : ""Swiss Landscape"" (c. 1830) 16"" x 20"" (Image: 13"" x 17"")","Alexandre Calame has been described as the leading Swiss landscape painter of the 19th century. As a child, he suffered an accident that cost him the sight of one eye. When his debt-ridden father died at the age of 16, leaving him his mothers sole means of support, he supplemented his income as a bank clerk by coloring engravings for the print trade. His kindly employer, noticing his aptitude, made it possible for him to take lessons from the landscape painter François Diday. By 1845 he had surpassed his teacher, gaining international acclaim. In his review of the Paris Salon of that year, Charles Baudelaire quibbled that it had once been thought that there was a single painter with a split personality working under the names of Diday and Calame, and that ""it was noted that he used the name Calame on the days when his painting went well."" Swiss Landscape may be one of over 500 paintings that were discovered in Calames studio after his death, having been created for personal enjoyment rather than exhibition. The National Gallery in Washington notes its departure from ""the very conventions upon which he based his career. In lieu of the dramatic vistas of the Alps with snowcapped peaks, he presents a quieter view of the Swiss landscape: idyllic and picturesque rather than sublime, inhabited and tamed by people rather than denying their very presence. The overall effect is inviting and soothing rather than forbidding and awe inspiring...Calame does not celebrate the power of nature, but rather its quiet, subtle beauty bathed in a gentle radiance.""",https://www.theibis.net/product/alexandre-calame-swiss-landscape-c-1830/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7393,https://www.theibis.net/wp-content/uploads/2019/04/calam2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7381,"Erastus Salisbury Field : ""The Taj Mahal"" (c. 1860/1880) 16"" x 20"" (Image: 12.25"" x 17"")","The folk artist Erastus Salisbury Field began his career as a portrait painter. A native of Sunderland, Massachusetts, his first known painting was of his grandmother, Elizabeth Billings Ashley, painted around 1826. When photography began to supplant painting as the preferred medium for portraiture, however, he turned to landscape and historical subjects. A product of this later period, The Taj Mahal reflects his special interest in fantastic architecture, which culminated in his best-known work, Historical Monument of the American Republic (1867-1888).",https://www.theibis.net/product/erastus-salisbury-field-the-taj-mahal-c-1860-1880/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7381,https://www.theibis.net/wp-content/uploads/2019/04/taj_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7371,"Jean-Honore Fragonard : ""Blind Mans Buff"" (c. 1775/1780) 16"" x 20"" (Image: 13"" x 14.19"")","Blind Mans Buff and its pendant, The Swing (c. 1775/1780), exemplify the airy exuberance of Frances Ancien Régime. At play in lush, garden settings, Fragonards young aristocrats enjoy the extended childhoods that rank and privilege have afforded them. While criticized as frivolous and too disconnected from the lives of ordinary people, the Rococo nonetheless reintroduced European art to sensual pleasure, not as a moral pitfall, but as a healthy expression of basic human nature. The lesson of moderation, however, was soon to follow.",https://www.theibis.net/product/jean-honore-fragonard-blind-mans-buff-c-1775-1780/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7371,https://www.theibis.net/wp-content/uploads/2019/04/frago2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7358,"Jean-Honore Fragonard : ""The Swing"" (c. 1775/1780) 16"" x 20"" (Image: 13"" x 15.19"")","The Swing and its pendant, Blind Mans Buff , exemplify the airy exuberance of Frances Ancien Régime. At play in lush, garden settings, Fragonards young aristocrats enjoy the extended childhoods that rank and privilege have afforded them. While criticized as frivolous and too disconnected from the lives of ordinary people, the Rococo nonetheless reintroduced European art to sensual pleasure, not as a moral pitfall, but as a healthy expression of basic human nature. The lesson of moderation, however, was soon to follow.",https://www.theibis.net/product/jean-honore-fragonard-the-swing-c-1775-1780/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7358,https://www.theibis.net/wp-content/uploads/2019/04/frago1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7347,"Peter Binoit : ""Still Life with Tulips"" (1623) 16"" x 20"" (Image: 13"" x 16.38"")","Little is known of the German flower painter Peter Binoit, who was active in Cologne during the early part of 17th century. His still lifes, like those of his more celebrated Dutch counterparts, reflect a growing interest the natural world, as expanding trade networks were introducing Europeans to curious new plants and animals from the far-flung corners of the globe. Binoits naïveté toward the rules of perspective, however, lends his work a folksy charm that is lacking in the more perfected painting of the Dutch masters.",https://www.theibis.net/product/peter-binoit-still-life-with-tulips-1623/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7347,https://www.theibis.net/wp-content/uploads/2019/04/binoit2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7335,"Hendrik Willem Mesdag : ""Sunset at Scheveningen: A Fleet of Fishing Vessels at Anchor"" (1894) 16"" x 20"" (Image: 12.63"" x 17"")","The village of Scheveningen, on the North Sea coast near the Hague, has long been a muse to Dutch artists, the marine painter Hendrik Willem Mesdag featuring prominently among them. In Sunset at Scheveningen , he depicts fishing vessels silhouetted against the backdrop of the setting sun, its golden hues harmonizing with the turquoise waters and purple-gray clouds. Resting calmly at anchor, they settle into the tranquil sea, just as their tired crews are settling into their homes.",https://www.theibis.net/product/hendrik-willem-mesdag-sunset-at-scheveningen-a-fleet-of-fishing-vessels-at-anchor-1894/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7335,https://www.theibis.net/wp-content/uploads/2019/04/mesdag_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7325,"Juan van der Hamen : ""Still Life with Sweets and Pottery"" (1627) 16"" x 20"" (Image: 12.88"" x 17"")","Juan van der Hamen painted portraits, landscapes, allegories and religious history subjects, but is best-known for his revival of the still life in the early seventeenth century. In Still Life with Sweets and Pottery , a crowded assortment of circles, ovals and other organic forms exist in a state of tension with the perfect geometry of grey stone ledges; a concept popularized in our own time by Robert Indianas Love and Milton Glasers I Love New York . Each object within the composition is carefully described. The pattern of woven straw; the textures of terracotta and wooden vessels; the reflection and refraction of light on glass and polished surfaces are all rendered with a virtuoso precision that testifies to van der Hamens reputation as one of the greatest still life painters of his era.",https://www.theibis.net/product/juan-van-der-hamen-still-life-with-sweets-and-pottery-1627/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7325,https://www.theibis.net/wp-content/uploads/2019/04/hamen_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7313,"Gustave Courbet : ""The Stream"" (1855) 16"" x 20"" (Image: 12.75"" x 17"")","Gustave Courbet identified the setting of this forest interior as the Stream of the Black Well, in the Valley of Loue, near Ornans. The National Gallery cites it as an example of how the artist ""challenged traditional ideas about art by depicting simple peasants and rustic scenery with dignity and on a grand scale usually reserved for history paintings,"" and points out his use of an ""unorthodox palette knife technique to apply irregular layers of pigments, creating a roughly worked surface imitating the textures of foliage, water and chalky rocks."" A lifelong maverick imprisoned for his involvement in the Paris Commune, Courbet proudly defied artistic convention. ""I have studied the art of the ancients and the art of the moderns,"" he wrote, ""avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of art for arts sake. No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality...to be not only a painter, but a man as well; in short, to create living art—this is my goal.""",https://www.theibis.net/product/gustave-courbet-the-stream-1855/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7313,https://www.theibis.net/wp-content/uploads/2019/04/cstream_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7303,"Jan Weenix : ""Still Life with Swan and Game before a Country Estate"" (c. 1685) 16"" x 20"" (Image: 13"" x 15.63"")","A favorite of European aristocracy and the rising merchant class, the hunting still life walks the fine line between the beautiful and the grotesque. Before the advent of photography, dead game afforded artists the opportunity to paint anatomically precise animals with delicately-rendered fur, feather, fin and flesh. In its highest form, moreover, what seem to be purely decorative elements are used to convey a deeper meaning. The National Gallery in Washington notes that this still life ""has distinct Christian connotations related to death and resurrection. The relief sculpture on the plinth represents the Holy Family, with the Christ Child asleep just below the rose, a flower symbolizing the Virgin’s sorrows. The calendula, too, carries associations with death (its Dutch name, dodenbloem, means ""death flower""). The startled dove flying away from the goose relates symbolically to the release of the soul after death. In conceiving this iconography, Weenix probably followed the specific wishes of a patron.""",https://www.theibis.net/product/jan-weenix-still-life-with-swan-and-game-before-a-country-estate-c-1685/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7303,https://www.theibis.net/wp-content/uploads/2019/04/weenix2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7291,"Paul Gauguin : ""Still Life with Peonies"" (1884) 16"" x 20"" (Image: 13"" x 16"")","Gauguin completed Still Life with Peonies early in his professional career, having just left his job as a stockbroker to pursue painting. Already he was making use of the bold, flat colors and dark contours that became characteristic of his work, and would find their purest expression on the island of Tahiti. In this, he was indebted to Cézanne and Degas, both of whom are gratefully acknowledged by their artwork hanging on the wall behind the bouquet.",https://www.theibis.net/product/paul-gauguin-still-life-with-peonies-1884/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7291,https://www.theibis.net/wp-content/uploads/2019/04/gpeo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7281,"Peter Binoit : ""Still Life with Iris"" (1623) 16"" x 20"" (Image: 13"" x 16.5"")","Little is known of the German flower painter Peter Binoit, who was active in Cologne during the early part of 17th century. His still lifes, like those of his more celebrated Dutch counterparts, reflect a growing interest the natural world, as expanding trade networks were introducing Europeans to curious new plants and animals from the far-flung corners of the globe. Binoits naïveté toward the rules of perspective, however, lends his work a folksy charm that is lacking in the more perfected painting of the Dutch masters.",https://www.theibis.net/product/peter-binoit-still-life-with-iris-1623/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7281,https://www.theibis.net/wp-content/uploads/2019/04/binoit1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7268,"Frans Snyders : ""Still Life with Grapes and Game"" (c. 1630) 16"" x 20"" (Image: 13"" x 16.31"")","Frans Snyders was a highly original painter who collaborated with the likes Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens. Initially devoting himself to conventional still lifes of fruit and flowers, he went on to specialize in animals. Later, by combining fruit and game, he pioneered a new genre of still life. The National Gallery in Washington cites Still Life with Grapes and Game as ""an outstanding example of this innovation,"" noting that ""Snyderss lavish still lifes—wittily arranged and executed with his broad, firm brushstrokes and characteristic palette of bright and direct colors—have a dynamic character unmatched by other artists.""",https://www.theibis.net/product/frans-snyders-still-life-with-grapes-and-game-c-1630/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7268,https://www.theibis.net/wp-content/uploads/2019/04/snyd2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7256,"Gerret Willemsz Heda : ""Still Life with Ham"" (1650) 16"" x 20"" (Image: 13"" x 15.38"")","The National Gallery in Washington cites Still Life with Ham as one of the finest works by Gerret Willemsz Heda. As in many still lifes of the Dutch Golden Age, the table is set with pewter, elegant glassware and other objects emblematic of the vast trading empires rising wealth and prosperity. The crumpled linen and partially consumed food give the effect of the diners having just left the table.",https://www.theibis.net/product/gerret-willemsz-heda-still-life-with-ham-1650/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7256,https://www.theibis.net/wp-content/uploads/2019/04/heda_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7245,"Pensionante del Saraceni : ""Still Life with Fruit and Carafe"" (c. 1610/1620) 16"" x 20"" (Image: 11.75"" x 17"")","According to the National Gallery in Washington, ""Pensionante del Saraceni (boarder of Saraceni) is the name given to an unidentified artist whose style derives from Carlo Saraceni (1579-1620) and other Caravaggesque artists active in Rome in the second decade of the seventeenth century."" Twelve works have been ascribed to him since he was identified by the art historian Roberto Longhi, and most of these are figure pieces; Still Life with Fruit and Carafe being one of the exceptions. A symmetrical arrangement of melons, peaches, pears and other fruits, it is rendered in rich, variegated colors with soft edges that shimmer against a darkened background.",https://www.theibis.net/product/pensionante-del-saraceni-still-life-with-fruit-and-carafe-c-1610-1620/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7245,https://www.theibis.net/wp-content/uploads/2019/04/sarac_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7233,"Jean Simeon Chardin : ""Still Life with Game"" (1750s) 16"" x 20"" (Image: 13"" x 15.56"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects; or, in this case, a meager kill, fit for a peasant. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-still-life-with-game-1750s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7233,https://www.theibis.net/wp-content/uploads/2019/04/chard9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7223,"Jacob van Walscapelle : ""Still Life with Fruit"" (1675) 16"" x 20"" (Image: 13"" x 15"")","Jacob van Walscapelles Still Life with Fruit is a departure from the lavishly crowded compositions that were popular in his own time. A simple arrangement of fruit, nuts and a Venetian-style glass, each element offers itself up as a choice delectable. The wine sparkles, the plump grapes glisten, the nuts and pomegranate seeds burst forth from their husks and rinds. Like many still lifes of the Dutch Golden Age, it contains allegorical meaning as well. According to the National Gallery in Washington, ""The grapes and wine evoke the Eucharist, while pomegranates have complex associations with Christs suffering and the Resurrection. Van Walscapelles painting encourages the viewer to contemplate Christs sacrifice and eventual rebirth.""",https://www.theibis.net/product/jacob-van-walscapelle-still-life-with-fruit-1675/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7223,https://www.theibis.net/wp-content/uploads/2019/04/walsc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7210,"Jan van Huysum : ""Still Life with Flowers and Fruit"" (c. 1715) 16"" x 20"" (Image: 13"" x 16.88"")","This virtuoso still life by Jan van Huysum offers up a wealth of small details to explore. Close inspection reveals a myriad of insects, creeping among the vegetation; tiny droplets of water, bending the light; rich, organic textures rendered with consummate precision. Like many Dutch still life artists, his works combine flowers from different seasons, yet his commitment to realism was such that he once delayed an entire painting for the sake of a single yellow rose, which was not to bloom until the following spring.",https://www.theibis.net/product/jan-van-huysum-still-life-with-flowers-and-fruit-c-1715/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7210,https://www.theibis.net/wp-content/uploads/2019/04/huy6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7199,"Luis Melendez : ""Still Life with Figs and Bread"" (c. 1770) 16"" x 20"" (Image: 12"" x 17"")","Though he lived in obscurity and died in poverty, Luis Meléndez is now considered to have been one of the greatest still life painters in all of Europe. Each of his paintings is a visually arresting masterpiece. His skillful arrangements of Spanish foods, tableware and vessels are strongly lit to enhance the illusion of volume; the variegated hues and textures of each object rendered with virtuoso precision. He was inspired not by lofty mythological, religious or historical themes, but by the beauty of the everyday. By presenting his subject matter at a close distance and low vantage point, he invited the viewer to make a detailed observation of each of the surfaces and forms he had so carefully described. ""The world around you is filled with unsung wonders,"" he seems to say, ""if only you would look.""",https://www.theibis.net/product/luis-melendez-still-life-with-figs-and-bread-c-1770/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7199,https://www.theibis.net/wp-content/uploads/2019/04/melend_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7187,"Georges Seurat : ""The Watering Can - Garden at Le Raincy"" (c. 1883) 16"" x 20"" (Image: 10.5"" x 17"")","Georges Seurat believed that harmony in visual art, as in music, obeyed a set of laws that could be learned and applied in a systematic fashion. Combinations of color temperature, tonal balance and line direction corresponded to the emotional effects of calm, gaiety and sadness. He applied color according to the same technical principles as a modern printer, television or computer monitor; as individual dots or patches of pure color which, when perceived at a distance, blend together. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-the-watering-can-garden-at-le-raincy-c-1883/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7187,https://www.theibis.net/wp-content/uploads/2019/04/seurat8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7171,"Willem van Aelst : ""Still Life with Dead Game"" (1661) 16"" x 20"" (Image: 13"" x 16.31"")","A favorite of European aristocracy and the rising merchant class, the hunting still life walks the fine line between the beautiful and the grotesque. Before the advent of photography, dead game afforded artists the opportunity to paint anatomically precise animals with delicately-rendered fur, feather, fin and flesh. Willem van Aelst was an early practitioner of this genre in Holland whose work went on to influence later French, British and American painters. The National Gallery identifies the principal subjects of Still Life with Dead Game as ""a white rooster, a wild hare, a partridge, and several songbirds."" The relief on the stone ledge depicts the story of Diana and Actaeon, wherein an unfortunate hunter chances upon Diana in the nude, is transformed into a stag and run down by his own hounds.",https://www.theibis.net/product/willem-van-aelst-still-life-with-dead-game-1661/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7171,https://www.theibis.net/wp-content/uploads/2019/04/aelst2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7151,"Alexandre-Francois Desportes : ""Still Life with Dressed Game, Meat and Fruit"" (1734) 16"" x 20"" (Image: 13"" x 16.75"")","A court favorite during the reigns of Louis XIV and XV, Alexandre-François Desportes would often follow the royal hunt, making on-site sketches of dead game. The king would then review his notebook and choose subjects for finished paintings, which Desportes would adorn with exquisite examples of contemporary silverware. Still Life with Dressed Game, Meat, and Fruit is an outstanding example of these buffet pieces. The National Gallery emphasizes manner in which the artist, ""While working with...standard elements of the hunting still-life genre...managed to create an unusual and compelling composition thanks to the arresting, almost surgical detail with which each aspect of the work was rendered...The artists careful delineation of contrasting (and potentially distasteful) subject matter forces the spectator to acknowledge the sheer artistic prowess with which this virtuoso — and highly original — tour de force self-consciously negotiates the uneasy relationship of the beautiful and bizarre.""",https://www.theibis.net/product/alexandre-francois-desportes-still-life-with-dressed-game-meat-and-fruit-1734/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7151,https://www.theibis.net/wp-content/uploads/2019/04/desp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7140,"John Frederick Peto : ""Still Life with Cake, Lemon, Strawberries and Glass"" (1890) 16"" x 20"" (Image: 12.06"" x 17"")","John F. Peto was a master of the trompe-loeil (literally, ""deceive the eye"") still life, in which shadow effects, foreshortening and other techniques of perspective are used to lend realistic objects the illusion of three-dimensionality. He worked in relative obscurity, selling his paintings to tourists. Though he submitted work to the Philadelphia Academy, he was never granted a gallery exhibition during his lifetime. His works were rediscovered along with those of William Harnett, whose own trompe loeils are considered demonstrate greater technical proficiency, but less emotional resonance.",https://www.theibis.net/product/john-frederick-peto-still-life-with-cake-lemon-strawberries-and-glass-1890/?attribute_size=16%22+x+20%22+%28Image%3A+12.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7140,https://www.theibis.net/wp-content/uploads/2019/04/peto_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7130,"Alexej von Jawlensky : ""Still Life with Bottles and Fruit"" (1900) 16"" x 20"" (Image: 13"" x 13"")","Alexej von Jawlensky was a major figure in the German Expressionist movement. A response to the increasingly dehumanizing conditions brought on by industrialization and the growth of cities, it rejected realism in favor of pure subjectivity. ""An Expressionist,"" wrote art historian Antonin Matejcek in 1910, ""wishes, above all, to express himself...(an Expressionist rejects) immediate perception and builds on more complex psychic structures...Impressions and mental images that pass through mental peoples soul as through a filter which rids them of all substantial accretions to produce their clear essence.""",https://www.theibis.net/product/alexej-von-jawlensky-still-life-with-bottles-and-fruit-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7130,https://www.theibis.net/wp-content/uploads/2019/04/jawl_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7120,"Folk Art : ""Still Life of Fruit"" (c. 1865/1880) 16"" x 20"" (Image: 12.5"" x 17"")","This splendid folk art piece is believed to have originated in Massachusetts in the later part of the 19th century. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-still-life-of-fruit-c-1865-1880/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7120,https://www.theibis.net/wp-content/uploads/2019/04/slfru_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7110,"Claude Monet : ""Still Life with a Bottle, Carafe, Bread and Wine"" (c. 1862/1863) 16"" x 20"" (Image: 11.19"" x 17"")","By 1862 the young Claude Monet had already become disillusioned with the conventional art taught in schools. Living and studying in Paris, he met Pierre-Auguste Renoir, Frédéric Bazille and Alfred Sisley, and together they began experimenting with new techniques. With its fluid brushwork and separated colors, Still Life with Bottle, Carafe, Bread and Wine represents an early foray into the style that the world soon would come to know as Impressionism.",https://www.theibis.net/product/claude-monet-still-life-with-a-bottle-carafe-bread-and-wine-c-1862-1863/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7110,https://www.theibis.net/wp-content/uploads/2019/04/caraf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7098,"Willem Kalf : ""Pronk Still Life with Holbein Bowl, Nautilus Cup, Glass Goblet and Fruit Dish"" (1678) 16"" x 20"" (Image: 13"" x 15.69"")","Willem Kalf was a still life painter of the Dutch Golden Age who participated in the development of the banketje, or ""little banquet piece,"" into the more sumptuous and ornate pronkstilleven. His works featured the luxuriant imports of Hollands far-flung trading empire, and especially Chinese porcelain. These objects were typically arranged in a pyramidal fashion and set against a darkened background, their forms illuminated by accents of light. The National Gallery in Washington describes him as ""one of the most celebrated, sought after, and successful still life painters of the seventeenth century.""",https://www.theibis.net/product/willem-kalf-pronk-still-life-with-holbein-bowl-nautilus-cup-glass-goblet-and-fruit-dish-1678/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7098,https://www.theibis.net/wp-content/uploads/2019/04/pronk_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7087,"Willem Kalf : ""Still Life with a Silver Jug and a Porcelain Bowl"" (1655-1660) 16"" x 20"" (Image: 13"" x 14.5"")","Willem Kalf was a still life painter of the Dutch Golden Age who participated in the development of the banketje, or ""little banquet piece,"" into the more sumptuous and ornate pronkstilleven. His works featured the luxuriant imports of Hollands far-flung trading empire, and especially Chinese porcelain. These objects were typically arranged in a pyramidal fashion and set against a darkened background, their forms illuminated by accents of light. The National Gallery in Washington describes him as ""one of the most celebrated, sought after, and successful still life painters of the seventeenth century.""",https://www.theibis.net/product/willem-kalf-still-life-with-a-silver-jug-and-a-porcelain-bowl-1655-1660/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7087,https://www.theibis.net/wp-content/uploads/2019/04/kalf3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7074,"Willem Kalf : ""Still Life"" (1660) 16"" x 20"" (Image: 13"" x 15.63"")","Willem Kalf was a still life painter of the Dutch Golden Age who participated in the development of the banketje, or ""little banquet piece,"" into the more sumptuous and ornate pronkstilleven. His works featured the luxuriant imports of Hollands far-flung trading empire, and especially Chinese porcelain. These objects were typically arranged in a pyramidal fashion and set against a darkened background, their forms illuminated by accents of light. The National Gallery in Washington describes him as ""one of the most celebrated, sought after, and successful still life painters of the seventeenth century.""",https://www.theibis.net/product/willem-kalf-still-life-1660/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7074,https://www.theibis.net/wp-content/uploads/2019/04/kalf2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7062,"Willem Kalf : ""Still Life with Nautilus Cup"" (1665/1670) 16"" x 20"" (Image: 13"" x 15.5"")","Willem Kalf was a still life painter of the Dutch Golden Age who participated in the development of the banketje, or ""little banquet piece,"" into the more sumptuous and ornate pronkstilleven. His works featured the luxuriant imports of Hollands far-flung trading empire, and especially Chinese porcelain. These objects were typically arranged in a pyramidal fashion and set against a darkened background, their forms illuminated by accents of light. The National Gallery in Washington describes him as ""one of the most celebrated, sought after, and successful still life painters of the seventeenth century."" However, the present piece is believed to be a workshop replica by Kalfs assistants, the original having been lost.",https://www.theibis.net/product/willem-kalf-still-life-with-nautilus-cup-1665-1670/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7062,https://www.theibis.net/wp-content/uploads/2019/04/kalf1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7051,"Georges Seurat : ""A Summer Landscape"" (1883) 16"" x 20"" (Image: 10.5"" x 17"")","Georges Seurat believed that harmony in visual art, as in music, obeyed a set of laws that could be learned and applied in a systematic fashion. Combinations of color temperature, tonal balance and line direction corresponded to the emotional effects of calm, gaiety and sadness. He applied color according to the same technical principles as a modern printer, television or computer monitor; as individual dots or patches of pure color which, when perceived at a distance, blend together. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-a-summer-landscape-1883/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7051,https://www.theibis.net/wp-content/uploads/2019/04/seurat7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7039,"Canaletto : ""The Square of Saint Marks, Venice"" (1742/1744) 16"" x 20"" (Image: 12.56"" x 17"")","Light flows in from the right of Canalettos vedute of the Piazza San Marco in Venice. Pedestrians mingle against the backdrop of St. Marks basilica (left) and the Doges Palace (right). For his attention to atmospheric effects and practice of painting outdoors, Canaletto has been credited as one of the forerunners of Impressionism.",https://www.theibis.net/product/canaletto-the-square-of-saint-marks-venice-1742-1744/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7039,https://www.theibis.net/wp-content/uploads/2019/04/canal1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7028,"Jasper Francis Cropsey : ""Autumn - On the Hudson River"" (1860) 16"" x 20"" (Image: 9.31"" x 17"")","Man and nature coexist peacefully in this autumnal landscape by Jasper Francis Cropsey, representing, in the words of a contemporary critic, ""not the solemn washing away of the year, but its joyful crowning festival."" The view is of the Hudson River Valley, looking southeast toward the river and the flank of Storm King Mountain. The National Gallery notes that ""the painting created a sensation among many British viewers who had never seen such a colorful panorama of fall foliage. Indeed, because the autumn in Britain is customarily far less colorful than in the United States, the artist decided to display specimens of North American leaves alongside his painting to persuade skeptical visitors that his rendition was botanically accurate.""",https://www.theibis.net/product/jasper-francis-cropsey-autumn-on-the-hudson-river-1860/?attribute_size=16%22+x+20%22+%28Image%3A+9.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7028,https://www.theibis.net/wp-content/uploads/2019/04/cropsey_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7018,"Adriaen Coorte : ""A Bowl of Strawberries on a Stone Plinth"" (1696) 16"" x 20"" (Image: 13"" x 17"")","The National Gallery describes Adriean Coorte as ""a visual poet whose intimate still lifes allow the viewer to see both the familiar and the exotic with wonder and admiration."" At a time when other Dutch artists were painting large, elaborately crowded still lifes, Coortes carefully balanced, minimalist compositions paid separate homage to Gods handiwork in as revealed in each seashell, strawberry or bunch of asparagus.",https://www.theibis.net/product/adriaen-coorte-a-bowl-of-strawberries-on-a-stone-plinth-1696/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7018,https://www.theibis.net/wp-content/uploads/2019/04/coorte2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 7005,"Adriaen Coorte : ""Still Life with Asparagus and Red Currants"" (1696) 16"" x 20"" (Image: 12.38"" x 17"")","The National Gallery describes Adriean Coorte as ""a visual poet whose intimate still lifes allow the viewer to see both the familiar and the exotic with wonder and admiration."" At a time when other Dutch artists were painting large, elaborately crowded still lifes, Coortes carefully balanced, minimalist compositions paid separate homage to Gods handiwork in as revealed in each seashell, strawberry or bunch of asparagus.",https://www.theibis.net/product/adriaen-coorte-still-life-with-asparagus-and-red-currants-1696/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=7005,https://www.theibis.net/wp-content/uploads/2019/04/coorte1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6992,"Georges Seurat : ""The Stone Breaker"" (c. 1882) 16"" x 20"" (Image: 10.5"" x 17"")","Georges Seurat believed that harmony in visual art, as in music, obeyed a set of laws that could be learned and applied in a systematic fashion. Combinations of color temperature, tonal balance and line direction corresponded to the emotional effects of calm, gaiety and sadness. He applied color according to the same technical principles as a modern printer, television or computer monitor; as individual dots or patches of pure color which, when perceived at a distance, blend together. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-the-stone-breaker-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6992,https://www.theibis.net/wp-content/uploads/2019/04/seurat6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6982,"Georges Seurat : ""Peasant with a Hoe"" (c. 1882) 16"" x 20"" (Image: 10.69"" x 17"")","Georges Seurat believed that harmony in visual art, as in music, obeyed a set of laws that could be learned and applied in a systematic fashion. Combinations of color temperature, tonal balance and line direction corresponded to the emotional effects of calm, gaiety and sadness. He applied color according to the same technical principles as a modern printer, television or computer monitor; as individual dots or patches of pure color which, when perceived at a distance, blend together. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-peasant-with-a-hoe-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+10.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6982,https://www.theibis.net/wp-content/uploads/2019/04/seurat5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6971,"Georges Seurat : ""Man with a Hoe"" (c. 1882) 16"" x 20"" (Image: 10.63"" x 17"")","Georges Seurat believed that harmony in visual art, as in music, obeyed a set of laws that could be learned and applied in a systematic fashion. Combinations of color temperature, tonal balance and line direction corresponded to the emotional effects of calm, gaiety and sadness. He applied color according to the same technical principles as a modern printer, television or computer monitor; as individual dots or patches of pure color which, when perceived at a distance, blend together. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-man-with-a-hoe-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6971,https://www.theibis.net/wp-content/uploads/2019/04/seurat4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6941,"Pieter Claesz : ""Still Life with Peacock Pie"" (1627) 16"" x 20"" (Image: 10.13"" x 17"")","This culinary still life of the Dutch Golden Age depicts what would have been a princely feast in 17th century Holland, the centerpiece of which is the titular peacock pie, festooned with the fowls feathers and gullet, a pink rose in its beak. The table is sumptuously arrayed with garnished game, fruits and nuts, and set with luxurious pewter platters, Wan-li bowls and a gilded saltcellar. Crumpled napkins and partially eaten food contribute the illusion of human presence.",https://www.theibis.net/product/pieter-claesz-still-life-with-peacock-pie-1627/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6941,https://www.theibis.net/wp-content/uploads/2019/04/claesz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6931,"Vincent van Gogh : ""Still Life of Oranges and Lemons with Blue Gloves"" (1889) 16"" x 20"" (Image: 13"" x 16.88"")","Van Gogh completed this horticultural still life in the aftermath of the notorious mental breakdown during which he sliced off his ear. The National Gallery notes ""the artists extraordinarily original sense of color, as well as his richly expressive paint application as he struggles to evoke the nubby waxen skin of the various fruits, the spiky fur of the branches, and the limp material of the worn gloves.""",https://www.theibis.net/product/vincent-van-gogh-still-life-of-oranges-and-lemons-with-blue-gloves-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6931,https://www.theibis.net/wp-content/uploads/2019/04/bglo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6921,"Georges Seurat : ""The Lighthouse at Honfleur"" (1886) 16"" x 20"" (Image: 13"" x 16"")","Georges Seurat believed that harmony in visual art, as in music, obeyed a set of laws that could be learned and applied in a systematic fashion. Combinations of color temperature, tonal balance and line direction corresponded to the emotional effects of calm, gaiety and sadness. He applied color according to the same technical principles as a modern printer, television or computer monitor; as individual dots or patches of pure color which, when perceived at a distance, blend together. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-the-lighthouse-at-honfleur-1886/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6921,https://www.theibis.net/wp-content/uploads/2019/04/seurat3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6911,"Camille Corot : ""Italian Girl"" (c. 1872) 16"" x 20"" (Image: 13"" x 15.31"")","Camille Corots enchantment with the Mediterranean world dates to his first trip to Italy in 1825-1828, where he completed over 200 drawings and 150 paintings. Like many an artistic pilgrim before him, he studied the sun-baked countryside, the Roman ruins and architecture, but he also developed a special fascination for Italian women. The Italians, he wrote, ""still have the most beautiful women I have met...their eyes, their shoulders, their hands are spectacular. In that, they surpass our women..."" His passion, however, appears to have been unrequited, for ""on the other hand, they are not their equals in grace and kindness...Myself, as a painter I prefer the Italian woman, but I lean toward the French woman when it comes to emotion.""",https://www.theibis.net/product/camille-corot-italian-girl-c-1872/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6911,https://www.theibis.net/wp-content/uploads/2019/04/itg_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6900,"Camille Corot : ""Dance under the Trees at the Edge of the Lake"" (1865-1870) 16"" x 20"" (Image: 11.69"" x 17"")","Late in his career, as Camille Corot turned from plein air painting to studio work, his canvases assumed a dreamlike quality. Rendered in extremely muted palettes, they often assumed a silver cast, reminiscent of contemporary photographs, as the artist became immersed in the tonal harmonies that had been his lifelong passion. However, they drew sharp rebuke from critics such as Théophile Thoré, who complained that Corot ""has only a single octave, extremely limited and in a minor key...He knows scarcely more than a single time of day, the morning, and a single color, pale grey."" But others supported Corot. Charles Baudelaire pronounced him the leader of the ""modern school of landscape painting,"" and answered his critics that ""M. Corot is more of a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Corot, speaking for himself, responded that ""What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."" Corot became a warmly regarded father figure to a generation of the French avant-garde, including Camille Pissarro, Eugène Boudin and Berthe Morisot, and his works remained an important influence upon modern art long after his death. ""There is only one master here—Corot,"" said Claude Monet in 1897, ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-dance-under-the-trees-at-the-edge-of-the-lake-1865-1870/?attribute_size=16%22+x+20%22+%28Image%3A+11.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6900,https://www.theibis.net/wp-content/uploads/2019/04/cdance_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6889,"Camille Corot : ""Young Girl Reading"" (c. 1868) 16"" x 20"" (Image: 13"" x 15.56"")","Though Camille Corot resolved at age 30 to dedicate his life to landscapes, he painted figures throughout his career. Figures were necessary to populate his landscapes, but more importantly they presented formal challenges that allowed Corot to find creative solutions to basic artistic problems. ""The study of the nude,"" he advised his students, ""is the best lesson that a landscape painter can have. If someone knows how, without any tricks, to get down a figure, he is able to make a landscape; otherwise he can never do it."" Late in his career he came to enjoy figure painting as a refreshing break from routine. Treating the landscape as backdrop, he brought his subjects spiritual and emotional characters to the fore. These mature works came to be specially prized by collectors, who admired their subtle grace and serenity. Edgar Degas preferred Corots figures to his landscapes, and Pablo Picasso would pay them homage through his own works.",https://www.theibis.net/product/camille-corot-young-girl-reading-c-1868/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6889,https://www.theibis.net/wp-content/uploads/2019/04/ygr_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6879,"Camille Corot : ""Agostina"" (1866) 16"" x 20"" (Image: 12.38"" x 17"")","Agostina Segatori was a celebrated artists muse and proprietress of the Café du Tambourin on the rue du Richelieu in Paris. She posed for such renown artists as Jéan-Léon Gérôme, Eugène Delacroix, Édouard Manet and Vincent van Gogh, who paid her tribute in floral still lifes. In Agostina, Camille Corot chose to emphasize her statuesque Mediterranean features. Art critic Kendall Miccoli remarks that her ""Italian costume, exquisite pearl necklace, and especially the noble features framed by wonderfully arranged black hair, exude a classical dignity, as if some figure of ancient legend had suddenly materialized before our eyes. She embodies the land of longing, Italy, and the charm of that intermingling of classical grandeur and subjective mood which every Romantic current in art again and again sought in the Mediterranean world.""",https://www.theibis.net/product/camille-corot-agostina-1866/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6879,https://www.theibis.net/wp-content/uploads/2019/04/cagos_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6866,"Camille Corot : ""The Artists Studio"" (c. 1868) 16"" x 20"" (Image: 11"" x 17"")","According to the art critic Jed Perl, ""in the series of a half-dozen views of a woman in the artists studio that he painted in the late 1860s and early 1870s, Corot joins the Velázquez of Las Meninas and the Watteau of Gersaints Shopsign as one of the immortal chroniclers of the artists relationship to the audience. In Corots studio paintings the audience has dwindled to a single visitor who sometimes scarcely seems to be looking at the canvas on the easel, and the result is a definitive description of the gathering solitude of the modern artist."" Though Corots studio was, in fact, packed during his later years, he must have felt isolated even among the throngs of dealers, students, friends and collectors. ""Why is it that there are ten of you around me,"" he famously quipped, ""and not one of you thinks to relight my pipe?""",https://www.theibis.net/product/camille-corot-the-artists-studio-c-1868/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6866,https://www.theibis.net/wp-content/uploads/2019/04/cstud_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6853,"Robert Henri : ""Snow in New York"" (1902) 16"" x 20"" (Image: 13"" x 16.25"")","Disenchanted with Impressionism, which by the 20th century had become the new orthodoxy, Robert Henri sought a more honest realism. In the words of art critic Robert Hughes, he ""wanted art to be akin to journalism. He wanted paint to be as real as mud, as the clods of horse-shit and snow that froze on Broadway in winter, as real a human product as sweat, carrying the unsurpressed smell of human life."" Snow in New York is accordingly raw and unadorned, depicting a cluttered side street rather than a major thoroughfare. Though the artist would turn to portraiture following the cool reception of his April 1902 solo exhibition, his student, George Bellows, would famously return to the theme of New York in winter.",https://www.theibis.net/product/robert-henri-snow-in-new-york-1902/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6853,https://www.theibis.net/wp-content/uploads/2019/04/sny_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6842,"Gustave Caillebotte : ""Skiffs"" (1877) 16"" x 20"" (Image: 13"" x 17"")","The setting for Skiffs is the artists family estate at Yerres, a suburb southeast of Paris, where he was finding a temporary muse in fishing, swimming and other water sports. A neo-impressionist who shared his predecessors commitment to realism, Caillebotte tended to borrow and experiment, cross-pollinating the ideas of his contemporaries rather than committing to a fixed style of his own. The National Gallery notes the manner in which ""he adopted the short, broken brushstrokes of Monet and the bold palette of Renoir, but achieved a much different effect: as the rowers zig-zag across the canvas in a bold, diagonal rhythm, they convey a sense of movement, a progression in time and space that reveals Caillebottes interest in photography.""",https://www.theibis.net/product/gustave-caillebotte-skiffs-1877/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6842,https://www.theibis.net/wp-content/uploads/2019/04/skiffs_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6831,"Adam van Breen : ""Skating on the Frozen Amstel River"" (1611) 16"" x 20"" (Image: 11.31"" x 17"")","Winter landscapes like this one afforded Dutch artists an opportunity to portray a broad cross section of contemporary life; the young and old, rich and poor, male and female. A boy in the black and red shirt of the city orphanage mingles freely among the fashionable and aristocratic as they skate, converse and play winter games. The National Gallery notes that ""Unlike many winter scenes that represent imaginary locales, this evocative landscape depicts an identifiable location on the Amstel River just south of Amsterdam. The profiles of three of the citys churches are visible in the distance: the large, wide building at the left is the Nieuwe Kerk; the distant church to its right with a tall steeple is the Oude Kerk; while the third church nearest the Amstel is the Zuiderkerk. Remarkably, the painting also depicts a large house surrounded by a painted wooden fence that can be seen on a contemporary map of the area.""",https://www.theibis.net/product/adam-van-breen-skating-on-the-frozen-amstel-river-1611/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6831,https://www.theibis.net/wp-content/uploads/2019/04/breen_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6821,"Eugene Boudin : ""Yacht Basin at Trouville-Deauville"" (probably 1895/1896) 16"" x 20"" (Image: 13"" x 16"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-yacht-basin-at-trouville-deauville-probably-1895-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6821,https://www.theibis.net/wp-content/uploads/2019/04/boud10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6808,"Eugene Boudin : ""On the Beach, Trouville"" (1887) 16"" x 20"" (Image: 9.5"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-on-the-beach-trouville-1887/?attribute_size=16%22+x+20%22+%28Image%3A+9.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6808,https://www.theibis.net/wp-content/uploads/2019/04/boud9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6796,"Berthe Morisot : ""The Artists Sister at a Window"" (1869) 16"" x 20"" (Image: 13"" x 15.56"")","As teenagers in an affluent bourgeoisie family, Berthe Morisot and her sister Edma received routine drawing lessons, but the talent they displayed was anything but ordinary. Their instructor, Joseph Guichard, warned their mother: ""With natures like those of your daughters my teaching will not confer the meagre talents of genteel accomplishment, they will become painters. Do you have any idea what that means? In your milieu of the grande bourgeoisie it would be a revolution."" Though Edma would find little time to paint after her marriage, Berthe certainly went on to become an artistic revolutionary. Gustave Geffroy famously described her as of the three ""grandes dames"" of the Impressionist movement, the others being Marie Bracquemond and Mary Cassatt. She was, in fact, more popular in her own time than Monet, Renoir or Picasso. Like the other impressionists, she painted her social environment, which, as an upper-class woman in the 19th century, meant that she was often limited to depicting family and friends in domestic settings. Yet, she was able to do so with a compelling psychological depth that absorbs the spectator in nuances, ambiguities and subtext that often describe her own experience of the entrapment of women. In the words of the poet Paul Valéry, ""Berthe Morisots uniqueness was to live her painting, and to paint her life...she took up, put down, returned to her brush like a thought that comes to us, is clean forgotten, and then occurs to us once again.""",https://www.theibis.net/product/berthe-morisot-the-artists-sister-at-a-window-1869/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6796,https://www.theibis.net/wp-content/uploads/2019/04/moris2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6785,"Berthe Morisot : ""The Sisters"" (1869) 16"" x 20"" (Image: 10.75"" x 17"")","As teenagers in an affluent bourgeoisie family, Berthe Morisot and her sister Edma received routine drawing lessons, but the talent they displayed was anything but ordinary. Their instructor, Joseph Guichard, warned their mother: ""With natures like those of your daughters my teaching will not confer the meagre talents of genteel accomplishment, they will become painters. Do you have any idea what that means? In your milieu of the grande bourgeoisie it would be a revolution."" Though Edma would find little time to paint after her marriage, Berthe certainly went on to become an artistic revolutionary. Gustave Geffroy famously described her as of the three ""grandes dames"" of the Impressionist movement, the others being Marie Bracquemond and Mary Cassatt. She was, in fact, more popular in her own time than Monet, Renoir or Picasso. Like the other impressionists, she painted her social environment, which, as an upper-class woman in the 19th century, meant that she was often limited to depicting family and friends in domestic settings. Yet, she was able to do so with a compelling psychological depth that absorbs the spectator in nuances, ambiguities and subtext that often describe her own experience of the entrapment of women. In the words of the poet Paul Valéry, ""Berthe Morisots uniqueness was to live her painting, and to paint her life...she took up, put down, returned to her brush like a thought that comes to us, is clean forgotten, and then occurs to us once again.""",https://www.theibis.net/product/berthe-morisot-the-sisters-1869/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6785,https://www.theibis.net/wp-content/uploads/2019/04/moris1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6774,"Thomas Eakins : ""Baby at Play"" (1876) 16"" x 20"" (Image: 11.38"" x 17"")","Though his is hardly a household name, Thomas Eakins is widely credited as one of the most important figures in American art history. His principal source of inspiration was his own middle-class social environment. He was, in the words of art critic John Canaday, ""a supreme realist"" who seems to ""have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization."" The subject of Baby at Play is the artists two and a half year-old niece, Ella Crowell. The National Gallery cites a recent interpretation that ""Eakins was depicting Ellas initial foray into the adult world of education and learning. Having temporarily cast aside her more infantile toys in favor of alphabet blocks—the tools of language—the child now seems ready to enter the next critical stage of her intellectual development.""",https://www.theibis.net/product/thomas-eakins-baby-at-play-1876/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6774,https://www.theibis.net/wp-content/uploads/2019/04/eak3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6762,"Thomas Eakins : ""The Biglin Brothers Racing"" (1872) 16"" x 20"" (Image: 11.25"" x 17"")","Though his is hardly a household name, Thomas Eakins is widely credited as one of the most important figures in American art history. His principal source of inspiration was his own middle-class social environment. He was, in the words of art critic John Canaday, ""a supreme realist"" who seems to ""have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization."" The Biglin Brothers Racing was likely based upon a five-mile competition that took place on the Schuylkill River in Philadelphia on May 20th, 1872. The National Gallery notes its ""finely calibrated composition,"" in which the brothers are ""perfectly attuned to one another."" It was by their slow and steady stroke that they won the race, overcoming an early lead by their rivals, Harry Coulter and Lewis Cavitt.",https://www.theibis.net/product/thomas-eakins-the-biglin-brothers-racing-1872/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6762,https://www.theibis.net/wp-content/uploads/2019/04/eak2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6752,"Thomas Eakins : ""Singing a Pathetic Song"" (1881) 16"" x 20"" (Image: 12.06"" x 17"")","Though his is hardly a household name, Thomas Eakins is widely credited as one of the most important figures in American art history. His principal source of inspiration was his own middle-class social environment. He was, in the words of art critic John Canaday, ""a supreme realist"" who seems to ""have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization."" The subject of Singing a Pathetic Song is an informal musical gathering of the sort that Eakins often hosted in his own home. The title refers to the genre—not quality—of the music. Popular in the 1860s and 1870s a ""pathetic song"" was a tearful ballad of death and misfortune, recited in an autobiographical voice. A contemporary critic described the work as ""absolutely true to nature, a perfect record of the life amid which the artist lives.""",https://www.theibis.net/product/thomas-eakins-singing-a-pathetic-song-1881/?attribute_size=16%22+x+20%22+%28Image%3A+12.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6752,https://www.theibis.net/wp-content/uploads/2019/04/eak_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6739,"Albert Pinkham Ryder : ""Siegfried and the Rhine Maidens"" (1888/1891) 16"" x 20"" (Image: 13"" x 13.31"")","Siegfried and the Rhine Maidens was the product of a 48-hour creative fugue inspired by a performance of Wagners Götterdämmerung ; the five-hour finale of his Nibelung cycle. By his own account, the artist neither ate nor slept until the piece was finished. It depicts the episode in which the Rhine Maidens warn Siegfried that the ring he has just won was forged from stolen gold, and is therefore cursed. Siegfried pays them no mind, and tragedy ensues. For his part, Ryder may have been cursed as well; after 1900 his muse fled, and he devoted himself almost entirely to reworking his old paintings.",https://www.theibis.net/product/albert-pinkham-ryder-siegfried-and-the-rhine-maidens-1888-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6739,https://www.theibis.net/wp-content/uploads/2019/04/ryder_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6729,"Franz Marc : ""Siberian Dogs in the Snow"" (1909/1910) 16"" x 20"" (Image: 12.06"" x 17"")","Siberian Dogs in the Snow departs from the loud color contrasts and sharp, quasi-cubist shapes that were emblematic of Franz Marcs other paintings (almost all of which depict animals). Its soft whiteness connotes the gentle innocence of loyal pets. Their attention drawn by something out of frame, they approach with meek curiosity, their heads lowered, tails wagging. A key figure in the German Expressionist movement, Marcs life was tragically cut short at the Battle of Verdun, even as orders to remove him had already been dispatched.",https://www.theibis.net/product/franz-marc-siberian-dogs-in-the-snow-1909-1910/?attribute_size=16%22+x+20%22+%28Image%3A+12.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6729,https://www.theibis.net/wp-content/uploads/2019/04/sdogs_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6718,"Claude-Joseph Vernet : ""The Shipwreck"" (1772) 16"" x 20"" (Image: 11.81"" x 17"")","The Shipwreck demonstrates the seamlessness with which Claude-Joseph Vernet was able to integrate the human figure into spectacular atmospheric settings. As a Dutch ship founders against a rocky, windswept coast, a series of dramatic vignettes play out in the foreground. Survivors climb ashore, lamenting their fate; the fortunate see to the injured and bereaved; precious cargo is salvaged. Vernets invocation of the sublime anticipates the apocalyptic landscapes of John Martin and the climactic violence of Karl Bryullov in The Last Day of Pompeii .",https://www.theibis.net/product/claude-joseph-vernet-the-shipwreck-1772/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6718,https://www.theibis.net/wp-content/uploads/2019/04/vship_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6708,"Claude Monet : ""Ships Riding on the Seine at Rouen"" (1872/1873) 16"" x 20"" (Image: 13"" x 16"")","Claude Monet has been rightfully described as ""the driving force behind Impressionism."" Dedicated to understanding the effects of light and color on objects, and of the juxtaposition of colors with each other, he obtained the groundbreaking insights that lesser artists would merely apply. Settling in Argenteuil (a northwest suburb of Paris) in aftermath of the Franco-Prussian War, he constructed a floating studio that allowed him to paint en plein air from the surface of the water. Painting the Seine under a varying atmospheric conditions, he achieved a greater understanding of the effects of light on water, and began to think in terms of colors and shapes, rather than scenes and objects. ""When you go out to paint,"" he advised a fellow artist, ""try to forget what objects you have before you, a tree, a house, a field or whatever. Merely think here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naïve impression of the scene before you.""",https://www.theibis.net/product/claude-monet-ships-riding-on-the-seine-at-rouen-1872-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6708,https://www.theibis.net/wp-content/uploads/2019/04/seiner_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6696,"Ludolf Backhuysen : ""Ships in Distress off a Rocky Coast"" (1667) 16"" x 20"" (Image: 11.5"" x 17"")","Allegorical representations of the fragility of life permeated the art of the Dutch Golden Age, and marine art was no exception. Cargo vessels of the type depicted in Ships in Distress off a Rocky Coast were the main conduit for Dutch prosperity, yet they were vulnerable to the shifting seas. In the foreground a sunken ships mast sinks below the waves, yet the light of clear skies floods in from the left, offering hope to the surviving sailors. In 1672 the political seas would indeed turn hostile for the Dutch, who lost not only territory, but also their republic, to simultaneous wars with France and Britain.",https://www.theibis.net/product/ludolf-backhuysen-ships-in-distress-off-a-rocky-coast-1667/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6696,https://www.theibis.net/wp-content/uploads/2019/04/ludolf2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6686,"Eugene Boudin : ""The Trawlers"" (c. 1867/1870) 16"" x 20"" (Image: 11.63"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-the-trawlers-c-1867-1870/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6686,https://www.theibis.net/wp-content/uploads/2019/04/boud8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6674,"Willem van de Velde, the Younger : ""Ships in a Gale"" (1660) 16"" x 20"" (Image: 11.5"" x 17"")","Ships in a Gale evokes the violent waves and ominous skies that have compelled marine artists for centuries, but what makes it truly exceptional are the numerous vignettes unfolding within. Frantic sailors are shown hauling in sails, hanging from the rigging, washing up on jagged rocks and clinging to stray oars. Van de Velde might have titled the painting Sailors in a Gale , for it is as much about the experience of individual mariners as the vessels they struggle to man.",https://www.theibis.net/product/willem-van-de-velde-the-younger-ships-in-a-gale-1660/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6674,https://www.theibis.net/wp-content/uploads/2019/04/velde_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6662,"Judith Leyster : ""Self-Portrait"" (c. 1630) 16"" x 20"" (Image: 13"" x 14.75"")","Judith Leyster numbers among the many women artists whose contributions have been unfairly obscured. A cheerful genre painter, she was well-respected during her lifetime, but after her death her entire oeuvre was reattributed to her contemporary, Frans Hals. The record was not set straight until 1893, when The Jolly Companions entered the market. Billed as one of Hals ""finest paintings,"" it bore a forged signature that, when detected, led to the revelation of Leysters monogram. Under such scandalous circumstances, however, her rediscovery prompted more lawsuits than fanfare. ""At no time,"" writes feminist author Germaine Greer, ""did anyone throw his cap in the air and rejoice that another painter, capable of equaling Hals at his best, had been discovered."" Her artful self-portrait leaves little doubt as to her talent or charisma. It may have served as her presentation piece to the Haarlem Guild of St. Luke, to which she was admitted as its second female member. The National Gallery notes the juxtaposition of ""her hand holding a brush with the hand and bow of the violin player"" comparing ""the art of creating ephemeral music with the art of creating timeless paintings.""",https://www.theibis.net/product/judith-leyster-self-portrait-c-1630/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6662,https://www.theibis.net/wp-content/uploads/2019/04/leys_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6651,"Vincent van Gogh : ""Self-Portrait"" (August, 1889) 16"" x 20"" (Image: 13"" x 17"")","In his August, 1889 self-portrait Van Gogh reveals himself racked by a lifetime of mental illness. The first painting where he faces left to hide his mutilated ear, it was begun the day he ""got up...thin and pale as a ghost"" from a mental breakdown at Saint-Rémy. The National Gallery notes its ""haunting and haunted quality"" and ""the gauntness of his features in a sallow complexion."" If Van Goghs sunflowers radiate warmth, his self-portrait exudes withering pain, and yet that pain only serves to underscore the remarkable inner strength that he displays by his willingness to look at himself when he is at his worst. They say—,"" he wrote to his brother Theo, ""and I am very willing to believe it—that it is difficult to know yourself—but it isnt easy to paint yourself either.""",https://www.theibis.net/product/vincent-van-gogh-self-portrait-august-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6651,https://www.theibis.net/wp-content/uploads/2019/04/augpor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6639,"Eugene Boudin : ""Figures on the Beach"" (c. 1867/1870) 16"" x 20"" (Image: 10.56"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-figures-on-the-beach-c-1867-1870/?attribute_size=16%22+x+20%22+%28Image%3A+10.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6639,https://www.theibis.net/wp-content/uploads/2019/04/boud7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6627,"Eugene Boudin : ""Bathing Time at Deauville"" (1865) 16"" x 20"" (Image: 10.25"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-bathing-time-at-deauville-1865/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6627,https://www.theibis.net/wp-content/uploads/2019/04/boud6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6617,"Henry Ossawa Tanner : ""The Seine"" (c. 1902) 16"" x 20"" (Image: 12.06"" x 17"")","The setting for this Whistlerian oil sketch is the right bank of Seine looking west to the twin towers of the Palais du Trocadero; a Moorish concert hall constructed for the 1878 Worlds Fair and replaced by the Palais de Chaillot in 1937. While noting that The Seine was an ""impromptu study...not destined for exhibition,"" the National Gallery praises the work as a ""surprisingly modern"" and ""exceptionally evocative painting"" possessing ""some of the mood and mystery characteristic of the artists better-known religious subjects.""",https://www.theibis.net/product/henry-ossawa-tanner-the-seine-c-1902/?attribute_size=16%22+x+20%22+%28Image%3A+12.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6617,https://www.theibis.net/wp-content/uploads/2019/04/tseine_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6606,"Worthington Whittredge : ""Summer Pastorale (View of Kallenfels)"" (1853) 16"" x 20"" (Image: 13"" x 15.69"")","Worthington Whittredge was a sign and house painter who went on to study in Europe, where he sketched alongside Albert Bierstadt and modeled as Washington for Emanuel Leutzes Washington Crossing the Delaware . Roughly divided by a line of trees, Summer Pastorales idyllic foreground and dark, looming mountains are probably a composite based upon two separate sketches that the artist made while painting in the Rhineland. On his return to America, his exposure to European landscape painting equipped him to breathe new life into the Hudson River School, incorporating the aesthetics of the Barbizon and Impressionist movements.",https://www.theibis.net/product/worthington-whittredge-summer-pastorale-view-of-kallenfels-1853/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6606,https://www.theibis.net/wp-content/uploads/2019/04/spas_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6595,"Worthington Whittredge : ""Trout Brook in the Catskills"" (1875) 16"" x 20"" (Image: 12.38"" x 17"")","Worthington Whittredge was a sign and house painter who went on to study in Europe, where he sketched alongside Albert Bierstadt and modeled as Washington for Emanuel Leutzes Washington Crossing the Delaware . On his return to America, he infused new life into the Hudson River School by incorporating the aesthetics of the Barbizon and Impressionist movements. A symphony in moss and ochre, Trout Brook in the Catskills is an outstanding example of the dense forest interiors that featured among his most beloved subjects.",https://www.theibis.net/product/worthington-whittredge-trout-brook-in-the-catskills-1875/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6595,https://www.theibis.net/wp-content/uploads/2019/04/whitt2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6583,"Worthington Whittredge : ""Second Beach, Newport"" (c. 1878/1880) 16"" x 20"" (Image: 10.13"" x 17"")","Worthington Whittredge was a sign and house painter who went on to study in Europe, where he sketched alongside Albert Bierstadt and modeled as Washington for Emanuel Leutzes Washington Crossing the Delaware . On his return to America, he infused new life into the Hudson River School by incorporating the aesthetics of the Barbizon and Impressionist movements. His affinity for painting places that he personally loved is apparent in this bright and summery vignette of Second Beach, Newport, where families swim, picnic, and stroll into the breakers.",https://www.theibis.net/product/worthington-whittredge-second-beach-newport-c-1878-1880/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6583,https://www.theibis.net/wp-content/uploads/2019/04/whitt1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6571,"Georges Seurat : ""Haymakers at Montfermeil"" (c. 1882) 16"" x 20"" (Image: 10.63"" x 17"")","Georges Seurat believed that harmony in visual art, as in music, obeyed a set of laws that could be learned and applied in a systematic fashion. Combinations of color temperature, tonal balance and line direction corresponded to the emotional effects of calm, gaiety and sadness. He applied color according to the same technical principles as a modern printer, television or computer monitor; as individual dots or patches of pure color which, when perceived at a distance, blend together. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-haymakers-at-montfermeil-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6571,https://www.theibis.net/wp-content/uploads/2019/04/seurat2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6561,"Georges Seurat : ""Seascape at Port-en-Bessin, Normandy"" (1888) 16"" x 20"" (Image: 13"" x 16.13"")","Georges Seurat believed that harmony in visual art, as in music, obeyed a set of laws that could be learned and applied in a systematic fashion. Combinations of color temperature, tonal balance and line direction corresponded to the emotional effects of calm, gaiety and sadness. He applied color according to the same technical principles as a modern printer, television or computer monitor; as individual dots or patches of pure color which, when perceived at a distance, blend together. Seurat believed that these optically blended colors were more brilliant than the corresponding mix of paint and, indeed, that he was achieving the maximum luminosity that it was possible for his pigments to yield.",https://www.theibis.net/product/georges-seurat-seascape-at-port-en-bessin-normandy-1888/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6561,https://www.theibis.net/wp-content/uploads/2019/04/seurat1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6549,"Pierre-August Renoir : ""Madame Monet and Her Son"" (1874) 16"" x 20"" (Image: 12.5"" x 17"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-august-renoir-madame-monet-and-her-son-1874/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6549,https://www.theibis.net/wp-content/uploads/2019/04/renpor13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6539,"Joseph Rodefer DeCamp : ""The Seamstress"" (1916) 16"" x 20"" (Image: 13"" x 16.81"")","This luminous piece by Joseph DeCamp evokes the Victorian ideal of woman as homemaker, laboring to create the necessary conditions for domestic warmth and tranquility. Sewing a garment, she takes on the aspect of an angel, bathed in heavenly light that dances and shimmers upon the thin white fabrics and clear, varnished table. DeCamp would only finish the piece when atmospheric conditions were just right, remarking that he only needed ""a couple of grey days turn the trick.""",https://www.theibis.net/product/joseph-rodefer-decamp-the-seamstress-1916/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6539,https://www.theibis.net/wp-content/uploads/2019/04/decamp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6527,"Cornelis Ploos van Amstel after Hendrick Avercamp : ""The Winter King on the Ice"" (1766) 16"" x 20"" (Image: 13"" x 13.44"")","From 1622 to 1632 the ""Winter King"" Frederick V, Elector Palatine, lived in exile in the Hague. He is pictured on the bank of a frozen river in this Ploos van Amstel reproduction of a watercolor by Hendrick Avercamp. The woman at his side is probably his wife, Elizabeth Stuart. In true aristocratic fashion, she wears a mask to protect her delicate skin from the cold.",https://www.theibis.net/product/cornelis-ploos-van-amstel-after-hendrick-avercamp-the-winter-king-on-the-ice-1766/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6527,https://www.theibis.net/wp-content/uploads/2019/04/aver6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6517,"Hendrick Avercamp : ""Winter Games on the Frozen River IJssel"" (c. 1626) 16"" x 20"" (Image: 10.19"" x 17"")","Dutchmen play the hockey-like game of colf in this winter landscape by Hendrick Avercamp. The setting is probably the IJssel River at the town of Kampen, northeast of Amsterdam, where the artist resided for most of his life. His fascination with skating characters may have been shaped by his parents, who painted with him as a child.",https://www.theibis.net/product/hendrick-avercamp-winter-games-on-the-frozen-river-ijssel-c-1626/?attribute_size=16%22+x+20%22+%28Image%3A+10.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6517,https://www.theibis.net/wp-content/uploads/2019/04/aver5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6505,"Winslow Homer : ""The Red School House"" (1873) 16"" x 20"" (Image: 11.88"" x 17"")","By the 1870s the assassination of Abraham Lincoln and founding of the KKK had put to rest any hope of an easy reconciliation between North and South. During this period Winslow Homer turned to nostalgic subjects that resonated with a public eager to remember a simpler time. Among these is a series of works centered around a little red schoolhouse that he painted from 1871-1874. Evocative of the past, they at once express hope for the future. If Homers generation would continue to bear their animosities, now honed by years of unprecedented bloodshed, they could, at least, hope for the nation to heal in their childrens time.",https://www.theibis.net/product/winslow-homer-the-red-school-house-1873/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6505,https://www.theibis.net/wp-content/uploads/2019/04/marm_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6495,"Hendrick Avercamp : ""Enjoying the Ice near a Town"" (c. 1620) 16"" x 20"" (Image: 9"" x 17"")","Winter landscapes like this one afforded Dutch artists an opportunity to portray a broad cross section of contemporary life: the young and old, rich and poor, at work and at play. From the elegant ladies protecting their delicate skin behind velvet masks, to the rugged ice fishermen and beggar scrounging for change, the canvas offers up a myriad of small details to explore. Avercamp most likely worked in his studio, organizing his elaborate compositions from individual sketches he had made during the winter. His fascination with skating characters may have been shaped by his parents, who painted with him as a child.",https://www.theibis.net/product/hendrick-avercamp-enjoying-the-ice-near-a-town-c-1620/?attribute_size=16%22+x+20%22+%28Image%3A+9%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6495,https://www.theibis.net/wp-content/uploads/2019/04/aver4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6484,"Hendrick Avercamp : ""A Scene on the Ice"" (c. 1625) 16"" x 20"" (Image: 8.63"" x 17"")","Winter landscapes like this one afforded Dutch artists an opportunity to portray a broad cross section of contemporary life: the young and old, rich and poor, at work and at play. From the elegant ladies on their ornate sleigh to the children playing the hockey-like game of colf, the canvas offers up a myriad of small details to explore. Avercamp most likely worked in his studio, organizing his elaborate compositions from individual sketches he had made during the winter. The setting for this piece is probably the IJssel River at the town of Kampen, northeast of Amsterdam, where the artist resided for most of his life. His fascination with skating characters may have been shaped by his parents, who painted with him as a child.",https://www.theibis.net/product/hendrick-avercamp-a-scene-on-the-ice-c-1625/?attribute_size=16%22+x+20%22+%28Image%3A+8.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6484,https://www.theibis.net/wp-content/uploads/2019/04/aver3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6472,"Johann Liss : ""The Satyr and the Peasant"" (c. 1623/1626) 16"" x 20"" (Image: 13"" x 16.25"")","With its dynamic figures and sharp chiaroscuro The Satyr and the Peasant is instantly recognizable as a product of the Baroque, displaying the influence of Jacob Jordaens, Peter Paul Rubens, Caravaggio and the Venetian masters. The scene represents the climax of Aesops fable, The Man and the Satyr . On a bitter winters night, a satyr chances upon a man who has become lost in the woods and invites him to his lodging. On entering, the man blows on his hands to warm them. Later, he blows on hot bowl of porridge to cool it. The satyr, shocked, throws the man out, explaining that ""I will have naught to do with a man who can blow hot and cold with the same breath."" The moral of the tale is to be wary of hypocrites, though it may also be read as a comment upon the state of science education in the satyr community.",https://www.theibis.net/product/johann-liss-the-satyr-and-the-peasant-c-1623-1626/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6472,https://www.theibis.net/wp-content/uploads/2019/04/liss_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6462,"Andre Giroux : ""Santa Trinita dei Monti in the Snow"" (1825/1830) 16"" x 20"" (Image: 12.56"" x 17"")","André Giroux anticipates Impressionism in this oil sketch of the Trinità dei Monti, which foregoes a finished rendering in order to capture the artists immediate experience of Roman skyline. The view is from the north side of the Villa Medici on the Pincian Hill, where Giroux resided as a student in the Académie de France from 1825-1830. The 16th century church and convent occupies a commanding position at the top of the Spanish Steps—all 135 of them—which connect it to the Piazza di Spagna below.",https://www.theibis.net/product/andre-giroux-santa-trinita-dei-monti-in-the-snow-1825-1830/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6462,https://www.theibis.net/wp-content/uploads/2019/04/strin_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6450,"Winslow Homer : ""Autumn"" (1877) 16"" x 20"" (Image: 10.5"" x 17"")","An elegant woman gathers varicolored autumn leaves. Her dark attire serves to deepen the rich oranges, reds, yellows and greens that surround her. Winslow Homer probably completed a similar work, Gathering Autumn Leaves , in the same year; its subject is a rustic boy who is likewise posed with a leafy branch in his left hand.",https://www.theibis.net/product/winslow-homer-autumn-1877/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6450,https://www.theibis.net/wp-content/uploads/2019/04/haut_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6438,"John Constable : ""Salisbury Cathedral from Lower Marsh Close"" (1820) 16"" x 20"" (Image: 13"" x 16.69"")","John Constable painted with a freshness and vivacity that was revolutionary for his time. Whereas contemporary landscape artists relied upon pictorial references, even adjusting their palettes to emulate the patina of aged oil paintings, Constable worked directly from nature, using plein air oil sketches as the basis for his finished work. His landscapes were immensely popular in France, where they became an important source of inspiration for the Barbizon School and, eventually, the Impressionists. Completed in 1820, Salisbury Cathedral from Lower Marsh Close is one of six similar views of Englands most famous medieval church.",https://www.theibis.net/product/john-constable-salisbury-cathedral-from-lower-marsh-close-1820/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6438,https://www.theibis.net/wp-content/uploads/2019/04/mclose_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6428,"Winslow Homer : ""A Light on the Sea"" (1897) 16"" x 20"" (Image: 9.88"" x 17"")","Ambiguous lighting effects contribute to the otherworldly atmosphere of Winslow Homers A Light on the Sea . The setting is Prouts Neck, Maine, looking southward over Saco Bay. With the moon at her back, a woman with a fishing net walks the shore, her attention seized by something out of frame. The juxtaposition of the moon, the sea and the woman ready with her snare has suggested many interpretations to art historians, who regard this painting as something of enigma, but to mariners—then, as now—its meaning is readily understood.",https://www.theibis.net/product/winslow-homer-a-light-on-the-sea-1897/?attribute_size=16%22+x+20%22+%28Image%3A+9.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6428,https://www.theibis.net/wp-content/uploads/2019/04/lsea_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6417,"Odilon Redon : ""Saint Sebastian"" (1910/1912) 16"" x 20"" (Image: 7.25"" x 17"")","Rendered in rich, dreamlike colors, with unfinished forms and surfaces, Odilon Redons Saint Sebastian treats its subject less as a real figure of flesh and bone than as a Jungian archetype, dwelling within our collective unconscious. In Christian hagiography, Saint Sebastian was a captain of the Praetorian Guard under the emperor Diocletian. When his faith was discovered the emperor had him tied to a stake and fired at by archers. Though some of the arrows struck him, he miraculously survived. Like Apollo, the Greco-Roman archer god, Sebastian became the patron of deliverance from pestilence, which strikes at the body like a deadly arrow from an unseen quarter.",https://www.theibis.net/product/odilon-redon-saint-sebastian-1910-1912/?attribute_size=16%22+x+20%22+%28Image%3A+7.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6417,https://www.theibis.net/wp-content/uploads/2019/04/2sseb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6399,"Winslow Homer : ""School Time"" (c. 1874) 16"" x 20"" (Image: 11.19"" x 17"")","By the 1870s the assassination of Abraham Lincoln and founding of the KKK had put to rest any hope of an easy reconciliation between North and South. During this period Winslow Homer turned to nostalgic subjects that resonated with a public eager to remember a simpler time. Among these is a series of works centered around a little red schoolhouse that he painted from 1871-1874. Evocative of the past, they at once express hope for the future. If Homers generation would continue to bear their animosities, now honed by years of unprecedented bloodshed, they could, at least, hope for the nation to heal in their childrens time.",https://www.theibis.net/product/winslow-homer-school-time-c-1874/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6399,https://www.theibis.net/wp-content/uploads/2019/04/stime_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6389,"Winslow Homer : ""East Hampton Beach, Long Island"" (1874) 16"" x 20"" (Image: 7.81"" x 17"")","East Hampton Beach, Long Island demonstrates the emotional depth which elevated Winslow Homer from an ordinary genre painter to a timeless artist. The beauty of the setting gives way to an undercurrent of melancholy as one notices the sickly, sloping posture of the middle woman. Clad in a deep brown shawl, she recedes into the shadows of the parasol so that we notice her last of the four principal figures. She is most likely a consumptive who has removed to the seashore for better air; a too-common sight in the resort areas of the Industrial Revolution. Juxtaposing natural beauty and recreation with sickness and death, Homer counsels us to be ever mindful of our own mortality.",https://www.theibis.net/product/winslow-homer-east-hampton-beach-long-island-1874/?attribute_size=16%22+x+20%22+%28Image%3A+7.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6389,https://www.theibis.net/wp-content/uploads/2019/04/ehamp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6379,"Winslow Homer : ""Dads Coming"" (1873) 16"" x 20"" (Image: 11.31"" x 17"")","A child anticipates his fathers return from sea in this genre painting by Winslow Homer. As an illustrator for Harpers , Homer had witnessed the Civil War from the front lines. The assassination of Abraham Lincoln and founding of the KKK had meanwhile put to rest any fantasies of a happy reconciliation between North and South. In the 1870s, therefore, the artist found himself immersed in deeply nostalgic themes that resonated with a public eager to remember a simpler time. While the critic and literary realist Henry James confessed to detesting these subjects, complaining that Homer had ""chosen the least pictorial range of scenery and civilization"" and ""resolutely treated them as if they were pictorial"" he was nonetheless forced to admit that ""to reward his audacity, he has incontestably succeeded.""",https://www.theibis.net/product/winslow-homer-dads-coming-1873/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6379,https://www.theibis.net/wp-content/uploads/2019/04/dcom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6369,"Claude Monet : ""Sainte-Adresse"" (1867) 16"" x 20"" (Image: 11.81"" x 17"")","Impressionism was born on the beaches of Normandy, where, at the urging of Eugène Boudin, a young caricature artist named Claude Monet quite literally saw the light and awoke to the possibilities of landscape painting. By 1867, when he visited the resort town of Sainte-Adresse, he had learned to paint en plein air and become attuned to the subtleties of light and atmosphere that would become focus of his long career. Writing to his colleague Frédéric Bazille, he reported that he had ""about 20 canvases well underway, some stunning seascapes and some figures and gardens, everything in short."" In Sainte-Adresse Monet depicts the seashore in autumn, after the tourists had departed. An array of boats, figures and architecture are skillfully integrated into the landscape, thereby conveying something of the cultural geography of the region, in addition to its inherent natural beauty. The National Gallery in Washington observes in it ""a new awareness of the particular atmospheric character of the scene, reflecting Monets growing acuity as a landscape painter.""",https://www.theibis.net/product/claude-monet-sainte-adresse-1867/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6369,https://www.theibis.net/wp-content/uploads/2019/04/sainta_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6359,"Eugene Boudin : ""The Beach at Villerville"" (1864) 16"" x 20"" (Image: 10.06"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-the-beach-at-villerville-1864/?attribute_size=16%22+x+20%22+%28Image%3A+10.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6359,https://www.theibis.net/wp-content/uploads/2019/04/boud5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6348,"Rembrandt Peale : ""Rubens Peale with a Geranium"" (1801) 16"" x 20"" (Image: 13"" x 15.13"")","The American polymath Charles Wilson Peale sired seventeen children, whom he mostly named for artists and scientists. The third of six who survived to adulthood, Rembrandt Peale became a prolific portrait artist who counted George Washington and Thomas Jefferson among his subjects. This piece celebrates his younger brother, Rubens, who at the age of seventeen had successfully cultivated the first geranium grown in the New World.",https://www.theibis.net/product/rembrandt-peale-rubens-peale-with-a-geranium-1801/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6348,https://www.theibis.net/wp-content/uploads/2019/04/rger_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6337,"Vincent van Gogh : ""Roulins Baby"" (1888) 16"" x 20"" (Image: 11.63"" x 17"")","Van Gogh painted multiple portraits of the each member of the Roulin Family from 1888-1889; the same period as his celebrated sunflower series. In portraits, however, he must have felt as though he had found his highest calling, writing that they were ""the only thing in painting that excites me to the depths of my soul, and which makes me feel the infinite more than anything else."" Due in part to his poverty, it was difficult for van Gogh to find models, so he was especially fortunate to meet a family of five willing to pose for him. By way of payment, he gave one of each portrait to the family, and they displayed them together in their bedroom. Four month-old Marcelle was the youngest of the Roulins, and Van Gogh painted her five times in total; thrice in isolation and twice with her mother. The process appears to have been therapeutic. It felt ""more like music and less like sculpture,"" he wrote. ""In a picture I want to say something comforting as music is comforting. I want to paint men and women with that something of the eternal which the halo used to symbolize, and which we seek to communicate by the actual radiance and vibration of our colouring.""",https://www.theibis.net/product/vincent-van-gogh-roulins-baby-1888/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6337,https://www.theibis.net/wp-content/uploads/2019/04/roulin_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6324,"Claude Monet : ""Rouen Cathedral, West Façade"" (1894) 16"" x 20"" (Image: 11"" x 17"")","Throughout his long career Claude Monet sought to understand the phenomenon of light as separate from the particulars of any given motif. To this end, he often painted the same subject under different conditions, striving to capture the surrounding atmosphere, or ""envelope,"" as he called it. ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" According to the J. Paul Getty Museum, his series of the Rouen Cathedral represented ""his most intense effort on a single site. He painted there in late winter in both 1892 and 1893, then reworked his thirty canvases from memory in the studio through 1894. ""After creating a coherent ensemble, Monet selected twenty paintings that he considered complete and perfect...for an exhibition at his Paris dealers gallery in May 1895. Pissarro and Cézanne visited and praised the series, and patrons quickly purchased eight paintings from the group.""",https://www.theibis.net/product/claude-monet-rouen-cathedral-west-facade-1894/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6324,https://www.theibis.net/wp-content/uploads/2019/04/rouen2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6312,"Claude Monet : ""Rouen Cathedral, West Façade, Sunlight"" (1894) 16"" x 20"" (Image: 11.13"" x 17"")","Throughout his long career Claude Monet sought to understand the phenomenon of light as separate from the particulars of any given motif. To this end, he often painted the same subject under different conditions, striving to capture the surrounding atmosphere, or ""envelope,"" as he called it. ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" According to the J. Paul Getty Museum, his series of the Rouen Cathedral represented ""his most intense effort on a single site. He painted there in late winter in both 1892 and 1893, then reworked his thirty canvases from memory in the studio through 1894. ""After creating a coherent ensemble, Monet selected twenty paintings that he considered complete and perfect...for an exhibition at his Paris dealers gallery in May 1895. Pissarro and Cézanne visited and praised the series, and patrons quickly purchased eight paintings from the group.""",https://www.theibis.net/product/claude-monet-rouen-cathedral-west-facade-sunlight-1894/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6312,https://www.theibis.net/wp-content/uploads/2019/04/rouen1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6299,"Eugene Boudin : ""Beach at Trouville"" (1864/1865) 16"" x 20"" (Image: 9.13"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-beach-at-trouville-1864-1865/?attribute_size=16%22+x+20%22+%28Image%3A+9.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6299,https://www.theibis.net/wp-content/uploads/2019/04/boud4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6289,"Louise-Josephine Sarazin de Belmont : ""View of the Castello di San Giuliano, near Trapani, Sicily"" (c. 1824/1826) 16"" x 20"" (Image: 12.69"" x 17"")","From 1824-1826 Louise-Josephine Sarazin de Belmont toured Italy, following the path laid out in Jean-Claud Richard Abbé de Saint-Nons five-volume travel guide, Illustrations de Voyages pittoresques de Naples et de Sicile (1781-1786). Rather than rely upon a wealthy patron, she funded her travels through the sale of drawings, paintings and lithographs taken from the sites she visited along the way. As such, she may have been the first woman in history to have sold her work at auction. In addition, she shrewdly donated several paintings to Paris museums in order to publicize and create a market for her work. By her personal drive and business acumen, she was thus able to enjoy professional success in an era when womens creative endeavors were typically relegated to the home.",https://www.theibis.net/product/louise-josephine-sarazin-de-belmont-view-of-the-castello-di-san-giuliano-near-trapani-sicily-c-1824-1826/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6289,https://www.theibis.net/wp-content/uploads/2019/04/saraz2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6277,"Louise-Josephine Sarazin de Belmont : ""The Roman Theater at Taormina"" (1828) 16"" x 20"" (Image: 12.31"" x 17"")","From 1824-1826 Louise-Josephine Sarazin de Belmont toured Italy, following the path laid out in Jean-Claud Richard Abbé de Saint-Nons five-volume travel guide, Illustrations de Voyages pittoresques de Naples et de Sicile (1781-1786). Rather than rely upon a wealthy patron, she funded her travels through the sale of drawings, paintings and lithographs taken from the sites she visited along the way. As such, she may have been the first woman in history to have sold her work at auction. In addition, she shrewdly donated several paintings to Paris museums in order to publicize and create a market for her work. By her personal drive and business acumen, she was thus able to enjoy professional success in an era when womens creative endeavors were typically relegated to the home.",https://www.theibis.net/product/louise-josephine-sarazin-de-belmont-the-roman-theater-at-taormina-1828/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6277,https://www.theibis.net/wp-content/uploads/2019/04/saraz1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6267,"Dennis Miller Bunker : ""Roadside Cottage"" (1889) 16"" x 20"" (Image: 13"" x 15.5"")","Dennis Miller Bunker completed Roadside Cottage near the end of his life, when he had fully grasped the style and techniques of Impressionism. It is accordingly rendered in bright, saturated colors. The white of the New England cottage contrasts with the surrounding landscape and provides a template for the piercing light and subtle blue shadows of sunshine disrupted by the neighboring tree; an effect that is carried into the foreground. Impressionism was in many respects a quest to capture and understand the phenomenon of light itself; the chosen motifs were often of secondary importance.",https://www.theibis.net/product/dennis-miller-bunker-roadside-cottage-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6267,https://www.theibis.net/wp-content/uploads/2019/04/rcot_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6255,"Anthonie van Borssom : ""River Scene with Windmill and Boats, Evening"" (c. 1645) 16"" x 20"" (Image: 11.63"" x 17"")","A river aglow with the light of distant flame silhouettes boats and windmills in this Dutch Golden Age landscape by Anthonie van Borssom. The style, with its darkened palette and dramatic point of illumination, suggests the influence of Rembrandt, under whom the artist is believed to have studied from 1645-1650. The paintings affinity to Rembrandts own The Mill (1645/1648), a similarly backlit river landscape, may be in some fashion non-coincidental.",https://www.theibis.net/product/anthonie-van-borssom-river-scene-with-windmill-and-boats-evening-c-1645/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6255,https://www.theibis.net/wp-content/uploads/2019/04/bors_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6245,"Folk Art : ""Pink Roses"" (late 19th century) 16"" x 20"" (Image: 13"" x 14.5"")","This splendid folk art piece is believed to have originated in New York around the fourth quarter of the 19th century. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-pink-roses-late-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6245,https://www.theibis.net/wp-content/uploads/2019/04/prose_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6233,"Salomon van Ruysdael : ""River Landscape with Ferry"" (1649) 16"" x 20"" (Image: 12.69"" x 17"")","This landscape of the Dutch Golden Age was completed in the year following the Treaty of Münster, which at last granted Holland its full independence. The National Gallery has praised it for its ""harmonious composition"" and ""rich variety of...pictorial effects,"" noting its ""wonderful atmospheric qualities, subtle reflections in the water, and delightful figures crowded into the ferryboat."" Having been seized during the Nazi occupation, it was returned to its rightful owners in 2006.",https://www.theibis.net/product/salomon-van-ruysdael-river-landscape-with-ferry-1649/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6233,https://www.theibis.net/wp-content/uploads/2019/04/salo1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6223,"Eugene Boudin : ""Beach Scene at Trouville"" (1863) 16"" x 20"" (Image: 10.25"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-beach-scene-at-trouville-1863/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6223,https://www.theibis.net/wp-content/uploads/2019/04/boud3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6211,"Eugene Boudin : ""Jetty and Wharf at Trouville"" (1863) 16"" x 20"" (Image: 10.25"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-jetty-and-wharf-at-trouville-1863/?attribute_size=16%22+x+20%22+%28Image%3A+10.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6211,https://www.theibis.net/wp-content/uploads/2019/04/boud2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6200,"Winslow Homer : ""Right and Left"" (1909) 16"" x 20"" (Image: 9.81"" x 17"")","The National Gallery describes Right and Left as ""the culminating achievement of Winslow Homers extraordinary career."" The title refers to the shotgun barrels aimed at the ducks; one has been hit, the other maneuvers to escape. Superficially a hunting scene, the painting is more aptly described as a statement on the fragility of life. Death can come in an instant, suddenly and without warning; each moment we live is owed to chance.",https://www.theibis.net/product/winslow-homer-right-and-left-1909/?attribute_size=16%22+x+20%22+%28Image%3A+9.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6200,https://www.theibis.net/wp-content/uploads/2019/04/hducks_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6190,"Rene Princeteau : ""Riders on the Beach at Dieppe"" (1892) 16"" x 20"" (Image: 8.31"" x 17"")","A trio of racehorses stroll the Norman coastline in this ethereal piece by René Princeteau, a French painter who breathed new life into the stale, anatomical precision of earlier equestrian art. Born both deaf and mute, the canvas afforded him a mode of expression that transcended language; the horse, a representation of his own inner strength and longed-for freedom.",https://www.theibis.net/product/rene-princeteau-riders-on-the-beach-at-dieppe-1892/?attribute_size=16%22+x+20%22+%28Image%3A+8.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6190,https://www.theibis.net/wp-content/uploads/2019/04/pteau_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6178,"Eugene Boudin : ""Return of the Terre-Neuvier"" (1875) 16"" x 20"" (Image: 12.5"" x 17"")","In 1857 Eugène Boudin befriended a lowly caricature artist named Claude Monet and instilled in him a love of brilliant landscapes and the play of light on water. ""Come over,"" he urged, ""I want to show you Honfleur; I want you to see the light."" The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air. Three brushstrokes done outdoors, he said, were of greater value than three days working in the studio. His bright hues, fluid brushwork and passion for the shimmering beauty of the French shoreline were the rich soil that nurtured the first flowers of Impressionism.",https://www.theibis.net/product/eugene-boudin-return-of-the-terre-neuvier-1875/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6178,https://www.theibis.net/wp-content/uploads/2019/04/boud1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6167,"Edgar Degas : ""The Riders"" (c. 1885) 16"" x 20"" (Image: 13"" x 16.38"")","During a period that elevated history painting Edgar Degas chose to emphasize contemporary life, depicting scenes from Parisian cafes, the work lives of women milliners and laundresses, and, of course, the backstage routines of his beloved ballerinas. He began painting and sketching at the race track in 1861 and returned to the subject again and again, revealing within it a world of grace and color no less alluring than that of the Paris Opera.",https://www.theibis.net/product/edgar-degas-the-riders-c-1885/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6167,https://www.theibis.net/wp-content/uploads/2019/04/drider_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6156,"Pierre-Auguste Renoir : ""Girl with a Basket of Oranges"" (c. 1889) 16"" x 20"" (Image: 5.38"" x 17"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde. Girl with a Basket of Oranges has a companion in Girl with a Basket of Fish , which matches its dimensions and subject matter.",https://www.theibis.net/product/pierre-auguste-renoir-girl-with-a-basket-of-oranges-c-1889/?attribute_size=16%22+x+20%22+%28Image%3A+5.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6156,https://www.theibis.net/wp-content/uploads/2019/04/renpor12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6116,"Pierre-Auguste Renoir : ""Girl with a Basket of Fish"" (c. 1889) 16"" x 20"" (Image: 5.38"" x 17"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde. Girl with a Basket of Fish has a companion in Girl with a Basket of Oranges , which matches its dimensions and subject matter.",https://www.theibis.net/product/pierre-auguste-renoir-girl-with-a-basket-of-fish-c-1889/?attribute_size=16%22+x+20%22+%28Image%3A+5.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6116,https://www.theibis.net/wp-content/uploads/2019/04/renpor11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6086,"Camille Corot : ""Ville dAvray, Woodland Path Bordering the Pond"" (1872) 16"" x 20"" (Image: 13"" x 16.5"")","Late in his career, as Camille Corot turned from plein air painting to studio work, his canvases grew soft and dreamlike. Rendered in muted palettes, they often assumed a silver cast, reminiscent of contemporary photographs, as the artist became immersed in the tonal harmonies that had been his lifelong passion. However, they drew sharp rebuke from critics such as Théophile Thoré, who complained that Corot ""has only a single octave, extremely limited and in a minor key...He knows scarcely more than a single time of day, the morning, and a single color, pale grey."" But others supported Corot. Charles Baudelaire pronounced him the leader of the ""modern school of landscape painting,"" and answered his critics that ""M. Corot is more of a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Corot, speaking for himself, responded that ""What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."" Corot became a warmly regarded father figure to a generation of the French avant-garde, including Camille Pissarro, Eugène Boudin and Berthe Morisot, and his works remained an important influence upon modern art long after his death. ""There is only one master here—Corot,"" said Claude Monet in 1897, ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-ville-davray-woodland-path-bordering-the-pond-1872/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6086,https://www.theibis.net/wp-content/uploads/2019/04/coropond_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6076,"John Quidor : ""The Return of Rip Van Winkle"" (1849) 16"" x 20"" (Image: 13"" x 16.31"")","John Quidors reputation suffered an early blow when he sued his master, John Wesley Jarvis, for breach of indenture, and in consequence he was reduced to painting signs, steamboats and fire engines for much of his career. Nonetheless he is known to have completed at least 35 canvases, most of which are based upon the stories of his literary friend, Washington Irving. These are outstanding not only for their faithfulness to the source material, but in their accurate representation of Dutch New York. Present in The Return of Rip Van Winkle are the brick houses and steep-gabled roofs of the colonial Catskills, the flag bearing its ""singular assemblage of stars and stripes,"" and the tavern sign bearing the likeness of...some fellow who is not King George. The painting depicts the climax of the story, as Rip discovers, to his astonishment, that he is not only a father, but a grandfather as well.",https://www.theibis.net/product/john-quidor-the-return-of-rip-van-winkle-1849/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6076,https://www.theibis.net/wp-content/uploads/2019/04/rrip_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6066,"William Tylee Ranney : ""The Retrieve"" (1850) 16"" x 20"" (Image: 12.69"" x 17"")","The setting for The Retrieve is Hackensack Meadows, in the salt marshes near West Hoboken, New Jersey, where the artist had a studio. Ranney was an avid sportsman who produced more than eighty paintings of duck hunting during his career. His works are outstanding for their accurate depiction of proper hunting practices and careful attention to the darkened shades of autumn.",https://www.theibis.net/product/william-tylee-ranney-the-retrieve-1850/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6066,https://www.theibis.net/wp-content/uploads/2019/04/dhunt_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6056,"Edouard Manet Still Life : ""The Old Musician"" (1862) 16"" x 20"" (Image: 12.88"" x 17"")","The Old Musician is a panoply of the urban poor, cleared away and forgotten in the wake of Baron Haussmanns renovation of Paris. They include the titular musician, a gypsy girl and child, an acrobat, urchin, and, donning the top hat, the alcoholic rag-picker who was the subject of Manets first major painting, The Absinthe Drinker (c. 1859). The artist significantly refrains from comment, allowing the piece to quietly reflect the ambiguity of modern life.",https://www.theibis.net/product/edouard-manet-still-life-the-old-musician-1862/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6056,https://www.theibis.net/wp-content/uploads/2019/04/omus_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6045,"Edouard Manet : ""Still Life with Melon and Peaches"" (c. 1866) 16"" x 20"" (Image: 12.75"" x 17"")","Still Life with Melon and Peaches is a carefully-balanced composition set on two diagonal axes. The eye enters by way of the melon and moves quickly to the peaches; is captured by the white rose; curls along the string of grapes and follows the line of the table cloth to the heavy tinted bottle and glass. The two centerpieces showcase Manets loose, virtuoso brushwork in which shades of peach accent a symphony of yellows and green. ""A painter,"" he once remarked, ""can say all he wants with fruit or flowers or even clouds.""",https://www.theibis.net/product/edouard-manet-still-life-with-melon-and-peaches-c-1866/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6045,https://www.theibis.net/wp-content/uploads/2019/04/melp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6033,"Edouard Manet : ""Oysters"" (1862) 16"" x 20"" (Image: 13"" x 15.63"")","A piece of cutlery provides a path for the eye into Oysters , a thoroughly modern still life that honors elegant brushwork and composition over the painstaking detail and ostentation of the Renaissance masters. Gone is the overflowing tabletop, set with an encyclopedic array fruit, game, seafood and flowers; the myriad insects, the dewy leaves, the distorted cityscapes reflected on polished urns and overturned goblets; gone are dense layers of allegory and symbolism. Manet was able to say more with less.",https://www.theibis.net/product/edouard-manet-oysters-1862/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6033,https://www.theibis.net/wp-content/uploads/2019/04/moys_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6023,"J.M.W. Turner : ""Oberwesel"" (1840) 16"" x 20"" (Image: 11.25"" x 17"")","Laborers, children and nursing mothers repose in the foreground of this landscape of Oberwesel, overlooking the spot where field marshal Blücher once led his troops against Napoleons army. Ochsturm (Ox Tower) and Schönburg Castle appear in the distance, albeit repositioned by Turner to improve the composition. The Rhineland valley, rendered sublime by skillful applications of luminous watercolor, provides an outstanding example of Turners virtuosity in the medium, and the consummate mastery of climatic effects for which he has long been celebrated.",https://www.theibis.net/product/j-m-w-turner-oberwesel-1840/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6023,https://www.theibis.net/wp-content/uploads/2019/04/oberw_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6011,"Pierre Puvis de Chavannes : ""Rest (Le Repos)"" (c. 1863) 16"" x 20"" (Image: 12.31"" x 17"")","The painting Rest has a companion in Work , completed by Pierre Puvis circa 1863 as a follow up to his earlier set, Peace and War . Known as ""the painter for France,"" Puvis specialized in murals and other public works during a period that spanned the fall of the Second Empire and the rise of the Third Republic. His harmonious, classically-inspired compositions succeeded by representing points of ideological consensus between the commissioning parties and their rivals, and were thus a unifying force that helped to pave the way for the Belle Époque.",https://www.theibis.net/product/pierre-puvis-de-chavannes-rest-le-repos-c-1863/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6011,https://www.theibis.net/wp-content/uploads/2019/04/wres2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 6001,"Pierre Puvis de Chavannes : ""Work (Le Travail)"" (c. 1863) 16"" x 20"" (Image: 12.31"" x 17"")","The painting Work has a companion in Rest , completed by Pierre Puvis circa 1863 as a follow up to his earlier set, Peace and War . Known as ""the painter for France,"" Puvis specialized in murals and other public works during a period that spanned the fall of the Second Empire and the rise of the Third Republic. His harmonious, classically-inspired compositions succeeded by representing points of ideological consensus between the commissioning parties and their rivals, and were thus a unifying force that helped to pave the way for the Belle Époque.",https://www.theibis.net/product/pierre-puvis-de-chavannes-work-le-travail-c-1863/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=6001,https://www.theibis.net/wp-content/uploads/2019/04/wres1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5990,"Camille Corot : ""Repose"" (1860) 16"" x 20"" (Image: 9.69"" x 17"")","Repose is one of thirteen reclining nudes by Corot. The influence of Ingres Grande Odalisque is evident in the womans pose, but she belongs to classical antiquity, rather than the Turkish harem. Though Corot had resolved at age 30 to dedicate his life to landscapes, he painted figures throughout his career. Figures were necessary to populate his landscapes, but more importantly they presented formal challenges that allowed Corot to find creative solutions to basic artistic problems. ""The study of the nude,"" he advised his students, ""is the best lesson that a landscape painter can have. If someone knows how, without any tricks, to get down a figure, he is able to make a landscape; otherwise he can never do it.""",https://www.theibis.net/product/camille-corot-repose-1860/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5990,https://www.theibis.net/wp-content/uploads/2019/04/crep_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5978,"J.M.W. Turner : ""Mortlake Terrace"" (1827) 16"" x 20"" (Image: 12.75"" x 17"")","Mortlake Terrace was the estate of William Moffatt, located west of London on the Thames. Turner captures the view from the house, creating the illusion of depth by using the sun as a focal point, its shimmering light and late afternoon shadows as perspective lines. During his life Turner became increasingly transfixed by the phenomenon of light itself, which he came to view as an emanation of the divine spirit.",https://www.theibis.net/product/j-m-w-turner-mortlake-terrace-1827/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5978,https://www.theibis.net/wp-content/uploads/2019/04/mortl_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5968,"J.M.W. Turner : ""Venice: The Dogana and San Giorgio Maggiore"" (1834) 16"" x 20"" (Image: 12.56"" x 17"")","Venice: The Dogana and San Gioggio Maggiore is a stunning early work by J.M.W. Turner, exceptional for its richly costumed figures and pearlescent color. The island and church of San Giorgio Maggiore lie on the approach to Venice. Nearby, the Dogana da Mar served as a customs house. As a young artist, Turner made many trips to Venice and would depict marine subjects throughout his career, his works growing ever more abstract as he became increasingly transfixed by light itself.",https://www.theibis.net/product/j-m-w-turner-venice-the-dogana-and-san-giorgio-maggiore-1834/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5968,https://www.theibis.net/wp-content/uploads/2019/04/dogana_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5956,"Jean-Louis Forain : ""The Artists Wife Fishing"" (1896) 16"" x 20"" (Image: 13"" x 13.81"")","Jean-Louis Forain began his career as a caricaturist, but went on to study at the École des Beaux Arts under Jean-Leon Gerome and Jean-Baptiste Carpeaux. In 1879 he joined the Impressionist circle and became a protégé to Edgar Degas. During the latter part of the 19th century his work focused on scenes of everyday life in Frances Belle Époque. His depictions of Parisians gathered at the opera, cafés and horse tracks mirror the bohemian stylings of his admirer, Henri de Toulouse-Lautrec, and afford the modern spectator a glimpse into spirit of carefree optimism that Europe embodied on the precipice to the 20th century.",https://www.theibis.net/product/jean-louis-forain-the-artists-wife-fishing-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5956,https://www.theibis.net/wp-content/uploads/2019/04/forain3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5946,"Georges de La Tour : ""The Repentant Magdalen"" (c. 1635/1640) 16"" x 20"" (Image: 13"" x 15.44"")","Georges de La Tour was French painter of the Baroque period best known for his religious chiaroscuro scenes. As his work was being rediscovered in the early 20th century he was sometimes confused with Johannes Vermeer. In The Repentant Magdalen he evokes the stillness of night, when the quiet mind is visited by dreams and reflections. Marys left hand rests upon a skull. Symbolizing the transience of life, it is rendered first in silhouette, and again in the mirror where she directs her gaze. There is little question that the subject of her meditation is death, which can be understood both in terms of the physical death of the body, and the spiritual death of the soul corrupted by sin. Yet, by her repentance she transcends death, receiving the promise of redemption and everlasting life through Jesus Christ.",https://www.theibis.net/product/georges-de-la-tour-the-repentant-magdalen-c-1635-1640/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5946,https://www.theibis.net/wp-content/uploads/2019/04/rmag_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5933,"J.M.W. Turner : ""Rotterdam Ferry-Boat"" (1833) 16"" x 20"" (Image: 12.69"" x 17"")","A passenger ferry provides the anchor point for this turbulent seascape by J.M.W. Turner. To the left, a line of ships recede into the distance, creating the illusion of depth. At right, the Dutch warship and Rotterdam skyline acknowledge the artists debt to the marine painters of 17th century Holland. While nautical themes were prominent in Turners work, he was more deeply fascinated with light itself, which he viewed as an emanation of the divine spirit.",https://www.theibis.net/product/j-m-w-turner-rotterdam-ferry-boat-1833/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5933,https://www.theibis.net/wp-content/uploads/2019/04/ferrb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5923,"Frederic Bazille : ""The Ramparts at Aigues-Mortes"" (1867) 16"" x 20"" (Image: 10.06"" x 17"")","Medieval ramparts enclose the marshland town of Aigues-Mortes in the south of France. Fortified in the 13th century by Louis IX and his successor, Philip III the Bold, it provided the staging area for the seventh and eighth crusades. The artist, Frédéric Bazille, was a founding member of the impressionist movement who worked alongside Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Édouard Manet, but his promising, and indeed already remarkable career was cut short by the Franco-Prussian War. He died in a heroic charge at the age of 28, leaving the world to wonder at the unseen masterworks that perished with him.",https://www.theibis.net/product/frederic-bazille-the-ramparts-at-aigues-mortes-1867/?attribute_size=16%22+x+20%22+%28Image%3A+10.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5923,https://www.theibis.net/wp-content/uploads/2019/04/2baz_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5912,"Jean-Louis Forain : ""The Race Track"" (c. 1891) 16"" x 20"" (Image: 11.75"" x 17"")","Jean-Louis Forain began his career as a caricaturist, but went on to study at the École des Beaux Arts under Jean-Leon Gerome and Jean-Baptiste Carpeaux. In 1879 he joined the Impressionist circle and became a protégé to Edgar Degas. During the latter part of the 19th century his work focused on scenes of everyday life in Frances Belle Époque. His depictions of Parisians gathered at the opera, cafés and horse tracks mirror the bohemian stylings of his admirer, Henri de Toulouse-Lautrec, and afford the modern spectator a glimpse into spirit of carefree optimism that Europe embodied on the precipice to the 20th century.",https://www.theibis.net/product/jean-louis-forain-the-race-track-c-1891/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5912,https://www.theibis.net/wp-content/uploads/2019/04/forain2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5902,"Edouard Manet : ""The Railway"" (1873) 16"" x 20"" (Image: 13"" x 16"")","The Gare-Saint-Lazare, a busy new train station in Paris, is the setting for The Railway ; Manets enigmatic comment on modern life. The composition consists of two figures in apposition; a woman in black and a girl in white. Facing opposite one another, their relationship—if any—is unclear. The heavy black fence and billowy steam serve to flatten and compress the scene, such that we feel awkwardly close to the woman as she interrupts her reading to take us in. According to historian Isabelle Dervaux, when The Railway was first exhibited at the Salon of 1874, ""Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy,"" which is to say that it precisely mirrored their own experiences in the streets and cafés of modern Paris. The challenge of this painting for the modern spectator is to remember that life had ever been any other way.",https://www.theibis.net/product/edouard-manet-the-railway-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5902,https://www.theibis.net/wp-content/uploads/2019/04/railw_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5890,"Jean-Louis Forain : ""The Races at Longchamp"" (c. 1891) 16"" x 20"" (Image: 13"" x 16.38"")","Jean-Louis Forain began his career as a caricaturist, but went on to study at the École des Beaux Arts under Jean-Leon Gerome and Jean-Baptiste Carpeaux. In 1879 he joined the Impressionist circle and became a protégé to Edgar Degas. During the latter part of the 19th century his work focused on scenes of everyday life in Frances Belle Époque. His depictions of Parisians gathered at the opera, cafés and horse tracks mirror the bohemian stylings of his admirer, Henri de Toulouse-Lautrec, and afford the modern spectator a glimpse into spirit of carefree optimism that Europe embodied on the precipice to the 20th century.",https://www.theibis.net/product/jean-louis-forain-the-races-at-longchamp-c-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5890,https://www.theibis.net/wp-content/uploads/2019/04/forain1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5880,"Alfred Thompson Bricher : ""A Quiet Day Near Manchester"" (1873) 16"" x 20"" (Image: 8.81"" x 17"")","Alfred Thompson Bricher was one of the last painters of the Hudson River School, specializing in luminous coastal landscapes and maritime subjects. Depicting the Massachusetts coast north of Boston, A Quiet Day in Manchester is considered to be one of his finest works.",https://www.theibis.net/product/alfred-thompson-bricher-a-quiet-day-near-manchester-1873/?attribute_size=16%22+x+20%22+%28Image%3A+8.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5880,https://www.theibis.net/wp-content/uploads/2019/04/brich_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5868,"Antonio Joli : ""Procession in the Courtyard of the Ducal Palace, Venice"" (1742 or after) 16"" x 20"" (Image: 12.38"" x 17"")","In the 18th century, as Venice became a required destination for young English aristocrats on their Grand Tour, it housed a thriving community of vedutisti ; painters who specialized in highly detailed urban landscapes that could be sold as expensive souvenirs, or reprinted as engravings for the benefit of common tourists. This piece by Antonio Joli depicts the courtyard of the Doges Palace, the residence Venices head of state and the seat of its political institutions. It adjoins St. Marks Basilica, which then served as the Doges chapel, only becoming the citys cathedral in 1807.",https://www.theibis.net/product/antonio-joli-procession-in-the-courtyard-of-the-ducal-palace-venice-1742-or-after/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5868,https://www.theibis.net/wp-content/uploads/2019/04/joli2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5856,"Antonio Joli : ""Procession of Gondolas in the Bacino di San Marco, Venice"" (1742 or after) 16"" x 20"" (Image: 12.38"" x 17"")","In the 18th century, as Venice became a required destination for young English aristocrats on their Grand Tour, it housed a thriving community of vedutisti ; painters who specialized in highly detailed urban landscapes that could be sold as expensive souvenirs, or reprinted as engravings for the benefit of common tourists. This piece by Antonio Joli depicts a fleet of ships and gondolas in the San Marco basin; a lagoon that provides access to Venice by way of the Lido, Giudecca and Grand Canal. In the distance are the Doges Palace, the Riva degli Schiavoni (a waterfront promenade) and the bell tower of St. Marks Basilica.",https://www.theibis.net/product/antonio-joli-procession-of-gondolas-in-the-bacino-di-san-marco-venice-1742-or-after/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5856,https://www.theibis.net/wp-content/uploads/2019/04/joli1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5846,"Paul Cezanne : ""Vase of Flowers"" (1900/1903) 16"" x 20"" (Image: 13"" x 16.13"")","Cézannes still lifes explore the geometric simplification of optical phenomena. His technique of careful, repetitious outlining was so time consuming that he was unable to complete a painting of real flowers before they had wilted. He sought to ""treat nature by the cylinder, the sphere, the cone,"" reducing his subjects to simple forms and color planes in order to emphasize the classical harmony of the overall composition. Though ridiculed for much of his career, his work became a major influence upon the development of modern art, Pablo Picasso having once claimed him as ""my one and only master.""",https://www.theibis.net/product/paul-cezanne-vase-of-flowers-1900-1903/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5846,https://www.theibis.net/wp-content/uploads/2019/04/cezz3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5831,"Edouard Manet : ""Plum Brandy"" (c. 1877) 16"" x 20"" (Image: 11.38"" x 17"")","Plum Brandy uses the same model and is similar in theme to Degas In a Café or LAbsinthe (c. 1876). The subject is a working class woman, as indicated by her dress, cigarette, and the fact of her being unescorted in a bar. Her pose and blank, pensive expression suggest that she is waiting for someone. She may be a prostitute or a shop worker hoping for conversation. The spectator is positioned nearby, but separated from her by a marble table, which serves as a barrier. Modern city dwellers live and work in close proximity, but they lead very separate lives.",https://www.theibis.net/product/edouard-manet-plum-brandy-c-1877/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5831,https://www.theibis.net/wp-content/uploads/2019/04/pbra_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5820,"Lucas Cranach the Elder : ""A Princess of Saxony"" (c. 1517) 16"" x 20"" (Image: 12.25"" x 17"")","This portrait by Lucas Cranach the Elder has a companion piece in A Prince of Saxony (c. 1517). The two figures, dressed in the height of Saxon fashion, are sometimes assumed to be bother and sister—possibly the children of Duke George the Bearded. The boy, however, wears a crown that signifies his engagement to be married, suggesting that they are not, in fact, siblings, but a couple betrothed.",https://www.theibis.net/product/lucas-cranach-the-elder-a-princess-of-saxony-c-1517/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5820,https://www.theibis.net/wp-content/uploads/2019/04/cran5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5809,"Lucas Cranach the Elder : ""A Prince of Saxony"" (c. 1517) 16"" x 20"" (Image: 12.25"" x 17"")","This portrait by Lucas Cranach the Elder has a companion piece in A Princess of Saxony (c. 1517). The two figures, dressed in the height of Saxon fashion, are sometimes assumed to be bother and sister—possibly the children of Duke George the Bearded. The boy, however, wears a crown that signifies his engagement to be married, suggesting that they are not, in fact, siblings, but a couple betrothed.",https://www.theibis.net/product/lucas-cranach-the-elder-a-prince-of-saxony-c-1517/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5809,https://www.theibis.net/wp-content/uploads/2019/04/cran4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5798,"Lucas Cranach the Elder : ""The Crucifixion with the Converted Centurion"" (1536) 16"" x 20"" (Image: 11.75"" x 17"")","Lucas Cranach the Elder was court painter to the Electors of Saxony and a close friend of Martin Luther. He was accordingly an extremely influential figure in the development of early Protestant art. The Crucifixion with the Converted Centurion illustrates the precept of salvation by faith alone. Its message is clarified by two German inscriptions that function as speech bubbles. Jesus says: ""Father, into thy hand I commend my spirit,"" and the centurion replies: ""Truly, this man was the Son of God.""",https://www.theibis.net/product/lucas-cranach-the-elder-the-crucifixion-with-the-converted-centurion-1536/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5798,https://www.theibis.net/wp-content/uploads/2019/04/cran3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5787,"Lucas Cranach the Elder : ""The Nymph of the Spring"" (after 1537) 16"" x 20"" (Image: 11.25"" x 17"")","In Lucas Cranach the Elders late work mythological themes became the pretext for sensuous nudes with long, slender figures that departed from the Classical proportions of Italian art. The paintings thinly-veiled eroticism is counterbalanced by a portentous inscription, which reads: ""I am the nymph of the sacred spring, do not disturb my sleep. I am resting.""",https://www.theibis.net/product/lucas-cranach-the-elder-the-nymph-of-the-spring-after-1537/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5787,https://www.theibis.net/wp-content/uploads/2019/04/cran2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5777,"Lucas Cranach the Elder : ""Madonna and Child"" (c. 1535 or after) 16"" x 20"" (Image: 12.5"" x 17"")","Lucas Cranach the Elder was court painter to the Electors of Saxony and a close friend of Martin Luther. He was accordingly an extremely influential figure in the development of early Protestant art. While in many instances his messaging diverged from Catholic doctrine, Madonna and Child continues with tradition, using grapes to symbolize the Eucharist. Though Luther rejected the doctrine of transubstantiation, he nonetheless believed that God was present in the bread and wine, just as fire is present in a red-hot iron.",https://www.theibis.net/product/lucas-cranach-the-elder-madonna-and-child-c-1535-or-after/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5777,https://www.theibis.net/wp-content/uploads/2019/04/cran1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5765,"Jean-Auguste-Dominique Ingres : ""Pope Pius VII in the Sistine Chapel"" (1814) 16"" x 20"" (Image: 13"" x 16.19"")","Jean-Auguste-Dominique Ingres conceived of himself as a ""conservator of good doctrine"" whose exemplars were ""the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art."" In Pope Pius VII in the Sistine Chapel he incorporates miniature representations of Michaelangelos Last Judgment and other great frescoes within the context of a historical-genre piece. In so doing, he sought to encompass not only the Renaissance masters whom he so deeply admired, but also his rivals, ""the gentlemen genre painters."" By demonstrating that he could beat them at their own game, he sought to prove that ""supremacy over every genre belongs to history painters alone."" In spite of his staunch conservatism, however, Ingres is remembered as a forerunner of modern art, his legacy having been claimed by the likes of Picasso and Matisse.",https://www.theibis.net/product/jean-auguste-dominique-ingres-pope-pius-vii-in-the-sistine-chapel-1814/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5765,https://www.theibis.net/wp-content/uploads/2019/04/pius_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5753,"Charles Bird King : ""Poor Artists Cupboard"" (c. 1815) 16"" x 20"" (Image: 13"" x 14"")","In Poor Artists Cupboard Charles Bird King eviscerates the city of Philadelphia for its meager patronage. The trompe-loeil alcove contains the possessions of a fictional artist, C. Palette, whose library includes Advantages of Poverty , Pleasures of Hope , Anatomy of Melancholy , Miseries of Life , Chynes Vegetable Diet , and a conspicuously slim volume of Choice Criticism on the Exhibitions at Philadelphia . His story is conveyed through a myriad of scattered documents. One calling card demands the repayment of a debt, another requests the honor of the artists company after tea. He owns a perspective map of the citys debtors prison and a newspaper clipping that announces a book of praise for Philadelphia, where ""The Art of Painting better advanced by Criticism than Patronage."" In the top left corner is posted a sheriffs bill of sale for the property of an artist.",https://www.theibis.net/product/charles-bird-king-poor-artists-cupboard-c-1815/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5753,https://www.theibis.net/wp-content/uploads/2019/04/kcup_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5742,"Hubert Robert : ""The Ponte Salario"" (c. 1775) 16"" x 20"" (Image: 12.81"" x 17"")","In The Ponte Salario an ancient road bridge serves as a metaphor for the passage of time. The orphaned ruin is a link to the past, a monument to the grandeur that was Rome, and yet it remains in use; its story continues. Its tower has been converted into a barn, the platform under its arch provides laundry access to the Aneine River. In the 6th century its main arch was destroyed by the Ostrogoths, but repaired by the Romans; in the 19th century, it would once again be ravaged by passing armies, and reconstructed on its ancient foundations. The bricks that the Romans laid more than two thousand years ago are still in service today.",https://www.theibis.net/product/hubert-robert-the-ponte-salario-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5742,https://www.theibis.net/wp-content/uploads/2019/04/ponte_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5730,"Paul Cezanne : ""Harlequin"" (1888-1890) 16"" x 20"" (Image: 11"" x 17"")","1889 saw a revival of the Carnival in Aix-en-Provence, but the new pageant, while lively and expensive, lacked the participatory spirit of the original. The parade was staffed by professional actors, the crowd reduced to spectatorship, political humor forbidden. Gone were the spontaneity, the opportunities for transgression. It is little wonder, then, that Cézannes Harlequin feels so isolated and impersonal. His costume is beautifully rendered, but his face is hidden behind a mask; we cannot connect with him. He carries a baton, but leads no parade.",https://www.theibis.net/product/paul-cezanne-harlequin-1888-1890/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5730,https://www.theibis.net/wp-content/uploads/2019/04/harl_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5719,"J. W. Bradshaw : ""Plains Indian"" (c. 1875-1900) 16"" x 20"" (Image: 13"" x 16.25"")","This folk art portrait of a plains Indian reflects the rising sentimentality of late 19th century Americans toward the very cultures they were steadily erasing. Nothing is known of the artist, apart from his name and a possible association with Bismarck, North Dakota; the painting itself surfaced in Connecticut. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/j-w-bradshaw-plains-indian-c-1875-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5719,https://www.theibis.net/wp-content/uploads/2019/04/bshaw_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5707,"Paul Cezanne : ""The Artists Father Reading LEvenement"" (1866) 16"" x 20"" (Image: 10.06"" x 17"")","Cézannes father never accepted his vocation as an artist, preferring him to go into banking or law. His portrait is a window into their fraught relationship. An imposing piece measuring more than six feet tall, it is rendered in dark tones with heavy applications of the palette knife. There are no windows or external sources of illumination. The disproportionately large chair (partially obscuring a still life by Cézanne) and his fathers awkward posture—almost tipping off the edge of the chair—contribute to an overall sense unease and disorientation. This is not Cézannes actual father; it is the archetypal father who lingers within his subconscious. Notably, Louis-Auguste Cézanne would never have read a liberal newspaper like Emile Zolas L’Événement . The artist may have given it to him out of a sense of spite or irony or, perhaps, to fulfill a wish that his father open himself up to new ideas.",https://www.theibis.net/product/paul-cezanne-the-artists-father-reading-levenement-1866/?attribute_size=16%22+x+20%22+%28Image%3A+10.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5707,https://www.theibis.net/wp-content/uploads/2019/04/cfath_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5695,"Paul Cezanne : ""Still Life with Milk Jug and Fruit"" (c. 1900) 16"" x 20"" (Image: 13"" x 15.63"")","Cézannes still lifes explore the geometric simplification of optical phenomena. His technique of careful, repetitious outlining was so time consuming that he was unable to complete a painting of real flowers before they had wilted. He sought to ""treat nature by the cylinder, the sphere, the cone,"" reducing his subjects to simple forms and color planes in order to emphasize the classical harmony of the overall composition. Though ridiculed for much of his career, his work became a major influence upon the development of modern art, Pablo Picasso having once claimed him as ""my one and only master.""",https://www.theibis.net/product/paul-cezanne-still-life-with-milk-jug-and-fruit-c-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5695,https://www.theibis.net/wp-content/uploads/2019/04/cezz2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5683,"Stanislas Lepine : ""Pont de la Tournelle, Paris"" (1862) 16"" x 20"" (Image: 12.25"" x 17"")","Stanislas Lépine was quiet, unassuming man who exhibited in the salons, but worked in isolation from artistic circles. His oeuvre consists almost entirely of marine and landscape paintings of Normandy, Paris and its surroundings. The River Seine was one of his most treasured muses. In Pont de la Tournelle, Paris he depicts the stone bridge that spanned the river from 1654 to 1918. Having suffered a series of natural disasters, it was replaced in 1928 by the modern arch bridge that currently bears its name.",https://www.theibis.net/product/stanislas-lepine-pont-de-la-tournelle-paris-1862/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5683,https://www.theibis.net/wp-content/uploads/2019/04/lepine_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5673,"Robert Delaunay : ""Political Drama"" (1914) 16"" x 20"" (Image: 12.88"" x 17"")","Political Drama refers to the shooting death of Le Figaro editor Gaston Calmette by the wife of the French Finance Minister, Joseph Cailloux; both figures are represented by collage elements sourced from a newspaper illustration of the event. The underlying painting is composed of concentric circles of opposing color that do visual violence to one another. Unlinked along the vertical axis, they express the separation between the murderer and her victim; linked along the horizontal axis, they create a path from gun hand to chest. The center of the composition resembles the crosshairs of a snipers scope. Delaunay makes slight use of representational elements, but it is by his clever application of color theory that he narrates the story.",https://www.theibis.net/product/robert-delaunay-political-drama-1914/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5673,https://www.theibis.net/wp-content/uploads/2019/04/pdra_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5651,"Pierre-Auguste Renoir : ""Peaches on a Plate"" (1902/1905) 16"" x 20"" (Image: 10.5"" x 17"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-peaches-on-a-plate-1902-1905/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5651,https://www.theibis.net/wp-content/uploads/2019/04/renpor10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5639,"Edouard Vuillard : ""Place Vintimille"" (1911) 16"" x 20"" (Image: 12.81"" x 17"")","Place Vintimille is last of three decorative screens that Vuillard completed during his career. It shows the view from the artists window, looking down on the public square today known as the Place Adolphe-Max, in the 9th arrondissement of Paris. It was commissioned by Marguerite Chapin, who later became princess of Bassiano, for her apartment on the rue de lUniversité.",https://www.theibis.net/product/edouard-vuillard-place-vintimille-1911/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5639,https://www.theibis.net/wp-content/uploads/2019/04/vint_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5627,"Paul Cezanne : ""The Peppermint Bottle"" (1893/1895) 16"" x 20"" (Image: 13"" x 16.19"")","Cézannes still lifes explore the geometric simplification of optical phenomena. His technique of careful, repetitious outlining was so time consuming that he was unable to complete a painting of real flowers before they had wilted. He sought to ""treat nature by the cylinder, the sphere, the cone,"" reducing his subjects to simple forms and color planes in order to emphasize the classical harmony of the overall composition. Though ridiculed for much of his career, his work became a major influence upon the development of modern art, Pablo Picasso having once claimed him as ""my one and only master.""",https://www.theibis.net/product/paul-cezanne-the-peppermint-bottle-1893-1895/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5627,https://www.theibis.net/wp-content/uploads/2019/04/cezz1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5617,"Camille Pissarro : ""Peasant Girl with a Straw Hat"" (1881) 16"" x 20"" (Image: 13"" x 15.88"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. In the early 1880s Pissarro entered a neo-impressionist period, during which he sought to ""educate the public"" by painting ordinary country folk in realistic settings. Unadorned by any hint of romanticism, carrying no overt political message, these works were nonetheless described as ""revolutionary"" by Pierre-Auguste Renoir. In 1885 he would meet Georges Seurat and Paul Signac and have his dalliance with pointillism before finally returning to impressionism with renewed vigor.",https://www.theibis.net/product/camille-pissarro-peasant-girl-with-a-straw-hat-1881/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5617,https://www.theibis.net/wp-content/uploads/2019/04/phat_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5604,"Paul Cezanne : ""Still Life with Apples"" (1893-1894) 16"" x 20"" (Image: 13"" x 16.19"")","During the last thirty years of his life, Paul Cézanne painted the same objects—the green vase, the rum bottle, the ginger pot, and the apples—over and over again. His interest was not in the objects themselves but in using them to experiment with shape, color, and lighting. He arranged his still lifes so that everything locked together. Edges of objects run into each other; for example, a black arabesque seemingly escapes from the blue cloth to capture an apple in the center; the sinuous curves of the blue ginger pots rattan straps merge with other straps on the body of the bottle behind. Giving form and mass to objects through the juxtaposition of brushstrokes and carefully balanced colors and textures, he gave the painting a sense of comforting stability. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/paul-cezanne-still-life-with-apples-1893-1894/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5604,https://www.theibis.net/wp-content/uploads/2019/04/sapple2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5594,"Edouard Manet : ""Pears"" (1880) 16"" x 20"" (Image: 13"" x 16.88"")","Toward the end of his life, Manets movement was impaired by a nervous degeneration of the spine related to syphilis. During this time he devoted himself to minimalist still lifes that showcase the virtuosity with which he was able to conjure symphonic light and color from simple, isolated subjects. ""A painter,"" he once remarked, ""can say all he wants to with fruit or flowers or even clouds.""",https://www.theibis.net/product/edouard-manet-pears-1880/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5594,https://www.theibis.net/wp-content/uploads/2019/04/mpear_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5583,"Rembrandt van Rijn : ""Self-Portrait"" (1659) 16"" x 20"" (Image: 13"" x 16.81"")","Rembrandts expression in this, his most famous self-portrait, conveys an impression of strength in the face of adversity. It was completed shortly after the artist lost his house and many of his possessions to creditors. The thoughtful pose was inspired by Raphaels portrait of Balthasar Castiglione, which had been auctioned in Amsterdam in 1639.",https://www.theibis.net/product/rembrandt-van-rijn-self-portrait-1659/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5583,https://www.theibis.net/wp-content/uploads/2019/04/rpor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5572,"Alexander Helwig Wyant : ""Peaceful Valley"" (c. 1872) 16"" x 20"" (Image: 9.81"" x 17"")","Peaceful Valley is a tonalist landscape by Alexander Helwig Wyant, composed of three or four bands of color that create a sedate, calming effect. Wyant began his career as a sign painter, but was inspired to take up fine art by the Hudson River School painter George Inness, who believed that nature itself was an expression of the divine.",https://www.theibis.net/product/alexander-helwig-wyant-peaceful-valley-c-1872/?attribute_size=16%22+x+20%22+%28Image%3A+9.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5572,https://www.theibis.net/wp-content/uploads/2019/04/pval_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5560,"Rembrandt van Rijn : ""Philemon and Baucis"" (1658) 16"" x 20"" (Image: 13"" x 16.56"")","Philemon and Baucis relates to a morality tale from Ovids Metamorphoses . Disguised as ordinary peasants, Jupiter and Mercury seek hospitality and are turned away by all the residents of a particular town, save for one poor couple, Philemon and Baucis, who give of what little they have. On observing that their food and wine are magically replenishing themselves, the couple realize that their guests are actually gods and offer up their only goose. When they do so, the goose hops on Jupiters lap, and he graciously refuses the sacrifice. It is this moment of revelation that Rembrandt captures on his canvas. The gods then destroy the town, transforming the couples cottage into a temple, over which they preside as guardians. As part of their reward, it is ordained that neither spouse will outlive the other, and when they die they are transformed into intertwining oak and linden trees. Similar in formula to the story of Sodom and Gomorrah, the fable reflects the sacred nature of hospitality in the ancient world.",https://www.theibis.net/product/rembrandt-van-rijn-philemon-and-baucis-1658/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5560,https://www.theibis.net/wp-content/uploads/2019/04/pbau_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5543,"Pierre-Auguste Renoir : ""Bather Arranging Her Hair"" (1893) 16"" x 20"" (Image: 13"" x 16.31"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-bather-arranging-her-hair-1893/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5543,https://www.theibis.net/wp-content/uploads/2019/04/renpor9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5532,"Rembrandt van Rijn : ""A Woman Holding a Pink"" (1656) 16"" x 20"" (Image: 13"" x 15.5"")","A Woman Holding a Pink is an allegorical portrait from the workshop of Rembrandt van Rijn. To the Dutch the pink carnation was associated not only with the sacrament of marriage, but also the crucifixion, offering the interpretation that conjugal love should emulate divine love. The clasped book resting on the table is probably the Bible; the apples represent the burden original sin. Like many paintings that bear Rembrandts signature, A Woman Holding a Pink was most likely a collaboration, executed by a skilled apprentice under the careful guidance of the master.",https://www.theibis.net/product/rembrandt-van-rijn-a-woman-holding-a-pink-1656/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5532,https://www.theibis.net/wp-content/uploads/2019/04/apink_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5521,"Jean Beraud : ""Paris, rue du Havre"" (c. 1882) 16"" x 20"" (Image: 13"" x 16.81"")","Carriages roll, pedestrians run and hail cabs; a woman leaves Printemps department store with an arm full of packages. Paris, rue du Havre is a painterly snapshot of Europes cultural center in its Belle Époque , when peace reigned, science advanced and the arts blossomed. In the next instant figures will move in and out of frame, the scene will have shifted, and a golden age will vanish into memory.",https://www.theibis.net/product/jean-beraud-paris-rue-du-havre-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5521,https://www.theibis.net/wp-content/uploads/2019/04/havre_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5510,"Pierre-Auguste Renoir : ""The Mussel Harvest"" (1879) 16"" x 20"" (Image: 13"" x 15.69"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-the-mussel-harvest-1879/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5510,https://www.theibis.net/wp-content/uploads/2019/04/renpor8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5500,"Henri Fantin-Latour : ""Still Life with Mustard Pot"" (1860) 16"" x 20"" (Image: 10.88"" x 17"")","Though Henri Fantin-Latour associated Whistler, Manet and other leading figures of the avant-garde, his own style was more conservative, tending toward the realism of Courbet and Chardin. That his own legacy is relatively obscure may be attributable, in part, to an unassuming nature. He shunned the literary and historical themes of ""high"" art, as defined by the Académie des Beaux-arts. His still lifes were devoid of any allegory of symbolism. Their only purpose was to please the eye, and in that respect they were daring for their time.",https://www.theibis.net/product/henri-fantin-latour-still-life-with-mustard-pot-1860/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5500,https://www.theibis.net/wp-content/uploads/2019/04/fant2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5489,"Henri Fantin-Latour : ""Pansies"" (1874) 16"" x 20"" (Image: 10.88"" x 17"")","Henri Fantin-Latour befriended and exhibited with the impressionists while maintaining an independent style and academic manner steeped in the traditions of the Renaissance. Characterized by their vivid color harmonies, intricate brushwork and attention to detail, his flower still lifes were a runaway success during his lifetime, in such demand among English collectors that they were practically unknown in France. ""Fantin,"" wrote painter Jacques-Emile Blanche, ""studied each flower, each petal, its grain, its tissue, as if it were a human face. In Fantins flowers, the drawing is large and beautiful, as it is always sure and incisive."" Devoid of allegory or symbolism, they defied 19th century standards of high art and dared to be merely beautiful.",https://www.theibis.net/product/henri-fantin-latour-pansies-1874/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5489,https://www.theibis.net/wp-content/uploads/2019/04/fant1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5477,"Claude Monet : ""Palazzo da Mula, Venice"" (1908) 16"" x 20"" (Image: 12.88"" x 17"")","Having been transfixed by his lily ponds at Giverny, Monet was awestruck on arriving in Venice on October 1, 1908: ""It is too beautiful to be painted! It is untranslatable!"" he exclaimed. Whereas most European artists who visited Venice did so early in their careers, Monet was making his first and only trip age of 68, bringing with him a lifetime of artistic experience. Determined to make an original statement, Monet focused less upon the storied architecture than the Venetian light and haze, the reflections of its buildings on the shimmering waters of the Grand Canal. Repeating many of the same views under different conditions, he strove to capture the surrounding atmosphere, or what he called the ""envelope."" ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" During his ten weeks stay in Venice he began thirty-seven canvases, which he later completed in his studio. When twenty-nine of these were put on exhibit at the Bernheim-Jeune gallery in Paris, they enjoyed enormous success, Paul Signac writing warmly to Monet ""of the joy of seeing a large part of your newest works,"" which ""I admire...as the highest expression of your art.""",https://www.theibis.net/product/claude-monet-palazzo-da-mula-venice-1908/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5477,https://www.theibis.net/wp-content/uploads/2019/04/mula_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5467,"Childe Hassam : ""Poppies, Isles of Shoals"" (1891) 16"" x 20"" (Image: 13"" x 15.75"")","To anyone accustomed to academic landscape painting, wrote one reviewer, Childe Hassams Isles of Shoals paintings were ""like taking off a pair of black spectacles that one has been compelled to wear out of doors, and letting the full glory of natures sunlight pour in upon the retina."" Of the nine treeless, rocky islands situated off the coast of Maine and New Hampshire, the largest is Appledore, where, between 1890 and 1894, Hassam visited the poet Celia Thaxter, and became enamored of her wildflower garden. He featured it in several of his works, including a series which repeat this composition of poppies with Babbs rock in the distance. Later, the artist contributed pictures and illuminations to her 1894 book, An Island Garden , in which she mused: ""Of all the wonderful things in the wonderful universe of God, nothing seems to me more surprising than the planting of a seed in the blank earth and result thereof. Take a Poppy seed, for instance: it lies in your palm, the merest atom of matter, hardly visible, a speck, a pins point in bulk, but within it is imprisoned a spirit of beauty ineffable, which will break its bonds and emerge from the dark ground and blossom in a splendor so dazzling as to baffle all powers of description."" Thaxters garden has later recreated by Cornell botany professor John M. Kingsbury, following the plan laid out in her book. It is now a tourist destination and the subject of the film Flowers in Winter: Celia Thaxters Island Garden.",https://www.theibis.net/product/childe-hassam-poppies-isles-of-shoals-1891/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5467,https://www.theibis.net/wp-content/uploads/2019/04/shoal_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5455,"Childe Hassam : ""Oyster Sloop, Cos Cob"" (1902) 16"" x 20"" (Image: 13"" x 14.13"")","Childe Hassam was one of the foremost painters to interpret contemporary American settings through the lens of French Impressionism. Concurring with the academic master Jean-Léon Gérôme that ""the Brooklyn Bridge is worth the Colosseum of Rome and that modern America is as fine as the bric-a-brac of antiquity,"" he studied in Europe, but painted extensively in the Northeastern United States. Based in New York after 1889, he spent his summers on excursions to the picturesque environs of New England, including Gloucester, the Isles of Shoals, and Cos Cob, Connecticut, where an artist colony was forming around his Impressionist colleague John Henry Twachtman. Hassam nicknamed it ""the Cos Cob Clapboard School of Art"" in reference to the bevel siding that adorned the small harborside community. Here, among New Englands white-frame churches, historic homes and maritime traditions, he sought that which was timeless of the American character.",https://www.theibis.net/product/childe-hassam-oyster-sloop-cos-cob-1902/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5455,https://www.theibis.net/wp-content/uploads/2019/04/coscob_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5444,"John James Audubon : ""Osprey and Weakfish (Fish Hawk)"" (1829) 16"" x 20"" (Image: 11.25"" x 17"")","This version of Osprey and Weakfish is the original oil painting upon which plate #81 of Birds of America was based. Most likely completed in New Jersey during the summer of 1829, it was a personal favorite of Audubons. In the accompanying text to Birds of America, he wrote: ""The motions of the Fish Hawk in the air are graceful, and as majestic as those of the Eagle. It rises with ease to a great height by extensive circlings, performed apparently by mere inclinations of the wings and tail. It dives at times to some distance with the wings partially closed, and resumes its sailing, as if these plunges were made for amusement only…No sooner does it spy a fish suited to its taste, than it checks its course with a sudden shake of its wings and tail, which gives it the appearance of being poised in the air for a moment, after which it plunges headlong with great rapidity into the water, to secure its prey, or continue its flight, if disappointed by having observed the fish sink deeper.""",https://www.theibis.net/product/john-james-audubon-osprey-and-weakfish-fish-hawk-1829/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5444,https://www.theibis.net/wp-content/uploads/2019/04/osprey_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5432,"Edward Lamson Henry : ""The Old Westover House"" (1869) 16"" x 20"" (Image: 13"" x 16.25"")","The Westover House is a Georgian mansion that was constructed by the Byrd family of Richmond, Virginia during the mid 18th century. The seat of a large tobacco plantation, it became of the headquarters of the Union Fifth Corps during the Civil War. Henry himself served on a Union transport ship and was a member of the New York Historical Society. His carefully-detailed paintings were regarded as authentic historical reconstructions by his contemporaries. According to his wife Frances, ""Nothing annoyed him more than to see a wheel, a bit of architecture, etc., carelessly drawn or out of keeping with the time it was supposed to portray.""",https://www.theibis.net/product/edward-lamson-henry-the-old-westover-house-1869/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5432,https://www.theibis.net/wp-content/uploads/2019/04/westo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5422,"Pierre-Auguste Renoir : ""Oarsmen at Chatou"" (1879) 16"" x 20"" (Image: 13"" x 16"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-oarsmen-at-chatou-1879/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5422,https://www.theibis.net/wp-content/uploads/2019/04/renpor7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5410,"Jules Dupre : ""The Old Oak"" (c. 1870) 16"" x 20"" (Image: 13"" x 17"")","In The Old Oak Jules Duprés agile brushwork captures the drama and movement of the landscape. A darkened sky looms over the horizon. Its sweeping, energetic strokes evoke gathering winds and the hot, ozone-rich air that presage an oncoming storm. The ancient tree, meanwhile, is sinewy and muscular. The furrows of its bark curve and wind on upward paths that retrace and reanimate its growth. It has been fortifying for a century; it will endure the elements again. According to the art critic Clarence Cook, Dupré was a Byronic figure, ""quickly sated with applause."" Caring nothing for money or fame, he painted with ""a poetry that is the outcome of his own communing with nature, not borrowed from books nor inspired by the work of other men."" In The Old Oak he invites us to pause; to reimagine the landscape on a different time scale, and pay witness to the theater of earth and sky.",https://www.theibis.net/product/jules-dupre-the-old-oak-c-1870/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5410,https://www.theibis.net/wp-content/uploads/2019/04/dupre_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5398,"William Michael Harnett : ""The Old Violin"" (1886) 16"" x 20"" (Image: 10.69"" x 17"")","William Michael Harnett was a master of the trompe-loeil (""deceive the eye"") still life, in which shadow effects, foreshortening and other techniques of perspective are used to lend realistic objects the illusion of three-dimensionality. The varied textures in his works are so finely rendered that the actual brushwork is almost invisible to the eye. His text and musical notation are fully legible and perfectly aligned, even across curved and crumpled surfaces. While often unconventional in his choice of subjects, Harnett, like his Renaissance forebears, selected and arranged objects as much for symbolic purposes as for their aesthetic value. The central theme of The Old Violin is the transience of time. The shabby old instrument, hung up on a worn wooden door, still contains the echoes pleasures past.",https://www.theibis.net/product/william-michael-harnett-the-old-violin-1886/?attribute_size=16%22+x+20%22+%28Image%3A+10.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5398,https://www.theibis.net/wp-content/uploads/2019/04/harn2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5387,"William Trost Richards : ""October"" (1863) 16"" x 20"" (Image: 13"" x 15.31"")","Every leaf, every stone, every patch of turf is given careful attention in this resplendent forest interior by William Trost Richards. He has observed the myriad of plant species populate the forest floor, the lichens that grow upon the rock, the tell-tale traces of hungry insects. In the distance a patch of gold beckons the viewer forward. Though Richards began his career under the influence of the Hudson River School, he later aligned himself with the Pre-Raphaelites, shunning the grandeur of the romantic landscape in favor of the spiritual enrichment afforded by contemplation of natures more modest details.",https://www.theibis.net/product/william-trost-richards-october-1863/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5387,https://www.theibis.net/wp-content/uploads/2019/04/roct_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5375,"Caspar David Friedrich : ""Northern Landscape, Spring"" (c. 1825) 16"" x 20"" (Image: 12.19"" x 17"")","Only the faintest glimmer of light brings hope this desolate North German landscape. Two contemplative figures serve to establish the enormous scale of the terrain and, in the words of art historian Christopher John Murray, direct ""the viewers gaze towards their metaphysical dimension."" Friedrich saw God as manifest in the natural world; his landscapes are always allegorical, frequently offering messages of faith and renewal. ""The artist,"" he said, ""should paint not only what he sees before him, but also what he sees within him."" The season of this painting is identified as Spring; the frost will soon melt, the heart reawaken.",https://www.theibis.net/product/caspar-david-friedrich-northern-landscape-spring-c-1825/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5375,https://www.theibis.net/wp-content/uploads/2019/04/nland_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5364,"John Singer Sargent : ""Mary Crowninshield Endicott Chamberlain (Mrs. Joseph Chamberlain)"" (1902) 16"" x 20"" (Image: 9.5"" x 17"")","John Singer Sargents portraits are loose, yet refined; painterly in their execution, while stunning in their realism. He worked with a loaded brush directly upon canvas, without the aid of a drawing or underpainting; capturing every nuance of mood and personality, every play of light upon flowing garment, with an apparent swanlike ease. Working in this fashion he completed many hundreds of portraits during his career, and each is a fully realized masterwork with its own particular voice.",https://www.theibis.net/product/john-singer-sargent-mary-crowninshield-endicott-chamberlain-mrs-joseph-chamberlain-1902/?attribute_size=16%22+x+20%22+%28Image%3A+9.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5364,https://www.theibis.net/wp-content/uploads/2019/04/sar3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5353,"William Michael Harnett : ""My Gems"" (1888) 16"" x 20"" (Image: 12.88"" x 17"")","William Michael Harnett was a master of the trompe-loeil (""deceive the eye"") still life, in which shadow effects, foreshortening and other techniques of perspective are used to lend realistic objects the illusion of three-dimensionality. The varied textures in his works are so finely rendered that the actual brushwork is almost invisible to the eye. His text and musical notation are fully legible and perfectly aligned, even across curved and crumpled surfaces. While often unconventional in his choice of subjects, Harnett, like his Renaissance forebears, selected and arranged objects as much for symbolic purposes as for their aesthetic value. My Gems is a vanitas, intended to remind the viewer of the futility of worldly pursuits. As objects representing status, ambition and sensory pleasure rest precariously along the edge of a table, spent matches and the ashes of an overturned pipe denote the transience of life.",https://www.theibis.net/product/william-michael-harnett-my-gems-1888/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5353,https://www.theibis.net/wp-content/uploads/2019/04/harn1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5340,"John Singer Sargent : ""Miss Mathilde Townsend"" (1907) 16"" x 20"" (Image: 11.31"" x 17"")","John Singer Sargents portraits are loose, yet refined; painterly in their execution, while stunning in their realism. He worked with a loaded brush directly upon canvas, without the aid of a drawing or underpainting; capturing every nuance of mood and personality, every play of light upon flowing garment, with an apparent swanlike ease. Working in this fashion he completed many hundreds of portraits during his career, and each is a fully realized masterwork with its own particular voice.",https://www.theibis.net/product/john-singer-sargent-miss-mathilde-townsend-1907/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5340,https://www.theibis.net/wp-content/uploads/2019/04/sar2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5328,"Thomas Moran : ""The Much Resounding Sea"" (1884) 16"" x 20"" (Image: 6.75"" x 17"")","While best-known for his landscapes of the American West, Thomas ""Yellowstone"" Moran was a versatile artist with broad-ranging interests that extended to marine painting, pastorals, historical, literary and even urban subjects. In 1884 he built a cottage and studio in East Hampton, Long Island where he produced this panorama of thunderous, rolling waves crashing on the seashore. Their scale and force is emphasized by the small lobster or crab trap that has washed up broken on the beach. In the 1880s, the eastern coast of Long Island was still the site of frequent shipwrecks.",https://www.theibis.net/product/thomas-moran-the-much-resounding-sea-1884/?attribute_size=16%22+x+20%22+%28Image%3A+6.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5328,https://www.theibis.net/wp-content/uploads/2019/04/mres_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5316,"John Singer Sargent : ""Miss Beatrice Townsend"" (1882) 16"" x 20"" (Image: 12.06"" x 17"")","John Singer Sargents portraits are loose, yet refined; painterly in their execution, while stunning in their realism. He worked with a loaded brush directly upon canvas, without the aid of a drawing or underpainting; capturing every nuance of mood and personality, every play of light upon flowing garment, with an apparent swanlike ease. Working in this fashion he completed many hundreds of portraits during his career, and each is a fully realized masterwork with its own particular voice.",https://www.theibis.net/product/john-singer-sargent-miss-beatrice-townsend-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5316,https://www.theibis.net/wp-content/uploads/2019/04/sar1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5305,"Fitz Henry Lane : ""New York Harbor"" (1852) 16"" x 20"" (Image: 11.31"" x 17"")","Fitz Henry Lane grew up the son of a sail maker on Gloucester Harbors working waterfront. As a child he lost the use of his legs and, unable to play games as the other boys did, found solitary pleasure in art. Though he was largely self-taught, he honed his skills through employment at Pendletons Lithography shop in Boston. As his technique improved he was able to establish himself as a successful marine painter, working in the luminist style; an offshoot of the Hudson River school that emphasized tranquil lighting effects, calm water and soft, hazy skies.",https://www.theibis.net/product/fitz-henry-lane-new-york-harbor-1852/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5305,https://www.theibis.net/wp-content/uploads/2019/04/nyhar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5293,"Mary Cassatt : ""Mother and Child"" (c. 1905) 16"" x 20"" (Image: 13"" x 16.19"")","Babies learn to recognize themselves in the mirror at around 18 months. Until then, it is all a funny game with a strange playmate who lives under glass.In Girl Arranging Her Hair (1886), Mary Cassatt constructed a diagonal path for the eye to create the effect of motion; we can feel the weight of the mirror as it tilts and wavers in the childs hands. The picture frame is cropped, the plane tilted to situate the viewer as a bystander of the scene; a surrogate for Cassatt herself, the childless observer of motherhood.",https://www.theibis.net/product/mary-cassatt-mother-and-child-c-1905/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5293,https://www.theibis.net/wp-content/uploads/2019/04/cmir_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5282,"Henri de Toulouse-Lautrec : ""Marcelle Lender Dancing the Bolero in Chilperic"" (1895-1896) 16"" x 20"" (Image: 13"" x 13"")","In the mid 1890s the actress Marcelle Lender became the unwitting object of Toulouse-Lautrecs fleeting obsession, and this, one of his largest and most elaborate canvases, was the result. She is pictured dancing the bolero in the second act of Hervés comic operetta Chilpéric , in which she played the love interest, Princess Galeswinthe. The artist attended the performance more than twenty times during its three-month run, arriving just in time to witness this scene. For her part, the Lender wanted nothing to do with him. ""What a horrible man!"" she remarked. ""He is very fond of me...But as for the portrait you can have it!""",https://www.theibis.net/product/henri-de-toulouse-lautrec-marcelle-lender-dancing-the-bolero-in-chilperic-1895-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5282,https://www.theibis.net/wp-content/uploads/2019/04/lend_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5264,"Rembrandt van Rijn : ""A Polish Nobleman"" (c. 1637) 16"" x 20"" (Image: 11.56"" x 17"")","The subject of A Polish Nobleman is unlikely to have been either Polish or a nobleman. The painting was, in all probability, intended to represent a generic Eastern European type, rather than a specific person. Though the identity of the model has never been firmly established, it has been pointed out that his facial features, particularly in the area of the eyes and nose, bear a striking resemblance to those of the master himself.",https://www.theibis.net/product/rembrandt-van-rijn-a-polish-nobleman-c-1637/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5264,https://www.theibis.net/wp-content/uploads/2019/04/pnob_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5253,"Rembrandt van Rijn and Govaert Flinck : ""Man in Oriental Costume"" (c. 1635) 16"" x 20"" (Image: 12.75"" x 17"")","Man in Oriental Costume was the product of an era when Dutch commerce was opening new pathways to distant lands. All things new and exotic were in vogue. Rembrandt himself sometimes appeared in eastern garb and, like many Dutch gentlemen, maintained his own cabinet or curiosities, stocked with strange artifacts from around the world. Like many of his works, Man in Oriental Costume was a collaboration between the master and a skilled apprentice; in this case, Govaert Flinck, who went on to become a successful painter in his own right.",https://www.theibis.net/product/rembrandt-van-rijn-and-govaert-flinck-man-in-oriental-costume-c-1635/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5253,https://www.theibis.net/wp-content/uploads/2019/04/ocos_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5242,"Aelbert Cuyp : ""The Maas at Dordrecht"" (c. 1650) 16"" x 20"" (Image: 11.5"" x 17"")","A Dutch transport fleet carrying thirty thousand soldiers concentrates at the confluence of the Maas and Merwede rivers. The northern provinces are in rebellion against the Spanish crown, but their troops are massing for the goal of peace, not war. By this show of force their position will be strengthened in the upcoming negotiations that will lead to the Peace of Münster. In this painting there are therefore no looming storm clouds or soaring eagles to presage victory or disaster on the battlefield; only calm seas and golden light to represent the truer aspirations of a peaceful trading nation.",https://www.theibis.net/product/aelbert-cuyp-the-maas-at-dordrecht-c-1650/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5242,https://www.theibis.net/wp-content/uploads/2019/04/cuyp4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5232,"Fitz Henry Lane : ""Lumber Schooners at Evening on Penobscot Bay"" (1863) 16"" x 20"" (Image: 10.88"" x 17"")","Fitz Henry Lane grew up the son of a sail maker on Gloucester Harbors working waterfront. As a child he lost the use of his legs and, unable to play games as the other boys did, found solitary pleasure in art. Though he was largely self-taught, he honed his skills through employment at Pendletons Lithography shop in Boston. As his technique improved he was able to establish himself as a successful marine painter, working in the luminist style; an offshoot of the Hudson River school that emphasized tranquil lighting effects, calm water and soft, hazy skies.",https://www.theibis.net/product/fitz-henry-lane-lumber-schooners-at-evening-on-penobscot-bay-1863/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5232,https://www.theibis.net/wp-content/uploads/2019/04/penob_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5222,"Folk Art : ""Memorial to Nicholas M. S. Catlin"" (c. 1852) 16"" x 20"" (Image: 12.63"" x 17"")","A moving folk art piece memorializing a one year-old child. The inscription on the tombstone reads ""In Memory of / Nicholas M. S. Catlin / Son of / Nathan S. and Phebe C. Catlin / Died / April 19th 1852 / Aged 1 yr. 1 mo 15 days."" The child holds a cut flower, symbolizing a premature death. In the background a lone ship sails out to sea, representing the passage of the soul into the afterlife. In an era before widespread home photography, postmortem portraits such as these were usually the only physical representations by which families could remember the loss of a small boy or girl.",https://www.theibis.net/product/folk-art-memorial-to-nicholas-m-s-catlin-c-1852/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5222,https://www.theibis.net/wp-content/uploads/2019/04/catm_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5209,"Francois Boucher : ""Allegory of Painting"" (1765) 16"" x 20"" (Image: 13"" x 16.56"")","In Allegory of Painting Bouçher frames art as an expression of the erotic drive to live and create. As paintings personification prepares an outline of Eros—identified by his arrows and flaming torch—the two lock eyes significantly. Beginning with the medieval troubadours and continuing into the Renaissance and Baroque periods, it was imagined that—in the words of N. E. Griffin—""love originates upon the eyes of the lady when encountered by those of her future lover. The love thus generated is conveyed on bright beams of light from her eyes to his, through which it passes to take up its abode in his heart."" With Eross passion thus inflamed, a putto crowns the scene with a laurel wreath representing victory.",https://www.theibis.net/product/francois-boucher-allegory-of-painting-1765/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5209,https://www.theibis.net/wp-content/uploads/2019/04/apaint_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5199,"Folk Art : ""Lexington Battle Monument"" (1853 or after) 16"" x 20"" (Image: 13"" x 14.38"")","A folk art piece of the Lexington Battle Green, the site where the first shots of the American Revolutionary War were fired. It is believed to have originated from Massachusetts in 1853 or later. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-lexington-battle-monument-1853-or-after/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5199,https://www.theibis.net/wp-content/uploads/2019/04/lexm_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5188,"John George Brown : ""The Longshoremens Noon"" (1879) 16"" x 20"" (Image: 11.19"" x 17"")","The Longshoremens Noon emphasizes the communal spirit of dockworkers on a Hudson River wharf. Though an edition of The Sun featured prominently in the foreground suggests political engagement, there is nothing in the painting to indicate undue hardship or inequity. A British émigré who began his career as a lowly glass worker, Brown was a wholehearted believer in American optimism. He is best-known for his genre paintings celebrating the enterprising spirit of New York City street urchins. And just as his bootblacks and newsboys were always drawn a bit happier, a bit more healthy than was true to life, his longshoremen are here portrayed as fatigued, but not overworked. They are all strong, able-bodied men, content with their hardscrabble lives.",https://www.theibis.net/product/john-george-brown-the-longshoremens-noon-1879/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5188,https://www.theibis.net/wp-content/uploads/2019/04/lnoo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5178,"George Bellows : ""Anne with a Japanese Parasol"" (1917) 16"" x 20"" (Image: 11.25"" x 17"")","George Bellows is best-known for taking on gritty subjects—German wartime atrocities, clandestine boxing matches and the lives of the urban poor—but his late works have a decidedly softer feel. Anne with a Japanese Parasol is a portrait of his first daughter, born September 8th, 1911. Her adorably backwards grip on the parasol is reminiscent of Mary Cassatts Children Playing on the Beach , in which a toddler is shown manipulating a shovel from the wrong end of the shaft. In that piece Cassatt tilted the picture plane to situate the spectator as an adult looking down upon the scene. Bellows achieves a similar effect by Annes upward gaze and the fact that she does not rise to the height of the picture frame. We therefore respond to her not only as a child, but as a child for whom we feel responsible.",https://www.theibis.net/product/george-bellows-anne-with-a-japanese-parasol-1917/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5178,https://www.theibis.net/wp-content/uploads/2019/04/banne_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5165,"George Bellows : ""My Family"" (1919) 16"" x 20"" (Image: 13"" x 14.31"")","George Bellows is best-known for taking on gritty subjects—German wartime atrocities, clandestine boxing matches and the lives of the urban poor—but his late works have a decidedly softer feel. My Family portrays his wife Emma and their daughters Anne and Jean. Emmas facial features are left undefined and Anne is positioned with her back to the spectator in order to create a laser focus on the most detailed feature of the paintin Jeans bright eyes and rosy smile. Enveloped by warm embraces the world is, to her, a Rousseauesque dreamscape of lush, vivid color.",https://www.theibis.net/product/george-bellows-my-family-1919/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5165,https://www.theibis.net/wp-content/uploads/2019/04/bfam_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5153,"Folk Art : ""Man of Science"" (1839) 16"" x 20"" (Image: 13"" x 15.19"")","This American folk art piece, evocative of Yankee ingenuity, is believed to have originated from New York in 1839. The inscription on the lower left corner reads ""M anz. fecit / 9"". Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-man-of-science-1839/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5153,https://www.theibis.net/wp-content/uploads/2019/04/msci_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5142,"George Bellows : ""Nude with Red Hair"" (1920) 16"" x 20"" (Image: 13"" x 17"")","George Bellows is best-known for taking on gritty subjects—German wartime atrocities, clandestine boxing matches and the lives of the urban poor—but his late works have a decidedly softer feel. Nude with Red Hair is indicative of his newfound interest in more intimate, feminine themes. The model is swathed in deep shades of purple, red and green, evocative of twilight or late evening. The rectangular light pattern suggests an open window or doorway. Her modest gesture hints at the possibility of an observer and perhaps, therefore, a liaison.",https://www.theibis.net/product/george-bellows-nude-with-red-hair-1920/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5142,https://www.theibis.net/wp-content/uploads/2019/04/bnude_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5130,"George Bellows : ""New York"" (1911) 16"" x 20"" (Image: 11.69"" x 17"")","From 1907 to 1915 George Bellows executed a series of paintings of New York under snowfall, of which this busy composite of Midtown Manhattan is an outstanding example. Its razzmatazz of man-made geometries and bustling crowds suggests a hungry machine, subsuming nature—and humanity—to its will. There is no corner in which to hide. The new-fallen snow is easily shoved aside, trodden down by the march of commerce. At the center of the composition, a wagon brings fresh stone or hay from the countryside—more material to feed the beast.",https://www.theibis.net/product/george-bellows-new-york-1911/?attribute_size=16%22+x+20%22+%28Image%3A+11.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5130,https://www.theibis.net/wp-content/uploads/2019/04/ny1911_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5120,"George Bellows : ""Tennis Tournament"" (1920) 16"" x 20"" (Image: 13"" x 14.56"")","For one week in 1919 some of tenniss most legendary competitors met at the grass courtyard of Rhode Islands Newport Casino. George Bellows was present for the event, and though he was himself an avid tennis player, his deeper fascination was with the setting itself. Whereas his famous paintings of clandestine boxing matches are dark and lurid, emphasizing the raw power of the competitors and the animal passions of the crowd, Tennis Tournament is suffused in heavenly sunlight that sweeps across the lush, green courtyard. The well-dressed attendees are calm and collected; some watch the game while others mill about the grounds, politely socializing. Just as Bellows made no attempt to romanticize his working class subjects, he likewise refrains from any criticism of the wealthy at Newport; he depicts contemporary American society as it was, and leaves it for us to decide how to feel about it.",https://www.theibis.net/product/george-bellows-tennis-tournament-1920/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5120,https://www.theibis.net/wp-content/uploads/2019/04/bten_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5108,"Thomas Chambers : ""Mount Auburn Cemetery"" (mid 19th century) 16"" x 20"" (Image: 13"" x 16.88"")","Thomas Chambers was arguably the most expressive folk artist of the 19th century. When his works began turning up in the 1930s, they made an impression upon New York art dealers Albert Duveen and Norman Hirschl, who organized an exhibition in which they dubbed him the ""First American Modern."" His works, writes NY Times critic Roberta Smith, were ""neither strictly realist nor naïve...He aimed to please. His images are like chorus lines singing and dancing their hearts out, ever so slightly off-key and out of step. Every part contributes vocally and vigorously to the whole. The trilling patterns of ocean waves, rounded trees or riverside hedgerows; the sharp-edged mountains and shorelines, overemphatic clouds, glossy rivers and almost lurid sunsets—they all lock arms, and do a little more than their bit. The slight awkwardness amplifies. You see them perform and you see their performance, gaining a greater understanding of the visual appetite by having it thoroughly satisfied."" A painter of both marine and landscape subjects, Chambers often worked from popular engravings, but where others copied, he interpreted. He enchanted. He was an American Rousseau with no salon to exhibit his work, no critics to ridicule them, and no avant-garde to carry his torch.",https://www.theibis.net/product/thomas-chambers-mount-auburn-cemetery-mid-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5108,https://www.theibis.net/wp-content/uploads/2019/04/aub_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5096,"George Bellows : ""Blue Morning"" (1909) 16"" x 20"" (Image: 13"" x 16.63"")","Blue Morning is one of the gritty studies of New Yorks urban poor that helped to launch Bellows career as a young artist. On moving to the city in 1904 he became a student of Robert Henri, a leading figure in the Ashcan School, who ""wanted art to be akin to journalism...wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on Broadway in the winter."" Bellows therefore sought to depict American society in all its stark reality, unadorned by the sentimentality and romanticism that had characterized Victorian era representations of the poor and working class.",https://www.theibis.net/product/george-bellows-blue-morning-1909/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5096,https://www.theibis.net/wp-content/uploads/2019/04/bmor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5086,"George Bellows : ""The Lone Tenement"" (1909) 16"" x 20"" (Image: 12.69"" x 17"")","The Lone Tenement is one of the gritty studies of New Yorks urban poor that helped to launch Bellows career as a young artist. On moving to the city in 1904 he became a student of Robert Henri, a leading figure in the Ashcan School, who ""wanted art to be akin to journalism...wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on Broadway in the winter."" Bellows therefore sought to depict American society in all its stark reality, unadorned by the sentimentality and romanticism that had characterized Victorian era representations of the poor and working class.",https://www.theibis.net/product/george-bellows-the-lone-tenement-1909/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5086,https://www.theibis.net/wp-content/uploads/2019/04/tene_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5074,"Thomas Chambers Folk Art : ""Storm-Tossed Frigate"" (mid 19th century) 16"" x 20"" (Image: 11.88"" x 17"")","Thomas Chambers was arguably the most expressive folk artist of the 19th century. When his works began turning up in the 1930s, they made an impression upon New York art dealers Albert Duveen and Norman Hirschl, who organized an exhibition in which they dubbed him the ""First American Modern."" His works, writes NY Times critic Roberta Smith, were ""neither strictly realist nor naïve...He aimed to please. His images are like chorus lines singing and dancing their hearts out, ever so slightly off-key and out of step. Every part contributes vocally and vigorously to the whole. The trilling patterns of ocean waves, rounded trees or riverside hedgerows; the sharp-edged mountains and shorelines, overemphatic clouds, glossy rivers and almost lurid sunsets—they all lock arms, and do a little more than their bit. The slight awkwardness amplifies. You see them perform and you see their performance, gaining a greater understanding of the visual appetite by having it thoroughly satisfied."" A painter of both marine and landscape subjects, Chambers often worked from popular engravings, but where others copied, he interpreted. He enchanted. He was an American Rousseau with no salon to exhibit his work, no critics to ridicule them, and no avant-garde to carry his torch.",https://www.theibis.net/product/thomas-chambers-folk-art-storm-tossed-frigate-mid-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5074,https://www.theibis.net/wp-content/uploads/2019/04/cham2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5064,"Jean Simeon Chardin : ""Soap Bubbles"" (1733/1734) 16"" x 20"" (Image: 13"" x 16"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-soap-bubbles-1733-1734/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5064,https://www.theibis.net/wp-content/uploads/2019/04/chard8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5052,"Edgar Degas : ""The Loge"" (c. 1883) 16"" x 20"" (Image: 9.75"" x 17"")","Abstract forms and rich, symphonic color capture the fleeting magic of a ballerina on stage at the Paris Opera. Two ladies bookend the scene, the one on the right obscuring much of the stage view with her fan. As obstructions, they render the clear view of the performer all the more precious; as splashes of green and pink, they contribute to the overall color harmony of the scene. A night out at the Paris Opera was a total sensory experience, incorporating not only music and dance, but also its elegantly turned-out audience.",https://www.theibis.net/product/edgar-degas-the-loge-c-1883/?attribute_size=16%22+x+20%22+%28Image%3A+9.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5052,https://www.theibis.net/wp-content/uploads/2019/04/dloge_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5042,"Jean Simeon Chardin : ""The House of Cards"" (c. 1737) 16"" x 20"" (Image: 13"" x 16.25"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-the-house-of-cards-c-1737/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5042,https://www.theibis.net/wp-content/uploads/2019/04/chard7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5029,"Mary Cassatt : ""The Loge"" (c. 1878-1880) 16"" x 20"" (Image: 13"" x 16.38"")","In The Loge , a pair of bashful young women find themselves as much on display at new Paris Opera as the performers themselves. The music is audible Cassatts lively brushwork and symphonic color. She completed this piece shortly after being invited into the Impressionist fold by Edgar Degas, whose own work is largely defined by his enchantment with the glamorous venue.",https://www.theibis.net/product/mary-cassatt-the-loge-c-1878-1880/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5029,https://www.theibis.net/wp-content/uploads/2019/04/cloge_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5016,"Mary Cassatt : ""Little Girl in a Blue Armchair"" (1878) 16"" x 20"" (Image: 11.31"" x 17"")","In Little Girl in a Blue Armchair , the energetic patterns of vibrant turquoise furnishings express the inner spirit of a languid child taking a break from her solitary play. The Australian writer Germaine Greer has described it as ""an icon of the awfulness of being at one controlled by adults and ignored by them."" It was produced by Cassatt shortly after she was invited into the Impressionist fold by Edgar Degas, who supplied the model and even worked on some of the background himself. After years of rejection by the French art establishment, she exhibited this painting, along with ten others, in the Impressionist exhibition of 1879.",https://www.theibis.net/product/mary-cassatt-little-girl-in-a-blue-armchair-1878/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5016,https://www.theibis.net/wp-content/uploads/2019/04/barm_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 5006,"Thomas Chambers : ""Threatening Sky, Bay of New York"" (mid 19th century) 16"" x 20"" (Image: 12.56"" x 17"")","Thomas Chambers was arguably the most expressive folk artist of the 19th century. When his works began turning up in the 1930s, they made an impression upon New York art dealers Albert Duveen and Norman Hirschl, who organized an exhibition in which they dubbed him the ""First American Modern."" His works, writes NY Times critic Roberta Smith, were ""neither strictly realist nor naïve...He aimed to please. His images are like chorus lines singing and dancing their hearts out, ever so slightly off-key and out of step. Every part contributes vocally and vigorously to the whole. The trilling patterns of ocean waves, rounded trees or riverside hedgerows; the sharp-edged mountains and shorelines, overemphatic clouds, glossy rivers and almost lurid sunsets—they all lock arms, and do a little more than their bit. The slight awkwardness amplifies. You see them perform and you see their performance, gaining a greater understanding of the visual appetite by having it thoroughly satisfied."" A painter of both marine and landscape subjects, Chambers often worked from popular engravings, but where others copied, he interpreted. He enchanted. He was an American Rousseau with no salon to exhibit his work, no critics to ridicule them, and no avant-garde to carry his torch.",https://www.theibis.net/product/thomas-chambers-threatening-sky-bay-of-new-york-mid-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=5006,https://www.theibis.net/wp-content/uploads/2019/04/cham1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4989,"Ammi Phillips Folk Art : ""Joseph Slade"" (1816) 16"" x 20"" (Image: 13"" x 15.81"")","Ammi Phillips was one of the most prolific folk artists of the 19th century. An itinerant painter, he traveled rural Connecticut, Massachusetts and New York for a period of five decades, satisfying the sparse demand for painted portraits in one town before moving on to the next. It is estimated that during his career he may have produced as many as two thousand paintings, of which about five hundred are known today. Following his rediscovery during the 20th century, he emerged as one of the most celebrated figures in American folk art. In 1970 a critic for The New York Times described one of his paintings as ""nearer to our own standards of artistic probity than anything to be found in the common run of serious painting at the time...innocent only of those flatulent academic pretensions which remained the curse of so much of our art in the 19th century.""",https://www.theibis.net/product/ammi-phillips-folk-art-joseph-slade-1816/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4989,https://www.theibis.net/wp-content/uploads/2019/03/ammi3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4978,"Edward Hopper : ""Ground Swell"" (1939) 16"" x 20"" (Image: 12.38"" x 17"")","Hoppers Ground Swell is bright and summery on the surface, dark and foreboding beneath. The figures, weirdly disconnected from each other, focus their attention on a buoy, presaging unseen danger. Above, cirrus clouds auger an oncoming storm. They have set sail in search of isolation and escape, but rough seas lie ahead. It may be no coincidence that Hopper worked on this painting from August to 15 September 1939, as World War II was breaking out in Europe.",https://www.theibis.net/product/edward-hopper-ground-swell-1939/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4978,https://www.theibis.net/wp-content/uploads/2019/03/swell_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4968,"Ammi Phillips Folk Art : ""Alsa Slade"" (1816) 16"" x 20"" (Image: 13"" x 15.81"")","Ammi Phillips was one of the most prolific folk artists of the 19th century. An itinerant painter, he traveled rural Connecticut, Massachusetts and New York for a period of five decades, satisfying the sparse demand for painted portraits in one town before moving on to the next. It is estimated that during his career he may have produced as many as two thousand paintings, of which about five hundred are known today. Following his rediscovery during the 20th century, he emerged as one of the most celebrated figures in American folk art. In 1970 a critic for The New York Times described one of his paintings as ""nearer to our own standards of artistic probity than anything to be found in the common run of serious painting at the time...innocent only of those flatulent academic pretensions which remained the curse of so much of our art in the 19th century.""",https://www.theibis.net/product/ammi-phillips-folk-art-alsa-slade-1816/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4968,https://www.theibis.net/wp-content/uploads/2019/03/ammi2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4957,"Ammi Phillips : ""Jane Storm Teller"" (c. 1835) 16"" x 20"" (Image: 13"" x 15.88"")","Ammi Phillips was one of the most prolific folk artists of the 19th century. An itinerant painter, he traveled rural Connecticut, Massachusetts and New York for a period of five decades, satisfying the sparse demand for painted portraits in one town before moving on to the next. It is estimated that during his career he may have produced as many as two thousand paintings, of which about five hundred are known today. Following his rediscovery during the 20th century, he emerged as one of the most celebrated figures in American folk art. In 1970 a critic for The New York Times described one of his paintings as ""nearer to our own standards of artistic probity than anything to be found in the common run of serious painting at the time...innocent only of those flatulent academic pretensions which remained the curse of so much of our art in the 19th century.""",https://www.theibis.net/product/ammi-phillips-jane-storm-teller-c-1835/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4957,https://www.theibis.net/wp-content/uploads/2019/03/ammi1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4946,"Frederic Edwin Church : ""Niagara"" (1857) 16"" x 20"" (Image: 7.88"" x 17"")","Frederic Edwin Churchs panorama of Niagara Falls was a tourist attraction in its own right. When the painting was exhibited in New York City, it drew 100,000 spectators in its first two weeks, each of whom paid 25 cents for admission, a pamphlet, and the opportunity to purchase a chromolithograph reproduction. At the time Niagara Falls was considered to be Americas greatest natural wonder, far surpassing anything Europe had on offer, and Church was the first to truly capture its power and beauty. One newspaper critic described Niagara as ""the finest oil picture ever painted on this side of the Atlantic.""",https://www.theibis.net/product/frederic-edwin-church-niagara-1857/?attribute_size=16%22+x+20%22+%28Image%3A+7.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4946,https://www.theibis.net/wp-content/uploads/2019/03/cnia_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4935,"Jean Simeon Chardin : ""Still Life with a White Mug"" (c. 1764) 16"" x 20"" (Image: 13"" x 16.38"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-still-life-with-a-white-mug-c-1764/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4935,https://www.theibis.net/wp-content/uploads/2019/03/chard6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4923,"Folk Art : ""Leaving the Manor House"" (c. 1850/1855) 16"" x 20"" (Image: 13"" x 16.56"")","This folk art piece is thought to have originated from Connecticut around 1850-1855. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-leaving-the-manor-house-c-1850-1855/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4923,https://www.theibis.net/wp-content/uploads/2019/03/manor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4913,"Aelbert Cuyp : ""Landscape with Herdsmen"" (mid-1650s) 16"" x 20"" (Image: 9.94"" x 17"")","A tranquil landscape of the Dutch countryside with the Rhine Valley and the ruins of the castle of the dukes of Cleves in the distance. One of the leading landscape painters of the Dutch Golden Age, Cuyps forté consisted in his ability to capture the full chromatic and tonal range of the countryside in the low-angled light of sunrise and sunset. His paintings evoke the modest grandeur the lowland terrain and pastoral virtues of its inhabitants.",https://www.theibis.net/product/aelbert-cuyp-landscape-with-herdsmen-mid-1650s/?attribute_size=16%22+x+20%22+%28Image%3A+9.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4913,https://www.theibis.net/wp-content/uploads/2019/03/cuyp3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4902,"Jean Simeon Chardin : ""The Little Schoolmistress"" (after 1740) 16"" x 20"" (Image: 13"" x 16.44"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-the-little-schoolmistress-after-1740/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4902,https://www.theibis.net/wp-content/uploads/2019/03/chard5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4890,"Vincent van Gogh : ""La Mousme"" (1888) 16"" x 20"" (Image: 13"" x 15.88"")","Bright colors and contrasting patterns imbue the subject of La Mousmé with the energy and intensity of a blossoming flower, much like the oleander she holds in her hand. Not coincidentally, Van Gogh completed this portrait in the same period as his sunflower series. In a letter to his brother Theo, he wrote that portrait studies such as these were ""the only thing in painting that excites me to the depths of my soul, and which makes me feel the infinite more than anything else."" A ""mousemé"" is a term for a young Japanese girl that appears in Pierre Lotis Madame Chrysanthème ; the story of a naval officer who marries a geisha while stationed in Nagasaki, Japan. Japanese culture had a major influence upon French art during the 19th century, and Van Gogh, an avid collector of Japanese prints, was one of its most important ambassadors.",https://www.theibis.net/product/vincent-van-gogh-la-mousme-1888/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4890,https://www.theibis.net/wp-content/uploads/2019/03/mous_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4879,"Eastman Johnson : ""The Early Scholar"" (c. 1865) 16"" x 20"" (Image: 13"" x 16"")","The one-room schoolhouse with its solitary stove was a central feature of rural childhood well into the 20th century; one that is, no doubt, recalled with more fondness than it was originally experienced. In The Early Scholar , the childs sacrifice of comfort for knowledge is approached with something akin to sanctity. His prayerful posture before a source of light and warmth has an almost religious undertone. Johnson was known to his contemporaries as ""The American Rembrandt,"" and, in fact, The Early Scholar follows a formula that the old master frequently employed in his religious paintings. The work needs only a more darkened environment to emphasize the light of the stove, and it would strongly resemble The Holy Family at Night .",https://www.theibis.net/product/eastman-johnson-the-early-scholar-c-1865/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4879,https://www.theibis.net/wp-content/uploads/2019/03/esch_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4867,"Eastman Johnson : ""On Their Way to Camp"" (1873) 16"" x 20"" (Image: 10.88"" x 17"")","From 1849-1855 Eastman Johnson studied in Europe, where he learned to apply the refined techniques of the Dutch Old Masters to the bucolic themes of American genre painting. During the early 1860s he made numerous trips to the maple sugar camps of Maine, where he produced a series of paintings celebrating Yankee independence and the joy of free labor. On Their Way to Camp —a vignette of boys towing a sap barrel through a snowy woodland—was the most finished of these. A staunch abolitionist, Johnson hoped that the dire contrast between maple sugar production in the North and sugar cane cultivation in the South would not be lost upon the public.",https://www.theibis.net/product/eastman-johnson-on-their-way-to-camp-1873/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4867,https://www.theibis.net/wp-content/uploads/2019/03/wcamp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4857,"Jean Simeon Chardin : ""The Attentive Nurse"" (1747) 16"" x 20"" (Image: 13"" x 16.25"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-the-attentive-nurse-1747/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4857,https://www.theibis.net/wp-content/uploads/2019/03/chard4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4844,"Jean Simeon Chardin : ""The Scullery Maid"" (c. 1738) 16"" x 20"" (Image: 13"" x 16.25"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-the-scullery-maid-c-1738/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4844,https://www.theibis.net/wp-content/uploads/2019/03/chard3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4833,"Albert Bierstadt : ""Lake Lucerne"" (1858) 16"" x 20"" (Image: 10.13"" x 17"")","A panoramic vista of Lake Lucerne and the alpine peaks near the village of Brunnen in central Switzerland, with a gypsy encampment and religious procession in the foreground. Like Thomas ""Yellowstone"" Moran, Bierstadt honed his technique in Europe, but found his voice in the American West. His first large-scale landscape, Lake Lucerne was completed in the year before his first expedition to the Rockies, and provided a template for many of the works that were to follow.",https://www.theibis.net/product/albert-bierstadt-lake-lucerne-1858/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4833,https://www.theibis.net/wp-content/uploads/2019/03/lluc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4821,"Thomas Chambers : ""Lake George and the Village of Caldwell"" (mid 19th century) 16"" x 20"" (Image: 12.25"" x 17"")","Thomas Chambers was arguably the most expressive folk artist of the 19th century. When his works began turning up in the 1930s, they made an impression upon New York art dealers Albert Duveen and Norman Hirschl, who organized an exhibition in which they dubbed him the ""First American Modern."" His works, writes NY Times critic Roberta Smith, were ""neither strictly realist nor naïve...He aimed to please. His images are like chorus lines singing and dancing their hearts out, ever so slightly off-key and out of step. Every part contributes vocally and vigorously to the whole. The trilling patterns of ocean waves, rounded trees or riverside hedgerows; the sharp-edged mountains and shorelines, overemphatic clouds, glossy rivers and almost lurid sunsets—they all lock arms, and do a little more than their bit. The slight awkwardness amplifies. You see them perform and you see their performance, gaining a greater understanding of the visual appetite by having it thoroughly satisfied."" A painter of both marine and landscape subjects, Chambers often worked from popular engravings, but where others copied, he interpreted. He enchanted. He was an American Rousseau with no salon to exhibit his work, no critics to ridicule them, and no avant-garde to carry his torch.",https://www.theibis.net/product/thomas-chambers-lake-george-and-the-village-of-caldwell-mid-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4821,https://www.theibis.net/wp-content/uploads/2019/03/cald_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4811,"Thomas Wilmer Dewing : ""Lady with a Lute"" (1886) 16"" x 20"" (Image: 13"" x 16.69"")","In Lady with a Lute , a musical instrument serves as the conduit for a perfect communion of mind and soul. Situated on a darkened background, the model is detached from her surroundings. Her attention is focused entirely upon the instrument, carefully positioned with its face to her heart. Dewings palette is a symphony of forest greens and browns, accented by luminous flesh tones. His style combines the virtuosity of Whistler in conveying emotion through color with the realism of Jan Vermeer; both artists whom he deeply admired.",https://www.theibis.net/product/thomas-wilmer-dewing-lady-with-a-lute-1886/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4811,https://www.theibis.net/wp-content/uploads/2019/03/llute_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4798,"Folk Art : ""Lady Wearing Spectacles"" (c. 1840) 16"" x 20"" (Image: 13"" x 15.63"")","This folk art piece of a woman in tinted spectacles is believed to have originated from western Connecticut around 1840. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-lady-wearing-spectacles-c-1840/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4798,https://www.theibis.net/wp-content/uploads/2019/03/spex_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4787,"Jean Simeon Chardin : ""The Kitchen Maid"" (1738) 16"" x 20"" (Image: 13"" x 16.25"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-the-kitchen-maid-1738/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4787,https://www.theibis.net/wp-content/uploads/2019/03/chard2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4774,"Aelbert Cuyp : ""Lady and Gentleman on Horseback"" (1655/1660) 16"" x 20"" (Image: 12.06"" x 17"")","A double portrait by Aelbert Cuyp, one of the leading landscape painters of the Dutch Golden Age. It is unusual in that it pays special honor to its subjects, and to the woman in particular. In Dutch art, equestrian portraits were ordinarily reserved for royalty, and women were typically situated behind their husbands. While the identity of the couple has not been firmly established, it has been suggested that the piece commemorates the marriage of Adriaen Stevensz Snouck and Erkenraad Matthisdr Berk, the daughter Cuyps patron, Matthijs Berk.",https://www.theibis.net/product/aelbert-cuyp-lady-and-gentleman-on-horseback-1655-1660/?attribute_size=16%22+x+20%22+%28Image%3A+12.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4774,https://www.theibis.net/wp-content/uploads/2019/03/cuyp2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4764,"Nicolas Lancret : ""La Camargo Dancing"" (c. 1730) 16"" x 20"" (Image: 12.13"" x 17"")","In this magically evocative piece, Nicolas Lancret pictures the Paris Opera star Marie-Ann de Cupis de Camargo performing a pas a deux in a remote parkland clearing. Lancret was a follower of Antoine Watteau, who invented the fête-galante; a genre of painting which in Arcadian settings are used to mythologize scenes of everyday life. An image of La Camargo on stage is a record of Paris social life; shown performing in a secluded woodland, it is an ageless dream.",https://www.theibis.net/product/nicolas-lancret-la-camargo-dancing-c-1730/?attribute_size=16%22+x+20%22+%28Image%3A+12.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4764,https://www.theibis.net/wp-content/uploads/2019/03/cama_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4752,"Frederick W. Mayhew Folk Art : ""Mrs. John Harrisson and Daughter"" (c. 1823) 16"" x 20"" (Image: 13"" x 15.81"")","A folk art piece by Frederick W. Mayhew, a native of Marthas Vinyard, where local lore holds that he mixed Gay Head clay with dogfish oil to make his paint. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/frederick-w-mayhew-folk-art-mrs-john-harrisson-and-daughter-c-1823/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4752,https://www.theibis.net/wp-content/uploads/2019/03/mayh2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4741,"Frederick W. Mayhew : ""John Harrisson"" (c. 1823) 16"" x 20"" (Image: 13"" x 15.5"")","A folk art piece by Frederick W. Mayhew, a native of Marthas Vinyard, where local lore holds that he mixed Gay Head clay with dogfish oil to make his paint. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/frederick-w-mayhew-john-harrisson-c-1823/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4741,https://www.theibis.net/wp-content/uploads/2019/03/mayh1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4728,"Edouard Manet : ""A King Charles Spaniel"" (c. 1866) 16"" x 20"" (Image: 13"" x 15.81"")","Edouard Manet proves that fine art can be adorable with this ""royal portrait"" of a King Charles Spaniel. To capture the animals expression the artist used tight brushwork in the area of the face, accompanied by looser strokes that create the effect of silky, flowing fur. By working in a more fluid style than their academic counterparts, the Impressionists were better equipped to represent the shagginess of animal fur, the chaotic growth of thriving plant life, and other, lively textures.",https://www.theibis.net/product/edouard-manet-a-king-charles-spaniel-c-1866/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4728,https://www.theibis.net/wp-content/uploads/2019/03/kspan_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4717,"J.M.W. Turner : ""The Junction of the Thames and the Medway"" (1807) 16"" x 20"" (Image: 12.75"" x 17"")","The setting for this turbulent seascape by Turner is the mouth of the Thames near Sheerness, where the Medway River churns the waves of the North Sea. A pioneering marine painter, Turners commitment to his art was such that he once had himself tied to a mast for four hours during a storm.",https://www.theibis.net/product/j-m-w-turner-the-junction-of-the-thames-and-the-medway-1807/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4717,https://www.theibis.net/wp-content/uploads/2019/03/jmed_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4706,"John Martin : ""Joshua Commanding the Sun to Stand Still upon Gibeon"" (1816) 16"" x 20"" (Image: 11.13"" x 17"")","John Martin first earned public acclaim with this epic painting of Joshua commanding the sun to stand still, and storms to rage upon the Amorite army. The battle was part of the conquest of Canaan, and is described in Joshua chapter 10: ""So the sun stood still, and the moon stopped, till the nation avenged itself on its enemies."" A believer in natural religion, deism and pre-Darwinian evolution, John Martins apocalyptic images of divine wrath were less a reflection of a severe personality than an affinity for the sublime—for the grand, the epic, the hardcore . Described by Thomas Lawrence as ""the most popular painter of his day,"" his ""awesome"" style had a profound influence upon generations of artists and writers, including Thomas Cole, H.G. Wells, Jules Verne, and Rider Haggard. In 20th century film, we recognize his influence in the space operas of George Lucas and the Biblical epics of Cecil B. DeMille. Charleston Hestons Moses would feel quite at home on a canvas by John Martin.",https://www.theibis.net/product/john-martin-joshua-commanding-the-sun-to-stand-still-upon-gibeon-1816/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4706,https://www.theibis.net/wp-content/uploads/2019/03/josh_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4696,"Claude Monet : ""Jerusalem Artichoke Flowers"" (1880) 16"" x 20"" (Image: 12.31"" x 17"")","Monets canvas can barely contain this fiery bouquet of artichoke flowers, seemingly erupting from its small vase. Where an academic realist might rendered each leaf and petal in naturalistic detail, Monets fluid brushwork captures the chaotic growth of thriving plant life, emphasizing the act of flourishing above the flowers themselves. He has not frozen his subjects in time, but endowed them with eternal life.",https://www.theibis.net/product/claude-monet-jerusalem-artichoke-flowers-1880/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4696,https://www.theibis.net/wp-content/uploads/2019/03/jart_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4683,"Thomas Cole : ""Italian Coast Scene with Ruined Tower"" (1838) 16"" x 20"" (Image: 12.5"" x 17"")","A poetical expression of the transience of life by Thomas Cole. Cole took up the motif of the lonely tower following his first trip to Europe, where viewed John Constables Hadleigh Castle: The Mouth of the Thames—Morning After a Stormy Night , and went on to sketch similar scenes in Italy. Europes picturesque ruins were a major source of inspiration for the Romantics, and were so in vogue for a time that wealthy landholders actually had ersatz ruins installed on their estates and paid hermits to inhabit them.",https://www.theibis.net/product/thomas-cole-italian-coast-scene-with-ruined-tower-1838/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4683,https://www.theibis.net/wp-content/uploads/2019/03/ctow_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4673,"George Inness : ""Sunset in the Woods"" (1891) 16"" x 20"" (Image: 11.31"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-sunset-in-the-woods-1891/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4673,https://www.theibis.net/wp-content/uploads/2019/03/sunwoo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4661,"Abraham Mignon : ""The Overturned Bouquet"" (c. 1660 - c. 1679) 16"" x 20"" (Image: 13"" x 16.38"")","A disrupted still life by the Dutch Golden Age painter Abraham Mignon. The son of German shopkeepers, he was placed under the care and apprenticeship of the still life painter Jacob Marrel at the age of seven, and went on to study under Jan Davidsz de Heem. His style is distinguished by confident draftsmanship; the use of dark backgrounds to enhance bright, vivid colors; and an excellent design sense that took his work to new heights as his compositions became increasingly complex. Baptized in the Calvinist church, he maintained strong religious beliefs throughout his life. Like many Dutch still life painters, he populated his works with myriads of insects, snails and other small creatures, but seems to have had a penchant for spiders. Hidden in plain sight, they lurk among the flowers; solitary adults resting on webs, colonies of hatchlings, descending. Danger lingers amid the sensory pleasures of this life, he warns; they must not be grasped with too much haste.",https://www.theibis.net/product/abraham-mignon-the-overturned-bouquet-c-1660-c-1679/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4661,https://www.theibis.net/wp-content/uploads/2019/03/mig6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4650,"Camille Corot : ""The Island and Bridge of San Bartolomeo, Rome"" (1825/1828) 16"" x 20"" (Image: 10.56"" x 17"")","The Isola Tiberina is the only island on the Tiber River. During antiquity, it housed the temple of Aesculapius, the Greek god of medicine and healing. In the Christian era, it became the site of the Basilica of St. Bartholomew on the Island and St. John of God Hospital. Camille Corot visited Rome as a young artist, where he learned how to use smooth and thin applications of light and shadow to give rocks and buildings the effect of volume and solidity.",https://www.theibis.net/product/camille-corot-the-island-and-bridge-of-san-bartolomeo-rome-1825-1828/?attribute_size=16%22+x+20%22+%28Image%3A+10.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4650,https://www.theibis.net/wp-content/uploads/2019/03/sanbart_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4638,"Folk Art : ""Innocence"" (c. 1830) 16"" x 20"" (Image: 13"" x 15.88"")","This folk art piece is thought to have originated from New York City around 1830. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections. Though the depiction of children as the embodiment of innocence had been in fashion since the Enlightenment, it was only during the 1830s that campaigns for child labor reform first gained traction. The modern concept of the sanctity of childhood would develop over the course of the 19th century.",https://www.theibis.net/product/folk-art-innocence-c-1830/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4638,https://www.theibis.net/wp-content/uploads/2019/03/inno_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4625,"Maurice Prendergast : ""In the Park, Paris"" (1891) 16"" x 20"" (Image: 11.63"" x 17"")","Maurice Prendergast was an American Post-Impressionist whose works are regarded for their mosaic-like beauty and childlike invocations of a world at play. Influenced by Paul Cézanne and the Nabis painters Edouard Vuillard and Pierre Bonnard, he developed a highly personal style, defined by boldly contrasting colors, rhythmically arranged on canvas or paper. For their emphasis on surface pattern, his works are often compared to tapestries. Though he exhibited with the Ashcan realists who shared his spirit of rebellion against the artistic establishment of their day, his vision was truly independent and fits into no particular category of modern American art.",https://www.theibis.net/product/maurice-prendergast-in-the-park-paris-1891/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4625,https://www.theibis.net/wp-content/uploads/2019/03/ipark_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4615,"Thomas Moran : ""The Juniata, Evening"" (1864) 16"" x 20"" (Image: 11.19"" x 17"")","After traveling to Britain to study the works of J.M.W. Turner, Thomas Moran returned to Philadelphia where he began a series of paintings of the Pennsylvania countryside. This richly-detailed landscape of the Juniata River cutting through the sandstone cliffs of central Pennsylvania testifies to his accomplishment in emulating Turners mastery of color. The figure in the foreground may be the artist himself. In 1871 he would join an expedition to Yellowstone and find his true calling in the rich earth tones of the American West.",https://www.theibis.net/product/thomas-moran-the-juniata-evening-1864/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4615,https://www.theibis.net/wp-content/uploads/2019/03/juni_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4604,"Abraham Mignon : ""Still Life with Fruit, Oysters, and a Porcelain Bowl"" (c. 1660 - c. 1679) 16"" x 20"" (Image: 13"" x 16"")","A still life of the Dutch Golden Age by Abraham Mignon. The son of German shopkeepers, he was placed under the care and apprenticeship of the still life painter Jacob Marrel at the age of seven, and went on to study under Jan Davidsz de Heem. His style is distinguished by confident draftsmanship; the use of dark backgrounds to enhance bright, vivid colors; and an excellent design sense that took his work to new heights as his compositions became increasingly complex. Baptized in the Calvinist church, he maintained strong religious beliefs throughout his life. Like many Dutch still life painters, he populated his works with myriads of insects, snails and other small creatures, but seems to have had a penchant for spiders. Hidden in plain sight, they lurk among the flowers; solitary adults resting on webs, colonies of hatchlings, descending. Danger lingers amid the sensory pleasures of this life, he warns; they must not be grasped with too much haste.",https://www.theibis.net/product/abraham-mignon-still-life-with-fruit-oysters-and-a-porcelain-bowl-c-1660-c-1679/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4604,https://www.theibis.net/wp-content/uploads/2019/03/mig4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4593,"Thomas Moran : ""Mountain of the Holy Cross"" (1890) 16"" x 20"" (Image: 11.75"" x 17"")","The watercolors that Thomas Moran produced during his 1871 expedition to Yellowstone were instrumental in the establishment of Americas first national park, and left the public eager to discover more of the natural wonders that awaited them in the vast western frontier. In 1873 he saw William Henry Jacksons photograph of the Mount of the Holy Cross and soon embarked for the Rockies, where he undertook an arduous climb to witness and record the striking vista. A prominent mountain summit with a snow field in the shape of a cross, Henry Wadsworth Longfellow invoked it in an 1879 elegy to his late wife, Frances Appleton, writin ""There is a mountain in the distant West / That, sun-defying, in its deep ravines / Displays a cross of snow upon its side. / Such is the cross I wear upon my breast / These eighteen years, through all the changing scenes / And seasons, changeless since the day she died."" It was declared a national monument by Herbert Hoover in 1929.",https://www.theibis.net/product/thomas-moran-mountain-of-the-holy-cross-1890/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4593,https://www.theibis.net/wp-content/uploads/2019/03/hcross_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4580,"Asahel Powers : ""Hannah Fisher Stedman"" (1833) 16"" x 20"" (Image: 11.75"" x 17"")","An oil on wood portrait by Asahel Powers, an itinerant folk artist born in Springfield, Vermont, in 1813. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections. During the 1840s he traveled westward to New York, where his style became more academic, demonstrating better characterization, modeling and perspective. However, his early portraits are more highly regarded for their intensity, crispness and decorative quality. He died in Illinois in 1843.",https://www.theibis.net/product/asahel-powers-hannah-fisher-stedman-1833/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4580,https://www.theibis.net/wp-content/uploads/2019/03/powers1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4567,"Aelbert Cuyp : ""Herdsmen Tending Cattle"" (1655/1660) 16"" x 20"" (Image: 12.88"" x 17"")","Aelbert Cuyp was one of the leading landscape painters of the Dutch Golden Age. Herdsmen Tending Cattle is an outstanding example of his favorite theme: the Dutch countryside in low-angled light that sweeps across the canvas, creating an array of elongated shadows and luminous highlights. As the afterglow of the setting sun fades upon the purple clouds and distant ruins, a herdsman in red coaxes his wife to carry on for home. Ample opportunity to contemplate natures beauty is one of the virtues of the pastoral life, but so, too, are hard work and responsibility.",https://www.theibis.net/product/aelbert-cuyp-herdsmen-tending-cattle-1655-1660/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4567,https://www.theibis.net/wp-content/uploads/2019/03/cuyp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4557,"Gerrit Dou : ""The Hermit"" (1670) 16"" x 20"" (Image: 12.5"" x 17"")","During Gerrit Dous lifetime there was an active debate over which form of art was the best representation of nature. His own work may have been intended to make a case for painting. After studying under Rembrandt for three years he developed a distinctive style so refined that it required him to manufacture his own brushes. It is said that he once spent five days in painting a hand. The Hermit is an outstanding example of this highly perfected technique. Like many paintings of the Renaissance, it speaks through its iconography. The hourglass, skull and extinguished lantern symbolize the transience of life. The thistle represents the hermits constancy; the dead tree sprouting live branches, life after death.",https://www.theibis.net/product/gerrit-dou-the-hermit-1670/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4557,https://www.theibis.net/wp-content/uploads/2019/03/herm_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4544,"James Tissot : ""Hide and Seek"" (c. 1877) 16"" x 20"" (Image: 12.44"" x 17"")","James Tissot completed this genre piece during the happiest years of his life. The setting is the artists studio. The woman is Kathleen Newton, his mistress and muse. The children are her nieces and daughter by a prior marriage. When she and her children moved into his house in 1876, their happy domestic life transformed his art. His paintings from this period consist almost exclusively of anecdotal descriptions of their idyllic suburban household, but there are melancholy auspices to be discerned among them. In this case it is the ashen mask hanging at center right that references Newtons illness from consumption. As her health declined, Tissots work turned increasingly to the themes of illness and departure until finally, in 1882, she overdosed on laudanum, unable to watch her lovers grief. He reportedly sat by her coffin for four days before laying her to rest at St. Marys Cemetery in Kensal Green.",https://www.theibis.net/product/james-tissot-hide-and-seek-c-1877/?attribute_size=16%22+x+20%22+%28Image%3A+12.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4544,https://www.theibis.net/wp-content/uploads/2019/03/hseek_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4533,"Charles Caleb Ward : ""His First Performance in Public"" (1870) 16"" x 20"" (Image: 13"" x 15.38"")","His First Appearance in Public recollects the excitement of a child on first gaining mastery in an adult skill. Clad in straw hats and bonnets, his audience of rural schoolchildren listen without judgement or pretension. Insulated by childhood and by the wholesome good-nature of country folk, the budding musician is permitted to feel pride in his modest attainments. The artist, Charles Caleb Ward, was a Canadian genre painter who completed this work during the four years he maintained a studio in New York.",https://www.theibis.net/product/charles-caleb-ward-his-first-performance-in-public-1870/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4533,https://www.theibis.net/wp-content/uploads/2019/03/caleb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4521,"Abraham Mignon : ""Still Life with Flowers and a Watch"" (c. 1660 - c. 1679) 16"" x 20"" (Image: 13"" x 16.69"")","A still life of the Dutch Golden Age by Abraham Mignon. The son of German shopkeepers, he was placed under the care and apprenticeship of the still life painter Jacob Marrel at the age of seven and went on to study under Jan Davidsz de Heem. His style is distinguished by confident draftsmanship; the use of dark backgrounds to enhance bright, vivid colors; and an excellent design sense that took his work to new heights as his compositions became increasingly complex. Baptized in the Calvinist church, he maintained strong religious beliefs throughout his life. Like many Dutch still life painters, he populated his works with myriads of insects, snails and other small creatures, but seems to have had a penchant for spiders. Hidden in plain sight, they lurk among the flowers; solitary adults resting on webs, colonies of hatchlings, descending. Danger lingers amid the sensory pleasures of this life, he warns; they must not be grasped with too much haste.",https://www.theibis.net/product/abraham-mignon-still-life-with-flowers-and-a-watch-c-1660-c-1679/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4521,https://www.theibis.net/wp-content/uploads/2019/03/mig3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4510,"Pierre-Auguste Renoir : ""Woman with a Cat"" (c. 1875) 16"" x 20"" (Image: 13"" x 15.44"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-woman-with-a-cat-c-1875/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4510,https://www.theibis.net/wp-content/uploads/2019/03/renpor6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4498,"Paul Gauguin : ""Haystacks in Brittany"" (1890) 16"" x 20"" (Image: 13"" x 16.38"")","This landscape of rural France was completed in the year before Gauguin set sail for Tahiti, and employs the same cloissonist technique that he would use in the South Pacific; rendering natural forms in bold, flat colors, separated by dark contours. His object was to unify the outward appearance of natural forms, and his feelings toward them, with the more abstract beauty of line, color and form. Moving beyond slavish representation, he would often render his subjects in colors that were more expressive than life, substituting sensuous pinks and purples, for example, for the drab brown of volcanic sands. Though Gauguin did find a market for this type of work, its importance was not fully understood until after his death, when he was rediscovered by Picasso, Matisse and the French avant-garde.",https://www.theibis.net/product/paul-gauguin-haystacks-in-brittany-1890/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4498,https://www.theibis.net/wp-content/uploads/2019/03/hayb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4488,"George Inness : ""Harvest Scene in the Delaware Valley"" (1867) 16"" x 20"" (Image: 11.25"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-harvest-scene-in-the-delaware-valley-1867/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4488,https://www.theibis.net/wp-content/uploads/2019/03/delv_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4476,"Berthe Morisot : ""The Harbor at Lorient"" (1869) 16"" x 20"" (Image: 10"" x 17"")","In The Harbor at Lorient , ships departing for the Atlantic serve as a metaphor for a solitary womans thoughts and fantasies. Though her gaze is directed at the reflected sky below, her head shares the same vertical level as the ships; her hair corresponds in shape and color to their hulls; the white flower to the cabin of largest vessel. It may be no coincidence that Morisot completed this piece in the same year that her artistic doppelganger, Victorine Meurent, set sail for America.",https://www.theibis.net/product/berthe-morisot-the-harbor-at-lorient-1869/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4476,https://www.theibis.net/wp-content/uploads/2019/03/lori_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4464,"Pierre-Auguste Renoir : ""Picking Flowers"" (1875) 16"" x 20"" (Image: 13"" x 15.56"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-picking-flowers-1875/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4464,https://www.theibis.net/wp-content/uploads/2019/03/renpor5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4454,"Abraham Mignon : ""Still Life with Fruit, Fish and a Nest"" (c. 1675) 16"" x 20"" (Image: 13"" x 16.25"")","A still life of the Dutch Golden Age by Abraham Mignon. The son of German shopkeepers, he was placed under the care and apprenticeship of the still life painter Jacob Marrel at the age of seven, and went on to study under Jan Davidsz de Heem. His style is distinguished by confident draftsmanship; the use of dark backgrounds to enhance bright, vivid colors; and an excellent design sense that took his work to new heights as his compositions became increasingly complex. Still Life with Fruit, Fish and a Nest can be read as an allegory of the cycles of life. Birth is represented by the eggs of the birds nest; maturity by the ripe fruit and open blossoms; old age by the gnarled tree stump. Ants consuming the dead fish and salamander presage death; wheat stalks and grapes, salvation through the body and blood of Jesus.",https://www.theibis.net/product/abraham-mignon-still-life-with-fruit-fish-and-a-nest-c-1675/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4454,https://www.theibis.net/wp-content/uploads/2019/03/mig2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4435,"Abraham Mignon : ""A Hanging Bouquet of Flowers"" (c. 1665/1670) 16"" x 20"" (Image: 13"" x 17"")","A still life of the Dutch Golden Age by Abraham Mignon. The son of German shopkeepers, he was placed under the care and apprenticeship of the still life painter Jacob Marrel at the age of seven and went on to study under Jan Davidsz de Heem. His style is distinguished by confident draftsmanship; the use of dark backgrounds to enhance bright, vivid colors; and an excellent design sense that took his work to new heights as his compositions became increasingly complex. Baptized in the Calvinist church, he maintained strong religious beliefs throughout his life. Like many Dutch still life painters, he populated his works with myriads of insects, snails and other small creatures, but seems to have had a penchant for spiders. Hidden in plain sight, they lurk among the flowers; solitary adults resting on webs, colonies of hatchlings, descending. Danger lingers amid the sensory pleasures of this life, he warns; they must not be grasped with too much haste.",https://www.theibis.net/product/abraham-mignon-a-hanging-bouquet-of-flowers-c-1665-1670/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4435,https://www.theibis.net/wp-content/uploads/2019/03/mig_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4424,"Pierre-Auguste Renoir : ""Pont Neuf, Paris"" (1872) 16"" x 20"" (Image: 13"" x 16.31"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-pont-neuf-paris-1872/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4424,https://www.theibis.net/wp-content/uploads/2019/03/renpor4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4414,"Camille Corot : ""Gypsy Girl with Mandolin"" (c. 1870) 16"" x 20"" (Image: 13"" x 15.88"")","A 1990 study in the Journal of the American Medical Association offers new insight into this late piece by Camille Corot. Examining the womans hands, the researchers noted deformities characteristic of inflammatory arthritis; a condition that the artist was probably suffering, in the form of gout, beginning in 1866. As such, it may be read as an expression of the Corots own melancholy at the decline of his physical abilities, even as his artistic talents were more finely honed than ever; or, on a more universal level, the despondence of artists on recognizing that they are—and will always be—imperfect vessels for the muses who guide them.",https://www.theibis.net/product/camille-corot-gypsy-girl-with-mandolin-c-1870/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4414,https://www.theibis.net/wp-content/uploads/2019/03/cgyp_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4403,"James McNeill Whistler : ""Grey and Silver: Chelsea Wharf"" (c. 1864/1868) 16"" x 20"" (Image: 12.69"" x 17"")","This subtle depiction of Chelsea Wharf on a misty evening illustrates Whistlers dictum that paint ""should be like a breath on the surface of a pane of glass."" Strolling figures, docked ships and distant architecture are reduced to their most basic forms, colors and values in order to emphasize the tonal harmony of grays and silvers, accented by a touch of orange. Whistler articulated his style by analogy to music, incorporating terms like ""nocturne,"" ""symphony,"" and ""arrangement"" into his titles. ""As music is the poetry of sound,"" he said, ""so is painting the poetry of sight.""",https://www.theibis.net/product/james-mcneill-whistler-grey-and-silver-chelsea-wharf-c-1864-1868/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4403,https://www.theibis.net/wp-content/uploads/2019/03/cwhar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4392,"Pierre-Auguste Renoir : ""Bouquet in a Vase"" (1878) 16"" x 20"" (Image: 11.63"" x 17"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-bouquet-in-a-vase-1878/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4392,https://www.theibis.net/wp-content/uploads/2019/03/renvas_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4379,"Pierre-Auguste Renoir : ""A Girl with a Watering Can"" (1876) 16"" x 20"" (Image: 12.25"" x 17"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-a-girl-with-a-watering-can-1876/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4379,https://www.theibis.net/wp-content/uploads/2019/03/renpor3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4368,"Thomas Moran : ""Green River Cliffs, Wyoming"" (1881) 16"" x 20"" (Image: 6.75"" x 17"")","Thomas Moran is best-known for his paintings of Yellowstone, but it was in Green River, Wyoming that he first fell in love with the western landscape. En route to Yellowstone in 1871, he stepped off the train in Green River, where he was captivated by the sculpted cliffs that towered over the burgeoning railroad town. They made an impression upon him that lasted his entire life. Well into the 20th century, he continued to paint variations on Green River, which he always depicted in its pristine state, unspoiled by western civilization.",https://www.theibis.net/product/thomas-moran-green-river-cliffs-wyoming-1881/?attribute_size=16%22+x+20%22+%28Image%3A+6.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4368,https://www.theibis.net/wp-content/uploads/2019/03/gclif_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4357,"Pierre-Auguste Renoir : ""La Promenade"" (1870) 16"" x 20"" (Image: 13"" x 16.25"")","What Pierre-Auguste Renoir himself titled this painting is unknown, but La Promenade is in part an homage to earlier artists whom he greatly admired. Renoir had spent the previous summer painting outdoors with Claude Monet, who encouraged him to move toward a lighter, more luminous palette and to indulge his penchant for luscious, feathery brushwork. Here Renoir retained something of Gustave Courbets green-and-brown palette while choosing his subject from the sensual, lighthearted garden jaunts of eighteenth-century painters such as Jean-Antoine Watteau and Jean-Honoré Fragonard, whose works he had studied in the Louvre. Unlike the images of seduction created by his predecessors, Renoirs is a fleeting moment caught by chance—middle-class Parisians immersed in nature, possibly a local park, not set before a studio backdrop. The dappled light filtering through the foliage would become a trademark of Renoirs finest Impressionist works of the 1870s and 1880s. He used a thin, oily paint mix, his glazes here floating into each other to create depth. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/pierre-auguste-renoir-la-promenade-1870/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4357,https://www.theibis.net/wp-content/uploads/2019/03/laprom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4344,"Pierre-Auguste Renoir : ""Mlle Charlotte Berthier"" (1883) 16"" x 20"" (Image: 13"" x 16.63"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-mlle-charlotte-berthier-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4344,https://www.theibis.net/wp-content/uploads/2019/03/renpor2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4333,"Pierre-Auguste Renoir : ""Regatta at Argenteuil"" (1874) 16"" x 20"" (Image: 12"" x 17"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-regatta-at-argenteuil-1874/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4333,https://www.theibis.net/wp-content/uploads/2019/03/renarg_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4321,"Amedeo Modigliani : ""Adrienne (Woman with Bangs)"" (1917) 16"" x 20"" (Image: 11.75"" x 17"")","Amedeo Modigliani had a signature style. His elongated figures, with their expressive contours and rich, juxtaposed colors, leave no question as to their authorship. Though his weirdly distorted compositions were sometimes attributed to his copious diet of hashish and absinthe, his true source of inspiration was African sculpture. On the contrary, his charade persona and conspicuous substance abuse may have been cultivated to mask the effects of tuberculous, a highly contagious disease that would take his life at the age of 35. A quintessential tragic artist, he enjoyed little success during his lifetime, only to be recognized as a genius after his death.",https://www.theibis.net/product/amedeo-modigliani-adrienne-woman-with-bangs-1917/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4321,https://www.theibis.net/wp-content/uploads/2019/03/modi4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4310,"Camille Pissarro : ""Place du Carrousel, Paris"" (1900) 16"" x 20"" (Image: 13"" x 15.69"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Place du Carrousel, Paris is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-place-du-carrousel-paris-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4310,https://www.theibis.net/wp-content/uploads/2019/03/pcar_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4294,"Joseph Decker : ""Green Plums"" (c. 1885) 16"" x 20"" (Image: 13"" x 16"")","The son of a carpenter, Joseph Decker began his career as a sign painter and worked his way up to exhibiting for the National Academy of Design, Brooklyn Art Association, and other prestigious institutions. During the 1880s he focused on still lifes of fruit and nuts, which he rendered with consummate precision. During his career he also painted landscapes, portraits and genre subjects. Sadly, he was never able to garner much of a following, and when he died in a charity ward in 1924, his work was nearly forgotten.",https://www.theibis.net/product/joseph-decker-green-plums-c-1885/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4294,https://www.theibis.net/wp-content/uploads/2019/03/gplum_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4284,"Richard Parkes Bonington : ""The Grand Canal"" (1826/1827) 16"" x 20"" (Image: 12.38"" x 17"")","A luminous oil sketch of Venices Grand Canal with the Rialto Bridge outlined in the distance. In 1825 the artist made the acquaintance of Eugène Delacroix, who marveled, in a letter to Théophile Thoré, that ""no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond which flatters and ravishes the eye, independently of any subject and any imitation."" A short-lived genius whose style was inspired by the old masters, yet thoroughly modern in its application, his career was cut short by tuberculous at the age of 26.",https://www.theibis.net/product/richard-parkes-bonington-the-grand-canal-1826-1827/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4284,https://www.theibis.net/wp-content/uploads/2019/03/gcan2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4274,"Francesco Guardi : ""Grand Canal with the Rialto Bridge, Venice"" (c. 1780) 16"" x 20"" (Image: 12.44"" x 17"")","A view of gondolas and market barges on the Grand Canal, with the Rialto Bridge in the center distance. The first stone bridge to span the canal, it was constructed in 1591 to replace a series of timber bridges that burned or collapsed. Lined by shops and stalls, it went on to become one of Venices most important architectural icons, and the hub of its commercial center. Francesco Guardi was one of the last great masters of the Venetian School. His work shows the influence of the vedutisti Canaletto and Luca Carlevarijs, but is distinguished by a more fluid, sketchy style that the would later endear him to the French Impressionists. His skies, moreover, are darker; his buildings sunken and lethargic, as if to suggest that Venices golden age had passed, and that its people are no longer able to maintain its imperial splendor.",https://www.theibis.net/product/francesco-guardi-grand-canal-with-the-rialto-bridge-venice-c-1780/?attribute_size=16%22+x+20%22+%28Image%3A+12.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4274,https://www.theibis.net/wp-content/uploads/2019/03/gcan_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4264,"Folk Art : ""Girl with Toy Rooster"" (c. 1840) 16"" x 20"" (Image: 13"" x 15.69"")","This folk art piece is believed to have originated from Massachusetts on or around 1840. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-girl-with-toy-rooster-c-1840/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4264,https://www.theibis.net/wp-content/uploads/2019/03/roos_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4252,"Amedeo Modigliani : ""Woman with Red Hair"" (1917) 16"" x 20"" (Image: 11.13"" x 17"")","Amedeo Modigliani had a signature style. His elongated figures, with their expressive contours and rich, juxtaposed colors, leave no question as to their authorship. Though his weirdly distorted compositions were sometimes attributed to his copious diet of hashish and absinthe, his true source of inspiration was African sculpture. On the contrary, his charade persona and conspicuous substance abuse may have been cultivated to mask the effects of tuberculous, a highly contagious disease that would take his life at the age of 35. A quintessential tragic artist, he enjoyed little success during his lifetime, only to be recognized as a genius after his death.",https://www.theibis.net/product/amedeo-modigliani-woman-with-red-hair-1917/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4252,https://www.theibis.net/wp-content/uploads/2019/03/modi3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4241,"Pierre-Auguste Renoir : ""Springtime in Essoyes"" (c. 1900) 16"" x 20"" (Image: 13"" x 16.13"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-springtime-in-essoyes-c-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4241,https://www.theibis.net/wp-content/uploads/2019/03/esso_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4225,"Pierre-Auguste Renoir : ""Young Spanish Woman with a Guitar"" (1898) 16"" x 20"" (Image: 13"" x 15.25"")","Characterized by soft contours and free-flowing brushwork, Renoirs canvases have a fresh, glazed effect that owes much to the artists early employment as a decorator of porcelain china. Later, he painted alongside Claude Monet, participating in the Impressionist exhibition of 1874. However, as Monet turned increasingly toward abstraction, Renoir found new inspiration in the old masters, blending the classical traditions of the Renaissance with the techniques of the 19th century avant-garde.",https://www.theibis.net/product/pierre-auguste-renoir-young-spanish-woman-with-a-guitar-1898/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4225,https://www.theibis.net/wp-content/uploads/2019/03/renpor1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4215,"Odilon Redon : ""And I Saw an Angel Come Down from Heaven, Having the Key of the Bottomless Pit and a Great Chain in His Hand"" (1895) 16"" x 20"" (Image:","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-and-i-saw-an-angel-come-down-from-heaven-having-the-key-of-the-bottomless-pit-and-a-great-chain-in-his-hand-1895/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4215,https://www.theibis.net/wp-content/uploads/2019/03/noir14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4204,"Odilon Redon : ""Centaur Aiming at the Clouds"" (1895) 16"" x 20"" (Image: 13"" x 16.81"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-centaur-aiming-at-the-clouds-1895/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4204,https://www.theibis.net/wp-content/uploads/2019/03/noir13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4193,"Odilon Redon : ""The Wing"" (1893) 16"" x 20"" (Image: 12.88"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-wing-1893/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4193,https://www.theibis.net/wp-content/uploads/2019/03/noir12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4182,"Amedeo Modigliani : ""Madame Kisling"" (c. 1917) 16"" x 20"" (Image: 12.25"" x 17"")","Amedeo Modigliani had a signature style. His elongated figures, with their expressive contours and rich, juxtaposed colors, leave no question as to their authorship. Though his weirdly distorted compositions were sometimes attributed to his copious diet of hashish and absinthe, his true source of inspiration was African sculpture. On the contrary, his charade persona and conspicuous substance abuse may have been cultivated to mask the effects of tuberculous, a highly contagious disease that would take his life at the age of 35. A quintessential tragic artist, he enjoyed little success during his lifetime, only to be recognized as a genius after his death.",https://www.theibis.net/product/amedeo-modigliani-madame-kisling-c-1917/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4182,https://www.theibis.net/wp-content/uploads/2019/03/modi2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4170,"Rembrandt van Rijn : ""A Girl with a Broom"" (c. 1646-1651) 16"" x 20"" (Image: 13"" x 15.19"")","A young servant girl from Rembrandts household was the model for this sensitive genre scene. Leaning over a wooden fence, her expression is of one lost in abstraction. The broom and bucket direct our gaze downward, to the opening of a dark well, just as the drudgery they represent had led the girl deeper into herself. Like many paintings that bear Rembrandts signature, it was most likely a collaborative effort; the product of a talented assistant adapting his masters designs.",https://www.theibis.net/product/rembrandt-van-rijn-a-girl-with-a-broom-c-1646-1651/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4170,https://www.theibis.net/wp-content/uploads/2019/03/rembr_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4159,"Amedeo Modigliani : ""Gypsy Woman with Baby"" (1919) 16"" x 20"" (Image: 10.63"" x 17"")","Amedeo Modigliani had a signature style. His elongated figures, with their expressive contours and rich, juxtaposed colors, leave no question as to their authorship. Though his weirdly distorted compositions were sometimes attributed to his copious diet of hashish and absinthe, his true source of inspiration was African sculpture. On the contrary, his charade persona and conspicuous substance abuse may have been cultivated to mask the effects of tuberculous, a highly contagious disease that would take his life at the age of 35. A quintessential tragic artist, he enjoyed little success during his lifetime, only to be recognized as a genius after his death.",https://www.theibis.net/product/amedeo-modigliani-gypsy-woman-with-baby-1919/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4159,https://www.theibis.net/wp-content/uploads/2019/03/modi1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4146,"Camille Pissarro : ""The Artists Garden at Eragny"" (1898) 16"" x 20"" (Image: 13"" x 16.31"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. The Artists Garden at Éragny is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-the-artists-garden-at-eragny-1898/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4146,https://www.theibis.net/wp-content/uploads/2019/03/agard_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4134,"Odilon Redon : ""The Satyr with the Cynical Smile"" (1883) 16"" x 20"" (Image: 13"" x 14.75"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-satyr-with-the-cynical-smile-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4134,https://www.theibis.net/wp-content/uploads/2019/03/noir11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4123,"Mary Cassatt : ""Girl Arranging Her Hair"" (1886) 16"" x 20"" (Image: 13"" x 15.69"")","When Degas posed the question: ""What do women know about style?"" Mary Cassatt answered his challenge with this painting of a homely girl at her toilette; its beauty deriving purely from its color harmony and artful composition, rather than the features or context of the model. The mirror positioning of the girls arms conveys a graceful sweeping motion that is enlivened by the parallel arrangement of the seat back, sink and mirror. The complementary pinks and blues of the girls dress and setting come together at the focal point, where her pale flesh tones intermingle with the rosy hues of her cheeks, lips and hair. Far from lacking in style, Cassatt mirrored Degas so well that when Girl Arranging Her Hair was found in his studio, it was mistaken for one of his own.",https://www.theibis.net/product/mary-cassatt-girl-arranging-her-hair-1886/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4123,https://www.theibis.net/wp-content/uploads/2019/03/gair_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4110,"Eastman Johnson : ""Gathering Lilies"" (1865) 16"" x 20"" (Image: 13"" x 16.38"")","Eastman Johnson studied in Europe from 1849-1855, where he learned to apply the refined techniques of the Dutch Old Masters to the bucolic themes of American genre painting. In Gathering Lilies , we follow the graceful motion of a woman bending to pick a flower from the surface of a pond, where her reflection is framed by a varicolored array of oval lily pads. The downward vantage point renders the composition more intimate, and admits a touch of sky to complement the vivid earth tones that mingle in the foreground.",https://www.theibis.net/product/eastman-johnson-gathering-lilies-1865/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4110,https://www.theibis.net/wp-content/uploads/2019/03/glil_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4099,"William Merritt Chase : ""Gathering Flowers, Shinnecock, Long Island"" (c. 1897) 16"" x 20"" (Image: 12.63"" x 17"")","In a series of pleir air landscapes reminiscent of Monets cliffs of Pourville paintings, the American impressionist William Merritt Chase depicted the environs of his Shinnecock, Southampton home as a flowery paradise of endless, rolling hills suffused with sunshine. Their inhabitants are women and children who play, pick flowers and relax amid the open meadowland. Clad in blues and whites that mirror the sky, they are arranged on a path that recedes toward the horizon so that the eye soars over the landscape, creating the impression of a vast and airy terrain.",https://www.theibis.net/product/william-merritt-chase-gathering-flowers-shinnecock-long-island-c-1897/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4099,https://www.theibis.net/wp-content/uploads/2019/03/gaf2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4083,"William Merritt Chase : ""Gathering Autumn Flowers"" (1894/1895) 16"" x 20"" (Image: 9.25"" x 17"")","In a series of pleir air landscapes reminiscent of Monets cliffs of Pourville paintings, the American impressionist William Merritt Chase depicted the environs of his Shinnecock, Southampton home as a flowery paradise of endless, rolling hills suffused with sunshine. Their inhabitants are women and children who play, pick flowers and relax amid the open meadowland. Clad in blues and whites that mirror the sky, they are arranged on a path that recedes toward the horizon so that the eye soars over the landscape, creating the impression of a vast and airy terrain.",https://www.theibis.net/product/william-merritt-chase-gathering-autumn-flowers-1894-1895/?attribute_size=16%22+x+20%22+%28Image%3A+9.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4083,https://www.theibis.net/wp-content/uploads/2019/03/gaf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4073,"Camille Pissarro : ""The Gardener - Old Peasant with Cabbage"" (1883-1895) 16"" x 20"" (Image: 13"" x 16.31"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. The Gardener—Old Peasant with Cabbage is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-the-gardener-old-peasant-with-cabbage-1883-1895/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4073,https://www.theibis.net/wp-content/uploads/2019/03/pcab_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4062,"Odilon Redon : ""When Life was Awakening in the Depths of Obscure Matter"" (1883) 16"" x 20"" (Image: 12.5"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-when-life-was-awakening-in-the-depths-of-obscure-matter-1883/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4062,https://www.theibis.net/wp-content/uploads/2019/03/noir10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4051,"Jean Simeon Chardin : ""Fruit, Jug and a Glass"" (c. 1726/1728) 16"" x 20"" (Image: 12.88"" x 17"")","Jean Simeon Chardin was a painter of warm genre scenes and beautifully-textured still lifes, featuring ordinary kitchen objects. A largely self-taught artist from a modest family, he sometimes worked for whatever his customers chose to pay him, but eventually found a place in the Salon, earning the patronage of Louis XV and the French aristocracy. There was something timeless and genuine in his work that had an almost universal appeal, persisting in its influence even as the stylish Rococo fell out of fashion with the fall of the Ancien Régime. Generations of the French avant-garde, including Édouard Manet, Paul Cézanne, Georges Braque and Henri Matisse, looked to him for inspiration. ""Who said one paints with colors?"" he remarked, ""One employs colors, but one paints with feeling .""",https://www.theibis.net/product/jean-simeon-chardin-fruit-jug-and-a-glass-c-1726-1728/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4051,https://www.theibis.net/wp-content/uploads/2019/03/chard1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4041,"Camille Corot : ""Forest of Fontainebleau"" (1834) 16"" x 20"" (Image: 12.31"" x 17"")","Camille Corot entered his profession as landscape painting was undergoing a revival. The genre had been roughly divided into two camps: Northern European Realists who faithfully reproduced real settings and populated them with modern peasants, and Southern Neoclassicists who placed ancient, mythological, or religious figures in idealized landscapes. Corot drew freely from both traditions, as in this representation of Mary Magdalene reclining amid a French forest. This annoyed contemporary critics, who held art to rigid and often arbitrary standards. ""If M. Corot would kill, once and for all, the nymphs of his woods and replace them with peasants,"" said one, ""I should like him beyond measure.""",https://www.theibis.net/product/camille-corot-forest-of-fontainebleau-1834/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4041,https://www.theibis.net/wp-content/uploads/2019/03/fontl_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4030,"Odilon Redon : ""Hantise (Obsession)"" (1894) 16"" x 20"" (Image: 10.63"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-hantise-obsession-1894/?attribute_size=16%22+x+20%22+%28Image%3A+10.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4030,https://www.theibis.net/wp-content/uploads/2019/03/noir9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 4010,"John La Farge : ""Flowers on a Window Ledge"" (c. 1861) 16"" x 20"" (Image: 13"" x 15.56"")","A masterwork of symphonic color by the American artist John La Farge. Though the centerpiece is rather small, its colors are commanding amid the dominant white and gray setting and contrasting green background. Unity is achieved by the correspondence of the white flower with the drapery and the pink flower with the warm-tinted sky. La Farge is best-known for his work as a stained glass window maker. In the mid 1870s he shared his innovations in use of opalescent glass with Louis Comfort Tiffany, and the two enjoyed a litigious relationship for ever after.",https://www.theibis.net/product/john-la-farge-flowers-on-a-window-ledge-c-1861/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=4010,https://www.theibis.net/wp-content/uploads/2019/03/wled_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3999,"Paul Cezanne : ""Flowers in a Rococo Vase"" (c. 1876) 16"" x 20"" (Image: 13"" x 16"")","Cézannes still lifes explore the geometric simplification of optical phenomena. His technique of careful, repetitious outlining was so time consuming that he was unable to complete a painting of real flowers before they had wilted. He sought to ""treat nature by the cylinder, the sphere, the cone,"" reducing his subjects to simple forms and color planes in order to emphasize the classical harmony of the overall composition. Though ridiculed for much of his career, his work became a major influence upon the development of modern art, Pablo Picasso having once claimed him as ""my one and only master.""",https://www.theibis.net/product/paul-cezanne-flowers-in-a-rococo-vase-c-1876/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3999,https://www.theibis.net/wp-content/uploads/2019/03/cezf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3988,"Odilon Redon : ""The Deformed Polyp Floated on the Shores, a Sort of Smiling and Hideous Cyclops"" (1883) 16"" x 20"" (Image: 13"" x 14.31"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-deformed-polyp-floated-on-the-shores-a-sort-of-smiling-and-hideous-cyclops-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3988,https://www.theibis.net/wp-content/uploads/2019/03/noir8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3976,"Jan van Huysum Still Life : ""Flowers in an Urn"" (c. 1720/1722) 16"" x 20"" (Image: 12.5"" x 17"")","This virtuoso still life by Jan van Huysum offers up a wealth of small details to explore. Close inspection reveals a myriad of insects, creeping among the vegetation; tiny droplets of water, bending the light; rich, organic textures rendered with consummate precision. Like many Dutch still life artists, his works combine flowers from different seasons, yet his commitment to realism was such that he once delayed an entire painting for the sake of a single yellow rose, which was not to bloom until the following spring.",https://www.theibis.net/product/jan-van-huysum-still-life-flowers-in-an-urn-c-1720-1722/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3976,https://www.theibis.net/wp-content/uploads/2019/03/huy5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3965,"Edouard Manet : ""Flowers in a Crystal Vase"" (c. 1882) 16"" x 20"" (Image: 12.69"" x 17"")","Toward the end of his life Manets movement was impaired by a nervous degeneration of the spine related to syphilis. During this time he often received gifts of flowers, which he developed into minimalist still lifes that showcase the virtuosity with which he was able to conjure symphonic light and color from simple, isolated subjects. ""A painter,"" he once remarked, ""can say all he wants to with fruit or flowers or even clouds.""",https://www.theibis.net/product/edouard-manet-flowers-in-a-crystal-vase-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3965,https://www.theibis.net/wp-content/uploads/2019/03/cvas_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3952,"Odilon Redon : ""The Book of Light"" (1893) 16"" x 20"" (Image: 12.19"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-book-of-light-1893/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3952,https://www.theibis.net/wp-content/uploads/2019/03/noir7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3942,"Jan Brueghel the Elder : ""Flowers in a Basket and a Vase"" (1615) 16"" x 20"" (Image: 10.5"" x 17"")","The flowers of different seasons bloom together in this still life of the Dutch Golden Age by Jan Brueghel the Elder. The son of Pieter the Elder, he earned the nickname ""Flower Brueghel"" for his contributions to the flower still life. On his panel, each leaf and petal is a delicate symphony of rich, lively color, rendered with the consummate precision of a humble artist in awe of creation. Hidden among the details, delicate insects pay homage to the diversity of nature and (like the cut flowers themselves) recall the transience of life.",https://www.theibis.net/product/jan-brueghel-the-elder-flowers-in-a-basket-and-a-vase-1615/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3942,https://www.theibis.net/wp-content/uploads/2019/03/fbas_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3931,"Folk Art : ""Flowers and Fruit"" (c. 1870) 16"" x 20"" (Image: 12.56"" x 17"")","This folk art piece is believed to have originated from New York State on or around 1870. Characteristic of the genre, the artists naïveté towards the rules of perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-flowers-and-fruit-c-1870/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3931,https://www.theibis.net/wp-content/uploads/2019/03/ffru_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3920,"Odilon Redon : ""The Siren Clothed in Barbs, Emerged from the Waves"" (1883) 16"" x 20"" (Image: 13"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-siren-clothed-in-barbs-emerged-from-the-waves-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3920,https://www.theibis.net/wp-content/uploads/2019/03/noir6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3907,"Vincent van Gogh : ""Flower Beds in Holland (Bulb Fields)"" (1883) 16"" x 20"" (Image: 12.5"" x 17"")","An early landscape by Vincent van Gogh in which a low vantage point provides a panoramic view of Dutch tulip beds. The colors of spring flowers are heightened against the somber backdrop of rustic cottages. In 1883 peasants and their dwellings were a growing fascination for van Gogh. Inspired by the work of Jean-François Millet, he would go on to produce a series of provincial life studies that would culminate in 1885 with The Potato Eaters and The Cottage .",https://www.theibis.net/product/vincent-van-gogh-flower-beds-in-holland-bulb-fields-1883/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3907,https://www.theibis.net/wp-content/uploads/2019/03/fbed_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3897,"Odilon Redon : ""There was Perhaps a First Vision Attempted in the Flower"" (1883) 16"" x 20"" (Image: 13"" x 16.31"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-there-was-perhaps-a-first-vision-attempted-in-the-flower-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3897,https://www.theibis.net/wp-content/uploads/2019/03/noir5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3884,"Henry Golden Dearth : ""Flecks of Foam"" (c. 1911/1912) 16"" x 20"" (Image: 13"" x 15.88"")","In this abstract painting of rock pools in Brittany, Dearth used thick applications of cream and ivory to render the underlying texture soapy and unctuous, followed by splashes of complementary colors that ebb and flow with the sea. To the lower right of the composition, the blacks are solid and static, but splashed against the rocks of the shoreline, they convey motion. The womans white and red color fields are likewise animated in the waters reflected light and the waves foamy breakers. Dearth arrives at motion by way of color harmony, giving rise to a pleasing decorative effect.",https://www.theibis.net/product/henry-golden-dearth-flecks-of-foam-c-1911-1912/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3884,https://www.theibis.net/wp-content/uploads/2019/03/flecks_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3426,"Henri Rousseau : ""Rendezvous in the Forest"" (1889) 16"" x 20"" (Image: 13"" x 16.44"")","Rousseaus forests and jungles are places of enchantment; home to feral apparitions, carnivalesque mysteries and secret liaisons. Their dark recesses are a metaphor for the subconscious mind; the refuge of the uncivilized and irrational, wellspring of dreams and inspiration. An outsider artist who claimed ""no other teacher than nature,"" his style is characterized by vivid colors, highly flattened forms and dreamlike subjects. Rejected by the academy, he was embraced by the avant-garde. When Pablo Picasso stumbled upon one of his paintings being sold on the street as waste canvas, he sought out Rousseau and held a banquet in his honor. His work went on to become a major influence upon generations of the avant-garde, including Picasso, Jean Hugo, Fernand Léger, Jean Metzinger, Max Beckmann and the Surrealists.",https://www.theibis.net/product/henri-rousseau-rendezvous-in-the-forest-1889/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3426,https://www.theibis.net/wp-content/uploads/2019/03/rfor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3413,"Paul Gauguin : ""The Invocation"" (1903) 16"" x 20"" (Image: 13"" x 15"")","Vowing to escape European civilization and ""everything that is artificial and conventional,"" Paul Gauguin embarked on an artistic odyssey to rural Tahiti, where he found refuge in an uninhibited tropical paradise. Populated by sensuous nudes fishing, bathing and riding horses, his Tahiti paintings are a series of contradictions. They show all the hallmarks of colonialism, and yet they also endeavor to preserve native mythology at a time when it was being erased by Christian missionaries. The scenes they depict are largely imaginary, and yet they faithfully represent the inner truth of Gauguins experience on the island. Gauguin worked in a cloisonnist style, rendering natural forms in bold, flat colors separated by dark contours. In each piece he sought to unify the outward appearance of natural forms and his feelings toward them with the more abstract beauty of line, color and form. He would, for example, use sensuous pinks and purples to represent sand that was, in fact, a drab volcanic brown. Though he was able to sell paintings to fund his stay in Tahihi, the importance of his work would not be fully understood until after his death, when he was rediscovered by Picasso, Matisse and the French avant-garde.",https://www.theibis.net/product/paul-gauguin-the-invocation-1903/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3413,https://www.theibis.net/wp-content/uploads/2019/03/gtat4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3403,"Paul Gauguin : ""Te Pape Nave Nave (Delectable Waters)"" (1898) 16"" x 20"" (Image: 13.13"" x 17"")","Vowing to escape European civilization and ""everything that is artificial and conventional,"" Paul Gauguin embarked on an artistic odyssey to rural Tahiti, where he found refuge in an uninhibited tropical paradise. Populated by sensuous nudes fishing, bathing and riding horses, his Tahiti paintings are a series of contradictions. They show all the hallmarks of colonialism, and yet they also endeavor to preserve native mythology at a time when it was being erased by Christian missionaries. The scenes they depict are largely imaginary, and yet they faithfully represent the inner truth of Gauguins experience on the island. Gauguin worked in a cloisonnist style, rendering natural forms in bold, flat colors separated by dark contours. In each piece he sought to unify the outward appearance of natural forms and his feelings toward them with the more abstract beauty of line, color and form. He would, for example, use sensuous pinks and purples to represent sand that was, in fact, a drab volcanic brown. Though he was able to sell paintings to fund his stay in Tahihi, the importance of his work would not be fully understood until after his death, when he was rediscovered by Picasso, Matisse and the French avant-garde.",https://www.theibis.net/product/paul-gauguin-te-pape-nave-nave-delectable-waters-1898/?attribute_size=16%22+x+20%22+%28Image%3A+13.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3403,https://www.theibis.net/wp-content/uploads/2019/03/gtat3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3393,"Paul Gauguin : ""The Bathers"" (1897) 16"" x 20"" (Image: 10.88"" x 17"")","Vowing to escape European civilization and ""everything that is artificial and conventional,"" Paul Gauguin embarked on an artistic odyssey to rural Tahiti, where he found refuge in an uninhibited tropical paradise. Populated by sensuous nudes fishing, bathing and riding horses, his Tahiti paintings are a series of contradictions. They show all the hallmarks of colonialism, and yet they also endeavor to preserve native mythology at a time when it was being erased by Christian missionaries. The scenes they depict are largely imaginary, and yet they faithfully represent the inner truth of Gauguins experience on the island. Gauguin worked in a cloisonnist style, rendering natural forms in bold, flat colors separated by dark contours. In each piece he sought to unify the outward appearance of natural forms and his feelings toward them with the more abstract beauty of line, color and form. He would, for example, use sensuous pinks and purples to represent sand that was, in fact, a drab volcanic brown. Though he was able to sell paintings to fund his stay in Tahihi, the importance of his work would not be fully understood until after his death, when he was rediscovered by Picasso, Matisse and the French avant-garde.",https://www.theibis.net/product/paul-gauguin-the-bathers-1897/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3393,https://www.theibis.net/wp-content/uploads/2019/03/gtat2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3383,"Edgar Degas : ""Four Dancers"" (c. 1899) 16"" x 20"" (Image: 13"" x 15.56"")","A series of four, nearly identical dancers create the impression of a single figure performing a sequence of intricate movements. For his references, Degas use a set of photographic negatives that had solarized into orange and greens which, incorporated into the finished work, give an unnatural, otherworldly effect. Four Dancers seems to anticipate the work of the American avant-garde artist Arthur Bowen Davies, whose spellbound figures drift and dance across strange, ethereal landscapes. It evokes the feeling of movement, the sensation of stretching muscles. Its rhythm awakens in us an unheard melody.",https://www.theibis.net/product/edgar-degas-four-dancers-c-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3383,https://www.theibis.net/wp-content/uploads/2019/03/4dan_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3373,"Paul Gauguin : ""Arii Matamoe (The Royal End)"" (1892) 16"" x 20"" (Image: 10.31"" x 17"")","""I have just finished a severed kanak head, nicely arranged on a white cushion, in a palace of my invention and guarded by women also of my invention."" —Paul Gauguin Writing to his friend Daniel de Monfreid, Paul Gauguin referenced in an almost offhand way this startling painting of a decapitated human head, which he made during his first stay in Polynesia in the early 1890s. Real events, from Tahitian King Pomare Vs death soon after Gauguins arrival, to the artist having witnessed a public execution by guillotine several years earlier, likely influenced its dark subject matter. Gauguin added the Tahitian words ""Arii"" and ""Matamoe"" in the canvas upper left. The first means ""noble;"" the second, ""sleeping eyes,"" a phrase that implies ""death."" The notion of a human head ritually displayed in an ornate interior suggests the formality of a ruler lying in state, supported by the presence of sorrowful figures in the background. However, this scene doesnt correspond to actual accounts of Pomare Vs funeral because the body wasnt decapitated. Gauguin was just as apt to fantasize about life in Polynesia as he was to document it. Bright reds, yellows, and pinks are juxtaposed with muted browns and purples to evoke a tropical sensibility. The rough, burlap-like canvas also hints at an exotic ""primitivism."" In his collage-illustrated book Noa Noa—which he began after his first trip to Tahiti—he included a copy of this painting and a comment that he thought of Pomares death as a metaphor for the loss of native culture due to European colonization. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/paul-gauguin-arii-matamoe-the-royal-end-1892/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3373,https://www.theibis.net/wp-content/uploads/2019/03/royend_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3361,"Eugene Boudin : ""Festival in the Harbor of Honfleur"" (1858) 16"" x 20"" (Image: 11.5"" x 17"")","Fluttering, multi-color flags help to establish the breezy, carefree atmosphere of this harbor scene by Eugène Boudin. Their dominant reds, whites. blues and yellows are mirrored in the garments of happy Honfleurais rowing below, and reflected by the waters where small figures swim. The son of a harbor pilot, Boudin specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air . Three brushstrokes done outdoors, he argued, were of greater value than three days working in the studio.",https://www.theibis.net/product/eugene-boudin-festival-in-the-harbor-of-honfleur-1858/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3361,https://www.theibis.net/wp-content/uploads/2019/03/hhon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3349,"Jean-Joseph Benjamin-Constant : ""The Favorite of the Emir"" (c. 1879) 16"" x 20"" (Image: 10.75"" x 17"")","A fair-skinned beauty reposes against the backdrop of the Mediterranean Sea in this harem scene by the French orientalist painter Jean-Joseph Benjamin-Constant. For 16 months in 1871 and 1872, he traveled Moorish Spain and Morocco, collecting sketches and artifacts that he would incorporate into his finished work for years thereafter. Remarkable in this piece are the richly-patterned fabrics, which are heightened by their juxtaposition with the smooth-featured architecture, background landscape, and the soft flesh of the women themselves.",https://www.theibis.net/product/jean-joseph-benjamin-constant-the-favorite-of-the-emir-c-1879/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3349,https://www.theibis.net/wp-content/uploads/2019/03/emirf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3339,"Paul Gauguin : ""Parau na te Varua ino (Words of the Devil)"" (1892) 16"" x 20"" (Image: 12.56"" x 17"")","Vowing to escape European civilization and ""everything that is artificial and conventional,"" Paul Gauguin embarked on an artistic odyssey to rural Tahiti, where he found refuge in an uninhibited tropical paradise. Populated by sensuous nudes fishing, bathing and riding horses, his Tahiti paintings are a series of contradictions. They show all the hallmarks of colonialism, and yet they also endeavor to preserve native mythology at a time when it was being erased by Christian missionaries. The scenes they depict are largely imaginary, and yet they faithfully represent the inner truth of Gauguins experience on the island. Gauguin worked in a cloisonnist style, rendering natural forms in bold, flat colors separated by dark contours. In each piece he sought to unify the outward appearance of natural forms and his feelings toward them with the more abstract beauty of line, color and form. He would, for example, use sensuous pinks and purples to represent sand that was, in fact, a drab volcanic brown. Though he was able to sell paintings to fund his stay in Tahihi, the importance of his work would not be fully understood until after his death, when he was rediscovered by Picasso, Matisse and the French avant-garde.",https://www.theibis.net/product/paul-gauguin-parau-na-te-varua-ino-words-of-the-devil-1892/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3339,https://www.theibis.net/wp-content/uploads/2019/03/gtat1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3327,"Paul Gauguin : ""Fatata te Miti (By the Sea)"" (1892) 16"" x 20"" (Image: 12.56"" x 17"")","Vowing to escape European civilization and ""everything that is artificial and conventional,"" Paul Gauguin embarked on an artistic odyssey to rural Tahiti, where he found refuge in an uninhibited tropical paradise. Populated by sensuous nudes fishing, bathing and riding horses, his Tahiti paintings are a series of contradictions. They show all the hallmarks of colonialism, and yet they also endeavor to preserve native mythology at a time when it was being erased by Christian missionaries. The scenes they depict are largely imaginary, and yet they faithfully represent the inner truth of Gauguins experience on the island. Gauguin worked in a cloisonnist style, rendering natural forms in bold, flat colors separated by dark contours. In each piece he sought to unify the outward appearance of natural forms and his feelings toward them with the more abstract beauty of line, color and form. He would, for example, use sensuous pinks and purples to represent sand that was, in fact, a drab volcanic brown. Though he was able to sell paintings to fund his stay in Tahihi, the importance of his work would not be fully understood until after his death, when he was rediscovered by Picasso, Matisse and the French avant-garde.",https://www.theibis.net/product/paul-gauguin-fatata-te-miti-by-the-sea-1892/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3327,https://www.theibis.net/wp-content/uploads/2019/03/fatata_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3317,"Vincent van Gogh : ""Farmhouse in Provence"" (1888) 16"" x 20"" (Image: 12.75"" x 17"")","A luminous, plein air landscape of the south of France, heightened by the use of adjacent complementary colors. The pink-tinted clouds against a turquoise sky; the cool, gray fence with its orange highlights; the blue-green trees intermingled among warm-toned homes and haystacks; all intensify one another, giving the effect of brilliant sunshine radiating upon gilded terrain. Van Goghs quick, fluid strokes lend an impression of ease and spontaneity to what was, in fact, a carefully planned painting.",https://www.theibis.net/product/vincent-van-gogh-farmhouse-in-provence-1888/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3317,https://www.theibis.net/wp-content/uploads/2019/03/pfarm_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3305,"Odilon Redon : ""The Flower of the Swamp, a Head Human and Sad"" (1885) 16"" x 20"" (Image: 12.63"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-flower-of-the-swamp-a-head-human-and-sad-1885/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3305,https://www.theibis.net/wp-content/uploads/2019/03/noir4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3287,"William Glackens : ""Luxembourg Gardens"" (1906) 16"" x 20"" (Image: 12.56"" x 17"")","Though William Glackens figures among the Ashcan realists and ""The Eight"" who rebelled against the genteel traditions of the National Academy, his true passion was for the sensuousness of his art form—the unrestrained flow of oil on canvas—rather than factional politics or social criticism. While other realists depicted the urban poor, immigrant communities and underground boxing matches, Glackens favored the brighter side of everyday life. His paintings, wrote Leslie Kate, were ""haunted by the spectre of happiness, obsessed with the contemplation of joy."" He worked in bold, saturated colors, emulating the impressionist style of Pierre-Auguste Renoir. His focus upon vivid color effects, said Forbes Watson, reflected the fact that ""the color of the world makes him thoroughly happy and to express that happiness in color has become his first and most natural impulse."" If the 20th century darkened around him, his own life was hardly that of a tortured artist. His friend Jerome Myers, writing in his autobiography Artist in Manhattan , recalls his visits to the Glackens home: ""The studio home of William Glackens, on Ninth Street just off Fifth Avenue, partook of the charm of this fine, boasted period. It was a delightful privilege for my wife and me to participate occasionally in the at-homes of the Glackens during the season. Surrounded by the masterpieces of William Glackens, friends would gather in congenial remembrance: Edith Glackens, always an amusing hostess; William Glackens, quietly reminiscing with his companions. The young Glackens , Lenna and Ira, filled out the family picture, happy with their young artist friends, as well as with older friends who had known them since childhood. Of the latter were Everett Shinn and Guy Pène du Bois....the whole scene imbued with the spirit of a New York that is now passing.""",https://www.theibis.net/product/william-glackens-luxembourg-gardens-1906/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3287,https://www.theibis.net/wp-content/uploads/2019/03/glack2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3277,"William Glackens : ""Family Group"" (1910/1911) 16"" x 20"" (Image: 13"" x 15.25"")","Though William Glackens figures among the Ashcan realists and ""The Eight"" who rebelled against the genteel traditions of the National Academy, his true passion was for the sensuousness of his art form—the unrestrained flow of oil on canvas—rather than factional politics or social criticism. While other realists depicted the urban poor, immigrant communities and underground boxing matches, Glackens favored the brighter side of everyday life. His paintings, wrote Leslie Kate, were ""haunted by the spectre of happiness, obsessed with the contemplation of joy."" He worked in bold, saturated colors, emulating the impressionist style of Pierre-Auguste Renoir. His focus upon vivid color effects, said Forbes Watson, reflected the fact that ""the color of the world makes him thoroughly happy and to express that happiness in color has become his first and most natural impulse."" If the 20th century darkened around him, his own life was hardly that of a tortured artist. His friend Jerome Myers, writing in his autobiography Artist in Manhattan , recalls his visits to the Glackens home: ""The studio home of William Glackens, on Ninth Street just off Fifth Avenue, partook of the charm of this fine, boasted period. It was a delightful privilege for my wife and me to participate occasionally in the at-homes of the Glackens during the season. Surrounded by the masterpieces of William Glackens, friends would gather in congenial remembrance: Edith Glackens, always an amusing hostess; William Glackens, quietly reminiscing with his companions. The young Glackens , Lenna and Ira, filled out the family picture, happy with their young artist friends, as well as with older friends who had known them since childhood. Of the latter were Everett Shinn and Guy Pène du Bois....the whole scene imbued with the spirit of a New York that is now passing.""",https://www.theibis.net/product/william-glackens-family-group-1910-1911/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3277,https://www.theibis.net/wp-content/uploads/2019/03/glack1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3265,"Odilon Redon : ""The Spider"" (1887) 16"" x 20"" (Image: 13"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-spider-1887/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3265,https://www.theibis.net/wp-content/uploads/2019/03/noir3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3254,"Captain John Smith : ""Map of Virginia"" (1612) 16"" x 20"" (Image: 13"" x 16.44"")","The culmination of 20 voyages covering 2,500 miles, Captain John Smiths map of Virginia was the first comprehensive map of the Chesapeake Region. It encompasses the coastal areas of modern Virginia, Maryland, Delaware, Pennsylvania and Washington DC, including rivers, tributaries, islands, bays and some 200 Indian villages. Charted from the perspective of a ship coming in from the Atlantic, it is oriented with the right side of the map corresponding to the direction north. Smith spoke some Algonquian and was able to build relationships with the Indians he encountered. With their help he was able to chart much of the interior, indicating with crosses the borders between those territories that he had personally explored, and those which had been described to him by natives. The figures illustrated on the map are the chief Powhatan, who figured prominently in the history of Jamestown, and a Susquehannock Indian described as ""the goodliest man we ever beheld."" In spite of the primitive navigational tools at his disposal, Smith map was remarkably accurate. It remained in active use for 70 years after its publication, having been finally surpassed by Augustine Hermans map of Virginia and Maryland in 1673.",https://www.theibis.net/product/captain-john-smith-map-of-virginia-1612/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3254,https://www.theibis.net/wp-content/uploads/2019/03/vigmap_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3243,"Captain John Smith : ""Map of New England"" (1616) 16"" x 20"" (Image: 13"" x 15.13"")","Captain John Smiths 1616 map of Maine and Massachusetts Bay was the first to bear the name ""New England."" Best known for his leadership in establishing the British colony at Jamestown, he returned to the Americas in 1614 to chart the coast of what was then called ""Northern Virginia."" He covered an area of 350 miles, from the bay of Fundy down to Cape Cod, in an open boat of no more than 30 feet in length. In spite of the primitive surveying tools he had at his disposal, his map was accurate to within 10 miles. At the request of Crown Prince Charles, native place names were replaced with the names of English cities. Accominticus became Boston, Aumoughcawgen; Cambridge. Some names indicated on the map have survived to modern times, while others have not. The Smith Islands are the present day Isles of Shoals. Cape Cod remained Cape Cod, in spite of Princes Charles attempt to rename it ""Cape James."" Names that have persisted include that of the Charles River, Cape Ann, and, notably, Plymouth. Though it is widely believed that the Pilgrims named Plymouth for their port of departure, it was, in fact, previously designated by Smith, who described it as ""an excellent good harbor, good land; and no want of any thing, but industrious people.""",https://www.theibis.net/product/captain-john-smith-map-of-new-england-1616/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3243,https://www.theibis.net/wp-content/uploads/2019/03/mengland_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3233,"Odilon Redon : ""The Chimera Looked at Everything with Horror"" (1886) 16"" x 20"" (Image: 12.75"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-chimera-looked-at-everything-with-horror-1886/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3233,https://www.theibis.net/wp-content/uploads/2019/03/noir2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3220,"Peter Paul Rubens : ""The Fall of Phaeton"" (c. 1604/1605) 16"" x 20"" (Image: 12.69"" x 17"")","A dramatic work by Peter Paul Rubens, depicting the celestial chaos unleashed by Phaeton when his father, Apollo, lent him the Chariot of the Sun. Unable to control the horses, he careened through the heavens, haphazardly scorching and freezing the earth. From the left of the composition, the butterfly-winged goddesses of the seasons, the Horae, look on in panic—but Jupiters thunderbolt will soon strike Phaeton and put an end to the debacle. In the 17th century, Phaetons legend was read as a parable on the dangers of youthful hubris, particularly where others may share in the consequences.",https://www.theibis.net/product/peter-paul-rubens-the-fall-of-phaeton-c-1604-1605/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3220,https://www.theibis.net/wp-content/uploads/2019/03/fph_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3210,"Hendrik Goltzius : ""The Fall of Man"" (1616) 16"" x 20"" (Image: 12.75"" x 17"")","Hendrick Goltzius broke with tradition in this tender representation of the fall of man, depicting Adam and Evee physical passion, rather than the shame and punishment that were to follow. Symbolic creatures arrayed about the figures provide keys to interpretation. Eves lost chastity is represented by the two goats and Adams by the elephant (symbolic of piety and temperance) wandering into a distant field. The serpent wearing the face of a woman illustrates the deceptiveness of appearances, while in the foreground a stern-visaged cat warns the viewer not to take pleasure in that which ought to be condemned.",https://www.theibis.net/product/hendrik-goltzius-the-fall-of-man-1616/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3210,https://www.theibis.net/wp-content/uploads/2019/03/fman_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3198,"Odilon Redon : ""The Eye Like a Strange Balloon Mounts Toward Infinity"" (1882) 16"" x 20"" (Image: 13"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs , have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel Against Nature , the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.""",https://www.theibis.net/product/odilon-redon-the-eye-like-a-strange-balloon-mounts-toward-infinity-1882/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3198,https://www.theibis.net/wp-content/uploads/2019/03/noir1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3186,"Alexandre Calame : ""Fallen Tree"" (1839/1845) 16"" x 20"" (Image: 10.06"" x 17"")","The complex textures of torn and broken trees are rendered with consummate precision in this piece by the Swiss painter Alexandre Calame. As a child he had suffered an accident that cost him the sight of one eye. When his debt-ridden father died at the age of 16, leaving him his mothers sole means of support, he supplemented his income as a bank clerk by coloring engravings for the print trade. His kindly employer, noticing his aptitude, made it possible for him to take lessons from the landscape painter François Diday. By 1845 he had surpassed his teacher, gaining international acclaim. In his review of the Paris Salon of that year, Charles Baudelaire quibbled that it had once been thought that there was a single painter with a split personality working under the names of Diday and Calame, and that ""it was noted that he used the name Calame on the days when his painting went well.""",https://www.theibis.net/product/alexandre-calame-fallen-tree-1839-1845/?attribute_size=16%22+x+20%22+%28Image%3A+10.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3186,https://www.theibis.net/wp-content/uploads/2019/03/calam_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3176,"Benjamin West : ""The Expulsion of Adam and Eve from Paradise"" (1791) 16"" x 20"" (Image: 11.31"" x 17"")","As the serpent slithers away, the Archangel Michael drives Adam and Eve from Paradise, the ""flaming sword"" of Genesis represented by the sharp beam of light that crosses his hand. Meanwhile, predatory animals threaten their prey, indicating the advent of suffering and discord into the world. West originally conceived this nine foot long painting as part of his project to rebuild the Royal Chapel at Windsor Castle, but George III withdrew his funding in 1801.",https://www.theibis.net/product/benjamin-west-the-expulsion-of-adam-and-eve-from-paradise-1791/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3176,https://www.theibis.net/wp-content/uploads/2019/03/expu_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3164,"Ambrosius Bosschaert : ""Still Life with Flowers"" (1617) 16"" x 20"" (Image: 11"" x 17"")","A still life of the Dutch Golden Age by the virtuoso flower painter Ambrosius Bosschaert. At about the age of 16 his family, threatened by religious persecution, moved to Middleburg; a trading center in Zeeland celebrated for its lavish botanical gardens, where he was able to sketch rare and exotic flowers from around the world. Amid a booming art market and the coinciding tulip mania, he painted joyful bouquets of flowers wherein every specimen was developed with the same care and attention as the face of a portrait. His arrangements often combined flowers from different seasons and included elements symbolic of the transience of life. By his death in 1621 his reputation had grown to such proportions that he was able to sell a single flower portrait for one thousand gilders. One of his final paintings bears the inscription: ""This is the angelic hand of the great painter of Flora, Ambrosius, renowned even to the banks of the Moré.""",https://www.theibis.net/product/ambrosius-bosschaert-still-life-with-flowers-1617/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3164,https://www.theibis.net/wp-content/uploads/2019/03/aboss3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3144,"J.M.W. Turner : ""The Evening of the Deluge"" (c. 1843) 16"" x 20"" (Image: 13"" x 13"")","The Evening of the Deluge is one of a series of vivid, swirling canvases in which Turner applied the color theories of Goethe to the subject of the Biblical flood. Just as the deep reds of a rose are enhanced by the shadows between the petals, the luminous golds in Turners sky are heightened by the adjoining darkness of storm clouds and birds, as well as by the contrasting patches of blue and red that are mixed into the vortex. For Goethe, yellow was the color nearest to light. ""In its highest purity,"" he wrote, ""it always carries with it the nature of brightness and has a serene, gay, softly exciting character...in its utmost power it is serene and noble.""",https://www.theibis.net/product/j-m-w-turner-the-evening-of-the-deluge-c-1843/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3144,https://www.theibis.net/wp-content/uploads/2019/03/tdel_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3132,"Odilon Redon : ""Saint George and the Dragon"" (1880s and c. 1892) 16"" x 20"" (Image: 11.81"" x 17"")","Conceived in shades of black, Odilon Redons early works, his so-called noirs, have been described as a ""synthesis of nightmares and dreams."" They are an exploration of the of artists own psyche, a quest to place ""the logic of the visible at the service of the invisible."" J.K. Huysmans popularized Redon in his novel À Rebours, the story of a decadent aristocrat, in which he writes: ""Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium."" With its limited color ""Saint George and the Dragon"" presages Redons transition into the vivid oil and pastel paintings of his later years.",https://www.theibis.net/product/odilon-redon-saint-george-and-the-dragon-1880s-and-c-1892/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3132,https://www.theibis.net/wp-content/uploads/2019/03/odrag_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3111,"Henri Rousseau : ""Tropical Forest with Monkeys"" (1910) 16"" x 20"" (Image: 13"" x 16.44"")","A tropical landscape by Henri Rousseau, who never left France nor saw a jungle. Instead, he drew inspiration from childrens books and studied plant life from the botanical gardens of Paris, remarking that ""When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream."" It was this distance from his subject that lends his work its enchantment. An outsider artist who claimed ""no other teacher than nature,"" his style is characterized by vivid colors, highly flattened forms and dreamlike subjects. Rejected by the academy, he was embraced by the avant-garde. When Pablo Picasso stumbled upon one of his paintings being sold on the street as waste canvas, he sought out Rousseau and held a banquet in his honor. His work went on to become a major influence upon generations of the avant-garde, including Picasso, Jean Hugo, Fernand Léger, Jean Metzinger, Max Beckmann and the Surrealists.",https://www.theibis.net/product/henri-rousseau-tropical-forest-with-monkeys-1910/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3111,https://www.theibis.net/wp-content/uploads/2019/03/tmon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3101,"Henri Rousseau : ""The Equatorial Jungle"" (1909) 16"" x 20"" (Image: 13"" x 14.13"")","A tropical landscape by Henri Rousseau, who never left France nor saw a jungle. Instead, he drew inspiration from childrens books and studied plant life from the botanical gardens of Paris, remarking that ""When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream."" It was this distance from his subject that lends his work its enchantment. An outsider artist who claimed ""no other teacher than nature,"" his style is characterized by vivid colors, highly flattened forms and dreamlike subjects. Rejected by the academy, he was embraced by the avant-garde. When Pablo Picasso stumbled upon one of his paintings being sold on the street as waste canvas, he sought out Rousseau and held a banquet in his honor. His work went on to become a major influence upon generations of the avant-garde, including Picasso, Jean Hugo, Fernand Léger, Jean Metzinger, Max Beckmann and the Surrealists.",https://www.theibis.net/product/henri-rousseau-the-equatorial-jungle-1909/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3101,https://www.theibis.net/wp-content/uploads/2019/03/ejun_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3088,"John La Farge : ""The Entrance to the Tautira River, Tahiti. Fisherman Spearing a Fish"" (c. 1895) 16"" x 20"" (Image: 13"" x 14.56"")","John La Farge produced this dreamlike impression of Tahiti on his visit in the early 1890s. In contrast to the bold colors and rigidly outlined shapes of Gauguins Tahiti paintings, La Farge applies his oils in smooth gradations with delicate contrasts that give the serene effect of watercolor washes. He is best-known for his work as a stained glass window maker. In the mid 1870s he shared his innovations in use of opalescent glass with Louis Comfort Tiffany, and the two enjoyed a litigious relationship for ever after.",https://www.theibis.net/product/john-la-farge-the-entrance-to-the-tautira-river-tahiti-fisherman-spearing-a-fish-c-1895/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3088,https://www.theibis.net/wp-content/uploads/2019/03/spear2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3078,"Ambrosius Bosschaert : ""Flower Still Life"" (1614) 16"" x 20"" (Image: 13"" x 16.31"")","A pink carnation, a white rose, and a yellow tulip with red stripes lie in front of a basket of brilliantly colored flowers. Various types of flowers that would not bloom in the same season appear together here: roses, forget-me-nots, lilies-of-the-valley, a cyclamen, a violet, a hyacinth, and tulips. Rendering meticulous detail, Ambrosius Bosschaert the Elder conveyed the silky texture of the petals, the prickliness of the rose thorns, and the fragility of opening buds. Insects crawl, alight, or perch on the bouquet. Each is carefully described and observed, from the dragonflys transparent wings to the butterflys minutely painted antennae. Although a vague reference, insects, short-lived like flowers, are a reminder of the brevity of life and the transience of its beauty. A rising interest in botany and a passion for flowers led to an increase in painted floral still lifes at the end of the 1500s in both the Netherlands and Germany. Bosschaert was the first great Dutch specialist in fruit and flower painting and the head of a family of artists. He established a tradition that influenced an entire generation of fruit and flower painters in the Netherlands. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/ambrosius-bosschaert-flower-still-life-1614/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3078,https://www.theibis.net/wp-content/uploads/2019/03/aboss2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3067,"John Singer Sargent : ""En Route pour la Peche (Setting Out to Fish)"" (1878) 16"" x 20"" (Image: 10.75"" x 17"")","The fishing village of Cancale on the north coast of Brittany is the setting for this genre piece by John Singer Sargent. Against the backdrop of a cloudy blue sky, the towns quay and lighthouse, women and children set out to gather fish and shellfish from the shallow pools that remain at low tide. What they catch, they will take home for dinner. Landscape, rather than portraiture, was Sargents early passion, and it was rewarded at the 1878 Paris Salon, where En Route pour la Pêche earned the young artist the second sale of his career.",https://www.theibis.net/product/john-singer-sargent-en-route-pour-la-peche-setting-out-to-fish-1878/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3067,https://www.theibis.net/wp-content/uploads/2019/03/peche_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3057,"A. A. Lamb : ""Emancipation Proclamation"" (1864 or after) 16"" x 20"" (Image: 10.13"" x 17"")","An American folk art piece celebrating the Emancipation Proclamation. The artist, A. A. Lamb, is shrouded in complete obscurity, save for this, his only known painting. Given the subject matter, he is likely to have been a Northerner; possibly from New York, where he might have studied the Henry K. Brown statue that was used as a model for the distant figure of George Washington. The ornate lettering on Libertys chariot, rendered in perfect perspective, suggests the hand of a tradesman; perhaps a sign painter or carriage decorator. The completed White House dome, topped by the 19-foot statue of Freedom, dates the piece to around 1864 or later.",https://www.theibis.net/product/a-a-lamb-emancipation-proclamation-1864-or-after/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3057,https://www.theibis.net/wp-content/uploads/2019/03/emanc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3045,"Ambrosius Bosschaert : ""Bouquet of Flowers on a Ledge"" (1620) 16"" x 20"" (Image: 13"" x 15.81"")","A still life of the Dutch Golden Age by the virtuoso flower painter Ambrosius Bosschaert. At about the age of 16 his family, threatened by religious persecution, moved to Middleburg; a trading center in Zeeland celebrated for its lavish botanical gardens, where he was able to sketch rare and exotic flowers from around the world. Amid a booming art market and the coinciding tulip mania, he painted joyful bouquets of flowers wherein every specimen was developed with the same care and attention as the face of a portrait. His arrangements often combined flowers from different seasons and included elements symbolic of the transience of life. By his death in 1621 his reputation had grown to such proportions that he was able to sell a single flower portrait for one thousand gilders. One of his final paintings bears the inscription: ""This is the angelic hand of the great painter of Flora, Ambrosius, renowned even to the banks of the Moré.""",https://www.theibis.net/product/ambrosius-bosschaert-still-life-bouquet-of-flowers-on-a-ledge-1620/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3045,https://www.theibis.net/wp-content/uploads/2019/03/aboss1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3033,"Alfred Jacob Miller : ""Election Scene, Catonsville, Baltimore County"" (c. 1860) 16"" x 20"" (Image: 12.38"" x 17"")","A spiritual antecedent to Norman Rockwells Freedom of Speech (1943), Alfred Jacob Millers Election Scene celebrates democracy in action in the year Abraham Lincoln was elected. Outside a small town polling station, animated figures from different walks of life engage in spirited debate, while in the periphery a trio of African Americans watch as white citizens cast their ballots. Though best-known for his paintings and sketches of the American West, Miller actually resided in Baltimore for most of his life.",https://www.theibis.net/product/alfred-jacob-miller-election-scene-catonsville-baltimore-county-c-1860/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3033,https://www.theibis.net/wp-content/uploads/2019/03/esce_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3023,"Camille Corot : ""The Eel Gatherers"" (1860/1865) 16"" x 20"" (Image: 12.5"" x 17"")","In this late piece by Camille Corot, the depth and volume of every mass of vegetation is carefully defined by precisely modulated shades of green. Contemporary critics sometimes admonished Corot for his monochromatic style, Théophile Thoré comparing him to a musician with ""only a single octave, extremely limited and in minor key."" Charles Baudelaire, however, defended Corot, remarking that he was ""more a harmonist than a colorist, and his compositions, which are always entirely free of pedantry, are seductive just because of their simplicity of color."" Claude Monet, meanwhile, was unequivocal in his praise for Corots contribution to the landscape genre. ""There is only one master here—Corot,"" he said. ""We are nothing compared to him, nothing.""",https://www.theibis.net/product/camille-corot-the-eel-gatherers-1860-1865/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3023,https://www.theibis.net/wp-content/uploads/2019/03/egat_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 3011,"Raphaelle Peale : ""Still Life with Apples, Sherry and Tea Cake"" (1822) 16"" x 20"" (Image: 11"" x 17"")","Raphaelle Peale was the oldest surviving son of Charles Wilson Peale, a Renaissance man who painted the leaders of the American Revolution. After being trained in art by his father he went on to become Americas first professional still life painter at a time when the genre was still held in low regard. Thought to have been influenced by Juan Sanchez Cotan and the Mexican still life, his work is characterized by an austere beauty in which a paucity of subjects are arranged in ballet-like harmony and rendered with monastic detail.",https://www.theibis.net/product/raphaelle-peale-still-life-with-apples-sherry-and-tea-cake-1822/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=3011,https://www.theibis.net/wp-content/uploads/2019/03/peale3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2948,"Pieter de Hooch : ""Man Handing a Letter to a Woman in the Entrance Hall of a House"" (1670) 16"" x 20"" (Image: 13"" x 15.06"")","Pieter de Hooch was a genre painter of the Dutch Golden Age who specialized in quiet domestic scenes. In his works the geometry and balance of architectural elements support an atmosphere of interpersonal harmony. De Hooch was an influence upon Jan Vermeer, who lived in Delft at the same time. His Woman Holding a Balance (c. 1665) quotes directly from de Hoochs earlier work, Interior with a Woman Weighing a Gold Coin (c. 1659-1662). In Man Handing a Letter to a Woman in the Entrance Hall of a House , the dog and child lead our gaze from the interior to the exterior view of the canal and nearby homes, while through the window we glimpse a gateway that leads even deeper into the surrounding neighborhood. This painting gained brief fame in May, 2016, when Apple CEO Tim Cook observed that the man with the letter looks as though hes checking a smartphone.",https://www.theibis.net/product/pieter-de-hooch-man-handing-a-letter-to-a-woman-in-the-entrance-hall-of-a-house-1670/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.06%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2948,https://www.theibis.net/wp-content/uploads/2019/03/hooch5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2937,"Pieter de Hooch : ""Figure in a Courtyard Behind a House"" (c. 1663 - c. 1665) 16"" x 20"" (Image: 13"" x 17"")","Pieter de Hooch was a genre painter of the Dutch Golden Age who specialized in quiet domestic scenes. In his works the geometry and balance of architectural elements support an atmosphere of interpersonal harmony. De Hooch was an influence upon Jan Vermeer, who lived in Delft at the same time. His Woman Holding a Balance (c. 1665) quotes directly from de Hoochs earlier work, Interior with a Woman Weighing a Gold Coin (c. 1659-1662). In Figures in a Courtyard Behind a House , a suitor flirts with a girl who squeezes lemon into his glass, while in the background a diligent maidservant tends to her chores.",https://www.theibis.net/product/pieter-de-hooch-figure-in-a-courtyard-behind-a-house-c-1663-c-1665/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2937,https://www.theibis.net/wp-content/uploads/2019/03/hooch4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2926,"Samuel Jordan : ""Eaton Family Memorial"" (1831) 16"" x 20"" (Image: 12"" x 17"")","This vivid and otherworldly piece is one of only five known paintings signed by Samuel Jordan, an American folk artist who appears to have taught himself to paint while in prison for counterfeiting and horse theft. It was produced in Plainstow, NH, during brief in the interval between his pardon in 1830 and his conviction for burglary in 1834. The inscription on the stone reads ""to the Memory of / Ednah Eaton— / who died December 22nd / 1797, AEt. 3 years— / Samuel Eaton— / ho Died October 6th 1803, / 3 years— / ehitable Eaton / ho died April 12th 1819— / 12 Years— / Lucy Eaton- / who died August 14th / 1830— / AEt 40 years— / Sleep on, my Children, sleep.""",https://www.theibis.net/product/samuel-jordan-eaton-family-memorial-1831/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2926,https://www.theibis.net/wp-content/uploads/2019/03/emem_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2916,"Pieter de Hooch : ""The Bedroom"" (1658/1660) 16"" x 20"" (Image: 13"" x 15"")","Pieter de Hooch was a genre painter of the Dutch Golden Age who specialized in quiet domestic scenes. In his works the geometry and balance of architectural elements support an atmosphere of interpersonal harmony. De Hooch was an influence upon Jan Vermeer, who lived in Delft at the same time. His  Woman Holding a Balance  (c. 1665) quotes directly from de Hoochs earlier work,  Interior with a Woman Weighing a Gold Coin  (c. 1659-1662). In  A Dutch Courtyard  a woman joins two soldiers for a friendly drinking game. The ""pass-glass"" she holds is marked with a series of rings. In order to pass the glass to the next participant, she must drink down to the line exactly, or else continue to the next ring. To the right, a young girl brings coals for the mens long-stemmed pipes. In the background is the tower of the Nieuwe Kerk. In The Bedroom light pouring in from the doorway and window give the effect of the child brightening the room as he or she enters. The mother, engaged with her chores, returns the youngsters smile. It is possible that the figures are de Hoochs wife, Jannetje, and either his son, Peter, or daughter, Anna. Both would have worn skirts as small children.",https://www.theibis.net/product/pieter-de-hooch-the-bedroom-1658-1660/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2916,https://www.theibis.net/wp-content/uploads/2019/03/hooch3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2906,"Pieter de Hooch : ""Woman and Child in a Courtyard"" (1658/1660) 16"" x 20"" (Image: 13"" x 14.44"")","Pieter de Hooch was a genre painter of the Dutch Golden Age who specialized in quiet domestic scenes. In his works the geometry and balance of architectural elements support an atmosphere of interpersonal harmony. De Hooch was an influence upon Jan Vermeer, who lived in Delft at the same time. His Woman Holding a Balance (c. 1665) quotes directly from de Hoochs earlier work, Interior with a Woman Weighing a Gold Coin (c. 1659-1662). In Woman and Child in a Courtyard a small girl with a birdcage follows a maidservant to the water pump, while in a recessed arbor two men and a woman enjoy some red wine. The old town wall of Delft forms the rear wall of the courtyard.",https://www.theibis.net/product/pieter-de-hooch-woman-and-child-in-a-courtyard-1658-1660/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2906,https://www.theibis.net/wp-content/uploads/2019/03/hooch2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2894,"Pieter de Hooch : ""A Dutch Courtyard"" (1658/1660) 16"" x 20"" (Image: 13"" x 15.13"")","Pieter de Hooch was a genre painter of the Dutch Golden Age who specialized in quiet domestic scenes. In his works the geometry and balance of architectural elements support an atmosphere of interpersonal harmony. De Hooch was an influence upon Jan Vermeer, who lived in Delft at the same time. His  Woman Holding a Balance  (c. 1665) quotes directly from de Hoochs earlier work,  Interior with a Woman Weighing a Gold Coin  (c. 1659-1662). In  A Dutch Courtyard  a woman joins two soldiers for a friendly drinking game. The ""pass-glass"" she holds is marked with a series of rings. In order to pass the glass to the next participant, she must drink down to the line exactly, or else continue to the next ring. To the right, a young girl brings coals for the mens long-stemmed pipes. In the background is the tower of the Nieuwe Kerk.",https://www.theibis.net/product/pieter-de-hooch-a-dutch-courtyard-1658-1660/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2894,https://www.theibis.net/wp-content/uploads/2019/03/hooch_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2875,"Raphaelle Peale : ""A Dessert"" (1814) 16"" x 20"" (Image: 11.88"" x 17"")","Raphaelle Peale was the oldest surviving son of Charles Wilson Peale, a Renaissance man who painted the leaders of the American Revolution. After being trained in art by his father he went on to become Americas first professional still life painter at a time when the genre was still held in low regard. Thought to have been influenced by Juan Sanchez Cotan and the Mexican still life, his work is characterized by an austere beauty in which a paucity of subjects are arranged in ballet-like harmony and rendered with monastic detail.",https://www.theibis.net/product/raphaelle-peale-a-dessert-1814/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2875,https://www.theibis.net/wp-content/uploads/2019/02/ades_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2865,"Ambrosius Bosschaert : ""Bouquet of Flowers in a Glass Vase"" (1621) 16"" x 20"" (Image: 11.56"" x 17"")","A still life of the Dutch Golden Age by the virtuoso flower painter Ambrosius Bosschaert. At about the age of 16 his family, threatened by religious persecution, moved to Middleburg; a trading center in Zeeland celebrated for its lavish botanical gardens, where he was able to sketch rare and exotic flowers from around the world. Amid a booming art market and the coinciding tulip mania, he painted joyful bouquets of flowers wherein every specimen was developed with the same care and attention as the face of a portrait. His arrangements often combined flowers from different seasons and included elements symbolic of the transience of life. By his death in 1621 his reputation had grown to such proportions that he was able to sell a single flower portrait for one thousand gilders. This, one of his final paintings, bears the inscription: ""This is the angelic hand of the great painter of Flora, Ambrosius, renowned even to the banks of the Moré.""",https://www.theibis.net/product/ambrosius-bosschaert-bouquet-of-flowers-in-a-glass-vase-1621/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2865,https://www.theibis.net/wp-content/uploads/2019/02/bossflow_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2854,"Rembrandt van Rijn : ""The Descent from the Cross"" (1650/1652) 16"" x 20"" (Image: 13"" x 16.81"")","The Descent from the Cross was most likely planned by Rembrandt van Rijn and executed by Constantijn van Renesse, one of his gifted students. As in The Circumcision (1661), The Holy Family at Night (c. 1645) and other religious paintings from Rembrandt, the sacred elements of the composition are illuminated. In this case, a torch directs the observers attention first to Joseph taking hold of Jesuss body and then to Mary, swooning, her face rendered pale.",https://www.theibis.net/product/rembrandt-van-rijn-the-descent-from-the-cross-1650-1652/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2854,https://www.theibis.net/wp-content/uploads/2019/02/dcross_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2843,"Horace Vernet : ""Departure for the Hunt in the Pontine Marshes"" (1833) 16"" x 20"" (Image: 12.38"" x 17"")","Departure for the Hunt in the Pontine Marshes confronts us with a labyrinthine mass of thick, hoary trees that serve to protect the small human figures from intrusion; light falls onto a path that leads deeper into the woods, firing our curiosity at what lies deeper. In 1833 Horace Vernet was serving as director of the French Academy in Rome, where his king and patron, Louis Philippe, was deeply unpopular. An avid hunter, he often took refuge in these marshes, located some 40 kilometers outside the city. One can imagine the childlike wonder with which he uncovered their mysteries, now lost to time; during the 20th century, the marshes were finally drained and converted to farmland.",https://www.theibis.net/product/horace-vernet-departure-for-the-hunt-in-the-pontine-marshes-1833/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2843,https://www.theibis.net/wp-content/uploads/2019/02/ponti_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2833,"Edgar Degas : ""Before the Ballet"" (1890/1892) 16"" x 20"" (Image: 7.38"" x 17"")","Transfixed by a world of pink and white, Edgar Degas pulled strings with influential friends to gain backstage access to the Paris Opera, where he sketched the ballerinas in their private routines. ""He comes in here in the morning,"" noted a friend, ""He watches all the exercises in which the movements are analyzed...nothing in the most complicated step escapes his gaze."" Though their most graceful movements were on stage, it was their mundane hard work and preparation that most fascinated Degas; dancers rubbing sore muscles, fixing their hair, waiting to perform. In an 1889 sonnet, he empathized: ""One knows that in your world / Queens are made of distance and greasepaint.""",https://www.theibis.net/product/edgar-degas-before-the-ballet-1890-1892/?attribute_size=16%22+x+20%22+%28Image%3A+7.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2833,https://www.theibis.net/wp-content/uploads/2019/02/bbal_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2822,"Jan Steen : ""The Dancing Couple"" (1663) 16"" x 20"" (Image: 12"" x 17"")","Rowdy genre paintings like this one led the Dutch to coin the phrase ""a Jan Steen household"" to describe a disorderly or chaotic home. Steen himself appears in the far left the composition, touching a womans face. Raised by a family of brewers and tavern-keepers, he opened an inn of his own after the art market collapsed in 1672, but is said to have spent his money too freely, and imbibed of his own inventory too often, to have been a great success. For all their trademark liveliness, Steens paintings are known for their psychological insight and moralizing messages. In The Dancing Couple soap bubbles, cut flowers and egg shells serve as reminders of the transience of life. Is Steen issuing an invitation to enjoy lifes sensual pleasures while they last, or a warning not to while away ones time in idle pursuits?",https://www.theibis.net/product/jan-steen-the-dancing-couple-1663/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2822,https://www.theibis.net/wp-content/uploads/2019/02/steen_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2812,"Pierre-Auguste Renoir : ""The Dancer"" (c. 1874) 16"" x 20"" (Image: 11.25"" x 17"")","A full-figure portrait of a dancer in fifth position, her skirt rendered in light and airy strokes that evoke the gauzy softness of the material. To render her more childlike, Renoir rounded the models face and flattened her chest—she is Henriette Henriot, the fashionable subject of his 1874 La Parisienne . Contemporary critics were generally more favorable to this work than those of the other impressionists who entered that years exhibition of the Société anonyme coopérative des artistes, peintres, sculpteurs, graveurs, etc.; Renoirs style being more tethered to realism those than his colleagues. ""The Danseuse is true to life,"" remarked one critic, ""and has a fine and nervous elegance in its truth.""",https://www.theibis.net/product/pierre-auguste-renoir-the-dancer-c-1874/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2812,https://www.theibis.net/wp-content/uploads/2019/02/rendan_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2799,"Edgar Degas : ""The Dance Lesson"" (c. 1879) 16"" x 20"" (Image: 7.31"" x 17"")","Transfixed by a world of pink and white, Edgar Degas pulled strings with influential friends to gain backstage access to the Paris Opera, where he sketched the ballerinas in their private routines. ""He comes in here in the morning,"" noted a friend, ""He watches all the exercises in which the movements are analyzed...nothing in the most complicated step escapes his gaze."" Though their most graceful movements were on stage, it was their mundane hard work and preparation that most fascinated Degas; dancers rubbing sore muscles, fixing their hair, waiting to perform. In an 1889 sonnet, he empathized: ""One knows that in your world / Queens are made of distance and greasepaint.""",https://www.theibis.net/product/edgar-degas-the-dance-lesson-c-1879/?attribute_size=16%22+x+20%22+%28Image%3A+7.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2799,https://www.theibis.net/wp-content/uploads/2019/02/dles_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2787,"Edgar Degas : ""Dancers Backstage"" (1876/1883) 16"" x 20"" (Image: 13"" x 17"")","Transfixed by a world of pink and white, Edgar Degas pulled strings with influential friends to gain backstage access to the Paris Opera, where he sketched the ballerinas in their private routines. ""He comes in here in the morning,"" noted a friend, ""He watches all the exercises in which the movements are analyzed...nothing in the most complicated step escapes his gaze."" Though their most graceful movements were on stage, it was their mundane hard work and preparation that most fascinated Degas; dancers rubbing sore muscles, fixing their hair, waiting to perform. In an 1889 sonnet, he empathized: ""One knows that in your world / Queens are made of distance and greasepaint."" In Dancers Backstage , a young ballerina is approached by an abonné ; one of the Paris Operas wealthy subscribers, privileged with backstage access. In contrast to the chaste Degas, lecherous abonnés were notorious for besieging female performers, treating the Opera as something akin to high-end brothel in which the performance served to showcase the merchandise. This ballerina, however, is unimpressed; sexual advances, like aching feet and sore muscles, are but one of the adversities that she suffers for her art.",https://www.theibis.net/product/edgar-degas-dancers-backstage-1876-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2787,https://www.theibis.net/wp-content/uploads/2019/02/abonne_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2776,"Edgar Degas : ""The Dance Class"" (c. 1873) 16"" x 20"" (Image: 13"" x 17"")","Transfixed by a world of pink and white, Edgar Degas pulled strings with influential friends to gain backstage access to the Paris Opera, where he sketched the ballerinas in their private routines. ""He comes in here in the morning,"" noted a friend, ""He watches all the exercises in which the movements are analyzed...nothing in the most complicated step escapes his gaze."" Though their most graceful movements were on stage, it was their mundane hard work and preparation that most fascinated Degas; dancers rubbing sore muscles, fixing their hair, waiting to perform. In an 1889 sonnet, he empathized: ""One knows that in your world / Queens are made of distance and greasepaint.""",https://www.theibis.net/product/edgar-degas-the-dance-class-c-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2776,https://www.theibis.net/wp-content/uploads/2019/02/dclass_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2758,"Odilon Redon : ""Baronne de Domecy"" (c. 1900) 16"" x 20"" (Image: 13"" x 15.31"")","Gazing out hypnotically, the Baronne de Domecy appears removed from the material world, both physically and emotionally. The contrast between the sitters monochromatic face and the explosion of multicolored, dreamlike flowers emphasizes the baroness state of withdrawal and reverie. Neither entirely stylized nor precisely defined, the almost hallucinatory flora seems to float on the portraits surface, as if projecting the sitters inner vision. Do these flowers spring forth from the earth or from the depths of the imagination? Odilon Redon executed this pastel portrait of the wife of his patron and friend, Baron Robert de Domecy, shortly after he had completed an ambitious cycle of decorative paintings for their château. The unconventional portrait likeness combines a delicate pencil rendering of the sitters face, the tan paper ground serving as her ""skin,"" with thickly applied red and blue pastel for her clothing. The muted blues of her jacket seem to bleed into the adjacent flowers, bridging sitter and surroundings. Reflecting Redons fascination with underwater life, these prevalent blues, alongside notes of green and purple, also conjure up an aquatic world with its hidden depths and elusive meanings. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/odilon-redon-baronne-de-domecy-c-1900/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2758,https://www.theibis.net/wp-content/uploads/2019/02/bardom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2747,"Camille Pissarro : ""A Creek in St. Thomas (Virgin Islands)"" (1856) 16"" x 20"" (Image: 12.75"" x 17"")","A glimpse at the budding genius of a lifelong artistic revolutionary. Camille Pissarro was born to French-Jewish parents on the island of St. Thomas. At the age of twelve he was sent away to boarding school in France, where he developed an early appreciation for the French art masters. Upon his return he worked as a cargo clerk in his fathers business, but devoted his spare time to sketching from nature. At twenty-one he met the Danish artist Fritz Melbye and moved to Venezuela for the next two years, where he worked as a professional painter in Carcas and La Guaira. He returned to France in 1855 with a sketchbook filled with topical vistas, including the present landscape of his native island.",https://www.theibis.net/product/camille-pissarro-a-creek-in-st-thomas-virgin-islands-1856/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2747,https://www.theibis.net/wp-content/uploads/2019/02/stom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2727,"Claude Monet : ""The Cradle - Camille with the Artists Son Jean"" (1867) 16"" x 20"" (Image: 13"" x 17"")","This work is the first portrait of the artists son, Jean Monet, by his future wife and model, Camille Doncieux. Doncieux appears in more than thirty paintings by Monet, as well as numerous works by Pierre-Auguste Renoir and Edouard Manet. Their fourteen-year relationship spanned some of the most difficult in Monets life. Together they faced the financial privation, the scorn of Monets family, and displacement by the Franco-Prussian War. When she died from uterine cancer in 1879, he painted her one last time; later confessing to a friend that his compulsion to analyze colors was such that ""I one day found myself looking at my beloved wifes dead face and just systematically noting the colours according to an automatic reflex."" Jean Monet went on to become a chemist and frequently visited his fathers estate in Giverny, where his famous water lilies were painted.",https://www.theibis.net/product/claude-monet-the-cradle-camille-with-the-artists-son-jean-1867/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2727,https://www.theibis.net/wp-content/uploads/2019/02/mcrad_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2716,"Caspar David Friedrich : ""A Walk at Dusk / Man Contemplating a Megalith"" (c. 1830-1835) 16"" x 20"" (Image: 13"" x 17"")","His head bowed, a man walks alone in the silvery, cold moonlit night while contemplating a megalithic tomb and its implicit message of death. It is winter, and all around him nature is dying. Leafless trees loom behind like specters, but a grove of verdant oaks rises through the mist in the background with the promise of life. The waxing moon, high in the sky, also acts as a counterbalance to death, symbolizing Christ and the promise of rebirth for the artist Caspar David Friedrich. Friedrich was part of the German Romantic movement; his deeply personal and introspective vision addressed Christian themes through analogies based on the cycles of nature. A Walk at Dusk was among a small group of works Friedrich completed before he suffered a debilitating stroke in 1835. The painting embodies both the melancholy he experienced during this period and the consolation he found in the Christian faith. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/caspar-david-friedrich-a-walk-at-dusk-man-contemplating-a-megalith-c-1830-1835/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2716,https://www.theibis.net/wp-content/uploads/2019/02/walkdusk_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2706,"Adriaen van Ostade : ""The Cottage Dooryard"" (1673) 16"" x 20"" (Image: 13"" x 14.44"")","Taverns, village fairs, and other homely milieu were the favorite subjects of the Dutch Golden Age painter Adriaen van Ostade. In The Cottage Dooryard, a father checks in on his family to find his wife cleaning mussels, an older daughter taking care of a younger sibling, his other children happily at play with their dog. The laundry is drying, the chicken is feeding, and there is produce stored away. All signs point to a harmonious domestic life borne of thorough diligence and cooperation.",https://www.theibis.net/product/adriaen-van-ostade-the-cottage-dooryard-1673/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2706,https://www.theibis.net/wp-content/uploads/2019/02/cdoor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2695,"Eugene Boudin : ""Concert at the Casino of Deauville"" (1865) 16"" x 20"" (Image: 9.56"" x 17"")","The pastel colors and ruffed textures of ladies garments are the focus of this painting by Eugène Boudin, set at seaside casino in Normandy. The son of a harbor pilot, he specialized in seashores and marine subjects, and was one of the few French landscape painters of his generation to insist upon working en plein air . Three brushstrokes done outdoors, he argued, were of greater value than three days working in the studio.",https://www.theibis.net/product/eugene-boudin-concert-at-the-casino-of-deauville-1865/?attribute_size=16%22+x+20%22+%28Image%3A+9.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2695,https://www.theibis.net/wp-content/uploads/2019/02/deau_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2685,"Cornelius Norbertus Gijsbrechts : ""Trompe Loeil with Studio Wall and Vanitas Still Life"" (1668) 16"" x 20"" (Image: 13"" x 16.5"")","A painting within a painting, this 17th century vanitas draws back the frame to include not only the familiar icons of death, but also the tools that rendered them, the studio in which they were composed, and the personal affects of the artist himself—now absent. Conscious of the fact that his work would be viewed after his death, Gijbrechtss trompe loeil expands the conceptual frame of the art piece to encompass the spectators of the future, that we may read his epitaph and take heed: ""As I am now, soon you shall be; prepare yourself to follow me.""",https://www.theibis.net/product/cornelius-norbertus-gijsbrechts-trompe-loeil-with-studio-wall-and-vanitas-still-life-1668/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.5%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2685,https://www.theibis.net/wp-content/uploads/2019/02/skully_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2672,"Gerrit van Honthorst : ""The Concert"" (1623) 16"" x 20"" (Image: 10.13"" x 17"")","Harmony in music, as in all things, requires the steady hand of wise leader. That is the underlying message of this piece by the Dutch master Gerrit (Gerard) van Honthorst, who painted for royal patrons eager to enhance the reputations of their courts. Following the style of Caravaggio, a sharp chiaroscuro separates the instructor from the musicians, and the scene is brought close to the picture plane, creating the effect of the viewer of being present in the image. Following the U.S. National Gallery of Arts acquisition of this painting in 2013, it went on pubic display for the first time in 218 years.",https://www.theibis.net/product/gerrit-van-honthorst-the-concert-1623/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2672,https://www.theibis.net/wp-content/uploads/2019/02/honth_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2662,"George Bellows : ""Club Night"" (1907) 16"" x 20"" (Image: 13"" x 16.13"")","Club Night is one of a series of dim and lurid boxing scenes by George Bellows, emphasizing the violence of the confrontation and its contagious effect upon the spectators. The artists studio was situated across from Sharkeys athletic club, where he observed a number of underground boxing matches in his quest to portray the gritty realities of contemporary American society; undiluted by the sentimentality and romanticism that had characterized Victorian era representations of the poor and working class.",https://www.theibis.net/product/george-bellows-club-night-1907/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2662,https://www.theibis.net/wp-content/uploads/2019/02/clubn_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2650,"Ambrosius Bosschaert : ""Bouquet of Flowers in a Stone Niche"" (1618) 16"" x 20"" (Image: 11.88"" x 17"")","You can almost catch the fragrance of the flowers and feel the freshness of the dew against your face. The shadow case by the bouquet creates undulating contours on the curves of the stone niche in which the vase is placed. The architectural frame provided by the niche follows the dimensions of the painting itself, and were it not for the heavy ornamental frame one might mistake it for a real niche at a glance. This optical illusion or trompe l’oeil effect is accentuated by a yellow rose lying next to the vase, extending beyond the edge of the stone niche. In the wake of a number of factors – e.g. the Calvinist rejection of church decoration and the greater wealth of the middle classes – a number of new themes and subjects were introduced on the Dutch art market in the early 17th century. Ambrosius Bosschaerts was one of the first painters to make flowers a motif in its own right within the still life genre. During the 17th century the genre was associated with a set of moralizing undertones. For example, tulip bulbs were costly investment objects, so multi-colored tulips were frequently used as a memento mori – a reminder that life is short. (Text by the National Gallery of Denmark.)",https://www.theibis.net/product/ambrosius-bosschaert-bouquet-of-flowers-in-a-stone-niche-1618/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2650,https://www.theibis.net/wp-content/uploads/2019/02/aboss4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2637,"Rembrandt van Rijn : ""The Circumcision"" (1661) 16"" x 20"" (Image: 12.75"" x 17"")","Mary cradles the infant Jesus as he sheds blood in his circumcision, just as she will one day cradle his bleeding corpse when it is taken down from the cross. The garments of Jesus and the mohel are rendered in a luminous gold that, against a dark and muted background, directs all of the viewers attention upon the sacred act. A later piece by Rembrandt, it departs from Dutch pictorial tradition, which ordinarily set the circumcision in a temple, with a male figure holding the baby.",https://www.theibis.net/product/rembrandt-van-rijn-the-circumcision-1661/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2637,https://www.theibis.net/wp-content/uploads/2019/02/remcir_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2627,"Felix Vallotton : ""The Church of Souain in Silhouette"" (1917) 16"" x 20"" (Image: 12.69"" x 17"")","In 1917 Félix Vallotton received a commission from the French Ministry of Fine Arts to tour the Champagne front, where he found once beautiful towns and villages transformed into apocalyptic ruins. Souain was the site of two battles and an early experiment in the use of the tank to cross shattered terrain. Silhouetted against the mournful backdrop of a late afternoon sky, the hollowed ruins of the church express the absurdity of an ongoing war whose costs had long outweighed any conceivable prize that might have been obtained from victory.",https://www.theibis.net/product/felix-vallotton-the-church-of-souain-in-silhouette-1917/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2627,https://www.theibis.net/wp-content/uploads/2019/02/vallo_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2615,"Etienne Leopold Trouvelot : ""The Great Comet of 1881"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-the-great-comet-of-1881-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2615,https://www.theibis.net/wp-content/uploads/2019/02/trouv12_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2604,"Etienne Leopold Trouvelot : ""The Great Nebula in Orion"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-the-great-nebula-in-orion-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2604,https://www.theibis.net/wp-content/uploads/2019/02/trouv15_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2588,"Etienne Leopold Trouvelot : ""Star Cluster in Hercules"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-star-cluster-in-hercules-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2588,https://www.theibis.net/wp-content/uploads/2019/02/trouv14_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2578,"Etienne Leopold Trouvelot : ""Part of the Milky Way"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-part-of-the-milky-way-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2578,https://www.theibis.net/wp-content/uploads/2019/02/trouv13_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2567,"Etienne Leopold Trouvelot : ""The November Meteors"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-the-november-meteors-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2567,https://www.theibis.net/wp-content/uploads/2019/02/trouv11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2556,"Etienne Leopold Trouvelot : ""The Planet Saturn"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-the-planet-saturn-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2556,https://www.theibis.net/wp-content/uploads/2019/02/trouv10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2545,"Etienne Leopold Trouvelot : ""The Planet Jupiter"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-the-planet-jupiter-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2545,https://www.theibis.net/wp-content/uploads/2019/02/trouv9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2535,"Etienne Leopold Trouvelot : ""The Planet Mars"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-the-planet-mars-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2535,https://www.theibis.net/wp-content/uploads/2019/02/trouv8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2524,"Etienne Leopold Trouvelot : ""Partial Eclipse of the Moon"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-partial-eclipse-of-the-moon-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2524,https://www.theibis.net/wp-content/uploads/2019/02/trouv7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2513,"Etienne Leopold Trouvelot : ""Mare Humorum"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-mare-humorum-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2513,https://www.theibis.net/wp-content/uploads/2019/02/trouv6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2501,"Etienne Leopold Trouvelot : ""The Zodiacal Light"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-the-zodiacal-light-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2501,https://www.theibis.net/wp-content/uploads/2019/02/trouv5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2488,"Etienne Leopold Trouvelot : ""Aurora Borealis"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-aurora-borealis-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2488,https://www.theibis.net/wp-content/uploads/2019/02/trouv4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2478,"Etienne Leopold Trouvelot : ""Total Eclipse of the Sun"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-total-eclipse-of-the-sun-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2478,https://www.theibis.net/wp-content/uploads/2019/02/trouv3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2463,"Etienne Leopold Trouvelot : ""Solar Protuberances"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-solar-protuberances-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2463,https://www.theibis.net/wp-content/uploads/2019/02/trouv2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2450,"Etienne Leopold Trouvelot : ""Group of Sun Spots and Veiled Spots"" (1882) 16"" x 20"" (Image: 12.19"" x 17"")","Étienne Léopold Trouvelot was a French artist turned entomologist turned astronomer. Following an ill-fated breeding experiment that led to the introduction of the gypsy moth to North America, he was inspired (by witnessing an aurora) to take up astronomy. His skill as an artist earned him invitations to Harvard College and the U.S. Naval Observatory. In addition to his numerous scientific papers, he produced some 7,000 astronomical illustrations during his career. In 1882, fifteen of these were published as large-format chromolithographs in the book The Trouvelot Astronomical Drawings , issued by Scribners in an edition of around 300 copies. Soon after, he was awarded the French Academys Prix dValz, and later impact craters on both the Moon and Mars were named in his honor. (Image from the Collection of the Public Library of Cincinnati and Hamilton County.)",https://www.theibis.net/product/etienne-leopold-trouvelot-group-of-sun-spots-and-veiled-spots-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2450,https://www.theibis.net/wp-content/uploads/2019/02/trouv1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2440,"Edgar Degas : ""Waiting (LAttente)"" (c. 1882) 16"" x 20"" (Image: 13"" x 16.69"")","A young ballet dancer bends forward to massage her foot, while her somberly dressed older companion sits silently beside her on a bench. They appear to be waiting, perhaps for an audition or its outcome. The two figures are a study in contrasts: The athletic dancer dressed in a dazzling costume reflects the glamour and artifice of the stage, while the shabbily dressed, bent figure represents the drabness of everyday life. Edgar Degas painted modern life; his subjects, including laundresses, milliners, nightclub singers, horse races, and the ballet, reflected contemporary Parisian occupations and diversions. From the 1860s onward, Degas frequented the Paris Opéra, where he made numerous studies of performances, rehearsals, and backstage scenes. Later, he would refine and combine these motifs in his studio, in exercises of daring technical skill and compelling psychological subtlety. Here he demonstrated his complete mastery of the pastel technique. Delicately blended strokes are combined with bold hatching and emphatic slashes; pink, blue, and creamy tones describe the dancer in contrast to the dark, severe form of the older woman. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/edgar-degas-waiting-lattente-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2440,https://www.theibis.net/wp-content/uploads/2019/02/waiting_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2430,"Claude Monet : ""The Japanese Footbridge"" (1899) 16"" x 20"" (Image: 13"" x 16.13"")","Claude Monets long career was a quest to understand the effects of light and color on objects, and of the juxtaposition of colors with each other. To this end, of often painted the same subjects under different atmospheric conditions. ""To me the motif was an insignificant factor,"" he said, ""What I want is to reproduce what exists between the motif and me."" These motifs included haystacks, the Rouen Cathedral, the River Seine, Waterloo Bridge, and the Houses of Parliament, but it was in his lily ponds at Giverny that his muse would find her purest expression. Populated with varicolored species from France, South America and Egypt, their alternating light and mirror-like reflections transfixed Monet for the last thirty years of his life, during which he painted them in some 250 variations. Rendered in an overall cool palette accented by white lilies turning pink with age, this piece is part of an early sub-series within this body of work, consisting of eighteen views of his Japanese footbridge spanning a pond. By the mid-1910s Monet would achieve, in the words of art curator Gary Tinerow, ""a completely new, fluid and somewhat audacious style of painting in which the water-lily pond became the departure for an almost abstract art.""",https://www.theibis.net/product/claude-monet-the-japanese-footbridge-1899/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2430,https://www.theibis.net/wp-content/uploads/2019/02/jbrid_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2420,"Jacopo Tintoretto : ""Christ at the Sea of Galilee"" (c. 1575/1580) 16"" x 20"" (Image: 11.63"" x 17"")","With its bold, expressive style, experts have sometimes mistaken Christ at the Sea of Galilee for the work of El Greco, who saw Tintorettos work while visiting Venice. Called Il Furioso for the energy with which he painted, Tintoretto was an independent-minded iconoclast. The son of a dyer, or tintore (his name means ""little dyer"" or ""dyers boy""), he attempted to study under Titian, but was expelled after ten days; his drawings being of too spirited a nature for the masters taste. However, his passion for art was such that he was able to develop on his own, studying, by night as well as by day, from casts and cadavers. Over the course of his career, he breathed new life into Renaissance art, forgoing the more cerebral design harmonies of his predecessors (e.g., Leonardo da Vinci) in favor of a more dramatic and powerfully expressive style that spoke directly from the heart.",https://www.theibis.net/product/jacopo-tintoretto-christ-at-the-sea-of-galilee-c-1575-1580/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2420,https://www.theibis.net/wp-content/uploads/2019/02/tinto_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2408,"Georges Seurat : ""Woman Strolling / Une Elegante"" (c. 1884) 16"" x 20"" (Image: 12.5"" x 17"")","The graceful woman in this drawing appears in the midst of a leisurely stroll, with her shadow falling beside her and one hand gently clutching the handle of her umbrella. The veil of her brimmed hat conceals her face, but her slender figure and erect posture convey that she is a refined young woman—an impression sustained by the fashionable fur-trimmed coat that envelops her. Georges Seurat drew this elegant profile as a series of geometric volumes animated by the play of light and shade. Rather than drawing individual lines, he rubbed roughly textured paper with greasy Conté crayon, creating a large shadowy mass. By combining various densities of crayon—darker for the figure, light and feathery for the background—Seurat explored a concept he called ""irradiation."" According to his theory, light and dark tones mutually enhance each other as they come together. The glowing halo surrounding the poised figure exemplifies this theory. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/georges-seurat-woman-strolling-une-elegante-c-1884/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2408,https://www.theibis.net/wp-content/uploads/2019/02/gorey_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2395,"Pierre-Auguste Renoir : ""Child with Toys - Gabrielle and the Artists Son, Jean"" (1895-1896) 16"" x 20"" (Image: 13"" x 15.63"")","A warm tableau of the young Jean Renoir and his nanny, Gabrielle Renard. Jean and Gabrielle enjoyed a close relationship that would last their entire lives. As a boy, her influence helped to shape the interests that would lead him to become a renown Hollywood filmmaker. She took him on his first visit to the cinema and introduced him to the Guignol puppet shows in Montmarte. Gabrielle only left the family when the Renoir children were fully grown, marrying a wealthy American in 1921. However, both Jean and Gabrielle moved to the United States during WWII, and, upon the death of her husband in 1955, she rejoined him in Beverly Hills. She died four years later. Jean discussed Gabrielles profound influence upon him throughout his 1974 memoir, My Life and My Films . ""She taught me to see the face behind the mask and the fraud behind the flourishes,"" he wrote, concluding the book with the words that he had often spoken as a child; ""Wait for me, Gabrielle.""",https://www.theibis.net/product/pierre-auguste-renoir-child-with-toys-gabrielle-and-the-artists-son-jean-1895-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2395,https://www.theibis.net/wp-content/uploads/2019/02/gabj_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2385,"Mary Cassatt : ""Children Playing on the Beach"" (1884) 16"" x 20"" (Image: 13"" x 17"")","Though Mary Cassatt enjoyed a close relationship with her mother, who encouraged her to pursue an education, she herself never married or had children. As of the 1880s, however, she must have felt the absence of children in her life, as her work turned increasingly to the bond between mother and child. In this, her only beach scene, the background is loosely rendered, the composition tightly cropped to focus on the two children playing in the sand. The clumsy fashion in which the foremost girl holds the shovel testifies to Cassatts experience in observing the natural attitudes of children. The picture plane is tilted forward, placing the viewer in the perspective of the unseen mother, looking down upon her daughters. Where Cassatt includes a mother in her composition, we merely identify with her; where she is absent, we inhabit her.",https://www.theibis.net/product/mary-cassatt-children-playing-on-the-beach-1884/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2385,https://www.theibis.net/wp-content/uploads/2019/02/casb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2373,"Mary Cassatt : ""Child in a Straw Hat"" (c. 1886) 16"" x 20"" (Image: 12.63"" x 17"")","Though Mary Cassatt enjoyed a close relationship with her mother, who encouraged her to pursue an education, she herself never married or had children. As of the 1880s, however, she may have felt the absence of children in her life, as her work turned increasingly to the bond between mother and child. This portrait of a glum little girl in a grey pinafore is an early expression of this vein, in which the absence of a mother other evokes, in the observer, the tug of a child upon an adult. We are drawn to console the girl, but she belongs to another world, where we cannot reach her.  ",https://www.theibis.net/product/mary-cassatt-child-in-a-straw-hat-c-1886/?attribute_size=16%22+x+20%22+%28Image%3A+12.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2373,https://www.theibis.net/wp-content/uploads/2019/02/cshat_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2362,"Paul Cezanne : ""Chateau Noir"" (1900/1904) 16"" x 20"" (Image: 13"" x 17"")","A moody, plein air piece in the darkened shades of Cézannes final years. The Château Noir was a brooding, neo-Gothic castle near Aix, France, designed to resemble aged ruins. It was constructed in the 18th century by an industrialist from Marseilles used lampblack paint to decorate its interior walls and furniture. The locals referred to it as the ""Château Diable,"" or ""Castle of the Devil.""",https://www.theibis.net/product/paul-cezanne-chateau-noir-1900-1904/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2362,https://www.theibis.net/wp-content/uploads/2019/02/cnoir_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2350,"Camille Pissarro : ""Charing Cross Bridge, London"" (1890) 16"" x 20"" (Image: 11"" x 17"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Charing Cross Bridge, London is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-charing-cross-bridge-london-1890/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2350,https://www.theibis.net/wp-content/uploads/2019/02/charc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2338,"Jean-Antoine Watteau : ""Ceres (Summer)"" (c. 1717-1718) 16"" x 20"" (Image: 13"" x 16"")","An oval portrait of the Roman goddess of agriculture, grain crops, fertility and motherly relationships. Her soft, despondent expression carries an undercurrent of sadness at the transience of life that suffused much of Watteaus work. He was a Byronic figure, credited for creating, in the words of Sir Michael Levey, ""the concept of the individualistic artist loyal to himself, and himself alone."" Frail and sickly since childhood, he alarmed his friends with his careless attitude toward his own future, as through he anticipated his early death at the age of 36. It was, perhaps, by living in expectation of death that he was able to forgo the lucrative and conventional, developing a more personal style that, according to the 1911 Britannica , contained in its ""treatment of the landscape background and of the atmospheric surroundings of the figures...the germs of Impressionism.""",https://www.theibis.net/product/jean-antoine-watteau-ceres-summer-c-1717-1718/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2338,https://www.theibis.net/wp-content/uploads/2019/02/cesum_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2327,"Bernardo Bellotto : ""The Campo di SS. Giovanni e Paolo, Venice"" (1743/1747) 16"" x 20"" (Image: 10.5"" x 17"")","It is thought that Bernardo Bellotto may have used a camera obscura to achieve the extraordinary precision that characterized his work. Throughout his career he enjoyed the patronage of European royalty, who looked to him to depict their proudest cities. The present view is one of Venices largest squares, named for the Basilica di San Giovanni e Paolo; the triple-spired, orange brick building opposite the canal bridge. In the center of the square is an equestrian sculpture of Bartolomeo Colleoni, a mercenary commander from the city of Bergamo who died in service of the Venetian Republic; or, more to the point, willed his fortune to La Serenissima in exchange for a statue. The white building in the center distance is the Scuola Grande di San Marco, which now serves as a civic hospital. In Venice, this square is sometimes referred to as the ""campo delle meraviglie,"" or ""square of marvels.""",https://www.theibis.net/product/bernardo-bellotto-the-campo-di-ss-giovanni-e-paolo-venice-1743-1747/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2327,https://www.theibis.net/wp-content/uploads/2019/02/bello_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2313,"Claude Monet : ""Bridge at Argenteuil on a Gray Day"" (c. 1876) 16"" x 20"" (Image: 12.81"" x 17"")","Claude Monet has been rightfully described as ""the driving force behind Impressionism."" Dedicated to understanding the effects of light and color on objects, and of the juxtaposition of colors with each other, he obtained the groundbreaking insights that lesser artists would merely apply. Settling in Argenteuil (a northwest suburb of Paris) in aftermath of the Franco-Prussian War, he constructed a floating studio that allowed him to paint en plein air from the surface of the water. Painting the Seine under a varying atmospheric conditions, he achieved a greater understanding of the effects of light on water, and began to think in terms of colors and shapes, rather than scenes and objects. ""When you go out to paint,"" he advised a fellow artist, ""try to forget what objects you have before you, a tree, a house, a field or whatever. Merely think here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naïve impression of the scene before you.""",https://www.theibis.net/product/claude-monet-bridge-at-argenteuil-on-a-gray-day-c-1876/?attribute_size=16%22+x+20%22+%28Image%3A+12.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2313,https://www.theibis.net/wp-content/uploads/2019/02/grday_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2303,"George Catlin : ""The Female Eagle - Shawano"" (1830) 16"" x 20"" (Image: 13"" x 15.81"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Referring to his portraiture, the French poet and art critic Charles Baudelaire remarked that Catlin ""has brought back alive the proud and free characters of these chiefs, both their nobility and their manliness.""",https://www.theibis.net/product/george-catlin-the-female-eagle-shawano-1830/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2303,https://www.theibis.net/wp-content/uploads/2019/02/shawa_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2292,"Claude Monet : ""The Bridge at Argenteuil"" (1874) 16"" x 20"" (Image: 12.75"" x 17"")","Claude Monet has been rightfully described as ""the driving force behind Impressionism."" Dedicated to understanding the effects of light and color on objects, and of the juxtaposition of colors with each other, he obtained the groundbreaking insights that lesser artists would merely apply. Settling in Argenteuil (a northwest suburb of Paris) in aftermath of the Franco-Prussian War, he constructed a floating studio that allowed him to paint en plein air from the surface of the water. Painting the Seine under a varying atmospheric conditions, he achieved a greater understanding of the effects of light on water, and began to think in terms of colors and shapes, rather than scenes and objects. ""When you go out to paint,"" he advised a fellow artist, ""try to forget what objects you have before you, a tree, a house, a field or whatever. Merely think here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naïve impression of the scene before you.""",https://www.theibis.net/product/claude-monet-the-bridge-at-argenteuil-1874/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2292,https://www.theibis.net/wp-content/uploads/2019/02/arg_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2282,"Paul Cezanne : ""Boy in a Red Waistcoat"" (1888-1890) 16"" x 20"" (Image: 13"" x 16.38"")","A symphony of fractured, kaleidoscopic shapes rendered in expressive colors, this portrait of a boy in the costume of an Italian peasant anticipates the later work of George Braque, Pablo Picasso and Henri Matisse. ""Cézanne’s art"" said Meyer Schapiro in 1952, ""lies between the old kind of picture, faithful to a striking or beautiful object, and the modern abstract kind of painting, a moving harmony of color touches representing nothing."" Even as it looks forward to the 20th century, however, the boys languid pose borrows from the conventions of 16th century mannerist portraiture; Cézanne’s object being to ""make of impressionism something solid and durable like the art of the museums """,https://www.theibis.net/product/paul-cezanne-boy-in-a-red-waistcoat-1888-1890/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2282,https://www.theibis.net/wp-content/uploads/2019/02/bcoat_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2271,"George Catlin : ""The White Cloud, Head Chief of the Iowas"" (1845) 16"" x 20"" (Image: 13"" x 16.13"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Referring to his portraiture, the French poet and art critic Charles Baudelaire remarked that Catlin ""has brought back alive the proud and free characters of these chiefs, both their nobility and their manliness.""",https://www.theibis.net/product/george-catlin-the-white-cloud-head-chief-of-the-iowas-1845/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2271,https://www.theibis.net/wp-content/uploads/2019/02/whitecloud_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2257,"George Catlin : ""Boy Chief - Ojibbeway"" (1843) 16"" x 20"" (Image: 13"" x 15.75"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Referring to his portraiture, the French poet and art critic Charles Baudelaire remarked that Catlin ""has brought back alive the proud and free characters of these chiefs, both their nobility and their manliness.""",https://www.theibis.net/product/george-catlin-boy-chief-ojibbeway-1843/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2257,https://www.theibis.net/wp-content/uploads/2019/02/ojib_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2246,"Camille Pissarro : ""Boulevard des Italiens, Morning, Sunlight"" (1897) 16"" x 20"" (Image: 13"" x 16.44"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. Boulevard des Italiens, Morning, Sunlight is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-boulevard-des-italiens-morning-sunlight-1897/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2246,https://www.theibis.net/wp-content/uploads/2019/02/ibul_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2234,"Gustave Courbet : ""The Black Rocks at Trouville"" (1865-1866) 16"" x 20"" (Image: 13"" x 15.75"")","A lifelong maverick imprisoned for his involvement in the Paris Commune, Gustave Courbet proudly defied artistic convention. ""I have studied the art of the ancients and the art of the moderns,"" he wrote, ""avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of art for arts sake. No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality...to be not only a painter, but a man as well; in short, to create living art—this is my goal."" During the 1860s he visited the Normandy coast, painting alongside Eugène Boudin, James McNeill Whistler and Claude Monet. His resulting ""sea landscapes"" are characterized by crashing waves, dramatic atmospheric effects and generous use of the palette knife. Painted largely en plein air , they uphold his belief that the only possible source for living art was the artists own experience.",https://www.theibis.net/product/gustave-courbet-the-black-rocks-at-trouville-1865-1866/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2234,https://www.theibis.net/wp-content/uploads/2019/02/brox_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2224,"Luca Forte : ""Still Life with Grapes and other Fruit"" (1630s) 16"" x 20"" (Image: 13"" x 15.88"")","Luca Fortes original meaning for this bountiful still life has been lost, but it may be an evocation of the bounty of autumn. The grapes, apples, and pears represent harvest fruits, and a seed-filled open pomegranate itself symbolizes abundance. As here, Forte typically added tiny insects, snails, and drops of moisture to the fruit. By painting on a copper panel with painstaking brushwork, he gave his surfaces a polished smoothness similar to fine enamel. Forte was known for his sensitivity to the material nature of the objects he represented, capturing their solidity and roundness through light, shade, and color. Best known in his own day as a specialist in these fruit still lifes, Forte transformed the development of still life in Naples. He introduced landscapes as backdrops, instead of the plain, dark backgrounds of the earlier Neapolitan style, which followed Caravaggios lead. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/luca-forte-still-life-with-grapes-and-other-fruit-1630s/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2224,https://www.theibis.net/wp-content/uploads/2019/02/grapey_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2211,"Fitz Henry Lane : ""Becalmed off Halfway Rock"" (1860) 16"" x 20"" (Image: 9.75"" x 17"")","Fitz Henry Lane grew up the son of a sail maker on Gloucester Harbors working waterfront. As a child he lost the use of his legs and, unable to play games as the other boys did, found solitary pleasure in art. Though he was largely self-taught, he honed his skills through employment at Pendletons Lithography shop in Boston. As his technique improved he was able to establish himself as a successful marine painter, working in the luminist style; an offshoot of the Hudson River school that emphasized tranquil lighting effects, calm water and soft, hazy skies. The setting for this piece is Casco Bay, in the vicinity of Halfway Rock—a treacherous, barren ledge that rises only ten feet above high tide—before a series of shipwrecks led to the construction of the lighthouse that stands there today.",https://www.theibis.net/product/fitz-henry-lane-becalmed-off-halfway-rock-1860/?attribute_size=16%22+x+20%22+%28Image%3A+9.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2211,https://www.theibis.net/wp-content/uploads/2019/02/becal_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2199,"Philips Wouwerman : ""Battle Scene"" (c. 1645-1646) 16"" x 20"" (Image: 9.81"" x 17"")","This battle scene between Dutch and Spanish soldiers depicts the stark reality of warfare, unadorned by romantic displays of dauntless courage and noble sacrifice. The combat is visceral and animalistic, the central figure seizing another horseman by the hair as he prepares to land a blow from behind. The ground is littered with soldiers; some dead, others about to die. In the periphery, the injured drummer flees the melee, leaving his damaged instrument behind. Philips Wouwerman was one of the most prolific and versatile artists of the Dutch Golden Age, producing landscapes, hunting, religious and genre paintings, as well as battle scenes. He is recognized by art historians for the virtuosity with which he depicted horses in motion.",https://www.theibis.net/product/philips-wouwerman-battle-scene-c-1645-1646/?attribute_size=16%22+x+20%22+%28Image%3A+9.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2199,https://www.theibis.net/wp-content/uploads/2019/02/wouw_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2189,"Cornelis Claesz van Wieringen : ""The Explosion of the Spanish Flagship During the Battle of Gibraltar"" (c. 1621) 16"" x 20"" (Image: 12.31"" x 17"")","Sailors and debris are hurled through the air in this richly-detailed painting by the Dutch Golden Age painter Cornelis Claesz van Wieringen. Produced on commission for the Admiralty of Amsterdam, it depicts Hollands first major naval victory, which took place on April 25, 1607, as the Dutch fleet surprised the Spanish in the Bay of Gibraltar. Vessels of the period carried power magazines which need to be protected from cannon fire. The Spanish ship shown here took a direct hit and met an accordingly spectacular end.",https://www.theibis.net/product/cornelis-claesz-van-wieringen-the-explosion-of-the-spanish-flagship-during-the-battle-of-gibraltar-c-1621/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2189,https://www.theibis.net/wp-content/uploads/2019/02/sflag_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2172,"Paul Cezanne : ""The Battle of Love"" (c. 1880) 16"" x 20"" (Image: 13"" x 15.88"")","A dark twist on a Renaissance bacchanal. Cézannes figures are not engaged in pleasant drinking, dancing and love-making; they savage one another like animals. Rendered in twisting, fluid brushstrokes, the landscape itself feels suffused with violence. Love, Cézanne appears to suggest, is not a harmonious union of two souls, but an ongoing psychic battle that leaves nothing but pain and destruction in its wake. Unsurprisingly, the artists own marriage was fraught with difficulties. After the death of his father he separated from his wife, Marie-Hortese Fiquet, complaining that she cared only for ""Switzerland and lemonade.""",https://www.theibis.net/product/paul-cezanne-the-battle-of-love-c-1880/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.88%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2172,https://www.theibis.net/wp-content/uploads/2019/02/blove_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2162,"Benjamin West : ""The Battle of La Hogue"" (c. 1778) 16"" x 20"" (Image: 12"" x 17"")","An epic representation of the naval battle that took place between the Anglo-Dutch and French fleets near the coast of La Hogue, France, in 1692. West portrays Vice Admiral George Rooke commanding from a small boat (at left) while the French flagship sinks in the center distance; counterfactual details that told a more exciting, and decidedly pro-British story. In 1772 he was appointed historical painter to the court of King George and went on to serve as the second president of the Royal Academy. A neoclassical painter who studied the works of the Italian Renaissance masters, he was known to England as the ""American Raphael.""",https://www.theibis.net/product/benjamin-west-the-battle-of-la-hogue-c-1778/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2162,https://www.theibis.net/wp-content/uploads/2019/02/hogue_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2150,"Pamela Colman Smith : ""Sonata No. 11 - Beethoven"" (1907) 16"" x 20"" (Image: 12.31"" x 17"")","Best-known for her work illustrating the Rider-Waite tarot, Pamela Colman Smith was a synesthetic artist whose watercolors record the dramatic visions that unfurled before her as she listened to classical music. Each composer opened a doorway into a different realm. ""Chopin brings the night,"" she wrote, ""gardens, mystery and dread hide under every bush, but joy and passion throb within the air,"" whereas Wagner summoned maddening visions of ""scratchy little brown fir-trees rising through a brown fog,"" and ""thick curtains of brown spiders webs"" with ""a sickly, sweet, evil smell clinging to everything."" ""Sometimes they are so strange,"" she said of her visions, ""they shock me as they come."" Mrs. Forbes-Semphill described her process in a 1927 article for The Illustrated London News : ""Sometimes the picture appears and grows in colour and form upon the paper as she draws, and she seems to just trace over it with her brush. At other times it is a living and moving picture that she sees before her in a frame…She does not seek to analyse these impressions at the time, as this would interfere with the subconscious action; she is absolutely sincere, and sets down only what she sees, holding her imagination well in check."" These images, moreover, were deeply imbued with occult symbolism. Smith was a member of the Hermetic Order of the Golden Dawn—an influential esoteric society whose membership included Bram Stoker, William Butler Yeats and Arthur Machen, to name a few. At the heart of their doctrines was the theory of correspondences, which, according to Melinda Boyd Parsons, ""suggested that each aspect of creation as an imperfect reflection of a spiritual prototype...filtered through the ten Sephiroth or divine names. These, in turn, were manifestations of one uncreated source. True reality lay only in this prototypical realm."" They believed that it was this realm of pure archetype that Pamela Colman Smith was accessing through her art.",https://www.theibis.net/product/pamela-colman-smith-sonata-no-11-beethoven-1907/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2150,https://www.theibis.net/wp-content/uploads/2019/02/sonata11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2139,"Pamela Colman Smith : ""Red Cloak"" (1908) 16"" x 20"" (Image: 13"" x 16.25"")","Best-known for her work illustrating the Rider-Waite tarot, Pamela Colman Smith was a synesthetic artist whose watercolors record the dramatic visions that unfurled before her as she listened to classical music. Each composer opened a doorway into a different realm. ""Chopin brings the night,"" she wrote, ""gardens, mystery and dread hide under every bush, but joy and passion throb within the air,"" whereas Wagner summoned maddening visions of ""scratchy little brown fir-trees rising through a brown fog,"" and ""thick curtains of brown spiders webs"" with ""a sickly, sweet, evil smell clinging to everything."" ""Sometimes they are so strange,"" she said of her visions, ""they shock me as they come."" Mrs. Forbes-Semphill described her process in a 1927 article for The Illustrated London News : ""Sometimes the picture appears and grows in colour and form upon the paper as she draws, and she seems to just trace over it with her brush. At other times it is a living and moving picture that she sees before her in a frame…She does not seek to analyse these impressions at the time, as this would interfere with the subconscious action; she is absolutely sincere, and sets down only what she sees, holding her imagination well in check."" These images, moreover, were deeply imbued with occult symbolism. Smith was a member of the Hermetic Order of the Golden Dawn—an influential esoteric society whose membership included Bram Stoker, William Butler Yeats and Arthur Machen, to name a few. At the heart of their doctrines was the theory of correspondences, which, according to Melinda Boyd Parsons, ""suggested that each aspect of creation as an imperfect reflection of a spiritual prototype...filtered through the ten Sephiroth or divine names. These, in turn, were manifestations of one uncreated source. True reality lay only in this prototypical realm."" They believed that it was this realm of pure archetype that Pamela Colman Smith was accessing through her art.",https://www.theibis.net/product/pamela-colman-smith-red-cloak-1908/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2139,https://www.theibis.net/wp-content/uploads/2019/02/redcloak_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2127,"Pamela Colman Smith : ""Overture, Manfred - Schumann"" (1907) 16"" x 20"" (Image: 12.44"" x 17"")","Best-known for her work illustrating the Rider-Waite tarot, Pamela Colman Smith was a synesthetic artist whose watercolors record the dramatic visions that unfurled before her as she listened to classical music. Each composer opened a doorway into a different realm. ""Chopin brings the night,"" she wrote, ""gardens, mystery and dread hide under every bush, but joy and passion throb within the air,"" whereas Wagner summoned maddening visions of ""scratchy little brown fir-trees rising through a brown fog,"" and ""thick curtains of brown spiders webs"" with ""a sickly, sweet, evil smell clinging to everything."" ""Sometimes they are so strange,"" she said of her visions, ""they shock me as they come."" Mrs. Forbes-Semphill described her process in a 1927 article for The Illustrated London News : ""Sometimes the picture appears and grows in colour and form upon the paper as she draws, and she seems to just trace over it with her brush. At other times it is a living and moving picture that she sees before her in a frame…She does not seek to analyse these impressions at the time, as this would interfere with the subconscious action; she is absolutely sincere, and sets down only what she sees, holding her imagination well in check."" These images, moreover, were deeply imbued with occult symbolism. Smith was a member of the Hermetic Order of the Golden Dawn—an influential esoteric society whose membership included Bram Stoker, William Butler Yeats and Arthur Machen, to name a few. At the heart of their doctrines was the theory of correspondences, which, according to Melinda Boyd Parsons, ""suggested that each aspect of creation as an imperfect reflection of a spiritual prototype...filtered through the ten Sephiroth or divine names. These, in turn, were manifestations of one uncreated source. True reality lay only in this prototypical realm."" They believed that it was this realm of pure archetype that Pamela Colman Smith was accessing through her art.",https://www.theibis.net/product/pamela-colman-smith-overture-manfred-schumann-1907/?attribute_size=16%22+x+20%22+%28Image%3A+12.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2127,https://www.theibis.net/wp-content/uploads/2019/02/schu_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2116,"Pamela Colman Smith : ""Sonata in F Major (for Violin and Piano) - Mozart, Second Series Duet"" (1907) 16"" x 20"" (Image: 13"" x 13.75"")","Best-known for her work illustrating the Rider-Waite tarot, Pamela Colman Smith was a synesthetic artist whose watercolors record the dramatic visions that unfurled before her as she listened to classical music. Each composer opened a doorway into a different realm. ""Chopin brings the night,"" she wrote, ""gardens, mystery and dread hide under every bush, but joy and passion throb within the air,"" whereas Wagner summoned maddening visions of ""scratchy little brown fir-trees rising through a brown fog,"" and ""thick curtains of brown spiders webs"" with ""a sickly, sweet, evil smell clinging to everything."" ""Sometimes they are so strange,"" she said of her visions, ""they shock me as they come."" Mrs. Forbes-Semphill described her process in a 1927 article for The Illustrated London News : ""Sometimes the picture appears and grows in colour and form upon the paper as she draws, and she seems to just trace over it with her brush. At other times it is a living and moving picture that she sees before her in a frame…She does not seek to analyse these impressions at the time, as this would interfere with the subconscious action; she is absolutely sincere, and sets down only what she sees, holding her imagination well in check."" These images, moreover, were deeply imbued with occult symbolism. Smith was a member of the Hermetic Order of the Golden Dawn—an influential esoteric society whose membership included Bram Stoker, William Butler Yeats and Arthur Machen, to name a few. At the heart of their doctrines was the theory of correspondences, which, according to Melinda Boyd Parsons, ""suggested that each aspect of creation as an imperfect reflection of a spiritual prototype...filtered through the ten Sephiroth or divine names. These, in turn, were manifestations of one uncreated source. True reality lay only in this prototypical realm."" They believed that it was this realm of pure archetype that Pamela Colman Smith was accessing through her art.",https://www.theibis.net/product/pamela-colman-smith-sonata-in-f-major-for-violin-and-piano-mozart-second-series-duet-1907/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2116,https://www.theibis.net/wp-content/uploads/2019/02/fmajor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2103,"Pamela Colman Smith : ""Facing a Mosque"" (c. 1907) 16"" x 20"" (Image: 13"" x 14.13"")","Best-known for her work illustrating the Rider-Waite tarot, Pamela Colman Smith was a synesthetic artist whose watercolors record the dramatic visions that unfurled before her as she listened to classical music. Each composer opened a doorway into a different realm. ""Chopin brings the night,"" she wrote, ""gardens, mystery and dread hide under every bush, but joy and passion throb within the air,"" whereas Wagner summoned maddening visions of ""scratchy little brown fir-trees rising through a brown fog,"" and ""thick curtains of brown spiders webs"" with ""a sickly, sweet, evil smell clinging to everything."" ""Sometimes they are so strange,"" she said of her visions, ""they shock me as they come."" Mrs. Forbes-Semphill described her process in a 1927 article for The Illustrated London News : ""Sometimes the picture appears and grows in colour and form upon the paper as she draws, and she seems to just trace over it with her brush. At other times it is a living and moving picture that she sees before her in a frame…She does not seek to analyse these impressions at the time, as this would interfere with the subconscious action; she is absolutely sincere, and sets down only what she sees, holding her imagination well in check."" These images, moreover, were deeply imbued with occult symbolism. Smith was a member of the Hermetic Order of the Golden Dawn—an influential esoteric society whose membership included Bram Stoker, William Butler Yeats and Arthur Machen, to name a few. At the heart of their doctrines was the theory of correspondences, which, according to Melinda Boyd Parsons, ""suggested that each aspect of creation as an imperfect reflection of a spiritual prototype...filtered through the ten Sephiroth or divine names. These, in turn, were manifestations of one uncreated source. True reality lay only in this prototypical realm."" They believed that it was this realm of pure archetype that Pamela Colman Smith was accessing through her art.",https://www.theibis.net/product/pamela-colman-smith-facing-a-mosque-c-1907/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2103,https://www.theibis.net/wp-content/uploads/2019/02/fmos_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2090,"Pamela Colman Smith : ""The Blue Cat"" (1907) 16"" x 20"" (Image: 13"" x 16.81"")","Best-known for her work illustrating the Rider-Waite tarot, Pamela Colman Smith was a synesthetic artist whose watercolors record the dramatic visions that unfurled before her as she listened to classical music. Each composer opened a doorway into a different realm. ""Chopin brings the night,"" she wrote, ""gardens, mystery and dread hide under every bush, but joy and passion throb within the air,"" whereas Wagner summoned maddening visions of ""scratchy little brown fir-trees rising through a brown fog,"" and ""thick curtains of brown spiders webs"" with ""a sickly, sweet, evil smell clinging to everything."" ""Sometimes they are so strange,"" she said of her visions, ""they shock me as they come."" Mrs. Forbes-Semphill described her process in a 1927 article for The Illustrated London News : ""Sometimes the picture appears and grows in colour and form upon the paper as she draws, and she seems to just trace over it with her brush. At other times it is a living and moving picture that she sees before her in a frame…She does not seek to analyse these impressions at the time, as this would interfere with the subconscious action; she is absolutely sincere, and sets down only what she sees, holding her imagination well in check."" These images, moreover, were deeply imbued with occult symbolism. Smith was a member of the Hermetic Order of the Golden Dawn—an influential esoteric society whose membership included Bram Stoker, William Butler Yeats and Arthur Machen, to name a few. At the heart of their doctrines was the theory of correspondences, which, according to Melinda Boyd Parsons, ""suggested that each aspect of creation as an imperfect reflection of a spiritual prototype...filtered through the ten Sephiroth or divine names. These, in turn, were manifestations of one uncreated source. True reality lay only in this prototypical realm."" They believed that it was this realm of pure archetype that Pamela Colman Smith was accessing through her art.",https://www.theibis.net/product/pamela-colman-smith-the-blue-cat-1907/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2090,https://www.theibis.net/wp-content/uploads/2019/02/bcatsmith_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2080,"Pamela Colman Smith : ""Time"" (c. 1907) 16"" x 20"" (Image: 13"" x 13.25"")","Best-known for her work illustrating the Rider-Waite tarot, Pamela Colman Smith was a synesthetic artist whose watercolors record the dramatic visions that unfurled before her as she listened to classical music. Each composer opened a doorway into a different realm. ""Chopin brings the night,"" she wrote, ""gardens, mystery and dread hide under every bush, but joy and passion throb within the air,"" whereas Wagner summoned maddening visions of ""scratchy little brown fir-trees rising through a brown fog,"" and ""thick curtains of brown spiders webs"" with ""a sickly, sweet, evil smell clinging to everything."" ""Sometimes they are so strange,"" she said of her visions, ""they shock me as they come."" Mrs. Forbes-Semphill described her process in a 1927 article for The Illustrated London News : ""Sometimes the picture appears and grows in colour and form upon the paper as she draws, and she seems to just trace over it with her brush. At other times it is a living and moving picture that she sees before her in a frame…She does not seek to analyse these impressions at the time, as this would interfere with the subconscious action; she is absolutely sincere, and sets down only what she sees, holding her imagination well in check."" These images, moreover, were deeply imbued with occult symbolism. Smith was a member of the Hermetic Order of the Golden Dawn—an influential esoteric society whose membership included Bram Stoker, William Butler Yeats and Arthur Machen, to name a few. At the heart of their doctrines was the theory of correspondences, which, according to Melinda Boyd Parsons, ""suggested that each aspect of creation as an imperfect reflection of a spiritual prototype...filtered through the ten Sephiroth or divine names. These, in turn, were manifestations of one uncreated source. True reality lay only in this prototypical realm."" They believed that it was this realm of pure archetype that Pamela Colman Smith was accessing through her art.",https://www.theibis.net/product/pamela-colman-smith-time-c-1907/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2080,https://www.theibis.net/wp-content/uploads/2019/02/pamtime_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2068,"Pamela Colman Smith : ""Sea Creatures"" (c. 1907) 16"" x 20"" (Image: 13"" x 14.31"")","Best-known for her work illustrating the Rider-Waite tarot, Pamela Colman Smith was a synesthetic artist whose watercolors record the dramatic visions that unfurled before her as she listened to classical music. Each composer opened a doorway into a different realm. ""Chopin brings the night,"" she wrote, ""gardens, mystery and dread hide under every bush, but joy and passion throb within the air,"" whereas Wagner summoned maddening visions of ""scratchy little brown fir-trees rising through a brown fog,"" and ""thick curtains of brown spiders webs"" with ""a sickly, sweet, evil smell clinging to everything."" ""Sometimes they are so strange,"" she said of her visions, ""they shock me as they come."" Mrs. Forbes-Semphill described her process in a 1927 article for The Illustrated London News : ""Sometimes the picture appears and grows in colour and form upon the paper as she draws, and she seems to just trace over it with her brush. At other times it is a living and moving picture that she sees before her in a frame…She does not seek to analyse these impressions at the time, as this would interfere with the subconscious action; she is absolutely sincere, and sets down only what she sees, holding her imagination well in check."" These images, moreover, were deeply imbued with occult symbolism. Smith was a member of the Hermetic Order of the Golden Dawn—an influential esoteric society whose membership included Bram Stoker, William Butler Yeats and Arthur Machen, to name a few. At the heart of their doctrines was the theory of correspondences, which, according to Melinda Boyd Parsons, ""suggested that each aspect of creation as an imperfect reflection of a spiritual prototype...filtered through the ten Sephiroth or divine names. These, in turn, were manifestations of one uncreated source. True reality lay only in this prototypical realm."" They believed that it was this realm of pure archetype that Pamela Colman Smith was accessing through her art.",https://www.theibis.net/product/pamela-colman-smith-sea-creatures-c-1907/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2068,https://www.theibis.net/wp-content/uploads/2019/02/pamsea_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2057,"Francois Boucher : ""The Bath of Venus"" (1751) 16"" x 20"" (Image: 13"" x 16.63"")","Two putti giggle at Venus as she tries to restrain Cupid, the classical god of erotic love, in this comment upon the folly of rationality at odds with sensual pleasure. One hundred years earlier, Thomas Hobbes had described the natural state of man as a ""war of all against all,"" his life ""solitary, poor, nasty, brutish and short;"" only the dictatorship an absolute sovereign could save us from ourselves. France in the age of Rousseau was developing more positive attitudes toward nature, and of natural human impulses, which recognized that the mind could not—and should not—govern the bodys fundamental needs and desires.",https://www.theibis.net/product/francois-boucher-the-bath-of-venus-1751/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2057,https://www.theibis.net/wp-content/uploads/2019/02/bven_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2044,"Camille Pissarro : ""The Bather"" (1895) 16"" x 20"" (Image: 13"" x 16.81"")","Pissarros early impressionist works shocked contemporary critics, accustomed, as they were, to the strict conventions of academic realism. His loose, dabbling brushwork sought to capture the essence of the subject, rather than its details. In an era when historical, mythological and religious themes rested at the very pinnacle of fine art, he painted the everyday lives of ordinary people. Rather than blending his pigments to precision, he juxtaposed complementary colors to create bright, vibrant contrasts, and avoided the dampening effect of black by painting shadows in the reflected light of their surroundings. If academic realists were uneasy about the advent of photography, Pissarro and the impressionists had no cause for concern; their object was not to represent the world as it exists, but as it is perceived. The Bather is one of Pissarros later works; the product of a renewed interest in impressionism following his collaboration with Georges Seurat and Paul Signac. The pointillist technique, in which small patches of pure color blend together when viewed from a distance, had proven far too mechanical for Pissarro, who recounted that ""It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and admirable, of nature, impossible to give an individual character to my drawing, I had to give up."" According to the art historian John Reward, his works of this late period became ""more subtle, his color scheme more refined, his drawing firmer,"" as he ""approached old age with an increased mastery.""",https://www.theibis.net/product/camille-pissarro-the-bather-1895/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.81%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2044,https://www.theibis.net/wp-content/uploads/2019/02/pbath_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2032,"Christian Wilhelm Ernst Dietrich : ""The Satyrs Family"" (18th century) 16"" x 20"" (Image: 11.81"" x 17"")","The motif of a tender satyr caring for his family was first conceived by Albrecht Dürer and Jacopo de Barbari in the early 16th century. In the original Satyr Family prints, the satyr is shown paying a musical instrument as his wife cradles their newborn infant. This engraving by Dietrich may have been conceived as a sequel to these, showing a later episode in the life of the satyr family, who are now busy tending their two children. Though he never developed a style of his own, Dietrich had a genius for imitating the the old masters, his best work being that which he gave to his engravings.",https://www.theibis.net/product/christian-wilhelm-ernst-dietrich-the-satyrs-family-18th-century/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2032,https://www.theibis.net/wp-content/uploads/2019/02/diet_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2013,"Albrecht Durer : ""The Satyr Family"" (1505) 16"" x 20"" (Image: 11"" x 17"")","Dürer’s interest in mythological imagery stemmed from his familiarity with the Italian Renaissance. In this ambiguous engraving, Dürer depicted a satyr-a hybrid woodland creature typically associated with lust-in the role of father and family man. Instead of carousing in the forest, he plays music to his newborn child. Dürer’s play on the mother and child theme and the satyr’s unconventional fatherly behavior draws attention to a primal and simplified way of life. In contrast though, the group rests within an inhospitable dense forest where tops of trees are splintered and branches are dead, implying that the figures’ relaxed instinctual approach toward procreation and sexuality remains outside the bounds of Christian virtue. (Text courtesy of The Cleveland Museum of Art)",https://www.theibis.net/product/albrecht-durer-satyr-family-1505-1567/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2013,https://www.theibis.net/wp-content/uploads/2019/08/satfam_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 2001,"Albrecht Durer : ""Sea Monster (Das Meerwunder)"" (c. 1498) 16"" x 20"" (Image: 12.88"" x 17"")","A woman in a Milanese headdress is snatched away by a half-man, half-fish monster in this characteristically enigmatic engraving by the German Renaissance master Albrecht Dürer. Whether it is based upon a specific myth or legend, or whether it represents a composite of motifs drawn from different sources, is a question that still confounds scholars. The nude womans lack of active resistance may suggest that the piece had been intended to carry erotic or moralistic overtones. Her lust cajoles her away to sea, even as the friendly figures on the shore are frantic to save her.",https://www.theibis.net/product/albrecht-durer-sea-monster-das-meerwunder-c-1498/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=2001,https://www.theibis.net/wp-content/uploads/2019/02/seamon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1990,"Folk Art : ""The Barnyard"" (late 19th century) 16"" x 20"" (Image: 12.56"" x 17"")","An American folk art piece of the late 19th century, believed to have originated from New Jersey. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-the-barnyard-late-19th-century/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1990,https://www.theibis.net/wp-content/uploads/2019/02/folk2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1978,"J.M.W. Turner : ""Approach to Venice"" (1844) 16"" x 20"" (Image: 11.25"" x 17"")","J.M.W. Turner was ""the painter of light"" long before Thomas Kinkade. Conceiving of light as the emanation of Gods spirit, he came, over time, to shun solid landscapes in favor of more luminous, abstract compositions, swirling with dramatic contrasts of tone and color. Here, gondolas and barges approach the city of Venice as the moon sets and the cold night sky gives way to mornings golden radiance. When it was first exhibited, Turner quoted Lord Byron in the catalog description: ""The moon is up, and yet it is not night / The sun as yet disputes the day with her.""",https://www.theibis.net/product/j-m-w-turner-approach-to-venice-1844/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1978,https://www.theibis.net/wp-content/uploads/2019/02/aven_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1968,"George Bellows : ""Both Members of This Club"" (1909) 16"" x 20"" (Image: 12.19"" x 17"")","Arbitrary social categories are stripped away in the context of this underground boxing match, where fighters of different races face each other man-to-man. The lighting is dramatic, the colors lurid. Quick, slashing brushstrokes follow the sinews of the fighters bodies. The faces of the spectators are rendered fierce and wild. A member of the so-called ""Ashcan School,"" Bellows sought to portray the gritty realities of contemporary American society, undiluted by the sentimentality and romanticism that had characterized Victorian era representations of the poor and working class.",https://www.theibis.net/product/george-bellows-both-members-of-this-club-1909/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1968,https://www.theibis.net/wp-content/uploads/2019/02/bmem_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1953,"Jean Francois de Troy : ""The Abduction of Europa"" (1716) 16"" x 20"" (Image: 13"" x 16.25"")","A staple of western art in the rococo style. The abduction or rape or Europa refers to an episode in Greek mythology wherein Zeus transforms himself into a bull in order to seduce the high-born Phoenician woman. When Europa mounts him, he runs into the sea and swims away to Crete, where she acquiesces and becomes queen. The details of the painting, including the flower garland and the position of Europas hands, closely correspond with the narrative in Ovids Metamorphoses : ""And gradually she lost her fear, and he / Offered his breast for her virgin caresses, / His horns for her to wind with chains of flowers / Until the princess dared to mount his back / Her pet bulls back, unwitting whom she rode. / Then—slowly, slowly down the broad, dry beach— / First in the shallow waves the great god set / His spurious hooves, then sauntered further out / till in the open sea he bore his prize. / Fear filled her heart as, gazing back, she saw / The fast receding sands. Her right hand grasped / A horn, the other lent upon his back / Her fluttering tunic floated in the breeze.""",https://www.theibis.net/product/jean-francois-de-troy-the-abduction-of-europa-1716/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1953,https://www.theibis.net/wp-content/uploads/2019/02/auro_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1943,"John Constable : ""Wivenhoe Park, Essex"" (1816) 16"" x 20"" (Image: 9.13"" x 17"")","Wivenhoe Park, Essex is a tranquil landscape of the English countryside in which a well-managed estate provides an idyllic setting for a community of wild birds, livestock and their caretakers. Located about 55 miles northeast of London, Wivenhoe Park was owned by Major-General Francis Slater Rebow, whose daughter appears in the far left of the painting, driving a donkey cart.",https://www.theibis.net/product/john-constable-wivenhoe-park-essex-1816/?attribute_size=16%22+x+20%22+%28Image%3A+9.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1943,https://www.theibis.net/wp-content/uploads/2019/02/wiven_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1933,"Folk Art : ""Brother and Sister"" (c. 1845) 16"" x 20"" (Image: 13"" x 16.25"")","This folk art piece of a brother, sister and their dog is believed to have originated from New Jersey on or around 1845. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders the work all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-brother-and-sister-c-1845/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1933,https://www.theibis.net/wp-content/uploads/2019/02/folk1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1922,"Gustav Klimt : ""Baby (Cradle)"" (1917-1918) 16"" x 20"" (Image: 13"" x 13"")","An unsung masterwork by Gustav Klimt composed of swirling patterns of vibrant color, reminiscent of stained glass. It was produced near the end of his life, and thereafter sold to Otto and Eugenia Primavesi, major patrons of Klimt and the Vienna Successions craft workshop, the Wiener Werstatte. Eugenias daughter, Mada, once reminisced fondly of how her parents ""would have these house parties and Klimt would wear these robes of the Weiner Werkstatte—pure silk robes. It looked so colorful.""",https://www.theibis.net/product/gustav-klimt-baby-cradle-1917-1918/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1922,https://www.theibis.net/wp-content/uploads/2019/02/bcrad_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1911,"Folk Art : ""Cat and Kittens"" (c. 1872-1883) 16"" x 20"" (Image: 13"" x 15.06"")","Produced with oils on mill board, this folk art piece is believed to have originated from Connecticut around 1872-1883. Characteristic of the genre, the artists naïveté towards the rules of proportion and perspective has an effect that renders it all the more endearing for its imperfections.",https://www.theibis.net/product/folk-art-cat-and-kittens-c-1872-1883/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.06%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1911,https://www.theibis.net/wp-content/uploads/2019/02/catkit_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1899,"William Blake : ""The Ancient of Days"" (1794) 16"" x 20"" (Image: 12.19"" x 17"")","Published as the frontispiece for Europe: a Prophecy , The Ancient of Days depicts Urizen—in Blakes personal mythology, the embodiment of conventional law and reason—separating light and darkness, his outstretched hand holding a compass to the void. From a strictly Christian point of view, it evokes the passage in Proverbs 7:27, ""when he set a compass upon the face of the earth."" A favorite image of Blakes, it is said to have been based upon one of the many religious visions that he experienced throughout his life.",https://www.theibis.net/product/william-blake-the-ancient-of-days-1794/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1899,https://www.theibis.net/wp-content/uploads/2019/02/adays_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1888,"Thomas Cole : ""The Return"" (1837) 16"" x 20"" (Image: 10.5"" x 17"")","In 1836 William Paterson Van Rensselaer commissioned Thomas Cole to produce a pair canvases representing morning and evening. The Departure , set in summer, depicts a lord leading a detachment of knights on some valiant crusade. The Return , an autumn landscape, shows him being carried to church on a stretcher, trailed by a lone escort and his riderless horse. The two paintings were well-received. A critic for the New-York Mirror offered the following praise: ""These pictures represent Morning and Evening, or Sunrise and Sunset; and are, merely from that point of view, invaluable. They contrast the glowing warmth of one, with the cool tints and broad shadows of the other; and to do this is the work of a master, who has studied nature and loves her….Not only this is done, but a story is told by the poet-painter, elucidating at once, the times of chivalry and feudal barbarism, and the feelings with which man rushes forth in the morning of day and of life, and the slow and funereal movements which attend the setting of his sun."" Cole had finished another allegorical series, Course of Empire , earlier in 1836, and would go on to produce The Voyage of Life in 1842.",https://www.theibis.net/product/thomas-cole-the-return-1837/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1888,https://www.theibis.net/wp-content/uploads/2019/02/depret2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1876,"Thomas Cole : ""The Departure"" (1837) 16"" x 20"" (Image: 10.5"" x 17"")","In 1836 William Paterson Van Rensselaer commissioned Thomas Cole to produce a pair canvases representing morning and evening. The Departure , set in summer, depicts a lord leading a detachment of knights on some valiant crusade. The Return , an autumn landscape, shows him being carried to church on a stretcher, trailed by a lone escort and his riderless horse. The two paintings were well-received. A critic for the New-York Mirror offered the following praise: ""These pictures represent Morning and Evening, or Sunrise and Sunset; and are, merely from that point of view, invaluable. They contrast the glowing warmth of one, with the cool tints and broad shadows of the other; and to do this is the work of a master, who has studied nature and loves her….Not only this is done, but a story is told by the poet-painter, elucidating at once, the times of chivalry and feudal barbarism, and the feelings with which man rushes forth in the morning of day and of life, and the slow and funereal movements which attend the setting of his sun."" Cole had finished another allegorical series, Course of Empire , earlier in 1836, and would go on to produce The Voyage of Life in 1842.",https://www.theibis.net/product/thomas-cole-the-departure-1837/?attribute_size=16%22+x+20%22+%28Image%3A+10.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1876,https://www.theibis.net/wp-content/uploads/2019/02/depret1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1866,"Gustave Moreau : ""Diomedes Devoured by Horses"" (1866) 16"" x 20"" (Image: 13"" x 14.44"")","As the shadowy figure of Hercules observes from between two columns in the background, four wild horses rip apart the slender body of King Diomedes. The brown mare fastens her teeth on his arm, while another sinks her jaw into his leg. Bodies of the horses previous victims lie piled to the right, above a pool of blood-stained water. This scene shows the dramatic climax from the eighth labor of Hercules, who was ordered to capture the four flesh-eating horses belonging to King Diomedes. Hercules killed the king in battle and fed his body to the horses, which tamed them. Gustave Moreaus fascination with violent, emotionally charged subjects portrayed in jewel-like colors typifies mid-1800s French painting. Here Moreaus luminous and delicately applied watercolor washes enhance an already dramatic scene, highlighting the vertical body of the doomed Diomedes, whose extended, stretched limbs repeat the dynamic rearing motion of the brown horses front legs. In calm contrast, Hercules rests in the background, silhouetted against a blue sky subtly rendered with light patches of wash. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/gustave-moreau-diomedes-devoured-by-horses-1866/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1866,https://www.theibis.net/wp-content/uploads/2019/02/diom_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1854,"John Martin : ""The Bard"" (c. 1817) 16"" x 20"" (Image: 13"" x 16.31"")","If Regency era England had heavy metal albums, John Martins The Bard is what the cover art would have looked like. The painting was inspired by Thomas Grays 1755 poem of the same name, in which King Edward I conquers Wales and orders all the bards killed, lest they inspire the people to rise up against their new English overlords. When the last bard is chased to a rocky precipice, he curses the army below and throws himself into the swirling river. Grays verse reads: ""Enough for me: with joy I see / The diffrent doom our fates assign. / Be thine Despair and sceptred Care; / To triumph and to die are mine. / He spoke, and headlong from the mountains height / Deep in the roaring ride he plunged to endless night."" Hardcore.",https://www.theibis.net/product/john-martin-the-bard-c-1817/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1854,https://www.theibis.net/wp-content/uploads/2019/02/mbard_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1843,"Thomas Cole : ""A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch)"" (1839) 16"" x 20"" (Image: 11"" x 17"")","An autumnal landscape filled with foreboding. Crawford Notch, a narrow gorge of the Saco River in the White Mountains of New Hampshire, was the site of a well-publicized avalanche that killed the entire Samuel Willey family in 1826. Ironically, the family had fled to a prepared shelter at the first sign of trouble, but this only served to place them in the direct path of the landslide; their house was unaffected. Cole, who visited the site in 1828, pictures it with bare, twisted trees and an impending storm that signal danger for the diminutive figures below. Describing it for his diary, he wrote: ""We now entered the Notch, and felt awestruck as we passed between the bare and rifted mountains. . . . The site of the Willie House standing with a little patch of green in the midst the dread wilderness of desolation called to mind the horrors of that night. . . when these mountains were deluged and rocks and trees were hurled from their high places down the steep channelled sides of the mountains. . . ."" The home shown partially obscured by a tree is the Notch House Inn, which was constructed two years after the tragedy.",https://www.theibis.net/product/thomas-cole-a-view-of-the-mountain-pass-called-the-notch-of-the-white-mountains-crawford-notch-1839/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1843,https://www.theibis.net/wp-content/uploads/2019/02/notch_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1831,"Gustave Moreau : ""Dejanira (Autumn)"" (c. 1872-1873) 16"" x 20"" (Image: 13"" x 15.69"")","The centaur Nessus offered to carry Dejanira, the wife of Hercules, across the river Evenus and then abducted her. Having already crossed the river, Hercules hid in the rocky crags beyond, readying a poisoned arrow to let loose on Nessus. Gustave Moreau contrasted the centaurs dark skin and muscular strength with Dejaniras pale flesh and graceful, lithe figure. Indeed, the two figures resemble dancers performing a ballet rather than opponents struggling for sexual conquest. With its jagged mountains, the hazy, mysterious landscape provides an eerie background. Moreau was not interested in presenting detailed information about the setting or its elements; he chose instead to disintegrate forms, allowing them to give way to areas of color that suggest shapes. He meant to include Dejanira in a set of pictures representing the changing seasons; the paintings autumnal palette of reds, oranges, browns, dark greens, and creamy whites conveys its other title, Autumn . Moreau described what he had in mind to the paintings first owner: ""I have tried to render the harmony that may exist between the world of nature at a certain time of year and certain phases of human life. The centaur seeks to embrace this white and graceful form, which is about to escape him. It is a last gleam, a last smile of nature and life. Winter threatens. Night is coming on. It is autumn."" (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/gustave-moreau-dejanira-autumn-c-1872-1873/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1831,https://www.theibis.net/wp-content/uploads/2019/02/dejanira_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1811,"Peter Paul Rubens : ""Pan Reclining"" (c. 1610) 16"" x 20"" (Image: 11"" x 17"")","Peter Paul Rubens breathed new life into this marble sculpture of Pan; once a popular attraction for artists visiting Rome to study figure from classical statuary. Red wash and chalk impart a fleshy cast to the drawing, which deliberately omits the pedestal of original sculpture. Rubens goal was not to slavishly copy his subject, but to reinterpret it expressively. Though believed to be ancient in Rubens time, the sculpture was actually of Renaissance origin, and was probably intended as a fountain for a grotto wall, where water would have poured from the mouth of the wine bladder adjacent to Pans pipes.",https://www.theibis.net/product/peter-paul-rubens-pan-reclining-c-1610/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1811,https://www.theibis.net/wp-content/uploads/2019/02/rpan_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1801,"Jan van Kessel : ""Vanitas Still Life"" (c. 1665-1670) 16"" x 20"" (Image: 12.75"" x 17"")","Jan van Kessel was the grandson of Jan Brueghel the Elder and worked in a similar tradition. However, he was also influenced by the scientific naturalism of Joris Hoefnagel. Of the works that have come down to us from van Kessel are numerous studies of small flowers, butterflies, beetles, caterpillars and other insects that he rendered with near-perfect anatomical precision. It is no coincidence, then, that in composing this vanitas he chose flowers and insects to represent the frail and ephemeral nature of life, rather than focusing upon more artificial staples of the genre, like books, globes and musical instruments.",https://www.theibis.net/product/jan-van-kessel-vanitas-still-life-c-1665-1670/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1801,https://www.theibis.net/wp-content/uploads/2019/02/kess1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1791,"Albert Bierstadt : ""Buffalo Trail: The Impending Storm"" (1869) 16"" x 20"" (Image: 10.13"" x 17"")","Albert Bierstadt based this painting of buffalo crossing a river on scenes he had sketched during his western expeditions of 1859 and 1863. In an 1859 letter, he recounted: ""We find here plenty of buffalo. One morning we saw a noble looking animal crossing the river near us, and I alighted from my ambulance and took a position behind a bluff, in order to give him a reception. As he came splashing through the water, I felt half inclined to lay down my rifle and take up my sketchbook, but I was so wrapped in admiration and study I could do neither for a few moments.""",https://www.theibis.net/product/albert-bierstadt-buffalo-trail-the-impending-storm-1869/?attribute_size=16%22+x+20%22+%28Image%3A+10.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1791,https://www.theibis.net/wp-content/uploads/2019/02/btrail_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1781,"Albert Bierstadt : ""Mount Corcoran"" (c. 1876-1877) 16"" x 20"" (Image: 10.69"" x 17"")","Mount Corcoran is a peak in the Sierra Nevada which Bierstadt named for William Wilson Corcoran, founder of the Corcoran Gallery of Art. It was originally entitled ""Mountain Lake,"" but Bierstadt, eager for Corcorans patronage, decided that the painting—and the mountain—deserved a more suitable name. Unsurprisingly, this gesture was met with some skepticism, but Bierstadt shrugged off the controversy, stating that ""I am happy to have named one of our highest mountains after him, the first to catch the morning sunlight, the last to say good night.""",https://www.theibis.net/product/albert-bierstadt-mount-corcoran-c-1876-1877/?attribute_size=16%22+x+20%22+%28Image%3A+10.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1781,https://www.theibis.net/wp-content/uploads/2019/02/corc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1765,"Albert Bierstadt : ""The Last of the Buffalo"" (1888) 16"" x 20"" (Image: 10"" x 17"")","A fitting subject for what has been called Albert Bierstadts last great western landscape. From 1859 the German-born American painter had traveled the frontier, capturing on canvas an unspoiled wilderness of towering redwoods, mirror-like lakes and luminous mountain peaks. By 1888, the age of westward expansion was coming to a close, and the extinction of the buffalo, as well as of the Plains Indian culture, seemed inevitable. The Last of the Buffalo was an appeal from Bierstadt to the American people to preserve some remnant of what they had ever so recently set out to conquer, subdue, or outright destroy.",https://www.theibis.net/product/albert-bierstadt-the-last-of-the-buffalo-1888/?attribute_size=16%22+x+20%22+%28Image%3A+10%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1765,https://www.theibis.net/wp-content/uploads/2019/02/lbuf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1754,"James McNeill Whistler : ""Symphony in White, No. 1: The White Girl"" (1862) 16"" x 20"" (Image: 8.5"" x 17"")","Though innocuous by modern standards, The White Girl was infamous in its own time. It marked a turning point for Whistler, who was beginning to shun realism in favor of a looser, more abstract style—but to the 1860s art establishment, The White Girl looked less like a tonalist masterpiece than an unfinished painting. The vacant expression, moreover, and languid posture of the model, who dons an informal house dress normally reserved for private, registered as seedy and weird to 19th-century audiences. The piece was rejected from the Royal Academy of Arts exhibition in London as well as the 1863 Paris Salon, but found a home at the famous Salon des Refusés—a protest exhibition where controversial artists like Gustave Courbet and Édouard Manet made their stand. In the end, paintings infamy helped put Whistler on the map, garnering international attention for his work just as it was finding its voice.",https://www.theibis.net/product/james-mcneill-whistler-symphony-in-white-no-1-the-white-girl-1862/?attribute_size=16%22+x+20%22+%28Image%3A+8.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1754,https://www.theibis.net/wp-content/uploads/2019/02/swhite_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1741,"Albrecht Durer : ""Saint Jerome in His Study"" (1514) 16"" x 20"" (Image: 13"" x 17"")","Saint Jerome in His Study is one of the three ""master prints"" by Albrecht Dürer, widely held to represent the pinnacle of his skill as an engraver, if not European printmaking in general. It characterizes Saint Jerome by way of the objects and creatures in his study. These include books, a cardinals hat, a skull and crucifix contrasting death with resurrection, the lion and dog that are part of his story in de Voragines Golden Legend, and a large gourd referencing his debate with Saint Augustine over the translation of the Hebrew word kikayon (Jerome translated it as ""vine,"" rather than ""gourd""). As in the other master prints, a looming hourglass serves to remind us of lifes transience. What common thread, if any, unites Dürers master prints is a matter of no small controversy among scholars. One theory has it that each represents one of the three modes of virtuous living; Knight Death and the Devil being the active, Saint Jerome in His Study the contemplative, and Melencholia I the intellectual.",https://www.theibis.net/product/albrecht-durer-saint-jerome-in-his-study-1514/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1741,https://www.theibis.net/wp-content/uploads/2019/02/jerstud_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1730,"Albrecht Durer : ""Melencholia I"" (1514) 16"" x 20"" (Image: 13"" x 16.75"")","Melencholia I is one of the three ""master prints"" by Albrecht Dürer, widely held to represent the pinnacle of his skill as an engraver, if not European printmaking in general. Aptly described as an intellectual self-portrait of Dürer himself, it depicts the personification of Melancholy brooding among a variety of tools and instruments that make reference to geometry (considered to be the underlying language of all creative pursuits). The numbered grid is a magic square; its four quadrants, corners and centers all equal the number 34. To its immediate left, an hourglass suggests the pressure that creative individuals feel to perfect their crafts within the limited time allotted in life. What common thread, if any, unites Dürers master prints is a matter of no small controversy among scholars. One theory has it that each represents one of the three modes of virtuous living; Knight Death and the Devil being the active, Saint Jerome in His Study the contemplative, and Melencholia I the intellectual.",https://www.theibis.net/product/albrecht-durer-melencholia-i-1514/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1730,https://www.theibis.net/wp-content/uploads/2019/02/melank_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1719,"Frederick Catherwood : ""Pyramidal Building and Fragments of Sculpture at Copan (Plate 2)"" (1844) 16"" x 20"" (Image: 13"" x 16.69"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-pyramidal-building-and-fragments-of-sculpture-at-copan-plate-2-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1719,https://www.theibis.net/wp-content/uploads/2019/02/cathy2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1708,"Frederick Catherwood : ""Interior of the Principal Building at Kabah (Plate 17)"" (1844) 16"" x 20"" (Image: 13"" x 16.69"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-interior-of-the-principal-building-at-kabah-plate-17-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1708,https://www.theibis.net/wp-content/uploads/2019/02/cathy17_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1695,"Frederick Catherwood : ""Well of Bolonchen (Plate 20)"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-well-of-bolonchen-plate-20-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1695,https://www.theibis.net/wp-content/uploads/2019/02/cathy20_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1684,"Frederick Catherwood : ""Teocallis at Chichen Itza (Plate 22)"" (1844) 16"" x 20"" (Image: 12.25"" x 17"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-teocallis-at-chichen-itza-plate-22-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1684,https://www.theibis.net/wp-content/uploads/2019/02/cathy22_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1672,"Frederick Catherwood : ""Las Monjas Chichen Itza (Plate 21)"" (1844) 16"" x 20"" (Image: 13"" x 16.69"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-las-monjas-chichen-itza-plate-21-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1672,https://www.theibis.net/wp-content/uploads/2019/02/cathy21_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1662,"Frederick Catherwood : ""Temple at Tuloom (Plate 24)"" (1844) 16"" x 20"" (Image: 13"" x 16.68"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-temple-at-tuloom-plate-24-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.68%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1662,https://www.theibis.net/wp-content/uploads/2019/02/cathy24_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1650,"Frederick Catherwood : ""Gateway to the Great Teocallis at Uxmal (Plate 11)"" (1844) 16"" x 20"" (Image: 13"" x 16.69"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-gateway-to-the-great-teocallis-at-uxmal-plate-11-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1650,https://www.theibis.net/wp-content/uploads/2019/02/cathy11_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1640,"Frederick Catherwood : ""Broken Idol at Copan (Plate 4)"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-broken-idol-at-copan-plate-4-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1640,https://www.theibis.net/wp-content/uploads/2019/02/cathy4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1628,"Frederick Catherwood : ""Castle at Tuloom (Plate 23)"" (1844) 16"" x 20"" (Image: 13"" x 16.69"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-castle-at-tuloom-plate-23-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1628,https://www.theibis.net/wp-content/uploads/2019/02/cathy23_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1618,"Frederick Catherwood : ""Colossal Head at Izamal (Plate 25)"" (1844) 16"" x 20"" (Image: 13"" x 16.25"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-colossal-head-at-izamal-plate-25-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1618,https://www.theibis.net/wp-content/uploads/2019/02/cathy25_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1603,"Frederick Catherwood : ""Gateway, Casa del Gobernador, Uxmal (Plate 10)"" (1844) 16"" x 20"" (Image: 13"" x 16"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-gateway-casa-del-gobernador-uxmal-plate-10-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1603,https://www.theibis.net/wp-content/uploads/2019/02/cathy10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1592,"Frederick Catherwood : ""Idol and Altar at Copan (Plate 5)"" (1844) 16"" x 20"" (Image: 13"" x 15.75"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-idol-and-altar-at-copan-plate-5-1844/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1592,https://www.theibis.net/wp-content/uploads/2019/02/cathy5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1581,"Frederick Catherwood : ""Idol at Copan (Plate 1)"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","The 1839 and 1841 expeditions of Frederick Catherwood and John Lloyd Stephens sparked early popular interest in the Maya civilization, which had been largely undocumented at the time. As Stephens published popular accounts of their travels, Catherwood, an artist and architect, made sepia drawings of the sites they visited. Aided by a camera lucida, he was able to render the ruined architecture—intricately graven with strange and unfamiliar glyphs—with such precision that later archaeologists were able to decipher the inscriptions. Twenty-five of these images, garnished with romantic landscapes beset by overgrown vegetation, were published as lithographs in the exquisite folio volume Views of Ancient Monuments in Central America, Chiapas and Yucatan (1844), limited to 300 copies. ""In the whole range of literature on the Maya,"" writes David Drew, in his Lost Chronicles of the Maya , ""there has never appeared a more magnificent work.""",https://www.theibis.net/product/frederick-catherwood-idol-at-copan-plate-1-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1581,https://www.theibis.net/wp-content/uploads/2019/02/cathy1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1570,"William Blake : ""Mary Magdalene at the Sepulchre"" (c. 1805) 16"" x 20"" (Image: 12"" x 17"")","This luminous watercolor of Jesus emerging from the tomb is one of around eighty Bible illustrations produced by William Blake, principally between 1800 and 1805. It relates to the passage in John 20 where Mary visits the sepulchre and finds ""two angels in white sitting, the one at the head, and the other at the feet, where by the body of Jesus had lain."" The scholar Naomi Billingsley has suggested that the vertical alignment, mirror postures and eye contact between Jesus and Mary may reflect Blakes belief that each person is an embodiment of Jesus.",https://www.theibis.net/product/william-blake-mary-magdalene-at-the-sepulchre-c-1805/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1570,https://www.theibis.net/wp-content/uploads/2019/02/marymag_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1557,"William Blake : ""The Great Red Dragon and the Beast from the Sea"" (c. 1805) 16"" x 20"" (Image: 13"" x 14.44"")","While commissioned to illustrated the Bible, Blake created his iconic ""Great Red Dragon"" series, depicting four scenes from the Book of Revelation. This one corresponds to chapter thirteen, which opens: ""And I stood upon the sand of the sea, and saw a beast rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy. And the beast which I saw was like unto a leopard, and his feet were as the feet of a bear, and his mouth as the mouth of a lion: and the dragon gave him his power, and his seat, and great authority.""",https://www.theibis.net/product/william-blake-the-great-red-dragon-and-the-beast-from-the-sea-c-1805/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1557,https://www.theibis.net/wp-content/uploads/2019/02/dagb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1546,"William Blake : ""The Great Red Dragon and the Woman Clothed with the Sun"" (c. 1803-1805) 16"" x 20"" (Image: 13"" x 13.63"")","While commissioned to illustrated the Bible, Blake created his iconic ""Great Red Dragon"" series, depicting four scenes from the Book of Revelation. This one corresponds to chapter twelve, which begins: ""And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars: And she being with child cried, travailing in birth, and pained to be delivered. And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. And his tail drew the third part of the stars of heaven, and did cast them to earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born."" The dragon is normally identified with Satan; the woman with Israel and the Church.",https://www.theibis.net/product/william-blake-the-great-red-dragon-and-the-woman-clothed-with-the-sun-c-1803-1805/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13.63%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1546,https://www.theibis.net/wp-content/uploads/2019/02/dragsun_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1530,"J.M.W. Turner : ""Conway Castle, North Wales"" (1798) 16"" x 20"" (Image: 11.81"" x 17"")","On a dramatic, rocky area of the northern coast of Wales looms the late medieval Conway Castle. It towers over a stormy bay while fisherman struggle to pull their boats ashore. Caught in this uproaring of the sea, the tiny figures of fishermen in their boat convey a sense of humans barely significant place in the order of the universe. The Welsh landscape exerted a strong hold on Joseph Mallord William Turner, and he made several sketching trips there in the 1790s. In this early Romantic painting, Turner represented the dramatic effects of natural light, allowing sunshine breaking through the clouds to illuminate the castle and the coast beyond. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/j-m-w-turner-conway-castle-north-wales-1798/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1530,https://www.theibis.net/wp-content/uploads/2019/02/concas_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1520,"Hendrick Avercamp : ""Skating in a Village"" (c. 1610) 16"" x 20"" (Image: 8.5"" x 17"")","This winter scene from Europes ""Little Ice Age"" offers up a detailed cross-section of life in 17th century Holland. Against the backdrop of a drawbridge and a mill, villagers in period garb skate, play games, make conversation, and set about their daily labors. Different ages and social classes are represented, as are domestic, commercial and recreational activities. To the left of the composition, a pair of figures have fallen through the ice—a reminder, perhaps, that death is always lingering, even when we are at our most happy and carefree.",https://www.theibis.net/product/hendrick-avercamp-skating-in-a-village-c-1610/?attribute_size=16%22+x+20%22+%28Image%3A+8.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1520,https://www.theibis.net/wp-content/uploads/2019/02/aver2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1510,"John William Godward : ""The Signal"" (1899) 16"" x 20"" (Image: 11.75"" x 17"")","The womans brightly colored antique dress, not authentic but suggestive of antiquity, contrasts sharply with the smooth marble balustrade supporting her, whose open stonework was based on ancient models. While setting and costume allude to the ancient past, this paintings theme is timeless: waiting to hear from a loved one. The seascape in the background, the young womans gesture, and her diaphanous gown, slightly rippling like a flag, all suggest an awaited signal from her beloved. Though rendering the scene so prettily as to nullify any true anxiety, John William Godward did tap into a universal feeling, the isolation experienced in the midst of uncertainty. He specialized in portraying women alone in settings from antiquity, often in bust portraits, usually decorative, dark-haired beauties in see-through gowns created with ingenious contrasts of colors and flesh tones. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/john-william-godward-the-signal-1899/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1510,https://www.theibis.net/wp-content/uploads/2019/02/tsig_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1499,"John William Godward : ""Reverie"" (1904) 16"" x 20"" (Image: 13"" x 16.19"")","Lost in her thoughts, a languid young woman lounges on a smooth, veined marble bench terminating in a herm figure, probably representing the type of the poet Homer with its heavy beard, thick hair and narrow ribbon around the head. The cloth wrapped around her hips, over her silky chiton, or tunic, is not an authentic element of ancient costume, but it bears a repeated palmette border based on a common ancient design. The fluffy, spotted animal fur is almost tactile but has no specific connection to antiquity. John William Godward probably included it for the delight of juxtaposing such varied textures and colors. He painted the silk, fur, and marble with great accuracy, approaching photographic realism, and arranged them to enliven the subtly colored composition. Godward specialized in portraying women alone in settings suggesting antiquity, usually decorative, dark-haired beauties in diaphanous gowns created with ingenious contrasts of colors and flesh tones. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/john-william-godward-reverie-1904/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1499,https://www.theibis.net/wp-content/uploads/2019/02/godrev_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1489,"John William Godward : ""Mischief and Repose"" (1895) 16"" x 20"" (Image: 7.5"" x 17"")","A young woman reclines on a tiger skin on a marble ledge while her companion teases her with a dress pin. They are dressed in diaphanous robes fashioned after chitons worn by women in ancient Greece. Another dress pin and the reclining womans hair ribbon lie scattered on the marble floor. For over half a century after the continued excavations of Pompeii began in 1748, artists were fascinated with Greek and Roman life. John William Godward painted many scenes like this one of idealized beauties in calm, often sterile environments. In this painting, the figure of Repose is arranged seductively, with her breast and nipple showing through the thin material of her dress. But there is something distinctly untouchable about these women; they do not engage the viewer with an inviting gaze nor solicit personal contact. Like their antique setting, they possess a monumental, marmoreal quality, resembling Greek statues frozen in time. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/john-william-godward-mischief-and-repose-1895/?attribute_size=16%22+x+20%22+%28Image%3A+7.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1489,https://www.theibis.net/wp-content/uploads/2019/02/repose_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1478,"William Holbrook Beard : ""His Majesty Receives"" (1885) 16"" x 20"" (Image: 12.75"" x 17"")","The harsh realities of human social hierarchy are laid bare in this satirical piece by William Holbrook Beard, where mice and rabbits are shown supplicating themselves to a royal predator. The king may judge disputes or bestow favors, but, at the end of the day, his subjects are his food, and his only purpose in maintaining them is to ensure that he has plenty to eat for later. An American painter, Beard rubbed elbows with some of the most celebrated figures of the Hudson River School, but eschewed landscape art in favor of visual social commentary, using animals to poke fun at the less flattering aspects of human nature.",https://www.theibis.net/product/william-holbrook-beard-his-majesty-receives-1885/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1478,https://www.theibis.net/wp-content/uploads/2019/02/majrec_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1466,"Magnus Hundt : ""Palmistry Chart"" (1501) 16"" x 20"" (Image: 11.75"" x 17"")","This chart showing the astrological correspondences of the features of the hand appeared in Magnut Hundts Anthropologium de dominis dignitate ; the book which coined the term ""anthropology."" The work described the human body in terms anatomical and physiological, as well as philosophical and religious. For Hundt the human body, created in Gods image, was a microcosm of the universe. (Image courtesy of the U.S. National Library of Medicine).",https://www.theibis.net/product/magnus-hundt-palmistry-chart-anthropologium-de-dominis-dignitate-1501/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1466,https://www.theibis.net/wp-content/uploads/2019/02/magpalm_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1455,"The Youths Companion : ""Chicago Worlds Fair Cover"" (1893) 16"" x 20"" (Image: 11.56"" x 17"")","The main focus of the Chicago Worlds Columbian Exposition was the Administration Building, designed by Richard Morris Hunt. Though it housed only offices, it took on the function of a triumphal gateway for visitors entering the fair. They would arrive from the train station directly behind the massive building and pass through its rotunda into the Court of Honor. Like all the major buildings of the fair, it was designed in a lavish classical style, and was painted white to create the impression of marble. It is, of course, for its famed ""White City"" that the Chicago Exposition is best-known.",https://www.theibis.net/product/the-youths-companion-chicago-worlds-fair-cover-1893/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1455,https://www.theibis.net/wp-content/uploads/2019/02/wfcover_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1443,"Sigismund Bacstrom : ""The Greenland Whale Fishery"" (c. 1792-1800) 16"" x 20"" (Image: 13"" x 15.44"")","This shipboard rendering of a Greenland whale fishery is one of sixty-three drawings and sketches produced by Sigismund Bacstrom during his tumultuous voyage around the world. The trip spanned four years and eight months from 1791-1795, during which he sailed from London to Staten Island, rounded Cape Horn, saw Haida Gwaii (Queen Charlottes Islands) and Alaska, abandoned his original vessel on account of the ""ill and mean usage"" received from its officers, was stranded in Canton when his ship was seized as a prize of war by the British, stranded on Mauritius when his next ship mutinied en route to the Cape of Good Hope (and was seized by the French), and finally diverted from New York while on board an American vessel that was captured by the Royal Navy. When he finally returned to London by way of the British Virgin Islands, he was able to support himself, in part, by publishing prints of his extremely eventful voyage around the globe.",https://www.theibis.net/product/sigismund-bacstrom-the-greenland-whale-fishery-c-1792-1800/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1443,https://www.theibis.net/wp-content/uploads/2019/02/gwhale_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1431,"Eusebio Kino and Nicolas de Fer : ""Map of the Island of California or New Carolina"" (1720) 16"" x 20"" (Image: 11.81"" x 17"")","A 1510 romance novel by Garci Rodriguez de Montalvo describes ""an island called California very close to the side of the Terrestrial Paradise,"" that was ""peopled by black women, without any man among them, for they live in the manner of Amazons."" With this in mind, it was easy for early explorers, sailing up the Gulf of California, to mistake the Baja Peninsula for just such an island. One of the most famous errors in cartographic history, it is repeated here by Padre Eusebio Kino (in a copy by Nicolas de Fer), an Italian-born Jesuit missionary and defender of Indian rights who explored Pimeria Alta, Baja California and the Colorado River.",https://www.theibis.net/product/eusebio-kino-and-nicolas-de-fer-map-of-the-island-of-california-or-new-carolina-1720/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1431,https://www.theibis.net/wp-content/uploads/2019/02/newcal_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1421,"Albrecht Durer : ""Knight, Death and the Devil"" (1513) 16"" x 20"" (Image: 13"" x 17"")","Knight, Death and the Devil is one of the three ""master prints"" by Albrecht Dürer, widely held to represent the pinnacle of his skill as an engraver, if not European printmaking in general. A rich, intellectually complex composition, it depicts a steadfast knight, indifferent to the entreaties of Death and the Devil as they try to sway him from his path. Oak leaves twined in the horses mane symbolize fortitude; the lizard slithering between its hind feet represents sin. The skull at the bottom left of the composition makes it clear what lies ahead for the knight, but with faith as his armor, he does not fear. What common thread, if any, unites Dürers master prints is a matter of no small controversy among scholars. One theory has it that each represents one of the three modes of virtuous living; Knight Death and the Devil being the active, Saint Jerome in His Study the contemplative, and Melencholia I the intellectual.",https://www.theibis.net/product/albrecht-durer-knight-death-and-the-devil-1513/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1421,https://www.theibis.net/wp-content/uploads/2019/02/durerdev_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1405,"Thomas Cole : ""The Voyage of Life IV: Old Age"" (1842) 16"" x 20"" (Image: 11.44"" x 17"")","The Voyage of Life is a four-part allegorical series depicting a heros journey through childhood, youth, manhood and old age. For each piece Thomas Cole provided his own explanatory text. His description of Old Age is as follows: ""Portentous clouds are brooding over a vast and midnight Ocean. A few barren rocks are seen through the gloom—the last shores of the world. These form the mouth of the river, and the boat, shattered by storms, its figures of the hours broken and drooping, is seen gliding over deep waters. Directed by the Guardian Spirit, who thus far has accompanied him unseen, the voyager, now an old man, looks upward to an opening in the clouds, from whence a glorious light bursts forth, and angels are seen descending the cloudy steps, as if to welcome him to the Haven of Immortal Life. ""The stream has now reached the Ocean, to which all life is tending. The world, to Old Age, is destitute of interest. There is no longer any green thing upon it. The broken and drooping figures of the boat show that Time is nearly ended. The chains of corporeal existence are falling away; and already the mind has glimpses of Immortal Life. The angelic Being, of whose presence until now the voyager has been unconscious, is revealed to him, and with a countenance beaming with joy, shows to his wondering gaze scenes such as the eye of mortal man has never yet seen.""",https://www.theibis.net/product/thomas-cole-the-voyage-of-life-iv-old-age-1842/?attribute_size=16%22+x+20%22+%28Image%3A+11.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1405,https://www.theibis.net/wp-content/uploads/2019/02/vlife4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1391,"Thomas Cole : ""The Voyage of Life III: Manhood"" (1842) 16"" x 20"" (Image: 11.19"" x 17"")","The Voyage of Life is a four-part allegorical series depicting a heros journey through childhood, youth, manhood and old age. Keen to impart moral lessons through his work, Thomas Cole provided explanatory text for each piece. His description of Manhood is as follows: ""Storm and cloud enshroud a rugged and dreary landscape. Bare impending precipices rise in the lurid light. The swollen stream rushes furiously down a dark ravine, whirling and foaming in its wild career, and speeding toward the Ocean, which is dimly seen through the mist and falling rain. The boat is there, plunging amid the turbulent waters. The voyager is now a man of middle age: the helm of the boat is gone, and he looks imploringly toward heaven, as if heavens aid alone could save him from the perils that surround him. The Guardian Spirit calmly sits in the clouds, watching with an air of solicitude the affrighted voyager. Demon forms are hovering in the air. ""Trouble is characteristic of the period of Manhood. In Childhood there is no cankering care; in Youth no despairing thought. It is only when experience has taught us the realities of the world, that we lift from our eyes the golden veil of early life; that we feel deep and abiding sorrow; and in the picture, the gloomy, eclipse-like tone, the conflicting elements, the trees riven by tempest, are the allegory; and the Ocean, dimly seen, figures the end of life, to which the voyager is now approaching. The demon forms are Suicide, Intemperance, and Murder, which are the temptations that beset men in their direst trouble. The upward and imploring look of the voyager, shows his dependence on a Superior Power, and that faith saves him from the destruction that seems inevitable.""",https://www.theibis.net/product/thomas-cole-the-voyage-of-life-iii-manhood-1842/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1391,https://www.theibis.net/wp-content/uploads/2019/02/vlife3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1380,"Thomas Cole : ""The Voyage of Life II: Youth"" (1842) 16"" x 20"" (Image: 11.63"" x 17"")","The Voyage of Life is a four-part allegorical series depicting a heros journey through childhood, youth, manhood and old age. For each piece Thomas Cole provided his own explanatory text. His description of Youth is as follows: ""The stream now pursues its course through a landscape of wider scope and more diversified beauty. Trees of rich growth overshadow its banks, and verdant hills form the base of lofty mountains. The Infant of the former scene is become a Youth, on the verge of Manhood. He is now alone in the Boat, and takes the helm himself; and in an attitude of confidence and eager expectation, gazes on a cloudy pile of Architecture, an air-built Castle that rises dome above dome in the far-off blue sky. The Guardian Spirit stands upon the bank of the stream, and with serious yet benignant countenance seems to be bidding the impetuous voyager God Speed. The beautiful stream flows directly toward the aerial palace, for a distance; but at length makes a sudden turn, and is seen in glimpses beneath the trees, until it at last descends with rapid current into a rocky ravine, where the voyager will be found in the next picture. Over the remote hills, which seems to intercept the stream and turn it from its hitherto direct course, a path is dimly seen, tending directly toward that cloudy Fabric, which is the object and desire of the voyager. ""The scenery of this picture—its clear stream, its lofty trees, its towering mountains, its unbounded distance, and transparent atmosphere—figure forth the romantic beauty of youthful imaginings, when the mind magnifies the Mean and Common into the Magnificent, before experience teaches what is the Real. The gorgeous cloud-built palace, whose most glorious domes seem yet but half revealed to the eye, growing more and more lofty as we gaze, is emblematic of the day-dreams of youth, its aspirations after glory and fame; and the dimly-seen path would intimate that Youth, in his impetuous career, is forgetful that he is embarked on the Stream of Life, and that its current sweeps along with resistless force, and increases in swiftness as it descends toward the great Ocean of Eternity.""",https://www.theibis.net/product/thomas-cole-the-voyage-of-life-ii-youth-1842/?attribute_size=16%22+x+20%22+%28Image%3A+11.63%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1380,https://www.theibis.net/wp-content/uploads/2019/02/vlife2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1370,"Thomas Cole : ""The Voyage of Life I: Childhood"" (1842) 16"" x 20"" (Image: 11.5"" x 17"")","The Voyage of Life is a four-part allegorical series depicting a heros journey through childhood, youth, manhood and old age. For each piece Thomas Cole provided his own explanatory text. His description of Childhood is as follows: ""A stream is seen issuing from a deep cavern, in the side of a craggy and precipitous mountain, whose summit is hidden in clouds. From out the cave glides a Boat, whose golden prow and sides are sculptured into figures of the Hours: steered by an Angelic Form, and laden with buds and flowers, it bears a laughing Infant, the Voyager whose varied course the artist has attempted to delineate. On either hand the banks of the stream are clothed in luxuriant herbage and flowers. The rising sun bathes the mountains and the flowery banks in rosy light. ""The dark cavern is emblematic of our earthly origin, and the mysterious Past. The Boat, composed of Figures of the Hours, images the thought, that we are borne on the hours down the Stream of Life. The Boat identifies the subject in each picture. The rosy light of the morning, the luxuriant flowers and plants, are emblems of the joyousness of early life. The close banks, and the limited scope of the scene, indicate the narrow experience of Childhood, and the nature of its pleasures and desires. The Egyptian Lotus in the foreground of the picture is symbolical of Human Life. Joyousness and wonder are the characteristic emotions of childhood.""",https://www.theibis.net/product/thomas-cole-the-voyage-of-life-i-childhood-1842/?attribute_size=16%22+x+20%22+%28Image%3A+11.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1370,https://www.theibis.net/wp-content/uploads/2019/02/vlife1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1359,"William H. Willcox : ""Map of the Battle of Gettysburg, PA"" (c. 1863) 16"" x 20"" (Image: 13"" x 14.69"")","A contemporary map of the Battle of Gettysburg showing the line of battle on the evening of July 2nd, 1863. Confederate forces are designated at the corps level, while Union troops are indicated with more detail. The map is rich in topographical detail, including vegetation, drainage, roads, railroads, houses, stonewalls, cultivated areas, churches and cemeteries.",https://www.theibis.net/product/william-h-willcox-map-of-the-battle-of-gettysburg-pa-c-1863/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.69%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1359,https://www.theibis.net/wp-content/uploads/2019/02/getb_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1348,"Johannes Vingboons : ""Map of California Shown as an Island"" (1650) 16"" x 20"" (Image: 11.75"" x 17"")","A 1510 romance novel by Garci Rodriguez de Montalvo describes ""an island called California very close to the side of the Terrestrial Paradise,"" that was ""peopled by black women, without any man among them, for they live in the manner of Amazons."" With this in mind, it was easy for early explorers, sailing up the Gulf of California, to mistake the Baja Peninsula for just such an island. One of the most famous errors in cartographic history, it is repeated here by the Dutch cartographer and watercolorist Johannes Vingboons (also known as ""Joan Vinckeboons""), whose artful maps were sought after by collectors even in his own time.",https://www.theibis.net/product/johannes-vingboons-map-of-california-shown-as-an-island-1650/?attribute_size=16%22+x+20%22+%28Image%3A+11.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1348,https://www.theibis.net/wp-content/uploads/2019/02/calis_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1336,"Kazumasa Ogawa : ""Tree Peony"" (1896) 16"" x 20"" (Image: 13"" x 13"")","Tree Peony is one of a series of the hand-colored collotype photographs published in Kazumasa Ogawas 1896 book, Some Japanese Flowers . Intended for Western consumption, it represented a highly artistic contribution to the new medium, drawing in many ways from the aesthetic conventions of traditional woodblock printing. An enterprising pioneer, Ogawa was the leading photography publisher of Meiji era Japan, establishing the nations first photography studio and collotype press.",https://www.theibis.net/product/kazumasa-ogawa-tree-peony-1896/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+13%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1336,https://www.theibis.net/wp-content/uploads/2019/02/ogaflow_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1323,"Lucien Lefevre : ""Cirage Jacquot & Cie"" (1897) 16"" x 20"" (Image: 11.88"" x 17"")","A mischievous clown paints his colleagues face with Jacquot & Co. shoe polish in this virtuoso design by Lucien Lefèvre—an advertisement for shoe polish, without a shoe. Lefèvre was a student of Jules Chéret, whose exuberant poster art contributed much to the libertine atmosphere of Belle Époque Paris.",https://www.theibis.net/product/lucien-lefevre-cirage-jacquot-cie-1897/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1323,https://www.theibis.net/wp-content/uploads/2019/02/lef4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1317,"Lucien Lefevre : ""Electricine Luxury Lighting"" (1897) 16"" x 20"" (Image: 12.25"" x 17"")","Lucien Lefèvres design for Electricine luxury lighting shows the influence of his teacher, Jules Chéret, who produced a similar series of posters that featured exuberant women in a state of joyous rapture as they light their homes with Saxoléine lamp oil. Lefèvre, however, took a more restrained approach, using cool colors and a relatively static composition to convey the quiet comfort and understated elegance of a well-furnished home.",https://www.theibis.net/product/lucien-lefevre-electricine-luxury-lighting-1897/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1317,https://www.theibis.net/wp-content/uploads/2019/02/lef3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1311,"Lucien Lefevre : ""Cacao Lacte"" (c. 1896) 16"" x 20"" (Image: 12.25"" x 17"")","An adorable poster for Cacao Lacté chocolate milk, ""the most superior of all known chocolates and cocoas,"" by the French designer and portrait artist Lucien Lefèvre. Lefèvre was a student of Jules Chéret, whose exuberant poster art contributed to the libertine atmosphere of Belle Époque Paris.",https://www.theibis.net/product/lucien-lefevre-cacao-lacte-c-1896/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1311,https://www.theibis.net/wp-content/uploads/2019/02/lef2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1302,"Lucien Lefevre : ""Absinthe Mugnier"" (1895) 16"" x 20"" (Image: 6.56"" x 17"")","A legionnaire admires a bottle of Absinthe Mugnier in this fin de siècle poster by the French designer and portrait artist Lucien Lefèvre. It reads: ""Mugnier absinthe / for sale everywhere / only manufacturer / Frederic Mugnier, Dijon, Geneva."" Lefèvre was a student of Jules Chéret, whose exuberant poster art lent much to the libertine atmosphere of Belle Époque Paris.",https://www.theibis.net/product/lucien-lefevre-absinthe-mugnier-1895/?attribute_size=16%22+x+20%22+%28Image%3A+6.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1302,https://www.theibis.net/wp-content/uploads/2019/02/lef1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1262,"John Hamilton Mortimer : ""Death on a Pale Horse"" (c. 1775) 16"" x 20"" (Image: 12.56"" x 17"")","An iconic dark masterpiece picturing the fourth horseman of the apocalypse, as described in Revelation 6:8: ""I looked, and behold, an ashen horse; and he who sat on it had the name Death; and Hades was following with him. Authority was given to them over a fourth of the earth, to kill with sword and with famine and with pestilence and by the wild beasts of the earth."" Copied by John Hayes, the image went on to inspire generations of artists, including William Blake, Benjamin West, J.M.W. Turner, and Philip James de Loutherbourg, who all produced variations upon the theme.",https://www.theibis.net/product/john-hamilton-mortimer-death-on-a-pale-horse-c-1775/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1262,https://www.theibis.net/wp-content/uploads/2019/02/palerider_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1238,"Giovanni Maria Mataloni : ""Auer Incandescent Gas Lamps"" (1895) 16"" x 20"" (Image: 11.88"" x 17"")","This art nouveau masterwork advertises the gas mantle lamp perfected by Carl Auer von Welsbach in 1892. By heating a textile sack impregnated with rare earth metals, they produced an intensely white light while using significantly less fuel than earlier gaslights. In 1895 they were spreading across Europe, and were so successful they even gave Edisons electrics a run for their money. Gas mantles are still used today in many camping lanterns, pressure lanterns and oil lamps.",https://www.theibis.net/product/giovanni-maria-mataloni-auer-incandescent-gas-lamps-1895/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1238,https://www.theibis.net/wp-content/uploads/2019/02/matalon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1220,"Maruyama Okyo : ""Koi Under a Pine Branch"" (18th Century) 16"" x 20"" (Image: 7.69"" x 17"")","This woodcut of koi under a pine branch combines Western naturalism with the minimalist sensibilities of Eastern design. Maruyama Okyo was first exposed to Western-style perspective when the toy shop where he apprenticed stated selling European stereoscopes. He soon learned to produce his own stereoscope images and to paint in perspective, ultimately developing a Western understanding of highlight and shadow that made his work popular with the public, if not with the artistic establishment of his day. While Okyo drew upon Western techniques, however, his compositions were quintessentially Japanese in their understated elegance, often featuring a single subject on a plain background.",https://www.theibis.net/product/maruyama-okyo-koi-under-a-pine-branch-18th-century/?attribute_size=16%22+x+20%22+%28Image%3A+7.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1220,https://www.theibis.net/wp-content/uploads/2019/02/koi_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1210,"George Catlin : ""Ball-Play Dance"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlins-american-indian-portfolio-ball-play-dance-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1210,https://www.theibis.net/wp-content/uploads/2019/02/nafest_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1200,"George Catlin : ""Buffalo Dance"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlins-american-indian-portfolio-buffalo-dance-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1200,https://www.theibis.net/wp-content/uploads/2019/02/buffdance_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1190,"George Catlin : ""Buffalo Chase"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlins-american-indian-portfolio-buffalo-chase-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1190,https://www.theibis.net/wp-content/uploads/2019/02/bufchase_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1178,"Martin Johnson Heade : ""Cattleya Orchid and Three Hummingbirds"" (1871) 16"" x 20"" (Image: 12.88"" x 17"")","Martin Johnson Heade reveals a hidden world of fragile beauty in this tableau of the Brazilian rain forest. A thriving orchid shares a misty jungle recess with a trio of hummingbirds—a Sappho Comet and two Brazilian Amethysts. Between them, a pair of eggs are just visible inside a tiny nest that rests precariously on the end of a narrow branch. Heade had traveled to Brazil from 1863-1864, where he produced more than forty small paintings of hummingbirds, originally intended for publication in a book titled The Gems of Brazil. While the project was never realized, the effort was clearly not wasted, as he was able to combine, in the present work, the consummate precision of the naturalist with the artists vision into the deeper meaning of his subject.",https://www.theibis.net/product/martin-johnson-heade-cattleya-orchid-and-three-hummingbirds-1871/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1178,https://www.theibis.net/wp-content/uploads/2019/02/catty_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1168,"George Catlin : ""Catching the Wild Horse"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlins-american-indian-portfolio-catching-the-wild-horse-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1168,https://www.theibis.net/wp-content/uploads/2019/02/whor_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1151,"George Catlin : ""Buffalo Hunt, Chase"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlin-buffalo-hunt-chase-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1151,https://www.theibis.net/wp-content/uploads/2019/02/bchase_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1140,"George Catlin : ""Wi-jun-jou. The Pigeons Egg Head (Going to and Returning from Washington)"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlin-wi-jun-jou-the-pigeons-egg-head-going-to-and-returning-from-washington-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1140,https://www.theibis.net/wp-content/uploads/2019/02/pegg_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1129,"George Catlin : ""Buffalo Hunt with Wolf-Skin Mask"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlin-buffalo-hunt-with-wolf-skin-mask-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1129,https://www.theibis.net/wp-content/uploads/2019/02/bulf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1119,"George Catlin : ""Ball Players (Lacrosse)"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlin-ball-players-lacrosse-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1119,https://www.theibis.net/wp-content/uploads/2019/02/laxplay_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1108,"George Catlin : ""An Indian Ball-Play (Lacrosse)"" (1844) 16"" x 20"" (Image: 12.75"" x 17"")","During the 1830s George Catlin traveled the frontier, documenting the Native American way of life. After accompanying General William Clark on a diplomatic mission up the Mississippi River, he based himself in St. Louis from 1830-1836, then moved on to the Fort Union Trading Post (on the North Dakota/Montana border) two years later. Over the course of his various expeditions, he visited more than sixty indigenous tribes, composing portraits of his hosts and documenting their hunting, recreation and other culturally significant activities. Some of the tribes he visited had been relatively untouched by European civilization. In fact, Catlin is credited as the first white man ever to depict the Plains Indians in their native territory. Upon his return to the east, he had amassed more than 500 paintings of Native American subjects—his so-called ""Indian Gallery""—which he exhibited in major cities like New York, Pittsburgh and Cincinnati. Of these, twenty-five were published in his 1844 collection of lithograph plates, titled Catlins North American Indian Portfolio.",https://www.theibis.net/product/george-catlin-an-indian-ball-play-lacrosse-1844/?attribute_size=16%22+x+20%22+%28Image%3A+12.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1108,https://www.theibis.net/wp-content/uploads/2019/02/ballplay_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1098,"Ravi Varma : ""Indian Woman Playing Sitar"" (1800s) 16"" x 20"" (Image: 12"" x 17"")","A chromolithograph after Ravi Varma depicting the Hindu goddess of knowledge, music, arts, wisdom and nature. Varma was a major figure in the history of Indian art, his work widely reproduced for popular consumption. He drew much of his inspiration from Indian literary tradition, including the Mahabharata and Ramayana, but painted according to the techniques of European academic art. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/ravi-varma-indian-woman-playing-sitar-1800s/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1098,https://www.theibis.net/wp-content/uploads/2019/02/ravi1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1080,"Ravi Varma : ""Sarasvati with Her Sitar and Peacock"" (1800s) 16"" x 20"" (Image: 12.44"" x 17"")","A chromolithograph after Ravi Varma depicting the Hindu goddess of knowledge, music, arts, wisdom and nature. Varma was a major figure in the history of Indian art, his work widely reproduced for popular consumption. He drew much of his inspiration from Indian literary tradition, including the Mahabharata and Ramayana, but painted according to the techniques of European academic art. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/ravi-varma-sarasvati-with-her-sitar-and-peacock-1800s/?attribute_size=16%22+x+20%22+%28Image%3A+12.44%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1080,https://www.theibis.net/wp-content/uploads/2019/02/ravi2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1069,"Richard Saunders : ""Palmistry/Chiromancy Chart"" (1653) 16"" x 20"" (Image: 12"" x 17"")","Lines are indicated for ""divers lovers,"" ""shameful death,"" and ""contempt from inferiors"" in this chiromancy chart from Richard Saunders ""Physiognomie, and Chiromancie, Metopscopie,"" published with an introduction by the astrologer William Lilly in 1653. Though the bulk of the work was lifted from Jean Belots ""Les Oeuvres,"" Saunders added 47 diagrams of hands, with astrological symbols indicating the planetary rulers of the principal lines. Heritage Auctions has described it as ""one of the most beautifully illustrated seventeenth-century books on Divination and Dream Interpretation.""",https://www.theibis.net/product/richard-saunders-palmistry-chiromancy-chart-1653/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1069,https://www.theibis.net/wp-content/uploads/2019/02/chiromance_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1058,"Marcus Elieser Bloch : ""The Sea Devil"" (1782-1795) 16"" x 20"" (Image: 10.94"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-sea-devil-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+10.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1058,https://www.theibis.net/wp-content/uploads/2019/02/bloch10_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1048,"Marcus Elieser Bloch : ""The Long File Fish"" (1782-1795) 16"" x 20"" (Image: 9.94"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-long-file-fish-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+9.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1048,https://www.theibis.net/wp-content/uploads/2019/02/bloch9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1038,"Marcus Elieser Bloch : ""The Rib Fish"" (1782-1795) 16"" x 20"" (Image: 9.69"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-rib-fish-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1038,https://www.theibis.net/wp-content/uploads/2019/02/bloch8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1023,"J. J. Grandville : ""Peregrinations of a Comet"" (1844) 16"" x 20"" (Image: 11.56"" x 17"")","A whimsical illustration from J. J. Grandvilles Un Autre Monde (""Another World""), published in 1844. A French caricaturist who was forced from his trade by official censorship, Grandvilles art came to fruition in the books he illustrated. Best-known for his anthropomorphic plants and animals, his work often transcended mere satire, achieving humor alongside poetic beauty and wonder. Though Grandvilles style lacked easy definition in his own time, later generations would credit him as the ""grandfather of surrealism.""",https://www.theibis.net/product/j-j-grandville-peregrinations-of-a-comet-1844/?attribute_size=16%22+x+20%22+%28Image%3A+11.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1023,https://www.theibis.net/wp-content/uploads/2019/02/pcomet_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1010,"Carel Allard : ""Star Chart of the Northern Sky"" (c. 1722-1750) 16"" x 20"" (Image: 13"" x 15.25"")","A copperplate map of the northern sky with the Christian constellations of 1600 in the upper corners. The artist, Carel Allard, was a member of a Dutch publishing family who issued maps by some of the most notable cartographers working in Amsterdam at the time. In addition to his work as a mapmaker, he is also known for his engravings of English royalty.",https://www.theibis.net/product/carel-allard-star-chart-of-the-northern-sky-c-1722-1750/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1010,https://www.theibis.net/wp-content/uploads/2019/02/allard_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 1000,"Medical Illustration : ""Plague Doctor"" (1910) 16"" x 20"" (Image: 12.25"" x 17"")","The subject of this watercolor is a 17th century physician wearing plague preventive garb. The equivalent of a modern hazmat suit, the costume was made almost entirely of waxed leather. The hat indicated the physicians profession, while the cane was used to manipulate objects at a distance. The beaked mask functioned as a primitive respirator, containing fragrant materials like rose, mint and lavender that promised to keep away the foul miasmas believed to transmit disease. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/medical-illustration-plague-doctor-1910/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=1000,https://www.theibis.net/wp-content/uploads/2019/02/plaguedoc_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 989,"Hendrick Avercamp : ""Winter Landscape with Ice Skaters"" (c. 1608) 16"" x 20"" (Image: 9.81"" x 17"")","This aerial perspective landscape from Europes ""Little Ice Age"" offers up a wealth of small details to explore. Figures are engaged in various types of work and play, as well as other, more illicit activities. At the extreme left, two can be seem relieving themselves in the cold. In the bottom left corner, a dog and some birds pick at the carcass of a dead horse. The Winter was a happy time for Hendrick Avercamp, who made a specialty of depicting the season, but it was not without its hardships.",https://www.theibis.net/product/hendrick-avercamp-winter-landscape-with-ice-skaters-c-1608/?attribute_size=16%22+x+20%22+%28Image%3A+9.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=989,https://www.theibis.net/wp-content/uploads/2019/02/aver_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 977,"Marcus Elieser Bloch : ""The Striped Surmulet"" (1782-1795) 16"" x 20"" (Image: 9.69"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-striped-surmulet-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=977,https://www.theibis.net/wp-content/uploads/2019/02/bloch7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 967,"Marcus Elieser Bloch : ""The Roundnose Grenadier"" (1782-1795) 16"" x 20"" (Image: 9.69"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-roundnose-grenadier-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=967,https://www.theibis.net/wp-content/uploads/2019/02/bloch6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 955,"Marcus Elieser Bloch : ""The Triangular Fish"" (1782-1795) 16"" x 20"" (Image: 10.19"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-triangular-fish-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+10.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=955,https://www.theibis.net/wp-content/uploads/2019/02/bloch5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 941,"Marcus Elieser Bloch : ""The Balance Fish"" (1782-1795) 16"" x 20"" (Image: 9.69"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-balance-fish-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=941,https://www.theibis.net/wp-content/uploads/2019/02/bloch4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 931,"Marcus Elieser Bloch : ""The Prickly Bottlefish"" (1782-1795) 16"" x 20"" (Image: 11.38"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-prickly-bottlefish-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=931,https://www.theibis.net/wp-content/uploads/2019/02/bloch3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 921,"Marcus Elieser Bloch : ""The Silver Fish"" (1782-1795) 16"" x 20"" (Image: 9.69"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-silver-fish-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=921,https://www.theibis.net/wp-content/uploads/2019/02/bloch2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 909,"Marcus Elieser Bloch : ""The Flying Fish"" (1782-1795) 16"" x 20"" (Image: 9.69"" x 17"")","This print is one of the highlights from Marcus Elieser Blochs Allgemeine Naturgeschichte der Fische ; the most important work on ichthyology of the 18th century. A comprehensive, 12-volume encyclopedia of the worlds fishes, it contained some 432 brilliant color plates, most of which were individually sponsored by wealthy patrons of science eager to lend their names to a burgeoning source of national pride. Adding nineteen new genera and identifying 176 new species (many of these inhabitants of the remotest seas), Blochs work on Allgemeine Naturgeschichte der Fische is considered to have laid the foundations of the modern science of ichthyology.",https://www.theibis.net/product/marcus-elieser-bloch-the-flying-fish-1782-1795/?attribute_size=16%22+x+20%22+%28Image%3A+9.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=909,https://www.theibis.net/wp-content/uploads/2019/02/bloch1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 897,"Performing Arts Poster : ""The Incomparable Albini"" (1911) 16"" x 20"" (Image: 12.56"" x 17"")","A promotional poster for Herbert Albini (born Abraham Laski), a Polish-born magician who adopted an arrogant demeanor, harshly insulting his audience. He is known for opening a fresh deck of cards for each effect, leaving the stage littered by the end of his performance, and as inventor of the ""Girl to Gorilla"" illusion. In this effect, a girl would enter a glass box and slowly transform into a gorilla as the audience watched. When the metamorphosis was complete, the gorilla would burst from the box and frighten the crowd. This poster was issued near the end of his career, as Albini was touring vaudeville in an extravagant production that used twelve stage assistants.",https://www.theibis.net/product/performing-arts-poster-the-incomparable-albini-1911/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=897,https://www.theibis.net/wp-content/uploads/2019/02/albini_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 886,"George Richmond : ""The Agony in the Garden"" (1858) 16"" x 20"" (Image: 13"" x 14.38"")","Jesus appears to falter beneath the weight of his terrible destiny, but for the solace of a compassionate angel. The painter, George Richmond, was influenced at an early age by Henry Fuseli, known for his emotionally intense, often nightmarish compositions. At sixteen he met the visionary artist William Blake, who reportedly left such an impression upon him that was left feeling ""as though he had been walking with the prophet Isaiah."" With his friend, Samuel Palmer, he became a leading member of the ""The Ancients;"" a group of English artists, devoted to Blake, who yearned to recapture a lost golden age of pastoral innocence, governed by conservative Christian values.",https://www.theibis.net/product/george-richmond-the-agony-in-the-garden-1858/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=886,https://www.theibis.net/wp-content/uploads/2019/02/agon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 871,"Gustav Wertheimer : ""The Kiss of the Siren"" (1882) 16"" x 20"" (Image: 12.94"" x 17"")","This erotically-charged piece by Gustav Wertheimer depicts an ancient mariner locked in a rapturous kiss with a beautiful siren, who threatens to drown him in the fathomless depths of her passion. An Austrian painter associated with the symbolist movement, his nautical works include several variations on this motif, as well as numerous related pieces involving stormy waters, bare-skinned maidens, and the alluring dangers of the sea.",https://www.theibis.net/product/gustav-wertheimer-the-kiss-of-the-siren-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=871,https://www.theibis.net/wp-content/uploads/2019/02/ksiren_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 861,"Jan van Huysum : ""Bouquet of Flowers in an Urn"" (1724) 16"" x 20"" (Image: 12.56"" x 17"")","This virtuoso still life by Jan van Huysum offers up a wealth of small details to explore. Close inspection reveals a myriad of insects, creeping among the vegetation; tiny droplets of water, bending the light; rich, organic textures rendered with consummate precision. Like many Dutch still life artists, his works combine flowers from different seasons, yet his commitment to realism was such that he once delayed an entire painting for the sake of a single yellow rose, which was not to bloom until the following spring.",https://www.theibis.net/product/jan-van-huysum-bouquet-of-flowers-in-an-urn-1724/?attribute_size=16%22+x+20%22+%28Image%3A+12.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=861,https://www.theibis.net/wp-content/uploads/2019/02/huy2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 850,"Jan van Huysum : ""Fruit Piece"" (1722) 16"" x 20"" (Image: 12.88"" x 17"")","In what may be a companion piece to the Getty Museums Vase of Flowers, Jan van Huysum combined the lustrous realism of seventeenth-century Dutch paintings with the bright colors characteristic of the eighteenth century in a lavish still life of fruit and flowers. The asymmetrical arrangement of bursting and overripe fruit spills over onto the ledge, some falling prey to insects. Flowers droop under the weight of their extravagant blooms. Van Huysum deftly rendered the translucence of the grapes, the crisp surfaces of the leaves, and the wiry texture of the vines. The highly finished surfaces of Van Huysums paintings were the result of a laborious application of glazes to the canvas. He jealously guarded the details of this technique, allowing no visitors in his studio. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jan-van-huysum-fruit-piece-1722/?attribute_size=16%22+x+20%22+%28Image%3A+12.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=850,https://www.theibis.net/wp-content/uploads/2019/02/huysum_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 839,"Jan van Huysum : ""Still Life with Flowers and Fruit"" (1700-1749) 16"" x 20"" (Image: 12.94"" x 17"")","This virtuoso still life by Jan van Huysum offers up a wealth of small details to explore. Close inspection reveals a myriad of insects, creeping among the vegetation; tiny droplets of water, bending the light; rich, organic textures rendered with consummate precision. Like many Dutch still life artists, his works combine flowers from different seasons, yet his commitment to realism was such that he once delayed an entire painting for the sake of a single yellow rose, which was not to bloom until the following spring.",https://www.theibis.net/product/jan-van-huysum-still-life-with-flowers-and-fruit-1700-1749/?attribute_size=16%22+x+20%22+%28Image%3A+12.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=839,https://www.theibis.net/wp-content/uploads/2019/02/huy4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 828,"Jan van Huysum : ""Vase of Flowers"" (1722) 16"" x 20"" (Image: 12.69"" x 17"")","The Dutch fascination with nature is described in a riotous display of beautiful and exotic flowers. Arranged in a terracotta vase displaying an antique relief, Jan van Huysum included flowers from all seasons of the year—roses, anemones, hyacinths, tulips, and more—and painted them directly from life. The flowers nearly overripe quality attests both to natures bounty and its transience. The bouquet is ordered in a loose pyramidal shape, with flowers and greenery almost bursting to be free of the vase. Butterflies and other insects fly or crawl amongst the arrangement, and drops of water are visible on leafs and shiny petals. Van Huysum painstakingly applied layer upon layer of thin oil glazes to capture the brilliant colors and delicate textures of the blossoms. Because each flower could only be painted while in season, it sometimes took the artist several years to complete a single painting. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/jan-van-huysum-vase-of-flowers-1722/?attribute_size=16%22+x+20%22+%28Image%3A+12.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=828,https://www.theibis.net/wp-content/uploads/2019/02/huy3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 815,"Performing Arts Poster : ""Kellar - Levitation"" (1900) 16"" x 20"" (Image: 11.94"" x 17"")","A promotional poster for Harry Kellar, an internationally-renown illusionist of the late 19th and early 20th centuries. Often referred to as the ""Dean of American Magicians,"" he performed on five continents and nurtured the career of Howard Thurston, whom he named as his successor. His best-known illusions included ""The Levitation of the Princess Karnac,"" ""The Nested Boxes,"" and ""The Vanishing Lamp."" He last appeared in a benefit organized by Harry Houdini at the Hippodrome in 1917. When it was time for him to leave, Houdini paid him tribute as ""Americas greatest magician,"" having him carried from the theater on a sedan chair as the 125-piece orchestra played ""Auld Lang Syne.""",https://www.theibis.net/product/performing-arts-poster-kellar-levitation-1900/?attribute_size=16%22+x+20%22+%28Image%3A+11.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=815,https://www.theibis.net/wp-content/uploads/2019/02/kellar3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 797,"Jan Toorop Art Nouveau Poster : ""Delft Salad Oil"" (1894) 16"" x 20"" (Image: 11.13"" x 17"")","This iconic poster by Jan Toorop earned Dutch art nouveau its nickname, the ""salad oil style."" With its aimless, wandering curves, art nouveau originated as a challenge to the geometrically predictable compositions of William Morris and the arts and crafts movement. Mystical maidens with long, flowing hair and loose, sweeping garments featured prominently in its most influential poster designs, whether they were rolling cigarettes with Job paper, receiving a glass of Absinthe Robette from on high, or, in the present example, mixing a bowl of salad with Delftsche Slaolie.",https://www.theibis.net/product/jan-toorop-art-nouveau-poster-delft-salad-oil-1894/?attribute_size=16%22+x+20%22+%28Image%3A+11.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=797,https://www.theibis.net/wp-content/uploads/2019/02/salad_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 786,"Jean de Paleologue : ""Sapho"" (1897) 16"" x 20"" (Image: 12.13"" x 17"")","An advertising poster for the premier of Jules Massenets lyric play Sapho. The story of an artists models ill-fated affair, it was first performed on November 27, 1897, by the Opera Comique at Theatre Lyrique in Paris, with Emma Calve appearing in the role of Fanny Legrand. (Image restoration by Adam Cuerden.)",https://www.theibis.net/product/jean-de-paleologue-sapho-1897/?attribute_size=16%22+x+20%22+%28Image%3A+12.13%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=786,https://www.theibis.net/wp-content/uploads/2019/02/sapho_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 775,"Jean de Paleologue : ""Patin Bicyclette Road Skates"" (1896) 16"" x 20"" (Image: 12.06"" x 17"")","Jean de Paleologues famous poster for ""bicycle skates"" by Richard Choubersky promises to afford women greater freedom from clumsy, befuddled men with their old-fashioned ice skates.",https://www.theibis.net/product/jean-de-paleologue-patin-bicyclette-road-skates-1896/?attribute_size=16%22+x+20%22+%28Image%3A+12.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=775,https://www.theibis.net/wp-content/uploads/2019/02/patin_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 764,"Joseph Vimont : ""Human Skull (Plate 100)"" (1835) 16"" x 20"" (Image: 13"" x 16.56"")","An anatomical plate from Joseph Vimonts treatise on phrenology, Traité de phrénologie humaine et comparée ; a double-folio atlas containing over 100 life-sized lithographs of human and animal crania. It is inscribed ""Skill of Jh D***, who died at the hospital of Le Val de Grace in Paris."" (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/joseph-vimont-human-skull-plate-100-1835/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.56%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=764,https://www.theibis.net/wp-content/uploads/2019/02/vimont2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 753,"Joseph Vimont : ""Skull of a Hydrocephalus Child"" (1832) 16"" x 20"" (Image: 10.75"" x 17"")","Collectors of oddities will appreciate this unusual anatomy plate depicting the skull of a hydrocephalus child; a medical condition wherein an abnormal accumulation of cerebrospinal fluid causes progressive enlargement of the head. The so-called ""Starchild Skull,"" discovered by paranormal researcher Lloyd Pye in 1999, is thought to be a product of this malady. The plate was originally published in Joseph Vimonts treatise on phrenology, Traité de phrénologie humaine et comparée ; a double-folio atlas containing over 100 life-sized lithographs of human and animal crania. (Image courtesy of the U.S. National Library of Medicine.)",https://www.theibis.net/product/joseph-vimont-skull-of-a-hydrocephalus-child-traite-de-phrenologie-1832/?attribute_size=16%22+x+20%22+%28Image%3A+10.75%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=753,https://www.theibis.net/wp-content/uploads/2019/02/alienskull_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 741,"Jean de Paleologue : ""Deesse Bicycles"" (c. 1898) 16"" x 20"" (Image: 12.5"" x 17"")","Bystanders gape in astonishment as a winged maiden ascends into heavens on a Deesse bicycle. French for ""goddess,"" ""Deesse"" was marketed to the women who were finding, in this new mode of personal transportation, the treasured freedom to come and go at will.",https://www.theibis.net/product/jean-de-paleologue-deesse-bicycles-c-1898/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=741,https://www.theibis.net/wp-content/uploads/2019/02/deesse_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 724,"Albert Tissandier : ""Lunar Halo Observed by Balloon"" (c. 1875-1880) 16"" x 20"" (Image: 13"" x 15.25"")","The pioneering balloonist Albert Tissandier witnessed this lunar halo during his March 1875 flight from Paris to Arcachon. Halos like these appear when the light of the Sun or Moon is refracted through the tiny ice crystals that make up cirrus clouds. They are often visible from Earth, but to experience one while drifting through the night sky, the moonlight shimmering upon the clouds below, must have been transcendental. A month later, he would barely escape death by asphyxiation as he and his (less fortunate) crew achieved a record altitude of 28,000 ft.",https://www.theibis.net/product/albert-tissandier-lunar-halo-observed-by-balloon-c-1875-1880/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.25%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=724,https://www.theibis.net/wp-content/uploads/2019/02/tissballoon_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 714,"Theodor Groll : ""Washington Street, Indianapolis at Dusk"" (1892-1895) 16"" x 20"" (Image: 13"" x 16.75"")","A richly-detailed view of central Indianapolis showing the State House and Park Theater, as witnessed by the German painter Theodor Groll on his visit to the America. Groll had come to judge the German entries at the Chicago Worlds Columbian Exposition, but had friends and relatives in Indiana, one of whom—the bearded man, at center, hailing the Blake Street trolley—he included in the composition. Modern Indianapolis by the State House is, like most central business districts, currently dominated by automobiles and skyscrapers, but in the 1890s Groll found a thriving street life where residents could casually shop, interact and enjoy the urban setting.",https://www.theibis.net/product/theodor-groll-washington-street-indianapolis-at-dusk-1892-1895/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.75%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=714,https://www.theibis.net/wp-content/uploads/2019/02/indy_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 704,"Performing Arts Poster : ""Kellar in His Latest Mystery - Self-Decapitation"" (1897) 16"" x 20"" (Image: 11.06"" x 17"")","A promotional poster for Harry Kellar, an internationally-renown illusionist of the late 19th and early 20th centuries. Often referred to as the ""Dean of American Magicians,"" he performed on five continents and nurtured the career of Howard Thurston, whom he named as his successor. His best-known illusions included ""The Levitation of the Princess Karnac,"" ""The Nested Boxes,"" and ""The Vanishing Lamp."" He last appeared in a benefit organized by Harry Houdini at the Hippodrome in 1917. When it was time for him to leave, Houdini paid him tribute as ""Americas greatest magician,"" having him carried from the theater on a sedan chair as the 125-piece orchestra played ""Auld Lang Syne.""",https://www.theibis.net/product/performing-arts-poster-kellar-in-his-latest-mystery-self-decapitation-1897/?attribute_size=16%22+x+20%22+%28Image%3A+11.06%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=704,https://www.theibis.net/wp-content/uploads/2019/02/kellar2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 693,"Performing Arts Poster : ""Kellar (the Magician)"" (1900) 16"" x 20"" (Image: 11.38"" x 17"")","A promotional poster for Harry Kellar, an internationally-renown illusionist of the late 19th and early 20th centuries. Often referred to as the ""Dean of American Magicians,"" he performed on five continents and nurtured the career of Howard Thurston, whom he named as his successor. His best-known illusions included ""The Levitation of the Princess Karnac,"" ""The Nested Boxes,"" and ""The Vanishing Lamp."" He last appeared in a benefit organized by Harry Houdini at the Hippodrome in 1917. When it was time for him to leave, Houdini paid him tribute as ""Americas greatest magician,"" having him carried from the theater on a sedan chair as the 125-piece orchestra played ""Auld Lang Syne.""",https://www.theibis.net/product/performing-arts-poster-kellar-the-magician-1900/?attribute_size=16%22+x+20%22+%28Image%3A+11.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=693,https://www.theibis.net/wp-content/uploads/2019/02/kellar1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 682,"Performing Arts Poster : ""Thurston the Great Magician"" (1914) 16"" x 20"" (Image: 12.31"" x 17"")","One of the most popular magicians of his day, Howard Thurston performed many of the classic tricks one associates with stage magic. He made cards rise unassisted from their decks, sawed women in half, levitated his assistants and pulled rabbits from audience members coats. Much of how we envision a traditional magic act is owed to Thurston and his traveling show.",https://www.theibis.net/product/performing-arts-poster-thurston-the-great-magician-1914/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=682,https://www.theibis.net/wp-content/uploads/2019/02/thur2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 666,"Performing Arts Poster : ""Thurston the Great Magician: The Wonder Show of the Universe"" (1915) 16"" x 20"" (Image: 12.31"" x 17"")","A promotional poster for Howard Thurston, who conversed with mummies and conjured spirits for audiences swept up in the rising tide of the Spiritualist movement. One of the most popular magicians of his day, he performed many of the classic tricks one associates with stage magic. He made cards rise unassisted from their decks, sawed women in half, levitated his assistants and pulled rabbits from audience members coats. Much of how we envision a traditional magic act is owed to Howard Thurston and his traveling show.",https://www.theibis.net/product/performing-arts-poster-thurston-the-great-magician-the-wonder-show-of-the-universe-1915/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=666,https://www.theibis.net/wp-content/uploads/2019/02/thurston1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 653,"Andreas Vesalius : ""Human Musculature, Tab III"" (1642) 16"" x 20"" (Image: 9.88"" x 17"")","An anatomical illustration from Andreas Vesaliuss ground-breaking work, De humani corporis fabrica , or ""On the fabric of the human body."" De Corporis Fabrica far surpassed any of the anatomical atlases that had been published at the time, benefiting from Renaissance advances in printing and visual representation, as well as Vesaliuss direct involvement in the preparation of the figures. With his emphasis upon the human body as an essentially corporeal structure functioning according to mechanistic principles, Vesalius made significant contributions toward the advancement of medical science beyond the pre-modern systems of Galen and Aristotle. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/andreas-vesalius-human-musculature-tab-iii-1642/?attribute_size=16%22+x+20%22+%28Image%3A+9.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=653,https://www.theibis.net/wp-content/uploads/2019/02/ves7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 642,"Andreas Vesalius : ""Human Musculature, Tab I"" (1642) 16"" x 20"" (Image: 9.88"" x 17"")","An anatomical illustration from Andreas Vesaliuss ground-breaking work, De humani corporis fabrica , or ""On the fabric of the human body."" De Corporis Fabrica far surpassed any of the anatomical atlases that had been published at the time, benefiting from Renaissance advances in printing and visual representation, as well as Vesaliuss direct involvement in the preparation of the figures. With his emphasis upon the human body as an essentially corporeal structure functioning according to mechanistic principles, Vesalius made significant contributions toward the advancement of medical science beyond the pre-modern systems of Galen and Aristotle. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/andreas-vesalius-human-musculature-tab-i-1642/?attribute_size=16%22+x+20%22+%28Image%3A+9.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=642,https://www.theibis.net/wp-content/uploads/2019/02/ves6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 630,"Andreas Vesalius : ""Muscle Man II"" (1543) 16"" x 20"" (Image: 10.31"" x 17"")","An anatomical illustration from Andreas Vesaliuss ground-breaking work, De humani corporis fabrica , or ""On the fabric of the human body."" De Corporis Fabrica far surpassed any of the anatomical atlases that had been published at the time, benefiting from Renaissance advances in printing and visual representation, as well as Vesaliuss direct involvement in the preparation of the figures. With his emphasis upon the human body as an essentially corporeal structure functioning according to mechanistic principles, Vesalius made significant contributions toward the advancement of medical science beyond the pre-modern systems of Galen and Aristotle. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/andreas-vesalius-muscle-man-ii-1543/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=630,https://www.theibis.net/wp-content/uploads/2019/02/ves5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 618,"Andreas Vesalius : ""Muscle Man VI"" (1543) 16"" x 20"" (Image: 10.38"" x 17"")","An anatomical illustration from Andreas Vesaliuss ground-breaking work, De humani corporis fabrica , or ""On the fabric of the human body."" De Corporis Fabrica far surpassed any of the anatomical atlases that had been published at the time, benefiting from Renaissance advances in printing and visual representation, as well as Vesaliuss direct involvement in the preparation of the figures. With his emphasis upon the human body as an essentially corporeal structure functioning according to mechanistic principles, Vesalius made significant contributions toward the advancement of medical science beyond the pre-modern systems of Galen and Aristotle. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/andreas-vesalius-muscle-man-vi-1543/?attribute_size=16%22+x+20%22+%28Image%3A+10.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=618,https://www.theibis.net/wp-content/uploads/2019/02/ves4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 607,"Andreas Vesalius : ""Muscle Man IV"" (1543) 16"" x 20"" (Image: 10.88"" x 17"")","An anatomical illustration from Andreas Vesaliuss ground-breaking work, De humani corporis fabrica , or ""On the fabric of the human body."" De Corporis Fabrica far surpassed any of the anatomical atlases that had been published at the time, benefiting from Renaissance advances in printing and visual representation, as well as Vesaliuss direct involvement in the preparation of the figures. With his emphasis upon the human body as an essentially corporeal structure functioning according to mechanistic principles, Vesalius made significant contributions toward the advancement of medical science beyond the pre-modern systems of Galen and Aristotle. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/andreas-vesalius-muscle-man-iv-1543/?attribute_size=16%22+x+20%22+%28Image%3A+10.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=607,https://www.theibis.net/wp-content/uploads/2019/02/ves3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 594,"Andreas Vesalius : ""Skeletal Figure Hanging from a Noose"" (1543) 16"" x 20"" (Image: 10.38"" x 17"")","An anatomical illustration from Andreas Vesaliuss ground-breaking work, De humani corporis fabrica , or ""On the fabric of the human body."" De Corporis Fabrica far surpassed any of the anatomical atlases that had been published at the time, benefiting from Renaissance advances in printing and visual representation, as well as Vesaliuss direct involvement in the preparation of the figures. With his emphasis upon the human body as an essentially corporeal structure functioning according to mechanistic principles, Vesalius made significant contributions toward the advancement of medical science beyond the pre-modern systems of Galen and Aristotle. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/andreas-vesalius-skeletal-figure-hanging-from-a-noose-1543/?attribute_size=16%22+x+20%22+%28Image%3A+10.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=594,https://www.theibis.net/wp-content/uploads/2019/02/ves1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 581,"Illumination : ""Leaf From the Divine Comedy"" (1300s) 16"" x 20"" (Image: 12.19"" x 17"")","This Italian-language illumination from the Divine Comedy dates from the late 14th century. It was composed in a round Gothic script with lavish ornamentation that borders both columns of text. The Divine Comedy itself was written only decades earlier—sometime between 1308 and 1321—making this illumination one of its earliest editions.",https://www.theibis.net/product/dante-alighieri-illumination-leaf-from-the-divine-comedy-1300s/?attribute_size=16%22+x+20%22+%28Image%3A+12.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=581,https://www.theibis.net/wp-content/uploads/2019/02/divina_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 574,"Alphonse Mucha : ""International Exposition at St. Louis"" (1904) 16"" x 20"" (Image: 12.38"" x 17"")","An art nouveau masterpiece advertising the 1904 St. Louis Worlds Fair, also known as the Louisiana Purchase Exposition. A subdued Native American offers his hand to a maiden of European descent. The frontier had been settled, its inhabitants pacified, and the United States now controlled vast tracts of land. In the footer, a chart indicates the size of the St. Louis Worlds Fair relative to prior exhibitions. At 500 hectares, it was more than double the Chicago Worlds Fair of 1893, and easily dwarfed the Paris and Philadelphia expositions of 1900 and 1876, respectively.",https://www.theibis.net/product/alphonse-mucha-art-nouveau-poster-international-exposition-at-st-louis-1904/?attribute_size=16%22+x+20%22+%28Image%3A+12.38%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=574,https://www.theibis.net/wp-content/uploads/2019/02/slou_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 554,"George Inness : ""The Rainbow"" (c. 1878 - 1879) 16"" x 20"" (Image: 11.25"" x 17"")","For George Inness, light was wisdom; warmth was love. A follower of the Christian mystic Emanuel Swedenborg, he believed in the correspondence of the natural and the spiritual; that the very landscape itself was an expression of the divine. ""The true use of art,"" he believed, ""was to cultivate the artists own spiritual nature."" Poetic representation could be achieved without license or embellishment, for poetry is not distortion; ""poetry,"" he said, ""is the vision of reality.""",https://www.theibis.net/product/george-inness-the-rainbow-c-1878-1879/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=554,https://www.theibis.net/wp-content/uploads/2019/02/rainbow_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 544,"Wladyslaw T. Benda : ""The Earth and the Milky Way and Moon"" (1918) 16"" x 20"" (Image: 12.5"" x 17"")","The Polish-American artist Wladyslaw T. Benda produced this illustration for Maurice Maeterlincks ""The Future of Earth,"" published in the March 1918 issue of Cosmopolitan. The motif of a classically-styled window opening upon the cosmos may have been inspired by the Astronomia playing cards created by F.G. Moon in 1829. In his own time, Benda enjoyed an artistic reputation comparable to those of Norman Rockwell, N.C.Wyeth or Maxfield Parrish. In addition to his work as an illustrator, he also designed WWI recruitment posters, papier-mache face masks and costumes.",https://www.theibis.net/product/wladyslaw-t-benda-the-earth-and-the-milky-way-and-moon-1918/?attribute_size=16%22+x+20%22+%28Image%3A+12.5%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=544,https://www.theibis.net/wp-content/uploads/2019/02/earthmilk_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 522,"Louis Prang : ""Poultry of the World"" (c. 1868) 16"" x 20"" (Image: 13"" x 16.06"")","This Louis Prang print identifies fifty-two breeds of fowl. Each small illustration is numbered and captioned on the bottom corners. A Prussian-born American lithographer who enjoys name-recognition second only to Currier and Ives, Prang and his firm achieved widespread success publishing prints of the Civil War, as well as major art works, advertising materials and album cards. He is also credited as the father of the American Christmas card — a product he first produced in 1874.",https://www.theibis.net/product/louis-prang-poultry-of-the-world-c-1868/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.06%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=522,https://www.theibis.net/wp-content/uploads/2019/02/pworld_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 510,"William Cheselden : ""Skeleton of a Child One and a Half Years Old Holding a Thigh Bone"" (1733) 16"" x 20"" (Image: 10.69"" x 17"")","In his Osteographia , William Cheselden set out to design not only the most accurate, but also the most beautiful medical atlas yet available. He worked closely with his artists, Gerard Vandergucht and Jacob Schijnvoet, choosing poses, making corrections and adding his own accents, where appropriate. He was involved at every stage of production, sometimes working directly upon the copper plates. The initial drawings for the project were scrapped when he struck upon the idea of having Vandergucht and Schijnvoet work from a camera obscura, allowing them to directly trace a projected image. Though Osteographia was ultimately a commercial failure, selling only 97 of the 300 printed copies, it is now regarded as a major landmark in anatomical illustration, ranking among the most beautiful books ever produced. (Image courtesy of the U.S. National Library of Medicine.)",https://www.theibis.net/product/william-cheselden-skeleton-of-a-child-one-and-a-half-years-old-holding-a-thigh-bone-osteographia-1733/?attribute_size=16%22+x+20%22+%28Image%3A+10.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=510,https://www.theibis.net/wp-content/uploads/2019/02/boybone_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 494,"William Cheselden : ""Skeleton of a Boy About Nine Years Old"" (1733) 16"" x 20"" (Image: 10.69"" x 17"")","In his Osteographia , William Cheselden set out to design not only the most accurate, but also the most beautiful medical atlas yet available. He worked closely with his artists, Gerard Vandergucht and Jacob Schijnvoet, choosing poses, making corrections and adding his own accents, where appropriate. He was involved at every stage of production, sometimes working directly upon the copper plates. The initial drawings for the project were scrapped when he struck upon the idea of having Vandergucht and Schijnvoet work from a camera obscura, allowing them to directly trace a projected image. Though Osteographia was ultimately a commercial failure, selling only 97 of the 300 printed copies, it is now regarded as a major landmark in anatomical illustration, ranking among the most beautiful books ever produced. (Image courtesy of the U.S. National Library of Medicine.)",https://www.theibis.net/product/william-cheselden-skeleton-of-a-boy-about-nine-years-old-osteographia-1733/?attribute_size=16%22+x+20%22+%28Image%3A+10.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=494,https://www.theibis.net/wp-content/uploads/2019/02/9skel_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 483,"William Cheselden : ""Side View of a Praying Skeleton"" (1733) 16"" x 20"" (Image: 10.69"" x 17"")","In his Osteographia , William Cheselden set out to design not only the most accurate, but also the most beautiful medical atlas yet available. He worked closely with his artists, Gerard Vandergucht and Jacob Schijnvoet, choosing poses, making corrections and adding his own accents, where appropriate. He was involved at every stage of production, sometimes working directly upon the copper plates. The initial drawings for the project were scrapped when he struck upon the idea of having Vandergucht and Schijnvoet work from a camera obscura, allowing them to directly trace a projected image. Though Osteographia was ultimately a commercial failure, selling only 97 of the 300 printed copies, it is now regarded as a major landmark in anatomical illustration, ranking among the most beautiful books ever produced. (Image courtesy of the U.S. National Library of Medicine.)",https://www.theibis.net/product/william-cheselden-side-view-of-a-praying-skeleton-osteographia-1733/?attribute_size=16%22+x+20%22+%28Image%3A+10.69%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=483,https://www.theibis.net/wp-content/uploads/2019/02/prayskel_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 472,"Andreas Vesalius : ""Skeleton Contemplating a Skull"" (1543) 16"" x 20"" (Image: 10.31"" x 17"")","An anatomical illustration from Andreas Vesaliuss ground-breaking work, De humani corporis fabrica , or ""On the fabric of the human body."" De Corporis Fabrica far surpassed any of the anatomical atlases that had been published at the time, benefiting from Renaissance advances in printing and visual representation, as well as Vesaliuss direct involvement in the preparation of the figures. With his emphasis upon the human body as an essentially corporeal structure functioning according to mechanistic principles, Vesalius made significant contributions toward the advancement of medical science beyond the pre-modern systems of Galen and Aristotle. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/andreas-vesalius-skeleton-contemplating-a-skull-1543/?attribute_size=16%22+x+20%22+%28Image%3A+10.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=472,https://www.theibis.net/wp-content/uploads/2019/02/ves2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 461,"Giuseppe Arcimboldo : ""The Librarian"" (1904) 16"" x 20"" (Image: 12.31"" x 17"")","The Librarian is part of a series of composite portraits by Giuseppe Arcimboldo depicting members of the Habsburg Emperors entourage. Other examples include ""The Chef"" and ""The Lawyer."" Though best-known for his composite heads using fruits and vegetables, this more geometrical composition might seem more at home among the modern art of the 20th century than the portraiture of the 16th. It is most likely based upon Wolfgang Lazius, Ferdinand Is official historian, director of the Kunstkammer and imperial library.",https://www.theibis.net/product/giuseppe-arcimboldo-the-librarian-1904/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=461,https://www.theibis.net/wp-content/uploads/2019/02/alib_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 450,"Johnny Kit Elswa (First Nations, Haida) : ""Kahalta. Dog Fish"" (1883) 16"" x 20"" (Image: 11.94"" x 17"")","An early drawing in the distinctive, formilinear style of the First Nations of the Northwest Coast, by Johnny Kit Elswa; a Haida man who assisted in the collection of Native art and artifacts during the late 19th century. Dwelling primarily in northern British Columbia and Southeast Alaska, the Haida people remain productive artists and artisans today, celebrated for their exquisite carvings, ornate jewelry and Chilkat-woven goods.",https://www.theibis.net/product/johnny-kit-elswa-first-nations-haida-kahalta-dog-fish-1883/?attribute_size=16%22+x+20%22+%28Image%3A+11.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=450,https://www.theibis.net/wp-content/uploads/2019/02/dogfish_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 438,"Johnny Kit Elswa (First Nations, Haida) : ""Koot. Sparrow Hawk on its Nest"" (1883) 16"" x 20"" (Image: 11.94"" x 17"")","An early drawing in the distinctive, formilinear style of the First Nations of the Northwest Coast, by Johnny Kit Elswa; a Haida man who assisted in the collection of Native art and artifacts during the late 19th century. Dwelling primarily in northern British Columbia and Southeast Alaska, the Haida people remain productive artists and artisans today, celebrated for their exquisite carvings, ornate jewelry and Chilkat-woven goods.",https://www.theibis.net/product/johnny-kit-elswa-first-nations-haida-koot-sparrow-hawk-on-its-nest-1883/?attribute_size=16%22+x+20%22+%28Image%3A+11.94%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=438,https://www.theibis.net/wp-content/uploads/2019/02/koot_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 423,"Freak Show Poster : ""Royal Aquarium - Adonis the African Midget"" (c. 1885) 16"" x 20"" (Image: 11.31"" x 17"")","A promotional poster for ""Adonis the African Midget,"" on view with Wielands Realities at the Royal Aquarium in Westminster, London. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-royal-aquarium-adonis-the-african-midget-c-1885/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=423,https://www.theibis.net/wp-content/uploads/2019/02/freak9_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 412,"Freak Show Poster : ""Royal Aquarium - Chang the Giant"" (c. 1880) 16"" x 20"" (Image: 11.25"" x 17"")","This promotional poster for Londons Royal Aquarium features Chang Woo Gow, ""The Chinese Giant,"" who was renown for his intelligence as well as his stature. He spoke six languages and stood 7 8.75"". (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-royal-aquarium-chang-the-giant-c-1880/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=412,https://www.theibis.net/wp-content/uploads/2019/02/freak7_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 401,"Freak Show Poster : ""London Pavilion - Giant Constantin"" (1899) 16"" x 20"" (Image: 11.19"" x 17"")","This promotional poster for the London Pavilion features Julius Koch, ""Giant Constantin,"" a German man who stood 8 0.9"" tall. Sadly, his legs had to be amputated when he developed gangrene. His skeleton is now preserved in the Museum of Natural History in Mons. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-london-pavilion-giant-constantin-1899/?attribute_size=16%22+x+20%22+%28Image%3A+11.19%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=401,https://www.theibis.net/wp-content/uploads/2019/02/freak6_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 389,"Freak Show Poster : ""South London Palace - For Twelve Nights Only"" (1874) 16"" x 20"" (Image: 11.31"" x 17"")","This promotional poster for South London Palace features an unnamed pair of performers suffering from hypertrichosis; the so-called ""werewolf syndrome."" (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-south-london-palace-for-twelve-nights-only-1874/?attribute_size=16%22+x+20%22+%28Image%3A+11.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=389,https://www.theibis.net/wp-content/uploads/2019/02/freak5_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 377,"Freak Show Poster : ""London Pavilion - The Egyptian Giant"" (c. 1895) 16"" x 20"" (Image: 11.25"" x 17"")","This promotional poster for the London Pavilion features ""The Egyptian Giant,"" Hassan Ali, who would go on to tour with Barnum & Baileys in 1899. He is supposed to have stood 8 6.4"" tall. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-london-pavilion-the-egyptian-giant-c-1895/?attribute_size=16%22+x+20%22+%28Image%3A+11.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=377,https://www.theibis.net/wp-content/uploads/2019/02/freak4_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 365,"Freak Show Poster : ""London Pavilion - Herr Winkelmeier"" (c. 1887) 16"" x 20"" (Image: 11.69"" x 18"")","This promotional poster for the London Pavilion features Herr Winkelmeier, the ""Austrian giant,"" purportedly the tallest man in the world. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-london-pavilion-herr-winkelmeier-c-1887/?attribute_size=16%22+x+20%22+%28Image%3A+11.69%22+x+18%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=365,https://www.theibis.net/wp-content/uploads/2019/02/freak3_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 353,"Freak Show Poster : ""Piccadilly Hall - Royal American Midgets"" (c. 1882) 16"" x 20"" (Image: 12"" x 18"")","This promotional poster for Londons Piccadilly Hall features the Royal American Midgets; a duo consisting of General Mite and Millie Edwards, here billed as ""The Most Beautiful and Fairy-like Little Lady in the World, now in her 15th Year."" In 1884 the pair would marry. The ceremony attracted so many spectators that the church sold tickets. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-piccadilly-hall-royal-american-midgets-c-1882/?attribute_size=16%22+x+20%22+%28Image%3A+12%22+x+18%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=353,https://www.theibis.net/wp-content/uploads/2019/02/freak2_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 342,"Freak Show Poster : ""Royal Aquarium - Captain Costentenus"" (c. 1882-1886) 16"" x 20"" (Image: 12.25"" x 17"")","This promotional poster for Londons Royal Aquarium features Captain Costentenus, ""tattooed from head to foot in Chinese Tartary, as punishment for engaging in rebellion against the king."" Costentenus was the first to display a full-body tattoo, encompassing his entire anatomy, save for the soles of his feet. He was likely the most heavily tattooed man of the 19th century. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-royal-aquarium-captain-costentenus-c-1882-1886/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=342,https://www.theibis.net/wp-content/uploads/2019/02/freak8_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 329,"Freak Show Poster : ""Egyptian Hall - The Pygopagi Twins"" (c. 1880) 16"" x 20"" (Image: 11.81"" x 17"")","This promotional poster for Londons Egyptian Hall features ""The Pygopagi Twins,"" Rosa and Josepha Blazek, who first appeared in Britain as small children in 1880. ""Pygopagus"" is a medical term referring to conjoined twins connected at the side. (Image by the Wellcome Library, London (CC BY 4.0).)",https://www.theibis.net/product/freak-show-poster-egyptian-hall-the-pygopagi-twins-c-1880/?attribute_size=16%22+x+20%22+%28Image%3A+11.81%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=329,https://www.theibis.net/wp-content/uploads/2019/02/freak1_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 312,"Rembrandt van Rijn : ""Lucretia"" (1664) 16"" x 20"" (Image: 13"" x 15.44"")","Lucretia was the wife of a Roman war leader, forced to choose between submitting to rape or being murdered alongside the body of a naked slave. Rather than die with her honor besmirched, she chose to submit. Later, she confessed the events to her husband, and redeemed herself by committing suicide. Here Rembrandt captures her in the moment of psychological climax. Though she is a figure from antiquity, the artist chose to present her in contemporary garb, suggesting the universality of her experience. Some critics have drawn parallels between Lucretias story and that of Rembrandts own public ostracism. His model for Lucretia was Hendrickje Stoffels, his common law wife, who had died in 1663. For living in sin with the artist, she had been condemned before a church council and banned from receiving communion.",https://www.theibis.net/product/rembrandt-van-rijn-lucretia-1664/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+15.44%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=312,https://www.theibis.net/wp-content/uploads/2019/02/lucretia_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 299,"Joakim Skovgaard : ""Christ in the Realm of the Dead"" (1891-1894) 16"" x 20"" (Image: 11.88"" x 17"")","On Easter Eve Jesus descends into the Underworld to release the lost souls in this inspirational piece by the Danish artist Joakim Skovgaard. Shadows recede as the forlorn masses reach out to receive His regenerating light; snakes and skulls are crushed underfoot. Skovgaard is best-known for the frescoes he developed for the Viborg Cathedral in Denmark, which represent the principal Bible stories of the Old and New Testaments.",https://www.theibis.net/product/joakim-skovgaard-christ-in-the-realm-of-the-dead-1891-1894/?attribute_size=16%22+x+20%22+%28Image%3A+11.88%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=299,https://www.theibis.net/wp-content/uploads/2019/02/cdead_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 289,"John Atkinson Grimshaw : ""Evening Glow"" (c. 1884) 16"" x 20"" (Image: 11"" x 17"")","The golden glow of an autumn evening suffuses this piece with rustic warmth and the comfort of solitude. A Victorian painter of seasonal landscapes and urban night scenes, Grimshaw is known for the virtuosity of his lighting effects, which were executed with consummate realism even under the most difficult of conditions.",https://www.theibis.net/product/john-atkinson-grimshaw-evening-glow-c-1884/?attribute_size=16%22+x+20%22+%28Image%3A+11%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=289,https://www.theibis.net/wp-content/uploads/2019/02/glow_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 279,"Martin Johnson Heade : ""Sunlight and Shadow - Newbury Marshes"" (c. 1871 / 1875) 16"" x 20"" (Image: 7.56"" x 17"")","Though Martin Johnson Heade shared studio space and was acquainted with members of the Hudson River School, he remained peripheral to the movement, his subjects a significant departure from those of his peers. New England coastal salt marshes were his primary interest in landscape. These wetland scenes, numbering over one hundred in total, are characterized by their subdued scenery and emphasis on light and atmosphere. ""Over the course of this series,"" observes the National Gallery in Washington, ""Heade captured the essential character of the wetlands environment. He depicted the tides, meteorological phenomena, and other natural forces that shaped the appearance of the swamp and showed how the land was used for hunting, fishing, and the harvesting of naturally occurring salt hay. No other artist of the era explored and analyzed the unique qualities of the marshes in such a sustained and detailed way."" The Metropolitan Museum of Art notes his subjective approach to landscape, reflecting that ""His minutely scaled renderings of natures climatic cycles may be understood as imitations of his own mood."" Heade was not famous during his lifetime and was nearly forgotten until his work underwent a period of rediscovery during the mid-20th century. Now considered a major American artist, his original works continue to surface in attics and rummage sales, only to fetch six-figure sums at auction.",https://www.theibis.net/product/martin-johnson-heade-sunlight-and-shadow-newbury-marshes-c-1871-1875/?attribute_size=16%22+x+20%22+%28Image%3A+7.56%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=279,https://www.theibis.net/wp-content/uploads/2019/02/sunshadow_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 267,"Giuseppe Arcimboldo : ""Rudolf II as Vertumnus"" (1590) 16"" x 20"" (Image: 13"" x 16"")","Giuseppe Arcimboldos most famous portrait, depicting the Holy Roman Emperor Rudolf II in the guise of Vertumnus; the Roman god of the changing seasons, plant growth, gardens and fruit trees. All the sumptuous fruits and vegetables of the four seasons harmonize in the person of the sovereign; the ultimate source of all prosperity in the empire.",https://www.theibis.net/product/giuseppe-arcimboldo-rudolf-ii-as-vertumnus-1590/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=267,https://www.theibis.net/wp-content/uploads/2019/02/rudolf_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 243,"Giuseppe Arcimboldo : ""Four Seasons in One Head"" (1590) 16"" x 20"" (Image: 12.31"" x 17"")","A probable self-portrait, ""Four Seasons in One Head"" is a late work by Giuseppe Arcimboldo which recently resurfaced in an English private collection. Its first public exhibition took place in 2007-8 as part of an Arcimbolo retrospective held in Paris and Vienna. An Italian painter of the Renaissance period, Arcimbolo produced many conventional art pieces during his lifetime, but is best known for his composite portraits. As the title implies, ""Four Seasons"" combines elements symbolic of winter (the bare tree stump, forming the chest and head), spring (flowers on the breast and shoulder), summer (bundles of wheat, cherries, plums) and fall (grapes and apples). A more somber portrait than his earlier work, the subject appears elderly. He has passed through the warmer seasons, and is now in the winter of his years.",https://www.theibis.net/product/giuseppe-arcimboldo-four-seasons-in-one-head-1590/?attribute_size=16%22+x+20%22+%28Image%3A+12.31%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=243,https://www.theibis.net/wp-content/uploads/2019/02/fourseasons_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 233,"George Morland : ""The Old Water Mill"" (1790) 16"" x 20"" (Image: 13"" x 16.31"")","George Morland was a child prodigy who began to draw at the age of three and exhibited by age ten. His talents were carefully cultivated and ruthlessly exploited by his father, who shut him up in a garret to make drawings from pictures and casts for which he had found a ready sale. It is said that he hid some of his drawings, lowering them from a window by night, where they were collected by his young friends. Together, they would spend the proceeds on low entertainment. His adult life followed much the same pattern. Having trained from early childhood, he became an extremely prolific and popular artist, able to paint one or two pictures a day, but too often sold them to the first dealer to arrive with four guineas and a bottle. In consequence, he spent much of his life fleeing debts, dying in poverty at the age of 41. Had Morland been so disposed, he might have devoted himself to refined subjects that would have appealed to wealthy patrons. Living hand-to-mouth, in some cases trading his paintings to settle tavern scores, he painted rustic scenes that reflect the milieu in which he actually lived. These have become an invaluable window into the beauty of everyday life in pre-industrial Britain.",https://www.theibis.net/product/george-morland-the-old-water-mill-1790/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.31%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=233,https://www.theibis.net/wp-content/uploads/2019/02/oldmill_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 223,"Moritz von Schwind : ""Queen of the Night"" (c.1864-1867) 16"" x 20"" (Image: 13"" x 17.19"")","Moritz von Schwind was an Austrian artist whose passion for music was nurtured by his friendship with Franz Schubert. In 1863 he was commissioned to produce a series of frescoes of The Magic Flute for the Vienna Opera House. Rendered in watercolor over graphite, this design depicts the Queen of the Night in all her cosmic splendor. In her famous aria, she implores her daughter to go against her heart and murder her beloved Sarastro: ""The vengeance of Hell boils in my heart, / Death and despair flame about me! / If Sarastro does not through you feel / The pain of death, / Then you will be my daughter nevermore.""",https://www.theibis.net/product/moritz-von-schwind-queen-of-the-night-c-1864-1867/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+17.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=223,https://www.theibis.net/wp-content/uploads/2019/02/qotn_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 200,"Henri Privat-Livemont : ""Absinthe Robette"" (1896) 16"" x 20"" (Image: 12.25"" x 17"")","First printed in 1896, Henri Privat-Livemonts iconic Absinthe Robette is easily one of the most recognizable images associated with absinthe and with art nouveau in general. It depicts a classically-styled maiden in a sheer gown receiving a glass of absinthe from on high, as if partaking in some ancient temple rite. From an unseen fount, a trickle of water dissolves the sugar that rests atop the glass, transmuting the pure absinthe its servable color and flavor. As the alchemy unfolds before her, the woman watches, transfixed by its occult majesty. The ritual of absinthe-drinking contributed enormously to its mystique; its devotees included the likes of Oscar Wilde, Aleister Crowley and Vincent van Gogh.",https://www.theibis.net/product/henri-privat-livemont-absinthe-robette-1896/?attribute_size=16%22+x+20%22+%28Image%3A+12.25%22+x+17%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=200,https://www.theibis.net/wp-content/uploads/2019/11/robette_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 189,"Hans Hoffmann : ""A Hare in the Forest"" (c. 1585) 16"" x 20"" (Image: 13"" x 16.38"")","Nibbling on a leaf pulled from a stalk of Ladys Mantle, an alert hare sits at the edge of a pine forest. Unlike the darkness one would expect to find in a forest, Hans Hoffmann painted a theatrically illuminated scene. Each plant and insect—snail, cricket, beetle—is seen in vivid detail. The finely wrought leaves of the thistle, the sprawling fronds of a plantain, and the bright blue flowers of the Hare Bell attest to Hoffmanns meticulous treatment of the subject. In fact, none of these plants could have co-existed in the natural world. Hoffmann imaginatively combined numerous individual nature studies in a single painting. Hoffmanns golden-brown hare is based on Albrecht Dürers famous and influential watercolor which, much like his Stag Beetle , shows a hare against a plain ground. Hoffmann had seen Dürers hare while in Nuremburg. Later, when he went to work in the court of Emperor Rudolf II, he helped the Emperor acquire the watercolor for his Kunstkammer. Hoffmanns hare differs from Dürers however, appearing amid a striking arrangement of elegant plants and insects. At the time it was painted, this arrangement of nearly life-size subjects was entirely unique, not only within Hoffmanns body of work, but also within the tradition of German nature study. (Text courtesy of the Gettys Open Content Program, CC BY 4.0).",https://www.theibis.net/product/hans-hoffmann-a-hare-in-the-forest-c-1585/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.38%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=189,https://www.theibis.net/wp-content/uploads/2019/02/haref_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 145,"James Ward : ""A Satyrs Head"" (1836) 16"" x 20"" (Image: 13"" x 14.19"")","The Yale Center for British Art describes James Ward as ""one of the finest animal, portrait, and landscape painters of Regency England;"" a ""brilliant and neglected artist"" who ""worked well into the mid-nineteenth century, creating dynamic compositions that epitomized Romanticism."" As this sketch of a satyrs head illustrates, Wards Romantic sensibilities and gift for expression were as conspicuous in his sketches as in his finished work. Evocative of pagan antiquity and the fantasy realms of C. S. Lewis and George MacDonald, it reflects the more spiritual focus of the artist in his late sixties.",https://www.theibis.net/product/james-ward-a-satyrs-head-1836/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+14.19%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=145,https://www.theibis.net/wp-content/uploads/2019/02/satyr_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New, 138,"Samuel Palmer : ""The Harvest Moon"" (c. 1833) 16"" x 20"" (Image: 13"" x 16.06"")","Harvesters bring in sheaves of golden grain beneath the light of the full moon in this jewel of a painting, composed by Samuel Palmer during his stay in Shoreham, Kent. A protege of William Blake, Palmer idealized the pastoral virtue of pre-industrial Britain at a time when many agricultural laborers were busy agitating for reform. In ""The Harvest Moon"", he accordingly depicts honest peasant farmers working in harmony to overcome the forces of darkness (i.e., of political and social change). According to Matthew Hargraves of the Yale Center for British Art, ""Palmers vision of the night created an alternate world, an idyllic place, where the harsh realities of rural life and political change are smoothed away, and their toil becomes part of the seductive beauty of the nocturnal landscape.""",https://www.theibis.net/product/samuel-palmer-the-harvest-moon-c-1833/?attribute_size=16%22+x+20%22+%28Image%3A+13%22+x+16.06%22%29&utm_source=Pinterest&utm_campaign=Pintrest&utm_medium=cpc&utm_term=138,https://www.theibis.net/wp-content/uploads/2019/02/harvest_web_3a.jpg,"in stock","USD 29.99",,"The Ibis",,,,New,