Floor plan

Time and placeThe 19th century

The 19th century

The Veteran, by Marie-François Firmin-Girard, 1870
The Love Song, by Sir Edward Burne-Jones, 1868–77
This painting shows a maritime landscape with an expansive view of the ocean and sky. The horizon is positioned in the lower third of the composition, meeting a clear sky with soft, diffused clouds. Two ships appear to be engaged in a conflict on the green, wave-filled water. One large sailing ship with fully extended sails is near the bottom right corner of the painting. It has two tall masts and multiple white sails, and it flies the flag of the U.S.A in several places. The body of this ship is gray with a wide white stripe, and cannons stick out of small holes across the ship. Small people climb on ropes up into the sails, which are covered in small white and gray dots, perhaps indicating holes. Another ship is visible in the distance on the left side of the painting, and its cannons appear to be firing, with bursts of yellow flame and smoke drifting across the water. This ship flies several flags in shades of red, blue, and white. In the background, the faint gray silhouettes of other ships can be seen across the water. The ocean is depicted with smooth brushstrokes in shades of green and white, and the wide sky is a gradient, with light blue at the top and pale yellow towards the horizon. Faint white clouds drift in the top left corner of the painting.
Mrs. Mayer and Daughter, by Ammi Phillips, 1835–40
Low Tide, Riverside Yacht Club, by Theodore Robinson, 1894
Panoramic View of the Alps, Les Dents du Midi, by Gustave Courbet, 1877

The works in this room are listed below.

Works in this room

Works made in the 19th century, anywhere in the world.

Section 1, north wall

  1. The Veteran, by Marie-François Firmin-Girard, 1870
    The VeteranMarie-François Firmin-Girard, 1870Courtesy of the Cleveland Museum of Art
  2. The Love Song, by Sir Edward Burne-Jones, 1868–77
    The Love SongSir Edward Burne-Jones, 1868–77Courtesy of The Metropolitan Museum of Art
  3. This painting shows a maritime landscape with an expansive view of the ocean and sky. The horizon is positioned in the lower third of the composition, meeting a clear sky with soft, diffused clouds. Two ships appear to be engaged in a conflict on the green, wave-filled water. One large sailing ship with fully extended sails is near the bottom right corner of the painting. It has two tall masts and multiple white sails, and it flies the flag of the U.S.A in several places. The body of this ship is gray with a wide white stripe, and cannons stick out of small holes across the ship. Small people climb on ropes up into the sails, which are covered in small white and gray dots, perhaps indicating holes. Another ship is visible in the distance on the left side of the painting, and its cannons appear to be firing, with bursts of yellow flame and smoke drifting across the water. This ship flies several flags in shades of red, blue, and white. In the background, the faint gray silhouettes of other ships can be seen across the water. The ocean is depicted with smooth brushstrokes in shades of green and white, and the wide sky is a gradient, with light blue at the top and pale yellow towards the horizon. Faint white clouds drift in the top left corner of the painting.
    The United States Frigate "President" Engaging the British Squadron, 1815Fitz Henry Lane, 1850Courtesy National Gallery of Art, Washington

Section 1, south wall

  1. Mrs. Mayer and Daughter, by Ammi Phillips, 1835–40
    Mrs. Mayer and DaughterAmmi Phillips, 1835–40Courtesy of The Metropolitan Museum of Art
  2. Low Tide, Riverside Yacht Club, by Theodore Robinson, 1894
    Low Tide, Riverside Yacht ClubTheodore Robinson, 1894Courtesy of The Metropolitan Museum of Art
  3. Panoramic View of the Alps, Les Dents du Midi, by Gustave Courbet, 1877
    Panoramic View of the Alps, Les Dents du MidiGustave Courbet, 1877Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. Life Saving Patrol, by Edward Moran, ca. 1893
    Life Saving PatrolEdward Moran, ca. 1893Courtesy of the Smithsonian American Art Museum
  2. A work made of oil on canvas.
    Mrs. Potter PalmerAnders Zorn, 1893Courtesy of the Art Institute of Chicago

Section 2, north wall

  1. The Rocky Mountains, Lander's Peak, by Albert Bierstadt, 1863
    The Rocky Mountains, Lander's PeakAlbert Bierstadt, 1863Courtesy of The Metropolitan Museum of Art
  2. We Both Must Fade (Mrs. Fithian), by Lilly Martin Spencer, 1869
    We Both Must Fade (Mrs. Fithian)Lilly Martin Spencer, 1869Courtesy of the Smithsonian American Art Museum

Section 3, north wall

  1. Andrew Jackson, by Ralph Eleaser Whiteside Earl, 1836-1837
    Andrew JacksonRalph Eleaser Whiteside Earl, 1836-1837Courtesy of the Smithsonian American Art Museum
  2. Four women with musical instruments lounge in a massive garden courtyard.
    The Interior of the Palm House on the Pfaueninsel Near PotsdamCarl Blechen, 1834Courtesy of the Art Institute of Chicago
  3. Foreign Family with Wife Making Clothes (Gaikokujin ifuku shitate no zu), by Utagawa Yoshikazu, 1860
    Foreign Family with Wife Making Clothes (Gaikokujin ifuku shitate no zu)Utagawa Yoshikazu, 1860Courtesy of The Metropolitan Museum of Art

Section 3, south wall

  1. Kalorama Cottage, by John Ferguson Weir, ca. 1860
    Kalorama CottageJohn Ferguson Weir, ca. 1860Courtesy of the Smithsonian American Art Museum
  2. Landscape with Haywain, by Worthington Whittredge, 1861
    Landscape with HaywainWorthington Whittredge, 1861Courtesy 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