Floor plan

Time and place19th-century United States

19th-century United States

A work made of transfer lithograph in black, with stumping and scraping, on cream laid paper, laid down on a heavy backing sheet.
The Yellow Room, by James McNeill Whistler, ca. 1883–84
The Valley of Wyoming, by Jasper Francis Cropsey, 1865
White Mare, by Winslow Homer, c. 1868
IN CLOISTER OF CATHEDREAL, LE PUY
This is a painting depicting a bare-knuckle boxing match with two fighters in a ring surrounded by a crowd. Both fighters are men with light skin, and they wear no shirts. The fighter on the left wears orange pants with black dots, while the fighter on the right wears red pants with white dots. Behind these men are two other shirtless men wearing the same types of pants, as well as two other men wearing more formal attire, including jackets, vests, and hats. Outside the ring, a semi-circle of light-skinned men in formal attire watch the central fight. The setting is outdoors, with grass around the feet of the spectators and green hills in the background. Above the group, the sky is light gray.
Watercolor
Sand Dunes, Harlech, North Wales, by George Elbert Burr, 1899

The works in this room are listed below.

Works in this room

Works made in the United States in the 19th century.

Section 1, north wall

  1. A work made of transfer lithograph in black, with stumping and scraping, on cream laid paper, laid down on a heavy backing sheet.
    La Belle JardinièreJames McNeill Whistler, 1894Courtesy of the Art Institute of Chicago
  2. The Yellow Room, by James McNeill Whistler, ca. 1883–84
    The Yellow RoomJames McNeill Whistler, ca. 1883–84Courtesy of The Metropolitan Museum of Art
  3. The Valley of Wyoming, by Jasper Francis Cropsey, 1865
    The Valley of WyomingJasper Francis Cropsey, 1865Courtesy of The Metropolitan Museum of Art
  4. White Mare, by Winslow Homer, c. 1868
    White MareWinslow Homer, c. 1868Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. IN CLOISTER OF CATHEDREAL, LE PUY
    In Cloister of Cathedreal, Le PuyArnold William Brunner, 1883Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. This is a painting depicting a bare-knuckle boxing match with two fighters in a ring surrounded by a crowd. Both fighters are men with light skin, and they wear no shirts. The fighter on the left wears orange pants with black dots, while the fighter on the right wears red pants with white dots. Behind these men are two other shirtless men wearing the same types of pants, as well as two other men wearing more formal attire, including jackets, vests, and hats. Outside the ring, a semi-circle of light-skinned men in formal attire watch the central fight. The setting is outdoors, with grass around the feet of the spectators and green hills in the background. Above the group, the sky is light gray.
    Bare KnucklesGeorge A. Hayes, c. 1870/1885Courtesy National Gallery of Art, Washington
  3. Watercolor
    Pink Note–Shelling PeasJames McNeill Whistler, 1882-1884Courtesy of the National Museum of Asian Art, Smithsonian Institution
  4. Sand Dunes, Harlech, North Wales, by George Elbert Burr, 1899
    Sand Dunes, Harlech, North WalesGeorge Elbert Burr, 1899Courtesy of the Smithsonian American Art Museum

Section 2, south wall

  1. The image shows the upper half of a seated woman facing forward. She has her hands clasped together in front of her. The woman appears calm with visible signs of age, including a few wrinkles on her face. She wears a white bonnet with a frilled edge tied under her chin, a dark shawl over a white high-collared blouse, and sits on a red chair with a gold trim. A red book and a handkerchief are on the surface next to her. The background transitions from deep red to brown tones.
    Ann Old Coleman (Mrs. Robert Coleman)Jacob Eichholtz, c. 1820Courtesy National Gallery of Art, Washington
  2. Repose, by John White Alexander, 1895
    ReposeJohn White Alexander, 1895Courtesy of The Metropolitan Museum of Art
  3. The Witch's Daughter, by Frederick Stuart Church, 1881
    The Witch's DaughterFrederick Stuart Church, 1881Courtesy of the Smithsonian American Art Museum
  4. THE TETONS, SHOWN FROM THE PLAIN
    The Tetons, Shown from the PlainThomas Moran, August 28, 1879Courtesy of Cooper Hewitt, Smithsonian Design Museum

Section 2, north wall

  1. Stage Fort across Gloucester Harbor, by Fitz Henry Lane, 1862
    Stage Fort across Gloucester HarborFitz Henry Lane, 1862Courtesy of The Metropolitan Museum of Art
  2. October in the Marshes, by John Frederick Kensett, 1872
    October in the MarshesJohn Frederick Kensett, 1872Courtesy of The Metropolitan Museum of Art

Section 3, north wall

  1. STUDY OF LANDSCAPE, DELAWARE RIVER
    Study of landscape, Delaware RiverWilliam Stanley Haseltine, ca. 1855Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. James Abbott McNeill Whistler
    Girl in Black (Pouting Tom)James McNeill Whistler, (1896-1901)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution