Floor plan

Artist galleriesFrancis Law Durand's contemporaries

Francis Law Durand's contemporaries

The image shows a large, intricately designed vase with a bulbous base and flared top at the center. The vase is decorated with painted scenes of a town or village. The color scheme includes shades of blue, green, brown, and touches of yellow and red. Surrounding the vase are two smaller detailed sections showing close-ups of the painted scenes on it. The main vase image is enclosed within a boxed outline on the page.
The image shows five metallic objects arranged in a vertical column. These include three L-shaped brackets and two circular rings, in muted gray and rust-brown shades with a metallic sheen. The objects are positioned against a light, neutral background.
Christ, by Kenyon Cox, 1905
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.

The works in this room are listed below.

Works in this room

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

With their contemporaries

  1. The image shows a large, intricately designed vase with a bulbous base and flared top at the center. The vase is decorated with painted scenes of a town or village. The color scheme includes shades of blue, green, brown, and touches of yellow and red. Surrounding the vase are two smaller detailed sections showing close-ups of the painted scenes on it. The main vase image is enclosed within a boxed outline on the page.
    Fire Lighter VaseFrancis Law Durand, 1935/1942Courtesy National Gallery of Art, Washington
  2. The image shows five metallic objects arranged in a vertical column. These include three L-shaped brackets and two circular rings, in muted gray and rust-brown shades with a metallic sheen. The objects are positioned against a light, neutral background.
    Color Notes on IronGerald Transpota, 1935/1942Courtesy National Gallery of Art, Washington

Their contemporaries

  1. Christ, by Kenyon Cox, 1905
    ChristKenyon Cox, 1905Courtesy of the Cleveland Museum of Art
  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

Their contemporaries, second

  1. Three Girls and River, by Louis M. Eilshemius, 1907
    Three Girls and RiverLouis M. Eilshemius, 1907Courtesy of the Smithsonian American Art Museum
  2. The image shows a lace-trimmed sleeve with a floral lace design in the center, primarily in shades of gray and off-white. The sleeve is positioned vertically in the center of the image, with the top slightly obscured by shadow and the ruffled lace edge at the bottom. The lace details are intricate and precise, enhancing the texture and complexity of the design.
    Cuff LaceErwin Schwabe, c. 1937Courtesy National Gallery of Art, Washington

Their contemporaries, third

  1. The image depicts an iron sculpture with grapevine motifs. The color scheme is primarily brown, with a textured appearance. The grapevine design is arranged vertically and includes grape clusters and leaves. The sculpture is mounted on a base and includes an iron bar at the top. The artist's signature "ROSE CAMPBELL GERKE" is visible in the lower right corner of the image.
    FenceRose Campbell-Gerke, c. 1940Courtesy National Gallery of Art, Washington
  2. The image shows an ornate chair with a high back, decorative carvings along its arms, legs, and backrest, a woven or cane seat and back, and intricate patterns. The chair is detailed with earthy brown tones and subtle shading accentuating the wood texture and design motifs. It is placed in the center of the image, facing slightly to the left, with linear guides indicating perspective and depth on a plain background.
    ArmchairAgnes Karlin, c. 1936Courtesy National Gallery of Art, Washington