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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.

After a Long Cruise

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.

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 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.

A six-story, narrow building stands alone in an otherwise unoccupied lot under the deck of a high bridge, with a river and cityscape in the background in this horizontal painting. Dozens of people, small in scale, are each painted with a few swipes of black and some with peach-colored faces. They gather at the foot of the building and around a fire to our left, near the lower left corner of the composition. The fire is painted with a dash of orange, a few touches of canary yellow, and a smudge of gray smoke. Several more people stand and sit against the building, which has a streetlamp near its entrance. The back end of the building angles away from us to our right, so we see the narrow, front entrance side to our left. Each of the six floors of the building has two windows with fire escape ladders on the narrow side we can see. Some strokes in red and white on the lower levels of the long, flat side of the building suggest signs or posters. The top story glows a warm sienna brown in sunlight, while the rest of the building and the scene below are in shadow. More people walk along a grayish-violet fence that encloses the lot beyond the building. The ground is painted thickly with slate gray, pale, sage green, and one smear of white to suggest snow. To our right and a short distance from us, a white horse pulls a carriage near the foot of the bridge. The ivory-white, concrete piling rises up and off the right edge of the canvas and supports the deck of the bridge above. Only a sliver of the brick-red underside of the bridge is visible, skimming the top edge of the painting in the upper right corner. Two twiggy, barren trees grow up beyond the muted purple fence, and the landscape beyond is bright in the sunlight. A terracotta-orange building rises along the left edge of the painting, with the area between it and the lot under the bridge filled with thickly painted patches of butter yellow, amethyst purple, and sage green. Beyond that, an ice-blue river flows across the composition. The shore beyond is lined with patches of beige and tan paint that could be buildings. A black tugboat puffs bright white smoke in the river. The sky above is frosty white. The artist signed the work with dark blue in the lower left corner of the painting, “Geo Bellows.”

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.

Der Auszug der Römer aus Vicenza

We look slightly down onto a scene with people gathering in small groups in a cobblestone town square lined with rows of brick, wood, and stone buildings, many with stepped rooflines, in this horizontal painting. Singly or in pairs or trios, men, women, and children walk across the square, move goods around, or talk to merchants. All the people have light skin. Many of the men have mustaches and wear hats, and some carry swords. In tones of black, olive green, brick red, and plum purple, they wear hip-length cloaks over jackets, with white collars or ruffs and brass buttons, and knee-length breeches over yellow or black stockings. The women all wear long dresses in salmon pink, coral red, or golden yellow, with white collars or ruffs, and many wear black, ankle-length cloaks, some with hoods. Closest to us, a sumptuously dressed man and woman walk toward us while another similarly elegant couple walks away. Also facing away from us, to our left, a man wearing a large drum strapped around his waist raises one drumstick as he looks over his left shoulder. Nearby, a woman peers up out of a cellar door that opens on an angle to the street. More couples gather around a well across the square, and two women and a child talk to a third woman selling wares at a wooden table to our right. A pair of hooded priests or monks walk near a man blowing on a trumpet on horseback. The buildings are mostly shades of brick red and brown, and most have three or four stories with steeply pitched roofs. More people walk along side streets leading off the main square. One gap in the buildings across from us leads to a nickel-gray stone church with a pointed spire and square tower. A grassy, green hill rises steeply beyond the buildings to our right, leading down to a waterway that extends up and away into the distance. A few boats float in the water, which reflects the leaden-gray sky. Beyond the town square, a brown stone structure like a fortress with turret towers and crenellated walls looms along the ridge of the hill to our right. Tiny in scale, people on horseback and tending sheep dot the hillside below. The date “1590” is painted on the front of one of the buildings across from us while another date, “1597,” is painted on the end of a short wall near the lower left corner.

Unidentified Man

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.

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.

The Power of Music

This painting shows a maritime scene from the water, with a coastline in the distance marked by small, colorful buildings and distant green hills. Closer to us, a large ship with white sails floats on the green waves, flying the American flag and a flag that appears to have the word "Arkansas." Miniscule figures are visible on the deck of the ship, and thin ropes crisscross the three tall masts. On the left are two smaller ships. The one in the back flies a flag that says "Russia," while the closer ship near the bottom left corner has a design on the back that appears to say "Cuba." The sky above is bright blue, uninterrupted by clouds.

Sketch for "The Oriental Dream"

The Battle of Waterloo

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.”

Ungarischer Bauernhof

Interieur van een timmermanswerkplaats

Charles Sherwood Stratton

Paris Street; Rainy Day

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.

The Merry Family

This is a painting of a pastoral scene near the water with a ship and buildings in the background. The artwork is in the style of American folk art, presented in an oval frame. The image depicts a serene landscape by the water, with figures engaged in activities such as gathering flowers in the center. The foliage is in shades of green and brown, spreading above under a lightly clouded, blue sky. On the left side, a ship is anchored near the shore, with buildings visible in the distance. The water has soft waves, contrasting with the rocky ground in the foreground. The pastel colors create a calm and reflective mood, evoking tranquility and connection with nature.

The image shows a seated woman and a standing boy beside her. The woman is sitting on a wooden chair, with her right hand resting on a small table and her left hand holding a small book. She has dark hair styled in an updo and wears a long, dark dress with long sleeves and a pearl necklace. The boy is standing beside her, wearing a dark suit with shiny buttons and a bow tie. In front of them is a table covered with a white tablecloth, holding cakes, cups, a teapot, and a spoon. The background has a green wall with a window showing greenery and flowers outside, framed with a wooden frame. Red drapes with gold accents hang on either side of the window.

The image shows a bird's-eye view of a pastoral community with a central large building complex surrounded by lush greenery and small structures. The horizon is high, displaying rolling hills and a light-filled sky. The brushstrokes are detailed, highlighting symmetrical trees, fields, and buildings. The color palette includes greens, reds, browns, and soft blues, accented by white picket fences and an American flag. Horse-drawn carriages and small figures are visible, and smoke rises from a chimney in the distance. Vignettes around the border show additional buildings and scenes linked to the community.

The Fishermen (Fantastic Scene)

Lilliputian King, with John Drummond and Professor Cromwell

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.

Alexander Campbell

Lincoln with Major Union Figures

The Refectory of the Imperial Asylum at Vincennes

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.”

Hof

Unidentified Man

Unidentified Man

On the River

General Nathaniel Lyon

Johannes Vermeer. Gezicht op Delft / Vue de Delft / View of Delft / Ansicht von Delft

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.

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.”

Son of Prince de Joinville (Pierre Philippe Jean Marie d'Orleans)

Amitabha Triad, Tokyo National Museum

Copy of The Night Watch

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.

The image shows a young child standing next to a rocking horse. The child is standing upright with one hand resting on the rocking horse's head and the other hand holding a whip. The child has fair skin, blue eyes, and short blonde hair with a small curl at the top. The child wears an orange dress with floral patterns, white lace-trimmed pantaloons, white stockings, and black shoes. The background includes red drapery on the left side and a bright landscape visible through a window, as well as a deep green hue on the right side.

The Banker's Table

David G. Farragut

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

Cabin in the Cotton

Hunting and fishing scenes

Le 28 juillet 1830. La Liberté guidant le peuple

Thomas Stone

We look across and down at a channel of water separating two landmasses labeled "Boston" and "Charles Town" in this horizontal landscape painting. Four three-masted ships are in the aquamarine-blue harbor between us and the land. Three of them have their sails unfurled and smoke billows from the broad, starboard side of each. Tidy rows of brown houses line the area of Boston. A puff of white smoke rises from the farthest point. Two arrow-shaped missiles, perhaps projectiles on fire, arc toward Charles Town, where billowing gray plumes of smoke rise from vivid orange fire on the far side of the landmass. Rowboats bring soldiers to the shore of Charles Town, close to where hundreds of soldiers line up and fire at each other. Much of the rest of Charles Town is a hill leading to sheer cliffs to our right. Tan and gray-colored smoke mixes among bright white clouds against a pale blue sky on the top half of the painting.

Meta-koosega

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

View of Houses in Delft, Known as ‘The Little Street’

Thomas Hicks

In saturated, vivid tones of mint green, marigold orange, dandelion yellow, sky blue, and rose pink, a long building stretches away from us along a walkway. The narrow end of the building facing us to the right is orange, and the long side is frosty green. The roof is painted garnet red, and the windows are created with slashes of midnight blue and dark red outlined with topaz blue. A wall enclosing the structure is lemon-lime yellow, and a fence in front of that is painted ultramarine blue. The walkway beneath the fence is pink and, to the left of that, pale blue. Two trees painted with twisting lines of ruby red, shamrock green, black, and off white edge into the scene along the left side, and the sky is lapis blue around a mint-green halo that surrounds the building’s roofline and walls. The scene is loosely painted with visible brushstrokes throughout.

The Sunlight

Abraham Lincoln and Family

Maharana Bhim Singh in Procession

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

The Burgomaster

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.

Well at the Side of a Road

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.

The Windmill

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.”

Washington Crossing the Delaware

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

The Death of Socrates

Sunset at Gloucester

Die Familie des Johann Graf von Majláth

Alexander the Great Enthroned at Persepolis

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.

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

Unidentified Man

This painting depicts a military parade marching on a light orange street through a city adorned with countless colorful flags. The scene shows soldiers in olive uniforms walking in a long line towards the right, with a section at the front playing large golden instruments like tubas and horns. One of the soldiers at the front holds up a flag with long vertical stripes of green, red, and white, with a red, white, and gold crest in the center. On either side of the parade, the street is lined with onlookers painted in dots of white, tan, blue, black, and pink. The buildings in the background are painted in colorful shades of blue, white, tan and pink, and towards the left they fade into a misty blue-gray color. A large flag takes up the top right corner, and it has the same design as the one that the man in the parade is holding. The brushstrokes in the painting are thick and visible.

Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda

Schuyler Colfax

Zal Climbing to Rudaba, page from a copy of the Shahnama of Firdausi

Stag at Sharkey's

The Circus

The Veteran

Grafmonument met alliantiewapen en vier kwartierwapens

Unidentified Woman

Alfred W. Ely

Spearing Eels

Alexander Hamilton

Toulouse-Lautrec made a career depicting colorful personalities from Parisian cabarets and dance halls like the Moulin Rouge. He populated this painting with that nightclub's regulars, including himself—the diminutive figure in the center background. Dancer La Goulue arranges her hair behind the table where Jane Avril, another performer, socializes. Singer May Milton peers out from the painting's right edge, her face harshly lit and acid green.

Thomas Jonathan Jackson

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.

A Messenger is Dispatched: Page from a Dispersed Manuscript