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Two more figures in blue coats with white collars walk together in the middle distance. Two tall golden-orange cone shapes rise behind them on the green, with a small rounded red-and-green form between them and patches of blue, white and yellow beyond. The signature 'Gauguin 88' is inscribed in orange at the lower left.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. He led the Pont-Aven painters toward flat colour and simplified form, and worked beside Van Gogh in Arles in 1888. From 1891 he lived mostly in Tahiti and, from 1901, the Marquesas, where Polynesian figures, colour and myth became his subject. There he took girls of thirteen and fourteen as his 'wives': by his own account Teha'amana, whose face recurs in the Tahitian paintings of 1891–93, was thirteen. 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Beside her a moustached man in evening dress with a red bow tie raises a glass. A large mirror behind reflects the crowded room in soft blue and cream.\u003c\/p\u003e\u003cp\u003eWilliam Glackens (1870–1938) was an American painter of the Ashcan School and a founding member of The Eight. Born in Philadelphia, he trained at the Pennsylvania Academy of the Fine Arts under Thomas Anshutz and worked as a newspaper illustrator before travelling to Europe in 1895 to study French painting. He painted the parks, restaurants and shoppers of New York in a bright style indebted to Renoir, most notably in Chez Mouquin (1905). His work is held by the Barnes Foundation, the Art Institute of Chicago and the Brooklyn Museum.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. 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A green cast-iron lamp post splits the canvas, and a third man, cut by the right edge, passes under his own umbrella. Beyond them figures cross a broad cobbled junction; a wedge of stone apartment blocks fills the left and a cart with red wheels stands at the kerb. Signed and dated 1877 at the lower left.\u003c\/p\u003e\u003cp\u003eCaillebotte showed the canvas at the third Impressionist exhibition in April 1877, where reviewers singled it out as one of the outstanding works on view. It is his largest and most ambitious painting, more than two and a half metres across, and it sets a modern Paris junction - the streets that now meet at the Place de Dublin in the eighth arrondissement - in sharp perspective. The rain is implied by wet cobbles and open umbrellas rather than painted. The Art Institute of Chicago has held it since 1964.\u003c\/p\u003e\u003cp\u003eGustave Caillebotte (1848–1894) was a French painter closely tied to the Impressionists, whom he also supported as a collector, buying paintings by Monet, Renoir and Pissarro and helping fund their exhibitions. Trained under Léon Bonnat after a law degree, he painted the streets and boating life of Paris with a sharper, more realist precision than his colleagues, most famously in Paris Street; Rainy Day (1877) and The Floor Scrapers (1875). His work is held by the Art Institute of Chicago, the Musée d'Orsay and the Museum of Fine Arts, Boston.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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She looks across at Odysseus, who stands high on the rocks at left, wrapped from head to foot in a deep blue cloak, his back turned as he faces the pale sea and cloudy sky. Monogrammed AB at upper right. The scene comes from the fifth book of Homer's Odyssey.\u003c\/p\u003e\u003cp\u003eArnold Böcklin (1827–1901) was a Swiss Symbolist painter. Trained at the Düsseldorf Academy under Johann Wilhelm Schirmer and formed by study trips to Antwerp, Brussels and the Louvre, he worked chiefly in Basel, Munich, Rome and Florence. He painted mythological and allegorical subjects — centaurs, mermaids, the Cyclops — in a style that became a touchstone of European Symbolism, most famously in Isle of the Dead (1880–86), which he painted in five versions. 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Behind the chair stands a girl with bobbed brown hair in a long black dress with a white collar, a hand resting on its back as she looks straight out. A glazed door with dark bars glows yellow behind them, and a round table in the foreground is strewn with papers and a brown folder.\u003c\/p\u003e\u003cp\u003eThe Art Institute of Chicago believes the double portrait was most likely painted during a four-month stay in Naples in 1875. It shows Degas's orphaned cousin Lucie with their uncle Henri, in whose care she had recently been placed, both dressed in mourning. Thinly painted areas and unresolved details suggest that it was never finished.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1875–76, Art Institute of Chicago.\u003c\/p\u003e\u003cp\u003eEdgar Degas (1834–1917) was a French painter, printmaker and sculptor. 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At left a young woman sits turned away on a low chair, head bowed and one hand at her face, her white chemise slipping from one shoulder and a dark red garment across her lap. A round table holds a lamp with a flowered scalloped shade and an open box lined in pink. At right a man in a dark jacket stands against the door, one hand in his pocket, his shadow tall on the wall. Signed lower right.\u003c\/p\u003e\u003cp\u003eThe picture's title has never been settled: Degas's acquaintances knew it either as Le Viol or as Intérieur, and it was first exhibited as Intérieur in 1905. Scholars have linked the scene to passages in novels by Émile Zola, but the Philadelphia Museum of Art notes that neither accounts for details such as the discarded corset, the open sewing box and the man's top hat on the dresser.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1868–1869, Philadelphia Museum of Art.\u003c\/p\u003e\u003cp\u003eEdgar Degas (1834–1917) was a French painter, printmaker and sculptor. He studied at the École des Beaux-Arts under Louis Lamothe, an admirer of Ingres, then spent three years in Italy copying Renaissance paintings before returning to Paris. Though he exhibited with the Impressionists and painted modern urban subjects, he preferred to be called a realist and refused to paint outdoors; more than half his output depicts dancers, and he also painted racehorses, laundresses, milliners and psychologically direct portraits. 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Beside her a bearded man in a dark coat and wide-brimmed hat, a pipe in his mouth, looks away to the right with a glass of dark drink before him. Marble tabletops angle across the foreground, one holding an empty carafe on a tray, another folded newspapers. The signature is at lower left.\u003c\/p\u003e\u003cp\u003eThe models were the actress Ellen Andrée and the engraver Marcellin Desboutin, and the setting is the Café de la Nouvelle-Athènes in Paris. At its first showing in 1876 critics called the picture ugly, and when it was shown in London in 1893 under the title L'Absinthe, English critics found the pair shockingly degraded. It entered the French national collections with the Camondo bequest in 1911 and hangs in the Musée d'Orsay.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, about 1875–76, Musée d'Orsay, Paris.\u003c\/p\u003e\u003cp\u003eEdgar Degas (1834–1917) was a French painter, printmaker and sculptor. 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He painted the leisure and social life of Paris and its riverside suburbs, most famously in Bal du Moulin de la Galette (1876), now in the Musée d'Orsay, and Luncheon of the Boating Party (1880–81), now in The Phillips Collection in Washington, D.C.; he later turned to warmer, more classical nudes and figure studies. The Barnes Foundation in Philadelphia holds the world's largest collection of his work, 179 paintings by its own published count.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Each has a glass of red wine, and his ringed hand rests on the cloth beside his glass. A long loaf lies by a blue-and-white tureen topped with a napkin, a green bottle behind. A straw boater with a black band hangs on a chair in the foreground, and behind the pair run an ochre panelled dado and pale blue wallpaper.\u003c\/p\u003e\u003cp\u003eThe boater hanging on the chair suggests the couple are taking a break from boating on the Seine, where lunch spots had sprung up for Parisians escaping the city. It is thought to have been painted in the summer of 1875 at Chatou, alongside Lunch at the Restaurant Fournaise (The Rowers' Lunch) in the Art Institute of Chicago.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1875, Barnes Foundation, Philadelphia.\u003c\/p\u003e\u003cp\u003ePierre-Auguste Renoir (1841–1919) was a French painter and one of the founding figures of Impressionism. He painted the leisure and social life of Paris and its riverside suburbs, most famously in Bal du Moulin de la Galette (1876), now in the Musée d'Orsay, and Luncheon of the Boating Party (1880–81), now in The Phillips Collection in Washington, D.C.; he later turned to warmer, more classical nudes and figure studies. The Barnes Foundation in Philadelphia holds the world's largest collection of his work, 179 paintings by its own published count.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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At left a fair-haired girl in a navy dress and blue-and-white checked skirt sits on a striped sofa, reading a large picture book. At right the eldest, in a white dress dotted with red, sews on a slender yellow chair, while the youngest, in a navy dress with a broad white collar and white apron, stands at her knee holding a doll with a red sash. Red flowers in a blue bowl stand before a window onto green lawns.\u003c\/p\u003e\u003cp\u003eRenoir painted the three daughters of the banker and diplomat Paul Bérard, Marthe, Marguerite and Lucie, at the family's château at Wargemont near Dieppe in 1884. He made it while preparing his large Bathers, now in Philadelphia, and it sets profile, frontal and half-profile faces side by side with a linear precision and a shadowless colour that the museum reads as deliberate staging.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1884, Alte Nationalgalerie, Berlin.\u003c\/p\u003e\u003cp\u003ePierre-Auguste Renoir (1841–1919) was a French painter and one of the founding figures of Impressionism. He painted the leisure and social life of Paris and its riverside suburbs, most famously in Bal du Moulin de la Galette (1876), now in the Musée d'Orsay, and Luncheon of the Boating Party (1880–81), now in The Phillips Collection in Washington, D.C.; he later turned to warmer, more classical nudes and figure studies. 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On the left a woman with piled red hair and a loose white blouse leans on the table edge, her eyes lowered. Beside her a man in a black bowler hat and dark coat hunches forward on his forearms, his moustached face turned toward us. On the table sit a white plate with a knife, two glasses and a dark bottle. The wall behind is worked in rust, green and cream. Signed at the upper right.\u003c\/p\u003e\u003cp\u003eThe picture was painted from a staged photograph in which Lautrec's friend Maurice Guibert posed as the man at the table beside an unidentified woman, a way of working from photographs that Lautrec had taken up in the 1880s. Guibert owned the painting by 1902, when he lent it to the Toulouse-Lautrec exhibition at Durand-Ruel in Paris, and the Museum of Fine Arts, Boston, bought it in 1940.\u003c\/p\u003e\u003cp\u003eThe original: oil paint on millboard mounted on panel, about 1891, Museum of Fine Arts, Boston.\u003c\/p\u003e\u003cp\u003eHenri de Toulouse-Lautrec (1864–1901) made the poster an art form. From 1891 his lithographs for the Moulin Rouge, Aristide Bruant, Jane Avril and the Divan Japonais turned Montmartre's performers into silhouettes and flat planes of colour learned from Japanese prints, and they were pasted across Paris by the thousand. He drew the cabarets, circuses and brothels of the city with unsentimental affection. 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His wife sits right of centre in a long orange coat and black headscarf, one hand in her lap, eyes lowered. Beside her a girl in red with a red bow sits on the floor, a smaller child's head in her lap. A round copper-coloured stove with a black pipe stands at right; a fruit still life and a Japanese print hang on the blue wall.\u003c\/p\u003e\u003cp\u003eThe picture shows the painter Emile Schuffenecker, a friend of Gauguin's, with his wife Louise and their children Jeanne and Paul in his studio. Gauguin painted it in 1889 and dedicated it to Schuffenecker in an inscription along the lower edge; the French national record notes that a further annotation was probably removed by Schuffenecker himself. 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At left one in a pink blouse faces the lawn, a white flower in her hair. At the centre a woman in a straw hat with a blue polka-dot ribbon sits with her back to us, one bare foot outstretched, in a lilac flowered blouse and dark blue skirt. Beyond her a woman in maroon irons cloth, and another in orange lies on her front. A basket of fruit sits in the foreground.\u003c\/p\u003e\u003cp\u003eGauguin worked on this scene of everyday life over a long period, making several changes along the way: the basket in the foreground, for example, replaced a dog. The painting came to the Metropolitan Museum of Art as part of the Walter H. and Leonore Annenberg Collection, given in 1993 with a bequest in 2002.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, about 1892–94, Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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The taller girl at left wears a brown headscarf, a blue blouse and a long ochre apron; the smaller girl wears a dark hood and a mauve and ochre striped pinafore over a blue blouse, and their hands meet between them. Behind them a red-orange slope spotted with dark stones drops to green hills and a deep blue sea with a white curl of surf and an orange island.\u003c\/p\u003e\u003cp\u003eGauguin painted the picture at Le Pouldu in the autumn of 1889; the National Museum of Western Art, Tokyo, points to its flat fields of bright red, green and blue and its strong outlines, the manner known as Cloisonnism. Matsukata Kojiro bought it in Paris in 1921; it was sequestered by the French government in 1944 and came to Japan in 1959.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1889, National Museum of Western Art, Tokyo.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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The one at the left, older, with long black hair and a lined face, wears a dark blue dress patterned with flowers; the younger woman beside her, with long auburn hair, wears an orange dress with a white lace yoke and rests one hand on the other's arm. Both face us. At the left a thatched hut and a plant with broad leaves stand in a sunlit green field under a blue sky with white clouds.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1901 or 1902, Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. He led the Pont-Aven painters toward flat colour and simplified form, and worked beside Van Gogh in Arles in 1888. From 1891 he lived mostly in Tahiti and, from 1901, the Marquesas, where Polynesian figures, colour and myth became his subject. 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On the right, an older woman in a black dress with a white collar reads a green-covered book, eyes lowered. On the left, a younger woman in a white dress, a blue bow in her auburn hair, looks out toward the viewer beside a round mahogany table. A glass of purple flowers stands on the table, and a gilt-framed mirror hangs on the grey wall above.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1869–1870, National Gallery of Art, Washington.\u003c\/p\u003e\u003cp\u003eBerthe Morisot (1841–1895) was a French painter and printmaker, born in Bourges, the daughter of a senior government official. Barred from formal academic training, she was taught privately, copied at the Louvre and from 1862 worked under the guidance of Camille Corot. She exhibited at the Salon from 1864, then joined the first Impressionist exhibition in 1874 and showed in all but one of the group's eight exhibitions. That year she married Eugène Manet, brother of her friend Édouard Manet. Her subjects were women, children and private domestic moments, among them The Cradle (1872), Reading (1873) and Woman at Her Toilette (1875–80). Her paintings are held by the Musée d'Orsay, the Cleveland Museum of Art and the Art Institute of Chicago.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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