(no entry for this year)

Painting by Pierre-Auguste Renoir: The Umbrellas (French: Les Parapluies) is an oil-on-canvas painting, painted in two phases in the 1880s. It is owned by the National Gallery in London as part of the Lane Bequest, but is displayed alternately in London and at the Dublin City Gallery The Hugh Lane. In May 2013, it returned to Dublin for a six-year period. Renoir began the painting in about 1880-81, using the loose brushwork with dark and bright tones typical of the Impressionist movement. In about 1885-6, after losing his attachment to Impressionism and drawing inspiration from classical art he had seen in Italy and the works of Ingres and Cézanne, he reworked parts of the painting, particularly the principal female figure to the left of the frame, in a more classical linear style using more muted colours, and added the background and the umbrellas themselves. X-ray photography has shown that the clothing of the female figure was originally different: she wore a hat and her dress had horizontal rows of frills, with white lace at its cuffs and collar, suggesting that she was middle class, whereas the simpler clothes in the revised painting mark her out as a member of the working class, a grisette not a bourgeoise. The x-ray analysis and then the changing fashions allow the periods of work to be dated with reasonable accuracy.

Painting by Édouard Manet: A Bar at the Folies-Bergère (French: Un bar aux Folies Bergère), is considered Manet's last major work. It depicts a scene in the Folies Bergère nightclub in Paris. It originally belonged to the composer Emmanuel Chabrier, who was Manet's neighbor, and hung over his piano. The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles. The central figure stands before a mirror, although critics — accusing Manet of ignorance of perspective and alleging various impossibilities in the painting — have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet.

Painting by John Singer Sargent: Lady with the Rose (Charlotte Louise Burckhardt). The subject of this portrait was the twenty-year-old daughter of a Swiss merchant and his American wife, members of the artist s cosmopolitan circle in Paris. Did she enjoy the experience? Look at her expression.

Sculpture by Auguste Rodin: The sculpture, The Kiss, was originally titled Francesca da Rimini, as it depicts the 13th-century Italian noblewoman immortalised in Dante's Inferno (Circle 2, Canto 5) who falls in love with her husband Giovanni Malatesta's younger brother Paolo. Having fallen in love while reading the story of Lancelot and Guinevere, the couple are discovered and killed by Francesca's husband. In the sculpture, the book can be seen in Paolo's hand. The lovers' lips do not actually touch in the sculpture, suggesting that they were interrupted and met their demise without their lips ever having touched. When critics first saw the sculpture in 1887, they suggested the less specific title Le Baiser (The Kiss).

(no entry for this year)

(no entry for this year)

Painting by Vincent van Gogh: The Potato Eaters (Dutch: De Aardappeleters). Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work: "You see, I really have wanted to make it so that people get the idea that these folk, who are eating their potatoes by the light of their little lamp, have tilled the earth themselves with these hands they are putting in the dish, and so it speaks of manual labor and — that they have thus honestly earned their food. I wanted it to give the idea of a wholly different way of life from ours — civilized people. So I certainly don't want everyone just to admire it or approve of it without knowing why."

Painting by Georges Seurat: A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) is one of the artist's most famous works. It is a leading example of pointillism technique, executed on a large canvas. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called divisionism at the time but now known as pointillism, would make the colors more brilliant and powerful than standard brushstrokes.

(no entry for this year)

Painting by Sir Lawrence Alma-Tadema: The Roses of Heliogabalus shows a group of Roman diners at a banquet, being swamped by drifts of pink rose petals falling from a false ceiling above. The Roman emperor Elagabalus reclines on a platform behind them, wearing a golden robe and a tiara, watching the spectacle with other garlanded guests. A woman plays the double pipes beside a marble pillar in the background, wearing the leopard skin of a maenad, with a bronze statue of Dionysus, based on the Ludovisi Dionysus, in front of a view of distant hills. The painting depicts a (probably invented) episode in the life of the Roman emperor Elagabalus, also known as Heliogabalus, (204–222), taken from the Augustan History. Although the Latin refers to "violets and other flowers", Alma-Tadema depicts Elagabalus smothering his unsuspecting guests with rose petals released from a false ceiling.

Painting by Vincent van Gogh: Sunflowers (original title, in French: Tournesols). Sunflowers are the subject of two series of still life paintings by the Dutch painter . The earlier series, executed in Paris in 1887, depicts the flowers lying on the ground, while the second set, executed a year later in Arles, shows bouquets of sunflowers in a vase. In the artist's mind both sets were linked by the name of his friend Paul Gauguin, who acquired two of the Paris versions. About eight months later van Gogh hoped to welcome and to impress Gauguin again with Sunflowers, now part of the painted Décoration for the Yellow House that he prepared for the guestroom of his home in Arles, where Gauguin was supposed to stay. After Gauguin's departure, van Gogh imagined the two major versions as wings of the Berceuse Triptych, and finally he included them in his Les XX in Bruxelles exhibit

Painting by Vincent van Gogh: The Starry Night depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an idealized village. It is regarded as among Van Gogh's finest works, and is one of the most recognized paintings in the history of Western culture. In the aftermath of the 23 December 1888 breakdown that resulted in the self-mutilation of his left ear, Van Gogh voluntarily admitted himself to the Saint-Paul-de-Mausole lunatic asylum on 8 May 1889. Housed in a former monastery, Saint-Paul-de-Mausole catered to the wealthy and was less than half full when Van Gogh arrived, allowing him to occupy not only a second-story bedroom but also a ground-floor room for use as a painting studio.