A variety of artworks is ready to explore. Take your time admiring each one as you piece the puzzle together.
Amulet of the Goddess Isis Nursing the God Horus is a work dated Third Intermediate Period, Dyn, associated with Egyptian, in the collection of the Art Institute of Chicago.
Coin Depicting the God Zeus is a work dated 117-111 BCE, issued by Ptolemy, associated with Greek, Ptolemaic; minted in Egypt, in the collection of the Art Institute of Chicago.
Paul Cezanne made this work while being mentored by Impressionist Camille Pissarro. He rendered the unusual perspective—looking down onto the rooftops of Auvers and out to the distant countryside—with blocky, energetic patches of color and areas of ragged brushwork that might seem unfinished. These choices mark Cezanne's attempt to communicate not merely the landscape’s appearance but also the feeling of seeing it and painting it.
Fragment of a Necklace is a work dated 3rd century, associated with Roman; probably Egypt, in the collection of the Art Institute of Chicago.
A12: Cape Cod Living Room, 1750-1850 is a work dated c. 1940, associated with Designed by Narcissa Niblack Thorne American, 1882-1966, in the collection of the Art Institute of Chicago.
Van Gogh saw in Augustine Roulin—along with her husband, Joseph, and their children—a model of love and family life. He completed this work in 1889, soon after returning from his stay in the hospital following Paul Gauguin’s fraught departure. Madame Roulin sits in Gauguin’s chair, an attempt by Van Gogh to fill the space left by the older artist. In May 1889, Van Gogh gave this canvas to Gauguin as a gesture of reconciliation and friendship.
A5: Massachusetts Drawing Room, 1768 is a work dated c. 1940, associated with Designed by Narcissa Niblack Thorne American, 1882-1966, in the collection of the Art Institute of Chicago.
October Day is a work dated 1890–93, associated with Jean Charles Cazin (French, 1841–1901), in the collection of the Art Institute of Chicago.
John Singer Sargent was one of the most fashionable portraitists in late 19th-century Europe and America. Extravagant color and brushwork were central to Sargent’s success, as was his ability to present a refined image of his sitter. Here, Sargent accentuated Mrs. George Swinton's regal bearing and feminine dress, harmonizing the realism of her face with bursts of impressionistic brushstrokes describing her gown's shimmering fabric.
