Henri Vever

French, 1854 - 1942

Explore Selected Works

Claude Lorrain, Harbor with a Large Tower (Le Port de mer à la grosse tour), c. 1641, etching on laid paper, Ailsa Mellon Bruce Fund, 1994.47.1

Harbor with a Large Tower (Le Port de mer à la grosse tour)

Claude Lorrain · c. 1641 · etching on laid paper ·  Accession ID  1994.47.1

Two sailboats and a rowboat float on a glistening, azure-blue river spanned by a stone bridge to our right in this horizontal landscape painting. The scene is loosely painted with visible strokes and dashes throughout so some details are indistinct. An area of asparagus and moss-green dabs creates a patch of grassy riverbank in the lower right corner of the painting. The rippling, sun-dappled surface of the river is created with short parallel strokes of pale pink, caramel brown, white, sage green, and light blue. An empty sailboat, with its sails tightly furled or removed all together, floats near us to our left of center. It has a single tall, pale wood mast. A similar pole rises from the bottom edge of the picture, presumably the mast of another ship below us or out of our view. Farther out on the water and to our left is another sailboat with full white sails catching the sunlight. The final vessel is loosely painted with a few swipes of goldenrod yellow, black, white, and pink to suggest two people sitting in a rowboat, one of them holding a pink parasol. The gray stone bridge is shaded on our side with denim blue along the faces of the four arches we can see. Several people, painted with a few touches of peach and black, stand at the railing. The bridge angles from near the upper right corner of the canvas to almost the middle of the composition, where it meets a narrow, three-story coral-pink and light gray building. A two-story, white building sits a short distance to its left. They bask in warm sunlight against a row of emerald and olive-green trees. A baby-blue sky scattered with puffy white clouds spans the upper half of the composition. The artist signed the lower right with dark red letters, “Claude Monet.”
Claude Monet, The Bridge at Argenteuil, 1874, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1983.1.24

The Bridge at Argenteuil

Claude Monet · 1874 · oil on canvas ·  Accession ID  1983.1.24

This horizontal landscape painting shows a cluster of tan and rust-brown buildings set on a tiny island at the center of a wide brownish-gray river. We look across the surface of the smooth, glassy river, which spans the width of the composition. Most of the buildings on the island are about the same height, perhaps three or four stories high, except for a bell tower that rises a story above the rest, to our right of center. Sage-green dabs along the ground on the island suggest vegetation. Two arched stone bridges span the river on either side of the island to connect to the city beyond. The color palette is made up entirely of shades of tan, cream white, and brown, except for the blue sky with a band of white puffy clouds above.
Jean-Baptiste-Camille Corot, The Island and Bridge of San Bartolomeo, Rome, 1825/1828, oil on paper on canvas, Patrons' Permanent Fund, 2001.23.1

The Island and Bridge of San Bartolomeo, Rome

Jean-Baptiste-Camille Corot · 1825/1828 · oil on paper on canvas ·  Accession ID  2001.23.1

Auguste Rodin, Eve, model c. 1881, carved 1890/1891, marble, Corcoran Collection (William A. Clark Collection), 2014.136.247

Eve

Auguste Rodin · model c. 1881, carved 1890/1891 · marble ·  Accession ID  2014.136.247

Noël Cochin, Design for a Fan: Courtly Figures in a Landscape, mid 17th century, etching and engraving on laid paper, Ailsa Mellon Bruce Fund, 1994.47.2

Design for a Fan: Courtly Figures in a Landscape

Noël Cochin · mid 17th century · etching and engraving on laid paper ·  Accession ID  1994.47.2

An ice- and powder-blue sky swirled with faint peach takes up the top two-thirds of this landscape painting. A farm, field, road, and fence lie beyond the snow-dusted, spiky branches of a tree jutting into the scene from the lower right corner. The road extends from the bottom left corner into the distance near the left edge of the canvas. The fence cuts across the space closer to us, and the snowy field beyond reflects the cool blues of the sky. The pale green and peanut-brown farmhouse and buildings are topped with pale blue, snow-covered roofs. Dark forms near the road in the distance could be a person or a person and child, and two more people lean into the wind alongside the buildings to our right. The artist signed the lower left corner, “Sisley.”
Alfred Sisley, First Snow at Veneux-Nadon, 1878, oil on canvas, Donated by Lolo Sarnoff in memory of her grandfather, Louis Koch, 1983.98.1

First Snow at Veneux-Nadon

Alfred Sisley · 1878 · oil on canvas ·  Accession ID  1983.98.1