Artists

Within German Expressionism, Marc was particularly interested in imagining the world from animals' perspectives.

Mondrian cofounded De Stijl with Theo van Doesburg in 1917. His mature vocabulary used verticals, horizontals, primary colors, white, gray and black.

Signac was a friend of Georges Seurat and an energetic advocate of the divided-color technique associated with him.

Chardin's still lifes and domestic scenes gained recognition in the Salons of the French Royal Academy of Painting and Sculpture.

Watteau developed pastoral scenes of courtship and sociability in landscapes. His pupil Jean-Baptiste Pater completed some unfinished works.

In Bruges, Memling served an international clientele of wealthy citizens, clergy and aristocrats.

Pontormo drew on Andrea del Sarto, Michelangelo and Northern prints by Dürer and Lucas van Leyden. He maintained a close relationship with his pupil Bronzino.

Cassatt entered the Pennsylvania Academy of the Fine Arts at sixteen and continued training in Europe.

Cole developed large landscapes from travel and observation, including a visit to Niagara Falls in 1829. He worried about industrial growth's effects on nature.

Homer trained in a Boston lithography workshop before becoming a New York illustrator and Civil War artist-correspondent.

Sargent was born in Florence to American parents living abroad. He painted commissioned portraits on both sides of the Atlantic, alongside landscapes, watercolors and murals.

Whistler's early 1870s Nocturnes connected painting with musical ideas of arrangement. He argued for the independence of artistic form.

Bellows played baseball and basketball at Ohio State University. After his junior year, he left to study painting in New York. His boxing scenes established his reputation.

Before becoming associated with the American West, Bierstadt painted New England, including the White Mountains.

After studying in Munich, Chase opened a teaching studio in New York, with Dora Wheeler as his first student. He accepted women privately when relatively few American painters did.

Glackens joined everyday urban scenes with portraits of people he knew. His circle met at Mouquin's restaurant in New York.

Inness made small outdoor sketches and developed them into studio oil paintings.

Humboldt's ideas of ecological interconnectedness helped inspire Church's South American travels. Visits to Ecuador in 1853 and 1857 supplied studies for The Heart of the Andes.

Remington worked as a painter, sculptor and illustrator. He traveled to the American West for material but completed most works in his New York studio.

Heade traveled in the United States and Europe and made three trips to Central and South America. In Brazil he studied hummingbirds and began a series of paintings of them.

During his final decade, Twachtman repeatedly painted around his home in Greenwich, Connecticut. Winter scenery was particularly important to him as a setting for contemplation and renewal.

Peale belonged to a prominent artistic family based in Maryland and Pennsylvania.

The self-taught Pippin began painting while rehabilitating an arm injured in World War I.

Tanner's father was a prominent minister in the African Methodist Episcopal Church.

Painters at Teotihuacan decorated pyramids, temples, palaces and homes. Some figures formed repeated processions along courtyards in wealthy residential compounds.

Mitsuoki held a leading position among imperial court painters. His seasonal tree screens were commissioned by or presented to Empress Tōfukumon-in.

Taiga renewed Japanese nanga painting, drawing on Chinese traditions within Kyoto's intellectual culture. He also practiced calligraphy, poetry and seal carving.

This group brings together works by different unidentified Japanese painters. They belong to distinct periods, patrons and traditions.

Sesson was an itinerant Zen monk-painter in eastern Japan. The Art Institute suggests that his distinctive approach developed without a visit to Kyoto, the principal cultural and political…

As a young man, Ganku studied works of the Maruyama–Shijō school and other painters.

Born in Osaka, Shōhin began painting at four and later studied with Hine Taizan in Kyoto. Her landscape won a prize at Chicago's 1893 World's Columbian Exposition.

Born in Kyoto, Sekkei studied Chinese paintings during his apprenticeship in a Kano-school studio and continued after becoming independent.

Sōya was the son of Hasegawa Tōhaku, known for his innovations in large-scale painting.

The son of a cloth dyer, Kiitsu became Sakai Hōitsu's principal pupil. They worked closely from the mid-1810s, including on the printed collection One Hundred Paintings by Kōrin.

Shunshō worked in Edo as an ukiyo-e painter and print designer, especially depicting actors and women. Hokusai studied with him under the name Shunrō.

This group includes Chinese paintings without an established artist's name, made by different people in different periods.