Day 2165 #ArtKicksCovid19 “The Rhinoceros” (1515) Albrecht Dürer. National Gallery of Art. This is a celebrated woodcut depicting the exotic animal recently brought to Europe, which Dürer never actually saw in person. Based on written descriptions and a sketch, the rhinoceros is rendered
February 17, 2026 at 8:04 AM
Day 2165 #ArtKicksCovid19 “The Rhinoceros” (1515) Albrecht Dürer. National Gallery of Art. This is a celebrated woodcut depicting the exotic animal recently brought to Europe, which Dürer never actually saw in person. Based on written descriptions and a sketch, the rhinoceros is rendered
Day 2164 #ArtKicksCovid19 "The Ecstasy of Saint Cecilia” (1517) Raphael. Pinacoteca Nazionale Bologna. Off to Bologna today. This painting depicts Saint Cecilia, the patron saint of musicians and church music, listening to a choir of angels in the company of Saints Paul, John
February 16, 2026 at 8:44 AM
Day 2164 #ArtKicksCovid19 "The Ecstasy of Saint Cecilia” (1517) Raphael. Pinacoteca Nazionale Bologna. Off to Bologna today. This painting depicts Saint Cecilia, the patron saint of musicians and church music, listening to a choir of angels in the company of Saints Paul, John
Day 2163 #ArtKicksCovid19 "Still Life with Pots" (1660) Francisco de Zurbarán. Museu Nacional d’Art de Catalunya. This work shows a row of simple ceramic and metal vessels set against a dark background. Painted with precise realism, the objects are lit from one side,
February 15, 2026 at 9:37 AM
Day 2163 #ArtKicksCovid19 "Still Life with Pots" (1660) Francisco de Zurbarán. Museu Nacional d’Art de Catalunya. This work shows a row of simple ceramic and metal vessels set against a dark background. Painted with precise realism, the objects are lit from one side,
Day 2162 #ArtKicksCovid19 "Danse à la campagne" (1883) Pierre-Auguste Renoir. Musée d'Orsay. It’s Valentine’s Day. This painting centres on two figures: Renoir's friend, the writer Paul Lhote, and Aline Charigot, the artist's then-companion and future wife. Aline, wearing a vibrant red bonnet
February 14, 2026 at 9:06 AM
Day 2162 #ArtKicksCovid19 "Danse à la campagne" (1883) Pierre-Auguste Renoir. Musée d'Orsay. It’s Valentine’s Day. This painting centres on two figures: Renoir's friend, the writer Paul Lhote, and Aline Charigot, the artist's then-companion and future wife. Aline, wearing a vibrant red bonnet
Day 2161 #ArtKicksCovid19 “The Irish Girl” (1843) Ford Madox Brown. Yale Center for British Art. This portrait that reveals Brown’s commitment to social realism long before his association with the Pre-Raphaelites. The young woman confronts the viewer directly,
February 13, 2026 at 6:34 AM
Day 2161 #ArtKicksCovid19 “The Irish Girl” (1843) Ford Madox Brown. Yale Center for British Art. This portrait that reveals Brown’s commitment to social realism long before his association with the Pre-Raphaelites. The young woman confronts the viewer directly,
Day 2160 #ArtKicksCovid19 "Flowering Peach Tree” (1888) Vincent van Gogh. Kröller-Müller Museum. Painted shortly after Van Gogh’s arrival in Arles, this work celebrates the arrival of spring in the south of France. A single peach tree in full pink blossom dominates the composition,
February 12, 2026 at 7:28 AM
Day 2160 #ArtKicksCovid19 "Flowering Peach Tree” (1888) Vincent van Gogh. Kröller-Müller Museum. Painted shortly after Van Gogh’s arrival in Arles, this work celebrates the arrival of spring in the south of France. A single peach tree in full pink blossom dominates the composition,
Day 2159 #ArtKicksCovid19 “The Yellow Scale” (1907) František Kupka. The Museum of Fine Arts, Houston. This is a striking self-portrait in which Kupka presents himself seated amidst a luminous field of yellow, cigarette in one hand and a book in the other, his intense gaze meeting the viewer’s.
February 11, 2026 at 9:30 AM
Day 2159 #ArtKicksCovid19 “The Yellow Scale” (1907) František Kupka. The Museum of Fine Arts, Houston. This is a striking self-portrait in which Kupka presents himself seated amidst a luminous field of yellow, cigarette in one hand and a book in the other, his intense gaze meeting the viewer’s.
Day 2158 #ArtKicksCovid19 “Vase of Flowers” (1910) Odilon Redon. Private Collection. In this work, Redon presents a softly radiant bouquet in a deep blue vase against a muted, textured background. The flowers- loosely defined roses, daisies, and wild blooms - seem to hover between representation
February 10, 2026 at 8:45 AM
Day 2158 #ArtKicksCovid19 “Vase of Flowers” (1910) Odilon Redon. Private Collection. In this work, Redon presents a softly radiant bouquet in a deep blue vase against a muted, textured background. The flowers- loosely defined roses, daisies, and wild blooms - seem to hover between representation
Day 2157 #ArtKicksCovid19 "Interior" (1901) Georg Achen. Musée d'Orsay. Achen was a prominent Danish naturalist painter who became one of his country's most popular portraitists by the 1890s. His work was deeply influenced by the subdued palette and atmospheric interiors
February 9, 2026 at 8:47 AM
Day 2157 #ArtKicksCovid19 "Interior" (1901) Georg Achen. Musée d'Orsay. Achen was a prominent Danish naturalist painter who became one of his country's most popular portraitists by the 1890s. His work was deeply influenced by the subdued palette and atmospheric interiors
Day 2156 #ArtKicksCovid19 "The White Cat" (1912) Franz Marc. Staatliche Galerie Moritzburg in Halle. Marc was born on this day in 1884. Here, he utilises his signature "animalisation of art" (Animalisierung) to prioritise emotional essence over realistic detail, rendering the cat
February 8, 2026 at 11:41 AM
Day 2156 #ArtKicksCovid19 "The White Cat" (1912) Franz Marc. Staatliche Galerie Moritzburg in Halle. Marc was born on this day in 1884. Here, he utilises his signature "animalisation of art" (Animalisierung) to prioritise emotional essence over realistic detail, rendering the cat
Day 2155 #ArtKicksCovid19 "View of the Cliffs of Møn, Denmark" (1851) P. C. Skovgaard. Fuglsang Art Museum. This majestic landscape celebrates the grandeur of Denmark’s natural scenery. The towering white chalk cliffs rise dramatically above the turquoise sea, framed by beech trees
February 7, 2026 at 10:31 AM
Day 2155 #ArtKicksCovid19 "View of the Cliffs of Møn, Denmark" (1851) P. C. Skovgaard. Fuglsang Art Museum. This majestic landscape celebrates the grandeur of Denmark’s natural scenery. The towering white chalk cliffs rise dramatically above the turquoise sea, framed by beech trees
Day 2154 #ArtKicksCovid19 “La Méditerranée” (1906) Aristide Maillol. National Gallery of Art. At the beginning of the 20th century, as he turned from a career as a painter and a graphic and tapestry designer to concentrate on sculpture, Aristide Maillol was shaping what would become
February 6, 2026 at 8:59 AM
Day 2154 #ArtKicksCovid19 “La Méditerranée” (1906) Aristide Maillol. National Gallery of Art. At the beginning of the 20th century, as he turned from a career as a painter and a graphic and tapestry designer to concentrate on sculpture, Aristide Maillol was shaping what would become
Day 2153 #ArtKicksCovid19 “Man in a Smock (1884) Gustave Caillebotte. Private Collection. This presents a working man shown with striking directness and psychological presence. Dressed in a plain blue smock, the figure is rendered with crisp contours and careful modelling,
February 5, 2026 at 7:29 AM
Day 2153 #ArtKicksCovid19 “Man in a Smock (1884) Gustave Caillebotte. Private Collection. This presents a working man shown with striking directness and psychological presence. Dressed in a plain blue smock, the figure is rendered with crisp contours and careful modelling,
Day 2152 #ArtKicksCovid19 “A Little Breakfast” (1917) Pierre Bonnard. Private Collection. This intimate domestic scene depicts a woman absorbed in the simple ritual of breakfast, surrounded by softly patterned interiors and objects that dissolve into warm, shimmering colour.
February 4, 2026 at 8:27 AM
Day 2152 #ArtKicksCovid19 “A Little Breakfast” (1917) Pierre Bonnard. Private Collection. This intimate domestic scene depicts a woman absorbed in the simple ritual of breakfast, surrounded by softly patterned interiors and objects that dissolve into warm, shimmering colour.
Day 2151 #ArtKicksCovid19 “Looking Out to Sea” (1927) Norman Rockwell. Norman Rockwell Museum. Rockwell was born on this day in 1894. This depicts an older man and a young boy standing together at the water’s edge, accompanied by a dog, all gazing out toward the open sea.
February 3, 2026 at 7:49 AM
Day 2151 #ArtKicksCovid19 “Looking Out to Sea” (1927) Norman Rockwell. Norman Rockwell Museum. Rockwell was born on this day in 1894. This depicts an older man and a young boy standing together at the water’s edge, accompanied by a dog, all gazing out toward the open sea.
Day 2150 #ArtKicksCovid19 “Bouquet de fleurs sur une petite table” (1932) Suzanne Valadon. Private Collection. This vibrant still life depicts a loosely arranged bouquet of roses and lilies in a bright blue vase set on a small wooden table.
February 2, 2026 at 9:47 AM
Day 2150 #ArtKicksCovid19 “Bouquet de fleurs sur une petite table” (1932) Suzanne Valadon. Private Collection. This vibrant still life depicts a loosely arranged bouquet of roses and lilies in a bright blue vase set on a small wooden table.
Day 2149 #ArtKicksCovid19 "Sunset on the Seine at Lavacourt, Winter Effect” (1880) Claude Monet. Musee Marmottan Monet. This painting shows the village of Lavacourt on the Seine during winter, with snow-covered banks, bare trees, and a low red sun dissolving into a misty pastel sky.
February 1, 2026 at 9:22 AM
Day 2149 #ArtKicksCovid19 "Sunset on the Seine at Lavacourt, Winter Effect” (1880) Claude Monet. Musee Marmottan Monet. This painting shows the village of Lavacourt on the Seine during winter, with snow-covered banks, bare trees, and a low red sun dissolving into a misty pastel sky.
Day 2148 #ArtKicksCovid19 “Siberian Dogs in the Snow” (1910) Franz Marc. National Gallery of Art, Washington DC. This study of two white, long-haired dogs is believed to inspired by the artist's own Siberian Shepherd, Russi. The textured, visible brushstrokes and a palette dominated by ivory,
January 31, 2026 at 9:31 AM
Day 2148 #ArtKicksCovid19 “Siberian Dogs in the Snow” (1910) Franz Marc. National Gallery of Art, Washington DC. This study of two white, long-haired dogs is believed to inspired by the artist's own Siberian Shepherd, Russi. The textured, visible brushstrokes and a palette dominated by ivory,
Day 2147 #ArtKicksCovid19 “Winter Landscape at Sunset” (1887) Anton Mauve. Singer Laren Museum. As a leading figure of the Hague School, Dutch artist Mauve captures a tranquil scene where a snow-covered terrain is bathed in the warm, low light of the setting sun, creating a poignant contrast between
January 30, 2026 at 11:14 AM
Day 2147 #ArtKicksCovid19 “Winter Landscape at Sunset” (1887) Anton Mauve. Singer Laren Museum. As a leading figure of the Hague School, Dutch artist Mauve captures a tranquil scene where a snow-covered terrain is bathed in the warm, low light of the setting sun, creating a poignant contrast between
Day 2146 #ArtKicksCovid19 "Study of a Kingfisher" (1871) John Ruskin. Ashmolean Museum. This is a vibrant example of Ruskin’s "truth to nature" philosophy. Created during his tenure as the first Slade Professor of Fine Art at Oxford, the work was intended as a teaching aid to encourage students
January 29, 2026 at 8:12 AM
Day 2146 #ArtKicksCovid19 "Study of a Kingfisher" (1871) John Ruskin. Ashmolean Museum. This is a vibrant example of Ruskin’s "truth to nature" philosophy. Created during his tenure as the first Slade Professor of Fine Art at Oxford, the work was intended as a teaching aid to encourage students
Day 2145 #ArtKicksCovid19 “Portrait of Lizzy Ansingh” (1902) Thérèse Schwartze. Rijksmuseum This is an intimate depiction by the celebrated Dutch artist of her niece and fellow painter. It captures Ansingh in an informal pose, seated with her elbow resting on the back of a chair wearing a black hat.
January 28, 2026 at 9:48 PM
Day 2145 #ArtKicksCovid19 “Portrait of Lizzy Ansingh” (1902) Thérèse Schwartze. Rijksmuseum This is an intimate depiction by the celebrated Dutch artist of her niece and fellow painter. It captures Ansingh in an informal pose, seated with her elbow resting on the back of a chair wearing a black hat.
Day 2144 #ArtKicksCovid19 "Three Studies for Poppies" (early 20th century) Sophia L. Crownfield. Smithsonian Design Museum NYC. This is a masterful example of botanical observation intended for commercial application. Rendered in brush and gouache on grey paper,
January 27, 2026 at 6:57 AM
Day 2144 #ArtKicksCovid19 "Three Studies for Poppies" (early 20th century) Sophia L. Crownfield. Smithsonian Design Museum NYC. This is a masterful example of botanical observation intended for commercial application. Rendered in brush and gouache on grey paper,
Day 2143 #ArtKicksCovid19 "Self-Portrait" (1910) William Orpen. Metropolitan Museum of Art. This painting depicts the Irish artist during his early career in London's West End. It is a full-length reflection of Orpen in his studio mirror, where he stands with an air of "urban gentleman" refinement,
January 26, 2026 at 8:47 AM
Day 2143 #ArtKicksCovid19 "Self-Portrait" (1910) William Orpen. Metropolitan Museum of Art. This painting depicts the Irish artist during his early career in London's West End. It is a full-length reflection of Orpen in his studio mirror, where he stands with an air of "urban gentleman" refinement,
Day 2142 #ArtKicksCovid19 “Angel” (1887) Abbott Handerson Thayer. Smithsonian American Art Museum. This is a seminal work that marks the beginning of the American artist’s celebrated series of winged figures. It serves as both an allegorical portrait of his 11 year old daughter, Mary,
January 25, 2026 at 10:33 AM
Day 2142 #ArtKicksCovid19 “Angel” (1887) Abbott Handerson Thayer. Smithsonian American Art Museum. This is a seminal work that marks the beginning of the American artist’s celebrated series of winged figures. It serves as both an allegorical portrait of his 11 year old daughter, Mary,
Day 2141 #ArtKicksCovid19 "Cherries" (1883) Henri Fantin-Latour. V&A Museum. The painting depicts a single cherry branch laden with ripe fruit and vibrant green leaves, set against a stark, plain white background. This minimalist composition emphasises the naturalism and rich colour of the subject,
January 24, 2026 at 9:46 AM
Day 2141 #ArtKicksCovid19 "Cherries" (1883) Henri Fantin-Latour. V&A Museum. The painting depicts a single cherry branch laden with ripe fruit and vibrant green leaves, set against a stark, plain white background. This minimalist composition emphasises the naturalism and rich colour of the subject,