Floor plan

Time and place19th-century United States

19th-century United States

Bastille Day, by Maurice Prendergast, 1892
STUDY FOR "SCIENTIFIC GROUP"
This painting shows a winter landscape with snowy, rural terrain. It includes a large barn, a farmhouse, and some bare trees covered in snow. Some brown cows are fenced in by the barn on the left, and a person walking along a snowy path brings them a bundle of golden hay. The sky is overcast, with dark gray clouds, and the color palette of the painting consists of earth tones with variations of grey and brown among the white snow.
Eaton's Neck, Long Island, by John Frederick Kensett, 1872
Garden View, Brooklyn, by Fidelia Bridges, ca. 1867
The Old Road to the Sea, by William Merritt Chase, c. 1893
The Biglin Brothers Turning the Stake, by Thomas Eakins, 1873

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. Bastille Day, by Maurice Prendergast, 1892
    Bastille DayMaurice Prendergast, 1892Courtesy of the Cleveland Museum of Art
  2. STUDY FOR "SCIENTIFIC GROUP"
    Study for "Scientific Group"Daniel Huntington, 1858Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. This painting shows a winter landscape with snowy, rural terrain. It includes a large barn, a farmhouse, and some bare trees covered in snow. Some brown cows are fenced in by the barn on the left, and a person walking along a snowy path brings them a bundle of golden hay. The sky is overcast, with dark gray clouds, and the color palette of the painting consists of earth tones with variations of grey and brown among the white snow.
    Winter in the CountryGeorge Henry Durrie, c. 1859Courtesy National Gallery of Art, Washington
  4. Eaton's Neck, Long Island, by John Frederick Kensett, 1872
    Eaton's Neck, Long IslandJohn Frederick Kensett, 1872Courtesy of The Metropolitan Museum of Art

Section 1, south wall

  1. Garden View, Brooklyn, by Fidelia Bridges, ca. 1867
    Garden View, BrooklynFidelia Bridges, ca. 1867Courtesy of The Metropolitan Museum of Art
  2. The Old Road to the Sea, by William Merritt Chase, c. 1893
    The Old Road to the SeaWilliam Merritt Chase, c. 1893Courtesy of the Cleveland Museum of Art
  3. The Biglin Brothers Turning the Stake, by Thomas Eakins, 1873
    The Biglin Brothers Turning the StakeThomas Eakins, 1873Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. STUDY OF LANDSCAPE, DELAWARE RIVER
    Study of landscape, Delaware RiverWilliam Stanley Haseltine, ca. 1855Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. Capri, by William Stanley Haseltine, 1869
    CapriWilliam Stanley Haseltine, 1869Courtesy of the Cleveland Museum of Art
  3. 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
  4. Luman Reed, by Asher Brown Durand, 1835
    Luman ReedAsher Brown Durand, 1835Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. The Valley of Wyoming, by Jasper Francis Cropsey, 1865
    The Valley of WyomingJasper Francis Cropsey, 1865Courtesy of The Metropolitan Museum of Art
  2. Twilight in the Wilderness, by Frederic Edwin Church, 1860
    Twilight in the WildernessFrederic Edwin Church, 1860Courtesy of the Cleveland Museum of Art

Section 3, north wall

  1. The Power of Music, by William Sidney Mount, 1847
    The Power of MusicWilliam Sidney Mount, 1847Courtesy of the Cleveland Museum of Art
  2. Peaceable Kingdom, by Edward Hicks, ca. 1830–32
    Peaceable KingdomEdward Hicks, ca. 1830–32Courtesy of The Metropolitan Museum of Art
  3. The image shows a scene from a slightly elevated point of view. The horizon is low, highlighting the vast sky above. On the right, there are buildings surrounded by trees. In the center, there is a tall monument with a small structure at its base, slightly to the left. To the right of the monument, a person is standing. The drawing features detailed linework and delicate shading for the sky. The color palette is monochromatic with shades of gray. Rocks and grass in the foreground lead towards the monument and buildings in the distance.
    Groton MonumentJ.R. Butts, c. 1830-1840Courtesy National Gallery of Art, Washington