Originality, authorship, and appropriation

Featured Artworks

The Artist's Garden at Giverny

Claude Monet (1900)

In The Artist's Garden at Giverny, Claude Monet turns his cultivated Clos Normand into a field of living color, where bands of violet irises surge toward a narrow, rose‑colored path. Broken, flickering strokes let greens, purples, and pinks mix optically so that light seems to tremble across the scene, while lilac‑toned tree trunks rhythmically guide the gaze inward [1][3].

The Large Bathers

Pierre-Auguste Renoir (1884–1887)

Pierre-Auguste Renoir’s The Large Bathers unites modern bodies with a pastoral grove to stage an Arcadian ideal. Three monumental nudes form interlocking curves and triangles while two background figures splash and groom, fusing sensual warmth with classical order [1][2].

Sunflowers

Vincent van Gogh (1888)

Vincent van Gogh’s Sunflowers (1888) is a yellow-on-yellow still life that stages a full cycle of life in fifteen blooms, from fresh buds to brittle seed heads. The thick impasto, green shocks of stem and bract, and the vase signed “Vincent” turn a humble bouquet into an emblem of endurance and fellowship [1][2].

Luncheon on the Grass

Édouard Manet (1863)

Luncheon on the Grass stages a confrontation between modern Parisian leisure and classical precedent. A nude woman meets our gaze beside two clothed men, while a distant bather and an overturned picnic puncture naturalistic illusion. Manet’s scale and flat, studio-like light convert a park picnic into a manifesto of modern painting [1][2].

Woman at Her Toilette

Berthe Morisot (1875–1880)

Woman at Her Toilette stages a private ritual of self-fashioning, not a spectacle of vanity. A woman, seen from behind, lifts her arm to adjust her hair as a black velvet choker punctuates Morisot’s silvery-violet haze; the mirror’s blurred reflection with powders, jars, and a white flower refuses a clear face. Morisot’s feathery facture turns a fleeting toilette into modern subjectivity made visible [1].

Irises

Vincent van Gogh (1889)

Painted in May 1889 at the Saint-Rémy asylum garden, Vincent van Gogh’s Irises turns close observation into an act of repair. Dark contours, a cropped, print-like vantage, and vibrating complements—violet/blue blossoms against yellow-green ground—stage a living frieze whose lone white iris punctuates the field with arresting clarity [1][2].

Camille (The Woman in the Green Dress)

Claude Monet (1866)

Monet’s Camille (The Woman in the Green Dress) turns a full-length portrait into a study of modern spectacle. The spotlit emerald-and-black skirt, set against a near-black curtain, makes fashion the engine of meaning and the vehicle of status.

Place de la Concorde

Edgar Degas (1875)

Degas’s Place de la Concorde turns a famous Paris square into a study of modern isolation and instantaneous vision. Figures stride past one another without contact, their bodies abruptly cropped and adrift in a wide, airless plaza—an urban stage where elegance masks estrangement [1][2].

The Dead Toreador

Édouard Manet (probably 1864)

Manet’s The Dead Toreador isolates a matador’s corpse in a stark, horizontal close‑up, replacing the spectacle of the bullring with silence and abrupt finality. Black costume, white stockings, a pale pink cape, the sword’s hilt, and a small pool of blood become the painting’s cool, modern vocabulary of death [1].

The Execution of Emperor Maximilian

Édouard Manet (1867–1868)

Manet’s The Execution of Emperor Maximilian confronts state violence with a cool, reportorial style. The wall of gray-uniformed riflemen, the fragmented canvas, and the dispassionate loader at right turn the killing into impersonal machinery that implicates the viewer [1][2].

Still Life with Apples and Oranges

Paul Cézanne (c. 1899)

Paul Cézanne’s Still Life with Apples and Oranges builds a quietly monumental world from domestic things. A tilting table, a heaped white compote, a flowered jug, and cascading cloths turn fruit into durable forms stabilized by color relationships rather than single‑point perspective [1][2]. The result is a still life that feels both solid and subtly unstable, a meditation on how we construct vision.

Jane Avril

Henri de Toulouse-Lautrec (c. 1891–1892)

In Jane Avril, Henri de Toulouse-Lautrec crystallizes a public persona from a few urgent, chromatic strokes: violet and blue lines whirl into a cloak, while green and indigo dashes crown a buoyant hat. Her face—sharply keyed in lemon yellow, lilac, and carmine—hovers between mask and likeness, projecting poise edged with fatigue. The raw brown ground lets her whiplash silhouette materialize like smoke from Montmartre’s nightlife.

The Japanese Bridge

Claude Monet (1899)

Claude Monet’s The Japanese Bridge centers a pale blue‑green arch above a horizonless pond, where water‑lily pads and blossoms punctuate a field of shifting reflections. The bridge reads as both structure and contemplative threshold, suspending the eye between surface shimmer and mirrored depths [1][2].

The School of Athens

Raphael (1509–1511)

Raphael’s The School of Athens orchestrates a grand debate on knowledge inside a perfectly ordered, classical hall whose one-point perspective converges on the central pair, Plato and Aristotle. Their opposed gestures—one toward the heavens, one level to the earth—establish the fresco’s governing dialectic between ideal forms and empirical reason [1][2]. Around them, mathematicians, scientists, and poets cluster under statues of Apollo and Athena/Minerva, turning the room into a temple of Renaissance humanism [1][3].