Floor plan

Artist galleriesHorace Vernet's contemporaries

Horace Vernet's contemporaries

A leafless, ash-white tree trunk has fallen from a broken stump into the wide V of a neighboring tree at the edge of a body of water near a verdant forest in this horizontal landscape painting. The fallen trunk creates a diagonal from near the lower left corner to the upper right. As it fell, it sheared off a substantial branch from a neighboring tree with a dark trunk. The bark where the damaged branch has pulled away is honey-orange, the same color as the leaves at the canopy, which has been pinned under the fallen trunk. Trees, vines, and other vegetation fill the space around and beyond this pair. In the lower right corner of the painting, vines grow over a broken stump, which deep in shadow. Between the stump and fallen tree, the peanut-brown surface of the water is smooth. Tiny in scale beneath the fallen tree and easily overlooked, there are two men and a dog in a boat. One man stands at the back of the boat and pushes it along with a long pole. He wears a tall, brown, cloth hat, a white shirt rolled up to the elbows under a blue vest, and loose-fitting pants. A second man wears a flat-topped, white hat with a black brim, a long, forest-green jacket, and tight-fitting slate-blue pants. He braces a rifle against one shoulder and shoots into the forest. The dog is white with brown spots, and it stands with its front paws on the edge of the boat, presumably ready to spring after the target. A patch of blue sky with puffy white clouds is seen above the trees in the upper left corner. The artist signed and dated the work in the lower right corner: “H. Vernet Rome 1833.”
A work made of lithograph from two stones on off-white wove paper.
A work made of watercolor and opaque watercolor on cream wove paper.
Monks in the Cloister of the Church of Gesù e Maria, Rome, by François Marius Granet, 1808
A person rides a horse away from us on a narrow dirt path curving through a forest dominated by golden yellow trees in this vertical landscape painting. A boulder about twice the width of the path is backlit where it sits just left of the lower center of the canvas. The path begins near the bottom right corner of the painting and curves back and to the right. The horse is white, and the rider wears dark brown pants and a hat, and a lighter brown shirt. Trees towering over the rider to either side of the curve nearly reach the top of the composition. The horizon comes less than a third of the way up the painting. Pearly white sky fills in the gap between the trees around the rider, and ivory-colored clouds frame an icy blue sky above. The scene is painted with textured and blended strokes, which gives the painting a soft look even though some of the brushstrokes are visible. The artist signed and dated the lower center of the canvas, though it is partially cut off: “COROT 1872.”
A work made of etching with roulette in black on ivory wove paper.

The works in this room are listed below.

Works in this room

A few works by Horace Vernet, 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. A leafless, ash-white tree trunk has fallen from a broken stump into the wide V of a neighboring tree at the edge of a body of water near a verdant forest in this horizontal landscape painting. The fallen trunk creates a diagonal from near the lower left corner to the upper right. As it fell, it sheared off a substantial branch from a neighboring tree with a dark trunk. The bark where the damaged branch has pulled away is honey-orange, the same color as the leaves at the canopy, which has been pinned under the fallen trunk. Trees, vines, and other vegetation fill the space around and beyond this pair. In the lower right corner of the painting, vines grow over a broken stump, which deep in shadow. Between the stump and fallen tree, the peanut-brown surface of the water is smooth. Tiny in scale beneath the fallen tree and easily overlooked, there are two men and a dog in a boat. One man stands at the back of the boat and pushes it along with a long pole. He wears a tall, brown, cloth hat, a white shirt rolled up to the elbows under a blue vest, and loose-fitting pants. A second man wears a flat-topped, white hat with a black brim, a long, forest-green jacket, and tight-fitting slate-blue pants. He braces a rifle against one shoulder and shoots into the forest. The dog is white with brown spots, and it stands with its front paws on the edge of the boat, presumably ready to spring after the target. A patch of blue sky with puffy white clouds is seen above the trees in the upper left corner. The artist signed and dated the work in the lower right corner: “H. Vernet Rome 1833.”
    Hunting in the Pontine MarshesHorace Vernet, 1833Courtesy National Gallery of Art, Washington
  2. A work made of lithograph from two stones on off-white wove paper.
    Interior of the Lemercier Lithographic Printing HouseCharles Villemin, n.d.Courtesy of the Art Institute of Chicago
  3. A work made of watercolor and opaque watercolor on cream wove paper.
    Landscape with River GorgeGeorge Sand, 1860/69Courtesy of the Art Institute of Chicago

Their contemporaries

  1. Monks in the Cloister of the Church of Gesù e Maria, Rome, by François Marius Granet, 1808
    Monks in the Cloister of the Church of Gesù e Maria, RomeFrançois Marius Granet, 1808Courtesy of The Metropolitan Museum of Art
  2. A person rides a horse away from us on a narrow dirt path curving through a forest dominated by golden yellow trees in this vertical landscape painting. A boulder about twice the width of the path is backlit where it sits just left of the lower center of the canvas. The path begins near the bottom right corner of the painting and curves back and to the right. The horse is white, and the rider wears dark brown pants and a hat, and a lighter brown shirt. Trees towering over the rider to either side of the curve nearly reach the top of the composition. The horizon comes less than a third of the way up the painting. Pearly white sky fills in the gap between the trees around the rider, and ivory-colored clouds frame an icy blue sky above. The scene is painted with textured and blended strokes, which gives the painting a soft look even though some of the brushstrokes are visible. The artist signed and dated the lower center of the canvas, though it is partially cut off: “COROT 1872.”
    The Forest of CoubronJean Baptiste Camille Corot, 1872Courtesy National Gallery of Art, Washington
  3. A work made of etching with roulette in black on ivory wove paper.
    The Forest of RochecardonJean-Michel Grobon, 1800Courtesy of the Art Institute of Chicago

Their contemporaries, second

  1. A work made of graphite, on tan wove paper, perimeter mounted on ivory laid paper.
    Sheet of Sketches: Cavalry Battles and Mounted SoldiersJean Louis André Théodore Géricault, 1813/14Courtesy of the Art Institute of Chicago
  2. A PEASANT'S HOUSE IN A VALLEY
    A Peasant's House in a ValleyEugène Edouard Soulès, ca. 1840Courtesy of Cooper Hewitt, Smithsonian Design Museum