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The 19th century

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

731 works · hang 8434 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. Sabrina, by Samuel Palmer, 1856
    SabrinaSamuel Palmer, 1856Courtesy of The Metropolitan Museum of Art
  2. Portrait of Ōzora Buzaemon, by Watanabe Kazan, 1827
    Portrait of Ōzora BuzaemonWatanabe Kazan, 1827Courtesy of the Cleveland Museum of Art
  3. A work made of oil on canvas.
    The Roll Call of the Last Victims of the TerrorCharles Louis-Lucien Muller, c. 1850Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. "King Lear," Act I, Scene I, by Edwin Austin Abbey, 1898
    "King Lear," Act I, Scene IEdwin Austin Abbey, 1898Courtesy of The Metropolitan Museum of Art
  2. 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
  3. Loggia of the Ducal Palace, Venice, by John Ruskin, 1849–50
    Loggia of the Ducal Palace, VeniceJohn Ruskin, 1849–50Courtesy of The Metropolitan Museum of Art

Section 2, south wall

  1. A work made of color woodblock print; oban.
    Irises at Horikiri (Horikiri no hanashobu), from the series "One Hundred Famous Views of Edo (Meisho Edo hyakkei)"Utagawa Hiroshige, 1857Courtesy of the Art Institute of Chicago
  2. Under the Wave off Kanagawa (Kanagawa oki nami ura), or The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), by Katsushika Hokusai, ca. 1830–32
    Under the Wave off Kanagawa (Kanagawa oki nami ura), or The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei)Katsushika Hokusai, ca. 1830–32Courtesy of The Metropolitan Museum of Art
  3. A work made of hanging scroll, ink on paper.
    OrchidsKim Eung-won, Joseon dynasty(1392–1910)Courtesy of the Art Institute of Chicago
  4. Newburyport Meadows, by Martin Johnson Heade, ca. 1876–81
    Newburyport MeadowsMartin Johnson Heade, ca. 1876–81Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. We look out onto a landscape with low, grassy hills to the left, a lake to the right, and a brick building in the center distance below a sky filled with towering white clouds in this horizontal painting. A wooden fence closer to us crosses the landscape from the lower left corner and disappears where the land slopes down to meet the water at the center of the painting. Several black and white cows graze in the field beyond the fence to our left. Two men in a wooden boat pull in nets on the lake to our right near a pair of swans. The lake crosses the composition in the near distance, disappearing into a culvert farther back. A donkey pulls a small carriage with two people near a bridge that crosses the lake in the distance to our left. The brick manor house is visible through a break in the full, deep green trees that line the horizon, which comes halfway up the composition. The clouds cast noticeable shadows in the brightly sunlit scene.
    Wivenhoe Park, EssexJohn Constable, 1816Courtesy National Gallery of Art, Washington
  2. A leafless, ash-white tree trunk has fallen from a broken stump into the wide V of a neighboring tree at the edge of a body of water near a verdant forest in this horizontal landscape painting. The fallen trunk creates a diagonal from near the lower left corner to the upper right. As it fell, it sheared off a substantial branch from a neighboring tree with a dark trunk. The bark where the damaged branch has pulled away is honey-orange, the same color as the leaves at the canopy, which has been pinned under the fallen trunk. Trees, vines, and other vegetation fill the space around and beyond this pair. In the lower right corner of the painting, vines grow over a broken stump, which deep in shadow. Between the stump and fallen tree, the peanut-brown surface of the water is smooth. Tiny in scale beneath the fallen tree and easily overlooked, there are two men and a dog in a boat. One man stands at the back of the boat and pushes it along with a long pole. He wears a tall, brown, cloth hat, a white shirt rolled up to the elbows under a blue vest, and loose-fitting pants. A second man wears a flat-topped, white hat with a black brim, a long, forest-green jacket, and tight-fitting slate-blue pants. He braces a rifle against one shoulder and shoots into the forest. The dog is white with brown spots, and it stands with its front paws on the edge of the boat, presumably ready to spring after the target. A patch of blue sky with puffy white clouds is seen above the trees in the upper left corner. The artist signed and dated the work in the lower right corner: “H. Vernet Rome 1833.”
    Hunting in the Pontine MarshesHorace Vernet, 1833Courtesy National Gallery of Art, Washington
  3. In My Dream I Saw in the Sky a Face of Mystery, by Odilon Redon, 1885
    In My Dream I Saw in the Sky a Face of MysteryOdilon Redon, 1885Courtesy of the Cleveland Museum of Art
  4. 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

Section 3, north wall

  1. The image shows a dense, forested area with towering trees. The composition leads the eye along a pathway into the distance, without a distinct horizon line. The intricate brushstrokes depict the texture and foliage of the trees, suggesting movement and light filtering through the leaves. The color palette is rich and earthy, with shades of green, brown, yellow, and orange, creating a vibrant yet tranquil atmosphere emphasizing light and shadow.
    Rays of Sunlight Striking a Woodland PathFriedrich Salathé, c. 1815Courtesy National Gallery of Art, Washington
  2. Dancers, by Edgar Degas, c. 1896
    DancersEdgar Degas, c. 1896Courtesy of the Cleveland Museum of Art