Floor plan

Time and place19th-century United States

19th-century United States

STUDY OF FOLIAGE
The Parthenon, by Frederic Edwin Church, 1871
Edward Guthrie Kennedy, by William Merritt Chase, ca. 1895
The Biglin Brothers Turning the Stake, by Thomas Eakins, 1873
The Pleiades, by Elihu Vedder, 1885
VIEW OF VENICE, ITALY

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. STUDY OF FOLIAGE
    Study of foliageWilliam Trost Richards, October 25, 1862Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. The Parthenon, by Frederic Edwin Church, 1871
    The ParthenonFrederic Edwin Church, 1871Courtesy of The Metropolitan Museum of Art
  3. Edward Guthrie Kennedy, by William Merritt Chase, ca. 1895
    Edward Guthrie KennedyWilliam Merritt Chase, ca. 1895Courtesy of The Metropolitan Museum of Art

Section 1, south wall

  1. The Biglin Brothers Turning the Stake, by Thomas Eakins, 1873
    The Biglin Brothers Turning the StakeThomas Eakins, 1873Courtesy of the Cleveland Museum of Art
  2. The Pleiades, by Elihu Vedder, 1885
    The PleiadesElihu Vedder, 1885Courtesy of The Metropolitan Museum of Art
  3. VIEW OF VENICE, ITALY
    View of Venice, ItalyRobert Frederick Blum, 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum

Section 2, south wall

  1. The Dancing Lesson, by Thomas Eakins, 1878
    The Dancing LessonThomas Eakins, 1878Courtesy of The Metropolitan Museum of Art
  2. Major Thomas Biddle, by Thomas Wilcocks Sully, 1832
    Major Thomas BiddleThomas Wilcocks Sully, 1832Courtesy National Gallery of Art, Washington
  3. Heart of the Andes, by Frederic Edwin Church, 1859
    Heart of the AndesFrederic Edwin Church, 1859Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. Twigs of a magnolia tree with light green, glossy leaves and three cream-white blossoms lie on a sapphire-blue cloth in this horizontal still life painting. Brightly lit from our left, the blossoms and leaves nearly fill the composition, and the cut ends lie on the fabric to our right. The blue fabric cascades from the upper left and across the table or ledge. The three flowers are in various stages of bloom. The tightest bud is to our left, overlapped by a stem and the tender, unfurling leaves of a branch. The blossom next to it, at the center, is starting to open. The petals of the third blossom, to our right, splay open around the flower’s oval-shaped stamen. Light glints off the waxy leaves surrounding the flowers. The tawny-brown underside of one leaf is visible where it turns over, near the cut ends of the branches. Light shimmering on the fabric darkens from bright blue to our right, to deep royal blue in the shadows to the upper left, suggesting the fabric is velvet. The background is streaked with tan and pine green behind the fabric, and becomes nearly black in the shadows of the upper right corner and along the bottom edge. The artist signed the lower right corner, "MJ. Heade."
    Giant Magnolias on a Blue Velvet ClothMartin Johnson Heade, c. 1890Courtesy National Gallery of Art, Washington
  2. White Mare, by Winslow Homer, c. 1868
    White MareWinslow Homer, c. 1868Courtesy of the Cleveland Museum of Art
  3. The Coolest Spot in New England--Summit of Mount Washington, from Harper's Bazar, July 23, 1870, by Winslow Homer, 1870
    The Coolest Spot in New England--Summit of Mount Washington, from Harper's Bazar, July 23, 1870Winslow Homer, 1870Courtesy of the Smithsonian American Art Museum
  4. Three pale-skinned, blue-eyed children wearing green suits stand in a row facing us in this horizontal portrait painting. They all have round faces and full, pink cheeks. The tallest child is to the right, and he has shoulder-length cinnamon-brown hair. The other two come up to his shoulder and have blond hair. The tallest puts one arm on the far shoulder of the middle child, and the two smaller children hold hands. Each wears a pine-green, one-piece outfit with pewter-gray buttons, a wide, ivory-white collar lined with ruffles, and black, shin-high boots. The boy on our left holds a branch of dark red cherries. The middle child holds a pink rose, and the tallest a basket filled with pink roses. A black dog holding a gray and mauve-pink bird in its mouth stands in profile facing our left in the lower right corner of the canvas. The room around them has a tan-colored floor and gray walls. The room opens onto an alcove to our right with a rectangular window. A slender tree is along the left edge of the opening and a few pale, pink-tinged gray mountains line the bottom edge. Clear blue sky fills the rest of the window.
    The Westwood ChildrenJoshua Johnson, c. 1807Courtesy National Gallery of Art, Washington

Section 3, 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. Thomas Anshutz
    Factory--Study for "Ironworkers, Noontime"/Verso: Still Life with OrangeThomas Anshutz, (1880)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution
  3. THE OLD HOPKINSON HOUSE, BORDENTOWN, NJ
    The Old Hopkinson House, Bordentown, NJFrancis Hopkinson Smith, ca. 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum