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Winter Scavenger Hunt Inspiration

From a high vantage point, we look across a snow-covered expanse at the long side of a pale, parchment-colored building with a town beyond in this horizontal landscape view. The scene is painted loosely and mostly in tones of icy blue, cream white, golden tan, and brown. Closest to us but far below, a hedge of moss-green treetops lines the sun-drenched, ivory-white field. The field slopes up to our left and a path, between two rows of cinnamon-brown trees, leads from the bottom center of the painting to the building. Four stories of mostly rectangular windows pierce the wall of the building in front of us. Shadows on the snow-covered roof are painted with thick strokes of steel blue. On the other side of the building, a second long roofline runs parallel to the first. The short side of the building, to our right, has a tower at each corner. A fawn-brown obelisk, which is a tapering, pointed column, is topped with a cross and stands in front of the building façade. Stacked and overlapping rooflines, painted broadly in azure blue and silvery gray, fade toward the distant horizon, which comes halfway up the canvas. A blanket of white clouds with arctic-blue bottoms sweep across the sky, revealing only a few small patches of vivid blue sky beyond.
André Giroux, Santa Trinità dei Monti in the Snow, 1825/1830, oil on paper on canvas, Chester Dale Fund, 1997.65.1
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We look across a shaded field of snow, through a screen of loosely spaced trees at a cobalt-blue mountain that dominates this square landscape painting. The scene is painted with visible brushstrokes throughout. The base of the mountain comes about a third of the way up the composition, and a narrow band of vibrant turquoise sky runs above it, along the top edge of the canvas. The mountain curves up to its gentle peak to our left of center and slopes down gradually to our right. Patches of white snow stand out against the deep blue mountain just above the treetops. Trees along the mountaintop create a choppy contour against the sky. The broad summit of a second mountain beyond, to our right, is lit by the sun so the face is golden tan, shaded with denim blue. The slopes are painted with thick strokes that create texture on the surface of the canvas. The snowy field close to us is painted with loose brushstrokes in arctic blue. The trees are painted with deep, olive-green foliage or needles and tall, dark, straight trunks. Patches of topaz blue and fuchsia pink appear on the ground among trees to our left.
Abbott Handerson Thayer, Mount Monadnock, probably 1911/1914, oil on canvas, Corcoran Collection (Museum Purchase, Anna E. Clark Fund), 2014.79.34
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We look slightly down onto five plates, bowls, and dishes filled with oysters, raisins, prunes, figs, and sweets along with a wine glass and decanter, a stack of round, wooden boxes, and two seashells arrayed on a wooden tabletop against a dark background in this horizontal still life painting. Closest to us to our left, eleven glistening oysters on the halfshell are arranged on a round, iron-gray dish. Also close to us, to our right, a white porcelain bowl with a wide, flaring lip is painted with blue flowers, and it is piled with breads, rolls, and pastries. Two shells sit near that bowl: one shimmering, spiraling, ivory-white shell with brown marks sits to our left and an elongated, white shell with a ruffle along its length sits in the lower right corner of the panel. Between and behind these two dishes is a vessel with a pedestal foot and a wide, shallow bowl, filled with white almonds and rods that have been covered with white sugar. In the back left, a dark gray bowl holds raisins and other dried fruit along with an object that could be a slice of bread or cheese. Opposite it, a similar dish holds brown figs that more closely resemble chestnuts. To the back right, the lid of one of the three round, shallow boxes stacked along the right edge of the composition leans against the pile. The inner lid is covered with quince paste, which resembles apricot preserves. One glass goblet with a wide bowl is nearly filled with amber-colored liquid in the back left corner, beyond the dried fruit. A glass decanter, also filled with gold-colored wine, sits to our left of the pedestal-footed vessel holding the sugared sweets, at the center of the composition. The still life is brightly lit from our left.
Osias Beert the Elder, Dishes with Oysters, Fruit, and Wine, c. 1620/1624, oil on panel, Patrons' Permanent Fund, 1995.32.1
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A young woman with pale skin sits at a table in a darkened room in this vertical painting. Long chestnut-brown hair drapes over her shoulder and her deep, cream-colored, long-sleeved garment is open at her neck. She rests her chin in her right hand, farther from us, as her left reaches for a skull placed on a thick book on the table in front of her. The scene is lit by a single candle mostly out of sight behind the skull. Shown in profile, she looks into a small mirror next to the skull, which reflects that object and the book.
Georges de La Tour, The Repentant Magdalen, c. 1635/1640, oil on canvas, Ailsa Mellon Bruce Fund, 1974.52.1
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A band of gray ice spans the bottom quarter of this vertical landscape painting, where dozens of people stand, skate, ride in sledges, or cluster near a slender wooden tower, all beneath a vivid blue sky screened with towering gray clouds. We look slightly down onto the scene from a distance. The cloud bank is horizontally streaked with pale yellow light along the bottom, but swells into gray puffs that break apart in several places toward the top to reveal patches of blue sky. The people below wear heavy coats, hats, and trousers, mostly in muted slate blue, gray, and brown. Many have their backs to us. Closest to us and near the lower left corner of the painting, a rectangular wooden sledge on rail-like runners holds five or six passengers, and is pulled by a brown horse toward the center distance. Nearby, a man on his hands and knees scrambles for his fallen hat. A man holds a pole like a hockey stick behind him, looking into the distance where others stand or run with more sticks. Near the bottom center of the painting, a man pushes a sledge laden with two brown bundles. The largest group of people and children gather on and around a rickety wooden pier from which the tower rises, to our right of center. A lantern-like structure sits atop a narrow platform on a tall pole, at the top of the tower. One ladder leads up to a landing about two-thirds of the way up the pole, and another leads to the top. A house with a pitched roof and smoking chimney sits on the far side of the pier, between two bare trees with curling, twisting branches. Birds fly above the tower. The ice is dark gray closest to us, and it becomes paler as it recedes into the distance. People dot the ice singly and in small groups as far as the eye can see. Far away, the silhouettes of a church with a spire, the masts of two ships, a wide tower, and a windmill line the horizon. The artist signed the work with a monogram and a date as if painted on the boat in the lower right corner: “VG 1646.”
Jan van Goyen, Ice Scene near a Wooden Observation Tower, 1646, oil on panel, The Lee and Juliet Folger Fund, 2014.35.1
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