The Scream by Munch
The Scream shows a figure on a bridge above the Oslo fjord, hands pressed to its head under a sky of blood-red bands, while two friends walk on.…
The meaning and history of famous paintings: what they show, where the originals hang, and how each one is recreated by hand in oil on canvas.
The Scream shows a figure on a bridge above the Oslo fjord, hands pressed to its head under a sky of blood-red bands, while two friends walk on.…
Munch’s memory of his sister’s death from tuberculosis, painted again in 1907: a pale girl, a bowed woman and two hands joined.
Couples dance by the sea under a low moon, between a woman in white and a woman in black: Munch’s Dance of Life of 1899 to 1900.
A man sits head on hand by the curving shore at Åsgårdstrand in Munch’s Melancholy, a painting of mood rather than detail.
Two girls lean together over a piano score: the version Renoir chose for the French state in 1892, now in the Musée d’Orsay.
Blue-grey umbrellas rise over a Paris street while a young milliner looks out at us: Renoir’s picture painted in two different styles.
Discover Renoir’s Large Bathers in Philadelphia: playful gestures, sculptural figures and the years of drawing behind his ambitious bathing scene.
A publisher’s wife, her two children in matching blue and a patient Newfoundland: Renoir’s Salon success of 1879.
Explore Renoir’s The Swing: the watching child, woman’s glance, blue bows and dappled sunlight in his 1876 Impressionist garden scene.
A little girl in a blue dress holds a watering can and daisies on a garden path: Renoir’s much-loved painting of 1876.
Meet the people in Renoir’s Luncheon of the Boating Party and explore its setting, table, composition and revised details through real crops.
Three musicians in a quiet room, a brothel scene on the wall: Vermeer’s Concert, stolen from Boston in 1990 and never found.
A lady writes, her maid gazes out of the window and a crumpled letter lies on the floor: Vermeer’s late picture, stolen twice.
A young woman opens a window with one hand and rests the other on a gilded pitcher, bathed in cool light: Vermeer at the Met.
Seen through a dark doorway, a maid hands her mistress a letter: Vermeer’s late scene of love, music and a household interrupted.
Vermeer’s Delft seen across the harbour under a great sky: the Schiedam and Rotterdam Gates, a sunlit church tower and Proust’s yellow wall.
A scholar pauses with his dividers and looks to the window: Vermeer’s 1669 picture of a mind at work, signed and dated on the wall.
A scholar reaches for a celestial globe in the light of a window: Vermeer’s 1668 companion to The Geographer, now in the Louvre.









