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Star-shaped deep-blue flowers with yellow centers rise at the left; slender dark branches overhead carry clusters of round orange fruit against a pale sky. Large oval leaves and tall grasses fill the foreground. Henri Rousseau signs his name in cursive at the lower right. Painted in 1905.\u003c\/p\u003e\u003cp\u003eHenri Rousseau (1844–1910) was a self-taught French Post-Impressionist and Naïve painter. He worked as a Paris toll collector, earning the nickname 'Le Douanier,' and did not paint seriously until his forties, inventing his jungle scenes from botanical gardens and illustrated books rather than travel. He exhibited at the Salon des Indépendants from 1886 and was championed late in life by Picasso and Apollinaire; The Sleeping Gypsy (1897) and The Dream (1910) are among his best-known paintings. 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Wilstach Fund in 1937.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1900–1906, Philadelphia Museum of Art.\u003c\/p\u003e\u003cp\u003ePaul Cezanne (1839–1906) was a French painter who bridged Impressionism and twentieth-century modernism. He trained briefly at the Académie Suisse in Paris and exhibited with the Impressionists in 1874 and 1877 before withdrawing to work in relative isolation around his native Aix-en-Provence. His landscapes, still lifes and studies of bathers and of Mont Sainte-Victoire build form from patches of colour rather than line, an approach that directly shaped Cubism and much of the painting that followed him. His work is held by the Musée d'Orsay, the Metropolitan Museum of Art and the Barnes Foundation.\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. 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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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One, bare to the waist above a blue pareu, lowers her eyes to play a small flute; the other, in a white one-shouldered dress, sits cross-legged and looks straight out. An orange-red dog noses the ground at lower left. Beyond flat bands of yellow, red and green, three small women gather before a large seated statue, one with her arms raised. The word AREAREA is painted at lower right.\u003c\/p\u003e\u003cp\u003eArearea was painted during Gauguin's first stay in Tahiti. The Musée d'Orsay notes that he enlarged a small carved statue into the monumental figure in the background and invented the rite performed before it. 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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. His synthetist style shaped the Nabis, Fauvism and Expressionism; in recent decades historians and museums have reassessed him for this sexual exploitation of Polynesian girls and for the colonial fantasy of Tahiti his work helped build. His paintings are held by the Musée d'Orsay, the Museum of Fine Arts, Boston and the Metropolitan Museum of Art.\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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One, in a pink dress and blue head covering, looks out towards us; her companion, bare to the waist above a pale green and white pareu, rests a hand holding a white cloth on her shoulder and points to the right with the other. At the left a third woman sits with her back to us, a red flower in her hair. Dark rocks, a white lily and blue-flowered plants fill the foreground. Signed and dated 1902.\u003c\/p\u003e\u003cp\u003eGauguin painted The Call on a remote island in Polynesia in 1902, a year before his death, as one of a series of late works on the mysteries of life and death. The woman pointing out of the picture is taken from a figure on the Parthenon frieze. 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Beside her stand two women. At the left one in blue-grey cloth looks back over her shoulder, a green fruit raised high and a basket of green fruit on her arm; the other, in a long red pareu with a patterned sash, holds white flowers to her chest. Behind them lie green grass, a flat yellow ground, a band of pink cloud and a flowering branch.\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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Behind them the sky runs in diagonal bands from yellow through orange and red to deep blue, and a black mass fills the left side. Pencil lettering and the initials KW sit at the lower left.\u003c\/p\u003e\u003cp\u003eKarl Wiener (1901–1949) was an Austrian graphic artist. Born in Graz, he trained at the local Landeskunstschule and then at the Vienna Kunstgewerbeschule (1926–1931) under Bertold Löffler and Rudolf von Larisch, later studying graphics under Rudolf Jettmar. Based in Vienna from 1937, he worked chiefly in political and socially critical photomontage for social-democratic publications, work for which historians have compared him to John Heartfield, and he taught at the Kunstgewerbeschule from 1940 to 1947. His artistic estate is held by the Wien 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. 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Below, a ring of women in red, blue and olive robes dances on the grass while a seated man at the left plays a stringed instrument. At the right a young man in a red hat leads a winged grey horse, and a hare peers from a burrow in the foreground.\u003c\/p\u003e\u003cp\u003eIsabella d'Este, Marchioness of Mantua, commissioned the painting in the winter of 1496-97 for the first studiolo at the Castello di San Giorgio, one of five paintings by Mantegna, Costa and Perugino made for that room. The Louvre notes oil repaints on the landscape, on Venus and on several heads, probably by Lorenzo Leonbruno. It is cited at the château de Richelieu in 1632 and was seized for the French state in 1801.\u003c\/p\u003e\u003cp\u003eThe original: tempera on canvas, 1475-1500; Musée du Louvre, Paris.\u003c\/p\u003e\u003cp\u003eAndrea Mantegna (c. 1431–1506) was an Italian painter and engraver, born near Padua. At about eleven he was apprenticed to Francesco Squarcione in Padua, and in 1453 he married Nicolosia, daughter of Jacopo Bellini. He painted the Ovetari Chapel frescoes in Padua and the San Zeno Altarpiece in Verona, and from 1460 was court artist to the Gonzaga family in Mantua, where he painted the Camera degli Sposi. He is known for sculptural figures with firm outlines, bold perspective and foreshortening, the Triumphs of Caesar, and engravings. His work is held by the Louvre, the Uffizi and the National Gallery, London.\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 the left a goat-legged satyr strides off with a dark jug on his head, and a man in an orange robe leans on a grey donkey. Women in blue, white and pink hold bowls and jars, and a woman in white drapery reclines at the right beside a wooden tub. A blue and white bowl of fruit rests in the grass, and a child in blue wears a leaf wreath.\u003c\/p\u003e\u003cp\u003eThe National Gallery of Art catalogues the canvas as by Giovanni Bellini and Titian, dated 1514 to 1529, and it carries Bellini's signature and the date 1514 on a wooden tub. It was probably commissioned by Alfonso I d'Este, Duke of Ferrara, with the final payment made to Bellini in 1514, and it hung in the Camerino d'Alabastro of his castle at Ferrara until 1598. The Widener collection gave it to the gallery in 1942.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1514-1529; National Gallery of Art, Washington.\u003c\/p\u003e\u003cp\u003eGiovanni Bellini (c. 1430–1516) was an Italian painter, born and active in Venice. He was raised in the household of the painter Jacopo Bellini, worked alongside his brother Gentile, and was influenced by his brother-in-law Andrea Mantegna and by Antonello da Messina's oil technique. From 1479–80 he was responsible for paintings in the Great Council Hall of the Doge's Palace. He painted devotional pictures and altarpieces, notably Madonnas and sacred conversations, using oil to build soft colour and atmospheric light; Giorgione and Titian were among his pupils. 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Venus stands at the centre in a pale grey-white gown and a red cloak lined in blue, one hand raised, while a blindfolded winged child above her aims a bow. At the left a man in a red cloak reaches up into the branches beside three women in sheer white who dance with linked hands. At the right a woman in a flower-printed dress scatters blooms, and a blue-skinned winged figure seizes a fleeing woman who has leaves at her mouth.\u003c\/p\u003e\u003cp\u003eTowards the end of the fifteenth century the panel hung above a backed chest in the Via Larga house of the heirs of Lorenzo di Pierfrancesco de' Medici, cousin of Lorenzo the Magnificent, and was later moved to the Villa di Castello, where Giorgio Vasari described it in 1550. The Uffizi has counted at least forty-two plant species in the meadow and calls the meaning of the scene still unresolved.\u003c\/p\u003e\u003cp\u003eThe original: tempera grassa on poplar panel, c. 1480; Uffizi Galleries, Florence.\u003c\/p\u003e\u003cp\u003eSandro Botticelli (Alessandro di Mariano Filipepi, c. 1445–1510) was an Italian painter of the Florentine Early Renaissance. He was apprenticed to Fra Filippo Lippi around 1461–62 and spent almost his whole life in Florence, apart from work in Pisa and, in 1481–82, in the Sistine Chapel in Rome. His patrons included Lorenzo de' Medici and his circle. He painted the large mythological pictures Primavera and The Birth of Venus, many Madonnas and Child, often on circular panels, altarpieces, and a series of drawings illustrating Dante's Divine Comedy. 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