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Sloop, Nassau

Charcoal-gray clouds fill most of the sky over a turquoise-blue body of water in this horizontal watercolor painting. The gray clouds on the left become more blue as they move to the right. The water is framed by low hills sloping down from both sides, which are painted in cinnamon and dark brown with touches of forest green and topped with a few slender, windblown trees. Several black rocks form a curve along the lower right side of a cove directly in front of us. Loose strokes of brown, tan, and pale blue fill the lower right corner below them. On the horizon, at the center of the composition, is a dark gray finger of land with a tiny steamship drifting by, smoke rising from its two smokestacks. The artist signed and dated the lower left, “Homer 1901.”

Natural Bridge, Bermuda

A white boat with sails lowered floats in an aquamarine-blue ocean under a pale, sapphire-blue sky in this horizontal watercolor painting. To our right of center, the boat floats with its right, starboard side facing us and the bow angled slightly away. The white sails bunch up under the lowered, horizontal booms just above the top of the boat. The masts and rigging extend off the top of the composition. A group of a few people are gathered in the bow, on the far side of the sails. They are painted loosely but appear to have brown skin and red or black clothing. Waves lap against the side of the boat. To our left, an island or sliver of land with three palm trees deep in the distance lines the horizon, which comes about a third of the way up the composition. The water and sky are painted with layers of pale washes. The artist signed and dated the work in the lower left corner with dark paint: “HOMER KEY WEST 1903.”

Palm Tree, Nassau

The Bather

The Light House, Nassau

Flower Garden and Bungalow, Bermuda

The Blue Boat

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.

This painting shows two women walking towards the left on a gray-brown shore, dressed in white blouses and blue skirts, one wearing red stockings. They both have pale skin, and their faces are turned away from us. Their skirts are blowing in the wind, and strands of dark hair have come out of their low buns. The sea behind them is turbulent with crashing white and blue waves, under a dark gray overcast sky. The shore is dotted with small areas of green, white, and rusty red. The scene is painted in soft and fluid strokes.

Market Scene, Nassau

This painting shows a view of a calm body of water with greenery surrounding it. Across the water appears to be a hill or shore that slopes upward to the top of the painting, painted in gray and cream tones and covered in palm-like plants in shades of green, brown, and rusty red. A similar plant is visible near the bottom right corner in a dark shade of yellow. The water in the center is painted in shades of blue with some ripples across the top. The brushstrokes are fluid.

This painting shows a landscape with a village seen from above. The view includes red rooftops and a white church with dome-shaped structures. In the background, there are distant mountains in shades of purple, blue, and red. There are dark green trees on the left, in front of what looks like a pale body of water. Closest to us is a strip of green that suggests a hilltop. The sky above is cloudy, with shades of gray and cream. The brushstrokes in the painting are thick and fluid.

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.

Shore and Surf, Nassau

Fishing Boats, Key West

A Wall, Nassau

This painting shows a white thatched-roof house on open, sandy ground. The brown thatched roof of the house has some yellow grass poking through. People can be seen in the open doorway of the house, identifiable by spots of red, blue, and light-yellow clothing. Behind the house is lush green tropical foliage with a few tall palm trees. A rooster is visible on the sandy ground in front of the house next to a long, white object that may be a downed tree trunk. The sky is filled with large white cumulus clouds and patches of bright blue.

Hurricane, Bahamas

Spearing Eels

After the Hurricane, Bahamas

The Garden Gate, Bahamas

Mink Lake, Adirondacks

This painting shows a landscape with tall palm trees and bright green ferns by a body of water. In the background is a dense, dark forest in shades of black and dark blue. Closest to us, light blue water flows horizontally across the painting. In the bottom left corner, there is a long gray canoe that appears to have a person sitting in it, wearing red and holding a long white fishing line. The color palette includes shades of green for the trees and soft blue, white, and grey for the sky. The brushstrokes in the painting are loose and expressive, allowing colors to overlap and blend together.

Nassau

Indian Camp, Roberval, P.Q.

Sunset at Gloucester

Storm, Bahamas

Boy with Anchor

The Conch Divers

Boys in a Dory

This painting shows a person in a small boat on a body of water. The person is all the way on one end of the boat, leaning towards the right and reaching out over the side of the boat, holding a rope that appears to be tied to the white antlers of a large brown deer that is almost completely submerged in the water. A black-and-white dog swims in the water behind the deer. The person has pale skin and short brown hair, and they are wearing a black hat and a gray coat. The boat is gray-brown, and the water below is painted with lines of blue, white, green, and teal. The background is a mix of dark gray and olive green.

Taking on Wet Provisions (Schooner Marked Newport, K. W.)

This painting shows a person in a rowboat on calm water, fishing. The boat is positioned horizontally across the painting, and the person in it faces the left, looking forward. Their left hand holds the side of the boat while the right holds a long fishing pole that is placed over their shoulder. They wear long-sleeved brown garment and a tan hat with cloth panels that cover their neck and chin. Their skin is a light red color, and they appear to have a gray mustache. In the background there are dense dark green trees, and in the upper left corner a sliver of glowing sky in shades of orange and yellow is visible. Around the boat is dark blue water, with a hint of the yellow sky reflected in the bottom left corner.

On the Sands

Leaping Trout

Banana Tree, Nassau

An October Day

A boy leads a girl by her hand across three wooden steps that allow for passage over a fence in this horizontal watercolor. The fence spans the width of the paper, but angles slightly away from us as it moves off to our left. The fence is made up of four widely spaced horizontal rails across vertical posts. The boy and girl face away from us but have pale or tanned skin and brown hair. The girl is on our side of the fence, her front foot on the top step. She wears a long white dress edged with ruffles and shaded with slate blue. Her hair is tied with a blue ribbon, and another ribbon flies from the back of her straw-colored hat. The boy begins to step down on the far side of the fence. He wears tan overalls, a gray shirt, and a wide-brimmed straw hat. The ankle we can see is bare. A tree branch with dark green leaves dips down into the scene from the upper right corner. A wash of dark green on the far side of the fence suggests a shrub in an otherwise flat field of fresh, celery green. The top rail of the fence overlaps the horizon, where a light blue hill rises to fill much of the upper half of the composition. A narrow wedge of cream-white sky angles into our view at the top left. The artist signed the lower right corner, “HOMER.”

A Fisherman's Daughter

Sketch for "The Oriental Dream"

A Clam-Bake

A buck jerks to the right as it leaps toward us, over a boulder and away from a rolling river in this horizontal watercolor painting. The buck is just right of center, and his body scissors, presumably as a gunshot lands. His curling horns nearly meet in an oval overhead, and one front leg is pulled up. The river is painted with tones of spruce green and sapphire, topaz, and celestial blue. The black silhouettes of two animals, either more deer or dogs, are in the distance to the right, and a white puff is along the far bank to the left. The forested background is painted broadly with tones of earthy green, tan, and smoky blue. The artist signed and dated the watercolor in the lower left corner, “Oct 12 1892 Homer.”

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.

A Basket of Clams

The Pigeon Tower at Bellevue

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.

The Windmill

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.

The Pioneer

Low Tide at Pourville, near Dieppe, 1882

The Windmill at Wijk bij Duurstede

Gezicht op bolwerk Westerbeer

Two Ladies

Channel Bass

Marshland

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.

The Watermill with the Great Red Roof

Mount Sainte-Victoire

The Siesta

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

Inside the Bar

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.

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.

A Farm in Brittany

Fishing Boats with Hucksters Bargaining for Fish

This painting depicts a white house in a lush green setting. The house has dark windows and a red chimney, partially obscured by trees that cast dappled shadows on the house's facade. The front door appears to be open. A light brown path runs parallel to the house at the bottom of the image, and small gray steps lead up the grass towards the house. The color palette includes vibrant greens for the foliage and a light blue for the sky behind the house. The brushstrokes are loose and impressionistic, creating a soft and textured appearance in the trees, grass, and building.

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.”

The Cliffs at Beg-ar-Fry, Saint-Jean-du-Doigt

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.

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.

[The Oriel Window, South Gallery, Lacock Abbey]

Approximately two dozen people gather around a man standing with his mouth wide open and holding up two objects in a scarlet-red structure on a horse-drawn cart in this horizontal painting. The people appear to all have pale skin and most are men. Near the center of the composition, the man in the cart wears a white robe over a black, high-collared garment and a tall charcoal-gray hat. A hatch on the red structure appears to be open, and he holds up what might be books or pamphlets. A ginger-brown horse stands behind him with its head bowed. In the crowd, the men wear black, brown, gray, dark blue, or olive-green clothing and hats. Two women are to the left. One wears a green gown with a pumpkin-orange shawl and a wide-brimmed bonnet. She faces away from us. She and two men talk near a stand where another man and woman sell food and drink. More people gather around a second stand or structure beyond this, and, in the lower left corner of the painting, a man with white hair and a hooked nose and chin sits by an open cart with a sign reading, “Bear O! Pi Aiggs.” A few men dance and others mill about to the right of the cart. Closer to us, one boy runs toward another as a soldier lies belly-down on the ground, holding a bayoneted rifle out toward a brown dog. The dog crouches with its mouth open. Beyond the dancers and onlookers, a field stretches back to wooded hills. In the field, more than a hundred people stand or march in lines. Lavender-tinged clouds pile up in the blue sky over the horizon, which comes about halfway up this composition.

Fishing in a Springtime Valley

The Pink Cloud

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.

Große Praterlandschaft

The painting depicts a rocky coastline dotted with color. The horizon is high in the scene, and a strip of pale-yellow sky is visible at the very top of the painting. Along the rocky coast in the distance, the colorful land meets vivid turquoise and green ocean waters, with white lines indicating small waves. A red-striped umbrella in the top left corner appears to shelter a person in a long white dress; the umbrella obscures their face. The rocks have been painted with thick dots of black, white, yellow, orange, red, and green. The brushstrokes are expressive and the paint has been thickly applied in dots and dashes.

Improvisation No. 30 (Cannons)

The year 1907 was a turning point for Sargent; the sought-after portraitist stepped away from his successful portraiture career to pursue plein-air landscape painting. This work, depicting his traveling companions and fellow artists Wilfrid and Jane Emmet de Glehn, captures that moment of transition. Combining landscape and portraiture, the composition speaks to friendship and painterly pursuits while also celebrating color, light, and movement.

The Buccaneers

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.”

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.

This painting dates from the later part of Martin Johnson Heade’s long, varied, and peripatetic career. After traveling through the United States, to England and continental Europe, and three different times to Brazil, Heade settled in Saint Augustine, Florida, at the age of 64. There he began painting detailed arrangements of native flowers, including the Cherokee rose, orange blossom, and, as in this work, magnolia.

This is a landscape painting depicting a body of water surrounded by greenery, with tall green and purple mountains in the background under a sky full of dark pink clouds and a strip of bright blue-green. To the right of center, a person stands in the water, submerged up to their thighs. The person faces away from us. Their skin is painted in shades of light orange and tan, and they have an orange cloth wrapped around their waist. They hold a long, thin spear, and look down at the water. Behind them, on the opposite shore, another indistinct person looks on, standing on the grassy green ground. At the edge of the tall mountains is a line of green trees. The wide water reflects the green and purple of the mountains, as well as the pink of the sky.

Path Near the Pond of Vipers, Fontainebleau Forest

Hydrangeas from the series "Streaked Mist (Yae gasumi)", Woodblock print

Cuckoo Flying under a Full Moon

The House with the Cracked Walls

The Fishermen (Fantastic Scene)

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 Pyrenees, the Peak of the Midi de Bigorre

Combat for the Colors

The Town on the Hill, New Almaden

Canal in Autumn (Gisors)

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.”

The Mower

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.”