Floor plan

Artist galleriesJohn Hill Millspaugh's contemporaries

John Hill Millspaugh's contemporaries

The image depicts a landscape with a river flowing through it. In the foreground, there is a small boat on the water, and in the background, sailboats are docked near a strip of land. Tall trees with sparse foliage are on the right side, with a structure nestled among them near the water. The horizon is slightly above the center of the image, with a calm sky above it. The brushstrokes vary in texture, with fine strokes for the sky and water and more detailed strokes for the trees. The color palette is muted, with sepia and gray tones creating a peaceful atmosphere. Birds are scattered in the sky.
Capri, by William Stanley Haseltine, 1869
LOCUST BLOSSOMS
Across a short stretch of sand in front of us, waves of bottle-green water break over two boulders on the shoreline, with sailboats in the water beyond, in this wide, horizontal painting. One boulder is at the left edge of the painting; the other is a short distance away, about a quarter of the way across. The water cascades down between those large rocks. Across the rest of the beach, the waves flare up to break toward us in white, foamy surf. The land curves back into view on both sides of the canvas with muted, sage-green hills and, to our left, dark green trees on more craggy boulders. A more distant finger of land to our left stretches nearly halfway across the horizon, which comes about halfway up the composition. Minuscule in scale there, smoke pours out of a chimney, which is surrounded by pale yellow buildings. A mound emerges from the horizon to our right of center. About ten sailboats float on the water. The closest one to us is near the center of the painting, and the tiny forms of people aboard can just barely be made out. The other boats become smaller as they move back to the horizon, and some are only a touch of white or gray on the canvas. White and pale lavender-purple clouds sweep up from the horizon into the sky, which glows butter yellow along the left edge. The sky cools to mint green in the upper right corner. Several white or brown birds fly across the sky or low over the water. The artist signed and dated the lower left, “M. J. Heade 1864.”
The Pilgrim of the Cross at the End of His Journey (study for series, The Cross and the World), by Thomas Cole, ca. 1846-1848
The image shows a landscape with a waterscape. The horizon separates the water and the sky. In the distance, there are buildings, structures, and ships with tall masts. Close to us, there are reflections of the ships and structures in the water with fine brushstrokes. The style is impressionistic with thin lines conveying details. The color palette is monochromatic with sepia tones.

The works in this room are listed below.

Works in this room

A few works by John Hill Millspaugh, 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 depicts a landscape with a river flowing through it. In the foreground, there is a small boat on the water, and in the background, sailboats are docked near a strip of land. Tall trees with sparse foliage are on the right side, with a structure nestled among them near the water. The horizon is slightly above the center of the image, with a calm sky above it. The brushstrokes vary in texture, with fine strokes for the sky and water and more detailed strokes for the trees. The color palette is muted, with sepia and gray tones creating a peaceful atmosphere. Birds are scattered in the sky.
    Shrewsbury RiverJohn Hill Millspaugh, 1887Courtesy National Gallery of Art, Washington
  2. Capri, by William Stanley Haseltine, 1869
    CapriWilliam Stanley Haseltine, 1869Courtesy of the Cleveland Museum of Art
  3. LOCUST BLOSSOMS
    Locust BlossomsSamuel Colman, June 6, 1877Courtesy of Cooper Hewitt, Smithsonian Design Museum

Their contemporaries

  1. Across a short stretch of sand in front of us, waves of bottle-green water break over two boulders on the shoreline, with sailboats in the water beyond, in this wide, horizontal painting. One boulder is at the left edge of the painting; the other is a short distance away, about a quarter of the way across. The water cascades down between those large rocks. Across the rest of the beach, the waves flare up to break toward us in white, foamy surf. The land curves back into view on both sides of the canvas with muted, sage-green hills and, to our left, dark green trees on more craggy boulders. A more distant finger of land to our left stretches nearly halfway across the horizon, which comes about halfway up the composition. Minuscule in scale there, smoke pours out of a chimney, which is surrounded by pale yellow buildings. A mound emerges from the horizon to our right of center. About ten sailboats float on the water. The closest one to us is near the center of the painting, and the tiny forms of people aboard can just barely be made out. The other boats become smaller as they move back to the horizon, and some are only a touch of white or gray on the canvas. White and pale lavender-purple clouds sweep up from the horizon into the sky, which glows butter yellow along the left edge. The sky cools to mint green in the upper right corner. Several white or brown birds fly across the sky or low over the water. The artist signed and dated the lower left, “M. J. Heade 1864.”
    Rio de Janeiro BayMartin Johnson Heade, 1864Courtesy National Gallery of Art, Washington
  2. The Pilgrim of the Cross at the End of His Journey (study for series, The Cross and the World), by Thomas Cole, ca. 1846-1848
    The Pilgrim of the Cross at the End of His Journey (study for series, The Cross and the World)Thomas Cole, ca. 1846-1848Courtesy of the Smithsonian American Art Museum
  3. The image shows a landscape with a waterscape. The horizon separates the water and the sky. In the distance, there are buildings, structures, and ships with tall masts. Close to us, there are reflections of the ships and structures in the water with fine brushstrokes. The style is impressionistic with thin lines conveying details. The color palette is monochromatic with sepia tones.
    Long LagoonJames McNeill Whistler, 1880Courtesy National Gallery of Art, Washington

Their contemporaries, second

  1. AMERICAN PLAINS WITH MOUNTAIN RANGE IN THE DISTANCE
    American Plains with Mountain Range in the DistanceThomas Moran, before 1872Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. The painting depicts a tranquil lake scene with a low horizon line showing a pale green hill in the background under a pale, cloudy sky. Closer to us, on the right, there is a large, textured rock surrounded by greenery and red flowers. In the distance, a wooden dock extends into the lake on the left, and a person wearing red appears to sit or stand with their back to us.
    Landing at Sabbath Day PointJohn Frederick Kensett, c. 1853Courtesy National Gallery of Art, Washington