Vincent van Gogh was a Dutch post impressionist painter widely known for being mentally unstable – especially after cutting off part of one of his ears – but also for his works of art, which are among the most famous and cherished of all time.  

No artist is as closely tied to the sensual pleasures of color as Henri Matisse. His work was all about sinuous curves rooted in the traditions of figurative art, and was always focused on the beguiling pleasures of pigment and hue. “I am not a revolutionary by principle,” he once said. “What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter…a soothing, calming influence on the mind, something like a good armchair.”

Most people know Georges Seurat  as the inventor of pointillism (which he actually developed with the artist Paul Signac), a radical painting technique in which small daubs of color where applied to the canvas, leaving it to the viewer’s eye to resolve those dots and dashes into images. Just as importantly, Seurat broke with the capture-the-moment approach of other Impressionists, going instead for ordered compositional style that recalled the stillness of classical art.

René Magritte was a Belgian-born artist who was known for his work with surrealism as well as his thought-provoking images. After attending art school in Brussels, he worked in commercial advertising to support himself while he experimented with his painting.  Magritte was one of the most prominent Surrealist painters, whose bizarre flights of fancy blended horror, peril, comedy, and mystery. 

René Magritte's works were characterized by particular symbols—the female torso, the bourgeois “little man,” the bowler hat, the castle, the rock, the window, and others. Most famous works were Les Amants - The Lovers, Le Fils de L'homme The Son of Man (Painting of the man with the apple in front of his face), the Treachery of Images and Goldconde. 

Georgia O’Keeffe’s reputation rests in part on the idea that many of her paintings evoke a certain part of the female anatomy. O'Keeffe herself angrily rejected the notion that her compositions—especially her floral studies—were symbolic representations of vaginas, but the idea has stuck. Nevertheless, there so much more to the artist’s work, which could be described as a blend of symbolism, precisionism and abstraction.

Edward Hopper’s enigmatic paintings look into the hollow core of the American experience—the alienation and loneliness that represents the flip side of to our religious devotion to individualism and the pursuit of an often-elusive happiness. In compositions such as Nighthawks, Automat and Office in a Small City, he captures stillness weighed down by despair, his subjects trapped in the limbo between aspiration and reality. His landscapes are similarly suffused with a sense that America’s open spaces are as purgatorial as they are limitless.

Hampered by alcoholism, self-doubt and clumsiness as a conventional painter, Pollock transcended his limitations in a brief but incandescent period between 1947 and 1950 when he produced the drip abstractions that cemented his renown. Eschewing the easel to lay his canvases fait on the floor, he used house paint straight from the can, flinging and dribbling thin skeins of pigment that left behind a concrete record of his movements—a technique that would become known as action painting.

Technically, Warhol didn’t invent Pop Art, but he became the Pope of Pop by taking the style out of the art world and bringing it into the world of fashion and celebrity. Starting out as a commercial artist, he brought the ethos of advertising into fine art, even going so far as to say, “Making money is art.” Such sentiments blew away the existential pretensions of Abstract Expressionism. Although he’s famous for subjects such as Campbell’s Soup, Marilyn Monroe and Elvis Presley, but what was Andy Warhol's greatest creation? Himself, of course.

"Cezanne is the father of us all." This famous quote has been attributed to both Picasso and Matisse, and certainly it does not matter who actually said it, because in either case would be appropriate. While he exhibited with the Impressionist painters, Cézanne left behind the whole group and developed a style of painting never seen so far, which opened the door for the arrival of Cubism and the rest of the vanguards of the twentieth century.

Along with Rembrandt, one of the summits of Baroque painting. But unlike the Dutch artist, the Sevillan painter spent most of his life in the comfortable but rigid courtesan society. Nevertheless, Velázquez was an innovator, a "painter of atmospheres" two centuries before Turner and the Impressionists, which it is shown in his colossal 'royal paintings' ("Meninas", "The Forge of Vulcan"), but also in his small and memorable sketches of the Villa Medici.

One of the most fascinating figures in the history of painting, his works moved from Impressionism (soon abandoned) to a colorful and vigorous symbolism, as can be seen in his 'Polynesian paintings'. Matisse and Fauvism could not be understood without the works of Paul Gauguin.

Goya is an enigma. In the whole History of Art few figures are as complex as the artist born in Fuendetodos, Spain. Enterprising and indefinable, a painter with no rival in all his life, Goya was the painter of the Court and the painter of the people. He was a religious painter and a mystical painter. He was the author of the beauty and eroticism of the 'Maja desnuda' and the creator of the explicit horror of 'The Third of May, 1808'. He was an oil painter, a fresco painter, a sketcher and an engraver. And he never stopped his metamorphosis.

Manet was the origin of Impressionism, a revolutionary in a time of great artistic revolutions. His (at the time) quite polemical "Olympia" or "Déjeuner sur l'Herbe" opened the way for the great figures of Impressionism.

Equally loved and hated in different eras, no one can doubt that Raphael is one of the greatest geniuses of the Renaissance, with an excellent technique in terms of drawing and color.

Basquiat is undoubtedly the most important and famous member of the "graffiti movement" that appeared in the New York scene in the early'80s, an artistic movement whose enormous influence on later painting is still to be measured.

Artist of dreams and fantasies, Chagall was for all his life an immigrant fascinated by the lights and colors of the places he visited. Few names from the School of Paris of the early twentieth century have contributed so much -and with such variety of ideas- to change modern Art as this man "impressed by the light," as he defined himself.

Leading figure of realism, and a clear precedent for the impressionists, Courbet was one of the greatest revolutionaries, both as an artist and as a social-activist, of the history of painting. Like Rembrandt and other predecessors, Courbet did not seek to create beauty, but believed that beauty is achieved when and artist represents the purest reality without artifice.

One of the most original and fascinating artists of his era, with a very personal technique that was admired, three centuries later, by the impressionist painters.

El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.

The main figure of American painting of his era, Homer was a breath of fresh air for the American artistic scene, which was "stuck" in academic painting and the more romantic Hudson River School. Homer's loose and lively brushstroke is almost impressionistic.

Many artists made contour line drawings on paper, but Calder was the first to use wire to create three-dimensional line "drawings" of people, animals, and objects. These "linear sculptures" introduced line into sculpture as an element unto itself. Calder shifted from figurative linear sculptures in wire to abstract forms in motion by creating the first mobiles. Composed of pivoting lengths of wire counterbalanced with thin metal fins, the appearance of the entire piece was randomly arranged and rearranged in space by chance simply by the air moving the individual parts.

Calder's interest initially led not to art, but to mechanical engineering and applied kinetics, which he studied at Stevens Institute of Technology in Hoboken, New Jersey.

Katsushika Hokusai, known simply as Hokusai, was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. Hokusai is best known for the woodblock print series Thirty-Six Views of Mount Fuji which included The Great Wave off Kanagawa." While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition and left a lasting impact on the art world. It was The Great Wave print that initially received, and continues to receive, acclaim and popularity in the Western world.