Panel painting depicting a young woman of high society in an interior setting filled with Asian accessories. She stands behind a door, which she holds partly open revealing a small white dog sitting in front of an armchair.
The setting for “Cache-cache” is Stevens’ own Parisian house on the Rue de Martyrs. X-ray examination revealed that he first painted a young girl standing in the doorway, with whom the game of hide and seek is being played. She was subsequently painted over and a dog was painted in her stead, which enabled Stevens to concentrate on the perspective into the room beyond, the glove on the floor (indicating the haste with which the lady has entered the room), and it diminishes the potential human interest of the scene allowing the viewer to focus more fully on the beautiful rendering of objects and surfaces. The real subject of this painting therefore, is Stevens’ study of decorative objects and costumes and the play of light on their various surfaces, textures, and colors.
Landscape painting featuring a row of trees in the middle distance, separating a glowing sky above and a meadow in the foreground.
Best known for his landscapes and seascapes painted in a Tonalist manner, Tryon’s paintings typically feature a broken row or group of trees in front of a lustrous sky at sunset or sunrise with a marsh or pasture in the foreground, painted in muted autumnal hues.
In “Twilight” Tryon depicts a wooded meadow veiled in the misty atmosphere of deepening twilight, dominated by muted grays, browns, and blues. Tryon studied in Paris and this work illustrates the influence the French Barbizon style of painting had on his work, with its emphasis on rural scenes drawn directly from nature accentuated by a sense of mood and shadow.
Painting depicts a solitary male figure standing along the shore. The thin layers of paint evoke a misty, overcast day with the figure standing perhaps on a tidal flat.
Whistler accompanied the Realist painter Gustave Courbet in a late summer painting campaign along the Normandy coast, in the resort town of Trouville. Although Whistler had embraced the tenets of Realism early in his career, by 1865 he had begun to evolve his own painting style that departed from the vigorous brushwork and heavy impasto of Courbet's example. This work, painted in the older artist's company, exhibits Whistler's characteristic thin veils of paint that evoke the atmosphere along the coastline rather than minutely describe it. The presence of the man implies no narrative story but is a precisely placed accent within the composition. Whistler's credo of "art for art's sake" has already shaped how he portrays a cloudy day at a summer retreat.