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A flatboat with eight light-skinned men floats toward us down a wide river in this horizontal painting. The boat nearly spans the width of the composition and has low sides and a shallowly arched, low cabin upon which the men gather. At the center, a man with dark hair and wearing light blue trousers and a pink shirt dances with one foot and both arms raised. To our right a seated musician plays a fiddle, and to our left a smiling man holds up a metal pot and strikes the flat bottom with the back of his fingers. The remaining men sit or recline around the musicians and dancing man, some looking toward the dancer and two looking out at us. Bedrolls and animal skins are stored in the cabin below. The olive-green surface of the river is streaked with pale blue. The horizon line comes about a third of the way up the composition. The trees and riverbanks in the distance are hazy beneath a watery blue sky.

This painting depicts a rural scene with people gathered in front of log cabins. Hills, sparse trees, and a haystack are visible in the background under a partly cloudy sky. In the distance on the left, two people stand on a pile of logs, a small fire breaking out on the far left and putting gray smoke in the air. Closer to us on the left, a man stands by a machine made of several horizontal rods, appearing to feed long strands of fiber or grain into it. Gathered in a line across the rest of the painting is a crowd of men and women, appearing to hold long, flat objects and bundles of thin fiber. Some of the people talk while others seem to dance. The people all have pale skin, and the women wear colorful dresses with aprons and bonnets, while the men wear jackets, vests, and top hats.

Several people sit, stand, or stroll along a dirt road that winds from the lower left corner of this horizontal landscape painting into the distance, past trees and cottages under a vivid blue sky. The horizon line comes about a third of the way up the canvas, and the cloud studded, azure-blue sky fills the space above. Sunlight filtered through puffy white and steel-gray clouds illuminates the scene from the upper right, creating patches of light and shadow throughout. The road meanders through the center of the composition and is lined with dark and sage-green shrubs, scrubby growth, and gnarled, crooked trees. Closest to us and to our left, two tan cottages are tucked into deep shade created by a grove of several tall trees. The cottages have steeply pitched roofs and windows flanked by gray or brick-red shutters. Three people sit and stand near the path outside the closest building. A short distance to our right, a man sitting on a fallen log carries walking stick and a bundle on his back. His body faces us but his head is turned to our right to gaze toward the man and woman about to stroll past him, headed in our direction. The woman wears a black dress over a white skirt, and a white head covering and shawl. The man wears a brimmed hat with a red decoration, a brown coat with gold buttons down the front and a wide white collar, and heeled shoes. Beyond them, the road curves to our left around a small pond in front of the second cottage. Two people crouch to set a toy sailboat afloat by the edge of the pond, and a brown dog sniffs the ground nearby. Two more people stand talking at the doorway to the second cottage and another dog leaps up at the half-door. Further along the road, the light becomes stronger, illuminating a horse, rider, and another person walking alongside the horse. The road continues to curve around a butter-yellow cottage nestled in a grove of trees on the right. A sunny field is visible in the far distance.

Twenty-one men in long waistcoats and women in elegantly trimmed gowns gather and dance within a verdant landscape in this horizontal painting. The men wear jackets and breeches in ginger brown, pale pink, or spruce blue. The women’s gowns have full sleeves, tight-fitting bodices, and full skirts in shades of bronze, teal blue, butterscotch gold, or rich pink edged with ribbons and lace. Some of them wear floral wreaths or ribbons in their upswept hair. Groups gather around a woman and man who dance together to our left in the scene. Some in the group of onlookers to our left hold musical instruments, including a violin and a pipe. Another group is nestled among trees just beyond the dancers, at the center of the painting, and more sit and stand to our right. The dancing woman wears a gleaming, ice-blue gown with rows of flowers in muted pink, blue, and gold down the full skirt and around the bottom hem, which falls short of her thin ankles. More garlands cross her chest and shoulders, and flowers are tucked into her dark gray hair. She faces us with her head turned to our right as she looks off in that direction with dark eyes under curving brows. She has a delicate nose, rosy, round cheeks, and pink lips. She holds her arms spread wide with the thumb touching the index finger of each hand. The man with whom she dances wears a coral-red tunic and breeches with sleeves decorated with pale pink and blue ribbons. The brim of his brown hat is turned up. His body faces us but he turns his head to look at the woman, his lips parted. The man and woman each have one gracefully pointed foot raised. The dancers and groups are enclosed within a park-like setting with tall trees to either side, and a screen of trees across the back of the space. The trees have slender trunks and canopies in shades of pine, sage, and moss green. Near the back middle of the scene, a stone column topped by a human head wearing a wreath of laurel leaves rises above the central group. A fountain with a vertical jet of water is tucked into the shadows within a grove of trees along the right edge of the painting. The water falls into a pool in the lower right corner.

A rutted, dirt road curves from the bottom center of the canvas toward and behind a grove of tall trees to our left, beneath a pale blue sky with fluffy white clouds that fills the top two-thirds of this horizontal landscape painting. The broad, green canopies of the trees to our left create deep shade over twisting trunks, shrubs, and grasses. A narrow stream meandering alongside the road to our left reflects the moss, pine, and sage greens of the leaves. The land rises in a sloping bank to our right, and leads back to open fields with hedgerows that stretch to the horizon. Shorter, more spindly trees cluster along the bank in the distance. Tiny in scale, people are sprinkled throughout the landscape, either singly or in small groups. In the shade of the grove to our left, a man with dark pantaloons, a brown hat and coat, and a walking stick strolls along the road with a woman wearing a red skirt, a dark shirt, and a white apron and cap. Just off the curve of the road to our right, another man with a walking stick, tan hat, and dark gray pantaloons talks to a woman also wearing red, black, and white. Another person, slightly smaller in stature, stands between them. At a pond farther back from this trio, a man with a broad-brimmed hat sits fishing at the edge of the water. Barely visible, a house with a pitched roof, a tall, brick-red chimney, and a white picket fence peeks out from behind the trees beyond the pond. Finally, a man wearing a rust-orange coat, gray pantaloons with white stockings, and a tall hat, carrying a pole propped on his shoulder, walks toward us on a footpath running alongside the fields. Tall, cream-white clouds dot the pale blue sky above, and tiny dots of dark paint suggest flying birds. Soft sunlight pours across the countryside. The artist signed and dated the painting in small script in the lower right corner: “meijndert Hobbema F 1663.”

The image shows a street scene with an urban setting. The composition includes buildings, a statue on a pedestal, signs like "City Hotel" and "Hard Ware," a group of men with a horse, a water pump, two dogs, people on a sidewalk and hotel balcony, additional figures, a worker with stacked bricks. The color palette features warm tones like orange, brown, and green. Brushstrokes are precise and detailed, creating a realistic depiction of the scene.

The image shows an elevated view of a landscape with hills and a river or lake in the distance. Several buildings, including a church, are scattered across the land. Soldiers in red and white uniforms are lined up near a stone wall and gravestones in the foreground. The sky is blue with a few scattered clouds. The painting style uses precise brushstrokes, featuring a color palette of soft blues, greens, reds, and muted tones.

We look across a stream and through a loose screen of shadowy trees at a sunlit farm under a powder-blue sky with towering, puffy clouds in this vertical landscape painting. The ground and stream closest to us are painted in tones of olive green, sepia and earth brown, black, and slate gray. Nearly lost in shadow, a group of six people gathers at the water’s edge in the lower left. Small in scale within the composition, they wear brick-red, gray, or caramel-brown garments. Beyond them, a low picket fence winds through and between a loose band of shadowy trees, which are painted with gnarled, dark gray trunks and camel-brown, sage, and pine-green leaves. The trees to our left are closer and taller, while those to our right are a little farther away. The sun pours from the upper left into the field beyond. The farm buildings there have tan walls and sloping, peach-colored roofs. A few animals and people, smaller than the group in front, stand among the buildings, and more cottages can be glimpsed through a stand of trees on our right. The horizon line comes about a third of the way up the composition, and a church and steeple are silhouetted against the sky in the deep distance. A few birds fly in front of gray and white clouds that rise from the right side and spread across the top of the canvas.

We look across a wide, low clearing at a mountain rising beyond rocky hills, which are mostly covered in pines and blazing red and orange autumn trees, in this horizontal landscape painting. The green grass of the clearing is littered with dead trees and stumps. Beyond a narrow opening between the hills, almost at the center of the composition, a massive mountain towers against the powder-blue sky, nearly reaching the top edge of the painting. The mountain’s jagged face is mottled with warm tones of cinnamon, rust, and caramel brown. The scene is bathed in warm light coming from our right but pewter-gray storm clouds move in from the upper left to encircle the mountain peak. Closest to us, a line of broken tree trunks spans the width of the painting, mixed with scarlet-red, marigold-orange, and green vegetation and reeds. A silvery pond lies just beyond them to our left. Tiny in scale within the landscape, a horse and rider gallop along a wide dirt road emerging from the lower right toward a white house nestled at the foot of the hill to our left. The rider wears a knee-length, denim-blue tunic and red leggings. Upon closer inspection, two children and a white dog become visible, walking toward the rider. A straw-yellow structure sits against the hill to our right. A horse-drawn carriage moves away from the house in the far distance, where the road curves toward the notch. The artist signed and dated the painting as if he wrote directly onto a broken trunk in the lower left corner of the painting: “T. Cole 1839.”

The painting depicts a wintry scene from an elevated point of view, showing people skating and playing games on a frozen river. On the left, leafless trees line the frozen bank. On the right, there are brown buildings with snow on their roofs and smoke rising from their chimneys. A woman stands on one of the porches, holding a small child. On the snowy ground outside the buildings, a sled is being pulled by two horses. In the center of the painting is the wide frozen river. The people on it wear colorful clothes in shades of red, yellow, green, blue, and brown. Some of them slip and fall on the ice, and others lace skates on their feet. Four men in the center hold long curved sticks and look towards a small round ball on the surface of the ice. In the distance, the horizon is marked by blue-tinged mountains under a cloudy gray sky.

The Watermill with the Great Red Roof

Der Auszug der Römer aus Vicenza

The image shows five individuals standing closely together in a line. On the left is a man in a dark blue coat with a gold emblem, beige trousers, and black shoes. Next to him is a woman in a black dress with a lace collar. In the center is a young boy in a brown suit with gilt buttons. To the right stands a young girl in a white dress with pink ribbons, and a taller woman in a similar dress holding a parasol. The background shows lush green trees and a clear blue sky.

This painting shows a village nestled in hills and trees with a cloudy blue sky at the top. Closest to us are simple white buildings, some with white spires and others with red and brown roofs, surrounded by tall trees. In the distance there are hills, smaller trees, and sailboats on a body of water on the right. The artwork has visible brushstrokes, and the buildings are simple and flat. The color palette is earthy, with soft greens, warm tans, and light whites and yellows.

Italienische Landschaft

The Battle of Waterloo

A man stands and a woman sits near a herd of seven cows under a light-drenched sky in this horizontal landscape painting. The herd gathers on a grassy rise just beyond some large boulders and twiggy branches. The cows are caramel or copper brown and ivory white. They stand and lie, legs tucked demurely beneath their hulking bodies, facing different directions, their short horns curling like parentheses against the sky. The man stands on our side of the herd with his back to us to the left of center. He holds a tall shepherd’s staff in one hand as he hunches slightly and points with the other, to our right. He wears a high-crowned, wide-brimmed black hat, a crimson-red jacket, black trousers, and black knee-high boots. A knapsack hangs across one shoulder and rests behind his left hip. The woman sits on the far side of the herd so we see her under the man’s raised arm. She looks at him, her face peachy and round under a wide-brimmed straw-colored hat. She wears a white shirt under a robin’s egg-blue dress, and also holds a tall staff upright with both hands. Two more pale-skinned people sit on the ground or on a donkey in the near distance to our right, near the right edge of the canvas. Both wear hats and earth-toned clothing in black, gray, and blue. The donkey stands facing us, its face low, and a pair of baskets are slung across its back. The people and cattle cast long shadows from the setting sun, out of view to our left. The sunset ignites the undersides of the towering, slate-gray clouds with peach and gold against the ice-blue sky. A body of water stretches from beyond the low hill to a distant shore, where stone ruins are outlined on the horizon, which comes about a third of the way up the composition. A flock of six birds and another pair dot the sky.

After a Long Cruise

The Test of Fire of Moses

A three-storied, white manor house with a rust-red roof and wings extending off both sides sits across an emerald-green lawn lined with tall, sage and dark green trees in this horizontal painting. Straw-brown paths lead to the house from either side of the lawn, where they meet an oval-shaped path directly in front of the house. The grassy area inside the oval is cordoned off with posts and weighted chains. Closer to us, three men, two women, and a gray dog stand on the lawn. Two of the men wear uniforms with navy-blue, button-lined jackets with golden yellow epaulets and collars, dark, tricorn hats, and butter-yellow britches over black, knee-high boots. The third man wears a brown suit with a white collar. Both the women wear white dresses. One has a sky-blue sash around her waist and the other has a black shawl wrapped across her torso, and wears a white bonnet. Two light-skinned people, perhaps a man and a child, walk along the path to our left, wearing gray suits. Four people closer to the house have brown skin. One of them, a woman, stands at the front center of the oval path and other three men approach a door in the wing to our left. One of that trio carries a shovel over his shoulder, one a rake, and the other a staff. A carriage guided by a seated horseman and pulled by four horses enters the scene from our right. To our left and right, covered walkways connect the main house to the side wings. The wing to our right is mostly hidden by trees and cut off by the right edge of the painting. The wing to our left has a teal-blue roof, red brick chimneys, and the same white walls as the manor. The main house has a triangular pediment over the front door and chimneys to each side of the red roof. A spire-like lantern is at the center of the roofline, over the pediment. Faint, wispy white clouds billow against the azure-blue sky above. Centered at the bottom of the scene across a white margin are the words, “A VIEW OF MOUNT.VERNON THE SEAT OF GENERAL WASHINGTON.”

The Pond at the Entrance of the Woods

The Windmill

The Bathers, Souvenir of the Banks of the Anio River at Tivoli

Marshland

Leaving the Forest, Fontainebleau: Setting Sun

Six women, eight men, two satyrs, and one child gather in pairs and trios in a loose row that spans the width of this nearly square painting. They are set within a landscape with craggy rocks, cliffs, and trees. Most of the people face us, and the men, women, and child have pale skin. The two satyrs have men’s torsos and furry goat’s legs, and they have darker, olive complexions. Most of the men wear voluminous, knee-length togas wrapped in short robes in shades of white, topaz blue, grass green, coral orange, or rose pink. Most of the women wear long, dress-like garments in tones of shell pink, apricot orange, or lapis blue over white sleeves. For all but one woman, their garments have fallen off one shoulder to reveal a round, firm breast. Several objects are strewn on the rocky, dirt ground in front of the group, including a wide, wooden bucket with a piece of paper affixed to its front to our right, a glass goblet, a pitchfork, a large blue and white ceramic dish filled with grapes and small yellow fruits, and an overturned cup near the center. Cliff-like, craggy rocks rise steeply behind the group to our left, filling much of the sky opposite a tall grove of leafy, dark green trees to our right. A few puffy white clouds float across the vivid blue sky. The slip of paper on the barrel has been inscribed, “joannes bellinus venetus p MDXIIII.”

A band of indigenous Americans ride horses toward and through a herd of buffalo, which spreads along a river that winds through plains to mountains in the deep distance in this horizontal landscape painting. The scene is lit with golden light that warms the browns and harvest yellow of the landscape. Several dead or injured buffalo lie across the ground close to us, along with the body of one hunter, barely visible between the bodies of two animals. Just beyond the corpses, one hunter rides a rearing white horse as he lifts a spear lined with feathers high over a charging buffalo to our right of center. Facing away from us, the rider has light brown skin and a feather headdress over long dark hair. He wears a pumpkin-orange loincloth and red and orange bands encircle the ankle, thigh, wrist, and upper arm facing us. Sage-green grass grows in tufts on the dirt ground, which is littered with several animal skulls around the charging buffalo and rider. A smaller buffalo looks on from our left, and a prairie dog pokes its head out of hole in the ground in the lower left corner. A little distance away to our right, along the edge of the canvas, seven hunters gallop into the scene, leaning forward over their horses’ necks. The dozen or so buffalo nearby, as well as a fox and two deer, move away from the hunters, headed to our left. Hundreds of buffalo dot the landscape along the banks of the winding river and some wade in the water. A few trees rise on the plain but the land is mostly flat until it reaches the mountains and cliffs along the horizon, which comes halfway up this composition. Forms along the horizon could be a line of clouds or snow-covered moutains in the deep distance. A few wispy white clouds float across the watery blue sky above. The artist signed the work in the lower right corner: “Albert Bierstadt.”

This painting depicts a coastal scene with a perspective from the water. There are dark, billowing gray clouds above the horizon, and the sky is pale orange. Below, large sailboats are on the dark water, as well as some smaller rowboats and a few pieces of driftwood. The water reflects the ships and the colors of the sky. On the left is a low stone building on a bit of green land, and there is a green hill in the distance on the right, covered with houses and small buildings.

Sloop, Nassau

The Blue Boat

Fishing Boats with Hucksters Bargaining for Fish

This painting shows a man standing upright, his body slightly turned to the right. He has pale skin and curled white hair under a large black hat, and he wears a long brown jacket over a yellow vest with a white ruffled neck and a wide blue-and-white striped sash over his torso. His pants are black, and he wears tall black boots with brown tops. His hands are covered by yellow gloves, and he is holding a tall, thin rifle on the left, its bottom on the ground. Next to him on the right is a white dog with brown spots and large brown ears. The dog is sitting, looking up at the man. The background features an outdoor setting, with a landscape of hazy hills in shades of pale green and blue below a white and gray sky. There is a tall, dark green tree behind the man, and the ground he stands on is brown.

A Woodland Fête

We look slightly down onto a rocky, natural stone arch next to a cave opening, both perched on a high, grassy cliff in front of a shimmering, aquamarine-blue body of water in this horizontal landscape painting. The arch is situated to our left of center, and the cave beyond the gaping opening extends off the left side of the canvas. In tones of ash and caramel brown, the jagged arch and outcroppings are lit from our left so deep shadows are cast along crevasses to our right. Shadow also sweeps across the emerald-green grass at the base of the arch and cave. A few more serrated rocks poke out of the water like teeth far below, to our right, presumably at the base of the cliff on which we are situated. To our left, the rocky shoreline juts into the water in the distance in front of mauve-purple mountains in the deep distance along the horizon, which comes about halfway up this composition. Tiny in scale, minuscule, triangular white sails dot the waterway. Similarly tiny white birds fly high above the water. Pale, petal-pink and white clouds line the horizon beneath a sky that deepens from light turquoise over the clouds to the same aquamarine blue of the water below.

The Power of Music

Rectangular plots of flowers, each in a single color, stretch toward us below a sky nearly filled with cream-white clouds in this horizontal landscape painting. Together, the monochromatic plots create the impression of a patchwork quilt, with large areas of pale pink, butter yellow, bright white, and baby blue. A person walks across the plots to our right. The horizon line comes almost halfway up the painting and is lined with dark brown houses with tall, pitched roofs. Two barren trees twist into the cloudy sky. The loose, short, parallel brushstrokes and touches of paint create a soft, hazy effect.

This painting shows a body of water in between wooded mountains. On top of the water there are several long wooden logs with people on them. One of the people stands atop a large log, while the other appears to sit or recline. The people both wear hats, and one of them holds a long stick with a pointed end. The water is a vibrant blue, and the logs are in shades of brown, tan, and yellow. The forest behind the water has trees in shades of dark and light green. The sky has clouds in white and gray against a blue background. The brushstrokes in the artwork are loose, and some of the colors bleed into one another.

The Merry Family

Well at the Side of a Road

Ungarischer Bauernhof

Große Praterlandschaft

Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of minuscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.

Boys in a Dory

The Fishermen (Fantastic Scene)

Copy of The Night Watch

Path Near the Pond of Vipers, Fontainebleau Forest

This painting depicts a green field of cotton plants with white blossoms. Three individuals are seen harvesting the cotton. They appear to be wearing skirts and bonnets and have dark skin, although their faces aren’t detailed. The background includes buildings on the left and green trees against a pale blue sky with hints of grey. The painting utilizes loose, visible brushstrokes. The color scheme is warm and natural, featuring shades of green, brown, and muted tones.

Crémieu, Seen from Chaillonnette

This painting depicts a woman seated outdoors with a baby in her lap on the left and a young child standing nearby on the right. The woman is sitting on the ground, while the baby is facing the right with their arms outstretched. The baby is partially wrapped in a white cloth. The woman has a serene expression and delicate facial features. She is wearing a green and red robe. The young child on the right is holding a small lamb and has curly blond hair. In the upper left corner of the painting, two cherubic faces peer down from a cloud. The background shows a pastoral setting with trees, shrubs, hills, grass patches, and bunnies near the forest edge, under a cloudy sky.

Hunting and fishing scenes

European Banquet Scene (or The Marriage Feast at Cana?)

This painting shows a person fishing in a small blue-gray boat, situated to the left of center. The individual's back is to us, and they hold a fishing rod that extends from the center of the painting into the water on the far right. The person is wearing a tan shirt, tan pants with a brown belt, and a wide-brimmed tan hat. There are thick, dark green and blue trees in the background; the water reflects dark greens and blues, as well as shades of tan and white from the boat and person. The brushstrokes are loose, and different colors of paint blend softly with one another.

Performance of Hanasaka Jiji, by Toshi, 1889, Meiji 21, from the Hood Museum of Art - PR.995.23.42abc.

Washington Crossing the Delaware

We look across a palm-tree lined river winding into the distance before a monumental, snow-covered mountain at the center of the composition in this horizontal landscape. The spit of land along the riverbank in the lower left corner is filled with lush vegetation, including waving ferns, vines, leafy trees, and palm trees. At the bottom center of the composition, along the shoreline, a boat with a pointed prow is occupied by three people wearing white pants. Two of the men are bare-chested and the third wears a red shirt. The boat is covered with a rounded, hut-like structure and tendrils of white paint, perhaps indicating smoke from a fire, waft up in front of the opening to the structure. The placid river widens beyond the boat and across from us, the distant shore is lined with white buildings with brown thatched roofs and a white church with two spires and a red tile roof. Trees around and beyond the buildings fill in the space before brown hills that eventually lead to the snowy peaks of the central mountain. The earthy moss and sage green and tawny brown of the vegetation and river closer to us fades to pale caramel and pinkish-tan in the hazy distance. A few birds fly across the pale blue sky to our left, and wisps of light gray clouds float in from our right. The artist signed and dated the work in the lower left corner: “Church 1854.”

We look across a coral-pink beach that curves around a royal-blue bay, under a glimmering, pale blue sky in this horizontal watercolor landscape. The area of the beach closest to us is cast under a pale, plum-purple shadow. The beach curves away from us and to the right, like a backward C. At the curve, a short distance from us, a bank of emerald-green vegetation and a scrubby, dark green tree leads back to a low, grassy hill. A pair of two-story buildings with oyster-white walls and bright white roofs perch on the spit of land opposite us, across the water. Pale pink boats are pulled up onto the beach in front of and to our left of the buildings. The buildings and the green hill reflect in the water, which laps against the sand closest to us with bands of azure blue. More loosely painted buildings line the horizon, which comes about a third of the way up the composition. Two brick-red smudges to our left could be people standing at the water’s edge in the distance. The sky above has puffy white clouds against a brilliant blue sky. The artist signed the painting in the lower left, “HOMER.” In the lower right, the location and date are written in dark gray, “Salt Kettle Dec 1899.”

The Night Watch Militia Company of District II under the Command of Captain Frans Banninck Cocq

Hunting near Hartenfels Castle

Combat for the Colors

A young woman with pale skin and flushed cheeks stands in a landscape looking to our upper left in this round-topped vertical painting. Her body faces us in the center of the scene. Her fingers are interlaced at her waist, and her head tips slightly to our left. Honey-brown hair cascades over her shoulders, and her hazel eyes roll up under thin brows. She has a short nose and a small, pale pink mouth. A translucent scarf is tied around the full-length, pine-green mantle that drapes across her shoulders and wraps around the V-neck of her rose-red robe. A wine-red inset fills the neckline, and a matching belt is tied around her waist. She stands barefoot on the dirt ground, which is scattered with pebbles. Plants grow and bloom, including a blue iris, in shallow water along the bottom edge of the composition. A lidded pitcher with a narrow neck and scrolling handles sits on a flat rock next to her right knee. Taller, peanut-brown rock formations pile up beyond her under a powder-blue sky. Tawny-brown and sage-green trees, leafy plants, and shrubs sprout among the rocks. Beyond the woman is an open gate in a wooden fence built into one of the rock formations to our right, and sage-green hills dotted with moss-green trees roll out along the left side of the painting.

"The Funeral of Isfandiyar," Folio from a Shahnama (Book of Kings)

A view across a wide, brightly lit field scattered with broken pieces of stone is framed to the left and right by crumbling stone temples in this horizontal painting. The sunlight is infused with a soft pink glow, which warms the cream-white stone with a pale blush. The temple on our left sits on a low rise, and a row of at least nine columns topped with an entablature faces our right. Several of the columns are broken off, and part of the entablature and the entire roof is missing, from what we can see. Fragments of pediments and wheel-like sections of columns tumble down from its front steps and back along its side, cascading into and across most of the field before us. The rocky terrain is carpeted in celery-green growth speckled with sage green and areas of rust red in the lower left and right corners. Barely visible in the center of the field, are two men, barely taller than the fragments they inspect. One man wears an apricot-orange suit and bowler hat over blond hair. He kneels with his back to us as he writes or sketches on a piece of paper. A second man stands to his right, also with his back to us, dressed in a long pleated, white tunic with a red cap, jacket, and knee-high boots. To our right and farther back than the other temple, a brick-red tower stands next to another columned arcade. A third temple there, or perhaps another part of that building complex, has columns carved into the shape of six identical, robed women, facing our left. Beyond the ruins, the field slopes down to a peach-colored plain that ends at a wide, topaz-blue body of water with mountains in the far distance along the low horizon line. A petal-pink haze rises from the water and mountains and almost fills the blue-gray sky above. The artist has signed and dated the painting in the lower left, “S.R. Gifford 1880.”

“There has been none of my favorite snow," George Bellows wrote to a friend in January 1914. "I must always paint the snow at least once a year.” Soon after, a blizzard hit New York City, inspiring this painting. The bright colors and broad brushstrokes convey the pleasure and movement of the skaters and onlookers who are out enjoying a New York City winter.

Sahurs Meadows in Morning Sun

Interieur van een timmermanswerkplaats

A pale-skinned woman wearing a long, rose-pink gown sits amid a lush landscape in this vertical portrait painting. The woman’s body is angled to our left, but she turns her head to look at us with green eyes under dark brows. She has a long, straight nose, smooth, flushed cheeks, and her carnation-pink lips are closed. Her long, curly, ash-brown hair is loosely pulled back in an emerald-green ribbon, but tendrils floating around her face seem to lift as in a breeze. A ponytail or thick tendril drapes over her far shoulder, almost reaching her waist. The low neckline of her gown is wrapped with translucent, gold cloth, and the elbow-length sleeves are gauzy white. The gown has a pale pink bodice and long, full skirt. Ribbons the same green as the one in her hair wrap around her waist and around the elbow we can see. She crosses her ankles so delicate, high-heeled, charcoal-gray slippers peek out from the bottom hem of her skirt. She sits on a gray boulder, her hands folded in her lap as she holds the ends of her translucent scarf. A tall tree grows along the right edge of the composition to arc up and over with olive-green and harvest-gold leaves. Beyond the woman, the land dips down to our left back into a tree-filled valley. Swipes of slate blue in the distance could be mountains. A short distance from us, to our left, one tree with a narrow, pale green canopy grows up against the sky. Behind that tree, yellow sunlight breaks through light blue, lavender-purple, and silver clouds that fill the rest of the sky. Parts of the scene are loosely painted with swirling, fluttering strokes, especially in the woman’s costume and the trees around her.

The Circus

This painting shows a green landscape from an elevated viewpoint. In the distance, light blue water meets a pale-yellow sky, and the sun casts a golden glow over the landscape. Closest to us is a shore covered in overlapping greenery and several round trees. There is a small hill on the right, with a small gray structure sitting atop it. At the bottom, two indistinct brown animals graze on a dirt mound. Behind them, another gray building is tucked away behind bushes and trees. Golden clouds drift across the sky.

Cabinet Decorated with Episodes from the Parable of the Prodigal Son

The Conch Divers

The Mower

Twilight in the Wilderness

"Dancing Dervishes", Folio from a Divan of Hafiz

The Bather

In this painting, a large half watermelon with vibrant red flesh and black seeds sits at the center of a white plate with a silver knife on top of it. Surrounding it on the long wooden table are various fruits, such as a yellow pineapple, red and green grapes, dark red plums, pink peaches, and a partially peeled orange. Below the table are some pumpkins or squash, as well as what could be figs or radishes. A yellow-and-black bird is perched on the handle of a yellow basket of mixed fruit placed behind the watermelon. Around the basket are white and pink flowers. In the background, on the left of the painting, a window reveals a scenic landscape featuring a winding river cutting through a green valley and dark, tree-filled hills below a light blue sky with faint pink clouds. The wall behind the table is a plain gray color.

Spearing Eels

The image shows two children, a girl and a boy, depicted from head to toe. The girl is standing to the right, slightly turned towards the boy. She has dark hair tied back with a pink ribbon, and her facial features are serious with a fair complexion. The boy also has a fair complexion and short light-colored hair. They are both wearing matching red dresses with white lace collars and cuffs, and white pantalettes underneath. The boy holds a yellow ceramic jug decorated with a floral pattern, while the girl holds an open book in her hands. Around the girl's neck hangs a long chain with a circular pendant. The background features a dark, wooded area with bare trees, and in the distance, there is the silhouette of a house with smoke coming from the chimney, set against a pink and blue sky.

In this horizontal painting, a crowd of more than two dozen men and women gathered shoulder to shoulder at the foot of three men hanging from wooden crosses nearly fill the scene. All the people have pale or ruddy skin. To our left of center, each of the crucified men is tied and nailed to a cross. Blood pours from their hands and feet, and from a gash over the central man’s right ribs. The men’s heads slump and their bodies sag. They are nude except for a red cloth across the central man’s hips and a small white loincloth on the man to our right. Two of the men wear crowns of thorns. The spear piercing the central man’s side is held by a man riding a white horse in the crowd below. At least three additional men in the crowd are on horseback. Many of the men are armed with spears, creating a bristle of vertical and diagonal lines over the group. The men and women wear robes and uniforms in shades of golden yellow, pine green, crimson and rust red, black, and cream white. A few men wear metal helmets, and one wears armor. Near the lower left corner, a woman wearing a navy-blue robe has fainted and is supported by two kneeling women while another woman and cleanshaven man look on, their fingers interlaced and held low. The smooth ground is grass green. A spindly tree with dark green leaves grows up the right side of the composition. Off in the distance beyond the tree, two buildings hint at a city. Blue clouds billow in the blue sky above.

View of Schroon Mountain, Essex County, New York, After a Storm

Dozens of light-skinned men and women gather around clusters of columns and sandstone-colored buildings that line a crimson-red river to our right in this horizontal painting. The center of the painting is dominated by a structure made up of three rows of three columns each, which hold up a flat-topped roof. A similar structure angles into the distance along the left edge of the painting. The columns of these two structures are carved with bands showing people separated by rings of vertical lines. The capitals are carved with stylized leaves. Just beyond the columns to our left, a blocky, rose-pink structure is carved with more people, seated or standing singly or in pairs. More rectangular, parchment-brown buildings extend into the distance along the water’s edge. The people gathered along the riverbank wear robes and tunics in deep blue or black, bright white, or saturated tones of cobalt blue, ruby red, or shell pink. Standing within the columns of the central structure, a crowned, bearded man wearing an emerald-green robe under a scarlet-red cloak gestures to our right, toward the red river. A woman nearby, wearing lapis blue and also crowned, watches with hands flung up as a person pours red liquid from a bucket. Most of the other people look or gesture toward the river, which winds in deep S-curves from the horizon line, which comes about two-thirds of the way up the composition, through sage-green fields, to the town. A single, white lightning bolt zigzags down from a white cloud in an otherwise navy-blue sky above.

The Sunlight

Youth Playing a Pipe for a Satyr

The Burning of the Houses of Lords and Commons, 16 October 1834

Two people, perhaps a woman and man, and a baby sit at a table in a courtyard surrounded by vine-covered walls in this square painting. The scene is loosely painted with visible dabs, dashes, or smudges. The table is to the left of center. The man sits on the far side, to our left, and the woman, who appears to have her brown hair pulled up, sits facing away from us wearing a smoke-gray garment. A child wearing pink and pale blue sits to our right of the woman and seems to raise both arms. The ground is dotted with cream white and fog gray against the brown board on which this was painted. Steps lead up to a building at the back of the courtyard to the left, and the vine-covered wall stretches across the right two-thirds of the background. The artist signed the lower left corner, “E Vuilllard.”

Gezicht op bolwerk Westerbeer

About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.

A Procession Scene with Musicians, from a copy of the Padshanama

The Light House, Nassau

Mount Asama, byobu by Aodo Denzen, Tokyo National Museum, Japan

Le 28 juillet 1830. La Liberté guidant le peuple

Mink Lake, Adirondacks

Palm Tree, Nassau

Sceneries in the Tropical Land, by Imamura Shiko, Tokyo National Museum, Japan

Low Tide at Pourville, near Dieppe, 1882

Christ Carrying the Cross

On the Sands

Lincoln with Major Union Figures