In the collection of Barnes Foundation, Philadelphia — check current display status with the museum.
FROM THE BARNES FOUNDATION’S CATALOG
A monumental, Roman-style statue of a man in a business suit stands in the middle of a Mediterranean piazza framed by arcaded buildings. He faces the horizon, which is occluded by a brick wall that is nonetheless low enough to reveal palm trees, a trail of smoke from a passing train, and rainbow pennants flapping in a strong wind. De Chirico—inspired by the philosophy of Friedrich Nietzsche—was enthralled by collisions of antiquity and modernity, and he stressed this scene's strangeness with raking light and a limpid geometry reminiscent of an Italian Renaissance experiment in perspective. The Arrival was one of de Chirico's earliest "metaphysical" paintings, championed by the surrealists; he further developed its themes with probing wit throughout his career.
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John Atherton — Rocks and Weeds
Jean Hugo — Ruins of Marseille
Max Beckmann — The Harbor of Genoa
William Joseph Eastman (American, 1888–1950) — Italian Night
Henri Rousseau — View of the Quai d'Asnières (Vue du quai d'
Jean Lurçat — Still Life (Nature morte)
Edward Bruce (American, 1879–1943) — The Appian Way![Houses (Fenouillet) [Les Maisons (Fenouillet)]](https://barnes-images.imgix.net/5106_BVnzav2Dkp9Z8eSI_n.jpg?w=500)
Henri Matisse — Houses (Fenouillet) [Les Maisons (Fenouillet
Edvard Munch — P.A. Munch's Grave in Rome
Max Beckmann — Blooming Acacia
Raoul Dufy — L’Allée d’Arbres
Henri Matisse — Interior with a Violin
