Floor plan

Artist galleriesAbbott Handerson Thayer's contemporaries

Abbott Handerson Thayer's contemporaries

The Aegean Sea, by Frederic Edwin Church, ca. 1877
Self-Portrait, by Abbott Handerson Thayer, 1920
Christ, by Kenyon Cox, 1905
Landscape, by George Inness, 1888
Low Tide, Riverside Yacht Club, by Theodore Robinson, 1894
Edward Guthrie Kennedy, by William Merritt Chase, ca. 1895

The works in this room are listed below.

Works in this room

A few works by Abbott Handerson Thayer, then their contemporaries: makers of the same nationality born within 25 years of them, then works from the same century and place.

Section 1, north wall

  1. The Aegean Sea, by Frederic Edwin Church, ca. 1877
    The Aegean SeaFrederic Edwin Church, ca. 1877Courtesy of The Metropolitan Museum of Art
  2. Self-Portrait, by Abbott Handerson Thayer, 1920
    Self-PortraitAbbott Handerson Thayer, 1920Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. Christ, by Kenyon Cox, 1905
    ChristKenyon Cox, 1905Courtesy of the Cleveland Museum of Art
  2. Landscape, by George Inness, 1888
    LandscapeGeorge Inness, 1888Courtesy of the Cleveland Museum of Art
  3. Low Tide, Riverside Yacht Club, by Theodore Robinson, 1894
    Low Tide, Riverside Yacht ClubTheodore Robinson, 1894Courtesy of The Metropolitan Museum of Art
  4. Edward Guthrie Kennedy, by William Merritt Chase, ca. 1895
    Edward Guthrie KennedyWilliam Merritt Chase, ca. 1895Courtesy of The Metropolitan Museum of Art

Section 2, south wall

  1. We look across and down into a valley with a person sitting near a tall tree and a train puffing smoke beyond, all enclosed by a band of mountains in the distance in this horizontal landscape painting. Closest to us, several broken, jagged tree stumps are spaced across the painting’s width. A little distance away and to our left, the person wears a yellow, broad-brimmed hat, red vest, and gray pants. He reclines propped on his left elbow near a walking path beside a tall, slender tree with golden leaves. The green meadow stretching in front of him is dotted with tree stumps cut close to the ground. Beyond the meadow, puffs of white smoke trail behind a long steam locomotive that crosses a bridge spanning a tree-filled ravine, headed to our left. The ravine creates a diagonal line across the canvas, moving subtly away from us to our left. The train has climbed out of the valley, away from a cluster of brick-red buildings. The most prominent structure is a train roundhouse, a large building with a high, domed roof to the right of the tracks. Smoke rises from chimneys on long, warehouse-like buildings, and a steeple and smaller structures suggest a church and homes to our left. Hazy in the distance, a row of mountains lines the horizon, which comes about halfway up the composition. The sky above deepens from pale, shell pink over the mountains to watery, pale blue above. The artist signed the work in tiny letters in the lower left corner: “G. Inness.”
    The Lackawanna ValleyGeorge Inness, c. 1856Courtesy National Gallery of Art, Washington
  2. The image depicts a young person standing upright with distinct facial features including rounded cheeks, a small mouth, and large eyes. They are wearing a brown dress with a cream-colored shawl, a bonnet with dark trim, and a pouch hanging from their left side. The background is plain and cream-colored.
    Quaker DollJacob Gielens, 1935/1942Courtesy National Gallery of Art, Washington