To view works by Eva Gonzales, visit museums that hold collections of Impressionist and Post-Impressionist art. These include institutions in both Europe and North America. The Musée des Arts Décoratifs, in Paris, displays fine and applied arts. Other French museums include the Musée des Beaux-Arts in Nancy and the Musée d’Art et d’Industrie in Roubaix. In Belgium, the Brangwyn Museum in Bruges may have relevant holdings. Spanish venues include the Museu d’Art Modern (MNAC) in Barcelona, and the Museo Art Nouveau y Art Deco in Salamanca. The Museu Calouste Gulbenkian is located in Lisbon, Portugal. In the United Kingdom, collections can be found at the Brighton Museum & Art Gallery, Manchester Art Gallery, the National Museums of Scotland (Royal Museum) in Edinburgh, and the Victoria & Albert Museum in London. North American museums include the Los Angeles County Museum of Art (LACMA), the Metropolitan Museum of Art in New York, and the Minneapolis Institute of Arts.

Prints are original works of art, distinct from reproductions. An original print is conceived as a print, created via woodcut, etching, lithography, or similar methods. The artist creates the artwork directly on the plate, block, stone, or screen. Each print is considered an original, hand-pulled by the artist, or under their direction. In the late 19th century, prints gained recognition as a major artistic medium. Artists began signing prints, distinguishing them from reproductions and indicating approval of the impression. Edition sizes were limited and numbered to control quality and value, preventing excessive printing that could degrade the plate or stone. Prints allowed artists to reach a wider audience due to their greater availability and lower cost, compared to other art forms. Dealers recognised the value of prints, encouraging painters and sculptors to produce them. When buying prints, look for a number (such as 35/100), which indicates the print's place in the edition. The custom is for the artist to sign and number their prints in pencil.

Eva Scott Muse Fényes (1849^[1]-1930) was an American artist and patron. She is significant for her watercolours of the Southwestern United States, and for her support of artists in California and New Mexico. Fényes documented Spanish missions and adobe buildings in California and New Mexico, a project encouraged by Charles Lummis. Lummis, an archaeologist, worried that Anglo developers would destroy evidence of Native and Hispanic cultures. Fényes's watercolours and photographs are now held in the Southwest Museum and the Historical Society of Santa Fe. She was a supporter of artists such as Carl Oscar Borg, Benjamin Brown, and William Keith in California, and she collected self-portraits by artists in New Mexico. Fényes was also involved with the Historical Society of Santa Fe, the Archaeological Society of America, and the American Association for the Advancement of Science. Her former home, Acequia Madre House, is now a historic landmark. It was designed for three generations of women in her family: Eva; her daughter, Leonora Scott Muse Curtin; and her granddaughter, Leonora Frances Curtin Paloheimo.

Eva Gonzalès was a French Impressionist painter who trained with Charles Chaplin and Édouard Manet, becoming Manet's only formally acknowledged pupil. Gonzalès exhibited at the Salon throughout her career, rather than joining the independent Impressionist exhibitions. Retrospectives at the Salons de La Vie Moderne and Salon d'Automne secured her place as one of the central women painters of French Impressionism.

Artists throughout history have employed varied painting materials, such as natural pigments, chemical pigments, fresco, egg tempera, watercolour, and oil. More recent materials include acrylics, household emulsions, and mixed media. Techniques and processes describe the methods used in the creative process. In painting, knowledge that oil can be applied thickly in impasto or thinly in glazes affects our understanding of the artwork. Brushwork may be fine and disguised, thickly applied with a palette knife, or stencilled. When creating an object, the first step is to establish a line drawing to delineate the flat area that the object takes up; this is known as the shape of the object. A shape can be further defined by showing how light hits the object to create highlights and shadows. First, note from which direction the source of light is coming.

Eva Gonzales's connections to other artists are complex. The sculptor Julio Gonzalez felt a strong aesthetic connection with the Spanish artist Luis Fernandez. Fernandez's 1932 article in *A. C. Documentos de Actividad Contemporanea* defended Gonzalez's work, interpreting the sculptor's shift after the 1920s as a return to his Hispanic roots after a period influenced by French art. The article featured photographs of Gonzalez's sculptures, including *Composition*, *The Kiss I*, and *Couple/The Embrace*. Gonzalez's abstract principles, particularly between 1930 and 1935, inspired many artists. His focus on translating abstract ideas of colour and light, with references to the human image, influenced his sculpture in the 1930s. Alberto Magnelli's mid-1930s work with split and piled stones also impacted Gonzalez's concepts. Gonzalez created a lineage in modern sculpture that includes Picasso, David Smith, Mark di Suvero, and Eduardo Chillida. His contribution was the use of iron and steel as mediums.

It is difficult to name one single work as Eva Gonzales's most famous. However, several paintings are well known and frequently discussed. Gonzales was a student of Édouard Manet, and her work often shows the influence of Impressionism and Realism. She frequently depicted women in domestic or intimate settings. One notable painting is "Enfant de troupe" (1870^[1]), which portrays a young boy in military uniform. Another is "Nanny and Child" (1877-78), a portrait of a woman holding a child. "La Toilette" (1875) is another significant work. It depicts a woman in her private space, getting ready. This painting is admired for its intimate portrayal of the subject and its delicate handling of light and colour. These paintings, among others, contribute to Gonzales's recognition as a talented artist of her time, even though her career was cut short by her early death at the age of 38.

Eva Gonzales was associated with Impressionism, although her work also shows the influence of Realism. She became a student of Édouard Manet in 1869^[1], and he greatly affected her style and subject matter. Gonzales often depicted scenes of contemporary life, particularly portraits of women and domestic settings. Like other Impressionists, she was interested in capturing the effects of light and atmosphere in her paintings. However, her technique often involved more structured compositions and a greater emphasis on line than some of the more radical Impressionists like Monet or Renoir. While Gonzales exhibited with the Impressionists, she maintained a distinct artistic identity. Some critics have noted a certain formality in her work, setting it apart from the fleeting, spontaneous quality found in some Impressionist paintings. Her premature death at the age of 34 cut short a promising career.