Painted in 1912 by Egon Schiele, this work is a striking display of line, colour, and form. The crouched position of the nude figure adds an element of tension and vulnerability to the piece. Notable for its bold use of colour, this artwork is a testament to Schiele's unique style that bridged between Impressionism and Expressionism.

This artwork depicts a serene and abstract watercolour portrait of a woman with her eyes closed, conveying a sense of peace and introspection. The style is soft and fluid, characterised by gentle, overlapping brushstrokes in muted tones of grey, beige, and soft brown.

Samuel Joseph Brown, Jr.'s "A Self-Portrait" is a striking and introspective work that offers a window into the artist’s identity and the broader cultural context of his time. In this self-portrait, Brown employs a restrained yet impactful palette, often leaning toward earth tones or subdued colours that emphasize mood and introspection. His depiction of himself is thoughtful and deliberate, showcasing his mastery of line and form. The piece captures a quiet dignity, with subtle details in his expression and posture that suggest resilience, introspection, and a keen awareness of the world around him.

Drawn in 1918 this piece is black crayon on paper and shows a woman seated but tilting herself at an angle wearing a corset and boots. The work is an exceptional demonstration of Shiele's ability to create depth, complex form and striking art from simple lines.

The sketch, drawn is 1918, portrays a tender embrace between two figures, one older and one younger. Their proximity suggests an intimacy that transcends generational differences, hinting at themes of companionship, love, or even a mother and child relationship. The art style is expressive, with visible lines and shading that add depth to the scene. Egon Schiele's signature use of color and form is evident in this piece, capturing the essence of the moment beautifully.

Egon Schiele’s 1918 torso study captures the raw and unadorned essence of the human form. The figure is depicted in a dynamic pose with one arm extended upwards, suggesting movement or expression. The absence of facial features highlights the universal themes of form, structure, and vulnerability that Schiele often addressed in his work.

Created in 1918 using a woodblock printing technique, Woman Applying Makeup is the first of only seven beauty prints published during Goyō’s lifetime. The subject is a Geisha captured in an intimate moment and the appreciation for detail and skill builds as this piece is viewed.

La Orana Maria (Hail Mary) by Paul Gauguin is an oil painting created in 1891 during Gauguin's first visit to Tahiti. The artwork blends Christian iconography with Polynesian culture, illustrating Gauguin’s fascination with the island’s people and their way of life.In this painting, Gauguin portrays the Virgin Mary and the Christ Child with distinctly Polynesian features, dressed in traditional Tahitian attire. Mary is shown with a blue and red wrap around her, while holding the infant Jesus. The figures are surrounded by two women in traditional pareo garments, who are depicted with hands in prayer, paying homage to the sacred scene.The backdrop features a lush, tropical landscape, rich with vibrant green foliage, bright flowers, and the warm colours characteristic of Tahitian nature. This combination of sacred imagery and local culture showcases Gauguin’s attempt to merge Western religious themes with the exotic mysticism he found in Tahiti, creating an intriguing synthesis of spiritual and earthly elements. The painting exemplifies Gauguin’s Post-Impressionist style, using bold colours, simplified forms, and symbolic elements to evoke emotion and spiritual resonance.

Dance I, by Henri Matisse, painted in 1909, is a vibrant and expressive depiction of five nude figures holding hands in a circular dance. The composition is dominated by bold, flat colours: a reddish-pink for the dancers, a deep green for the ground, and a striking blue for the sky. The simplified forms and dynamic poses emphasize movement and rhythm, creating a sense of primal joy and unity. As a preliminary study for the later Dance (II), this work features rougher brushstrokes and less refined details, highlighting Matisse’s exploration of Fauvist principles—vivid colour, emotional expression, and the harmony between figure and environment. It remains one of Matisse's most iconic works.

Henri Matisse’s "The Dance" (1910) is a masterpiece of Fauvism, celebrating movement, vitality, and human connection. The painting features five nude figures holding hands and dancing in a circular motion, set against a simple yet striking backdrop of deep blue sky and vibrant green ground. The bold, flat colours and flowing, exaggerated forms emphasize rhythm and unity, while the energetic composition conveys a primal sense of joy and freedom. Commissioned by Russian collector Sergei Shchukin, Dance reflects Matisse's fascination with the interplay of colour, form, and emotion, embodying a timeless celebration of life and harmony.

Henri Matisse's "Le Bonheur de Vivre" (1905–1906) is a vibrant celebration of joy and harmony, often regarded as one of the defining works of Fauvism. The painting depicts a pastoral scene where nude figures engage in leisurely activities—dancing, reclining, and embracing—within a dreamlike, radiant landscape. Matisse uses bold, non-naturalistic colours like vivid oranges, greens, and pinks to evoke emotion and emphasize the idyllic mood. The flowing, curvilinear forms of the figures and landscape merge seamlessly, creating a sense of unity and rhythm. This ground-breaking work captures Matisse’s vision of an Arcadian paradise, blending sensuality, movement, and the transformative power of colour.

Woman Combing Her Hair by Edgar Degas is a captivating depiction of an intimate, everyday moment rendered with the artist's characteristic sensitivity to movement and form. The pastel artwork showcases a woman bent slightly forward as she combs her hair, her figure framed by dynamic, sweeping lines that convey a sense of natural grace. Degas's use of soft, blended pastels creates a delicate interplay of light and shadow, highlighting the textures of the woman's hair and the subtle curves of her body. The composition feels unposed and spontaneous, emphasizing Degas’s fascination with capturing fleeting, unguarded moments of modern life. This work reflects his deep interest in the private, unseen world, celebrating the beauty of routine and personal ritual.

This is Vincent van Gogh's Self-Portrait with Straw Hat (1887), an iconic example of the artist's vivid and expressive post-impressionist style. The painting features Van Gogh wearing a bright yellow straw hat, his intense blue-green gaze directed outward, engaging the viewer. The textured brushstrokes, rich with colour and energy, create a dynamic interplay of light and shadow across his face and clothing. The background, filled with soft, radiating strokes of muted colours, enhances the warmth and vibrancy of the portrait, reflecting Van Gogh's evolving artistic technique during his Paris years.

Bold brushstrokes and earthy tones have been used to create a striking and dynamic portrait of a woman. The blending of the main image into the background emphasises the intense look further and transports you to a moment where time and the world stops for someone.