A woman is shown seated in a simple interior. She is holding carding combs and is seated next to a pile of uncarded wool on one side and skeins of yarn on the other. Behind her is the wheel of a spinning wheel.
This quiet humble interior with a woman carding wool shows Millet's affinities with Dutch 17th century genre scenes, many of which also feature peasants or working class people.
This painting shows the interior of a rustic house with a stone floor and rough rock walls. In the center foreground, a woman is crouched beside a wooden cradle. She has her arms around a sleeping baby whose face is highlighted by a ray of sunshine coming from an open window. Household items hang from the rafters and there is a spinning wheel beside her. A dog sits by an open hearth on the left. The color scheme is predominantly tones of brown, except for her red scarf, green shirt and the bluish purple of the hills seen outside the window.
This is a genre painting which shows the interior of a Scottish farmhouse in the mid-19th century. It is a realistic portrayal of farm life showing the rustic conditions of this home. The room has a stone floor with rough stone and plank walls. Many household items are painted in detail, including a spinning wheel, a wooden chair and a wooden cradle. The sheep dog is resting by the hearth.Yet John Phillip has also included a sentimental element. A mother attending to her infant is the central focus of the composition. This gentle moment of motherhood is highlighted by a ray of sunshine that streams from the open window to illuminate the sleeping baby's face. Other details such as the books, flowers and hourglass on the window sill further relate his portrayal of the humble but noble life of a Scottish Highlander.
Depicts a group of Arab warriors on horseback in full gallop charging away from the viewer through the desert landscape.
Renowned for his dynamic compositions of horses and nomadic Arab warriors in desert landscapes, Schreyer’s rapid sketch-like brushstrokes emphasize the forward momentum of the riders. Schreyer traveled to Syria, Egypt and North Africa in the early 1860s where he thoroughly immersed himself in the Arab culture, and the people and arid landscapes of these regions proved to be a rich source of imagery for his subsequent work.