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At the time, few American artists accepted women as private pupils.","source","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_310":464,"_312":465},{"_310":462,"_312":463},{"_310":460,"_312":461},{"_310":458,"_312":459},{"_310":456,"_312":457},"#947c52",0.0766,"#2e2e2b",0.1253,"#446465",0.1411,"#593a26",0.2236,"#ceab64",0.4334,"William Merritt Chase","william-merritt-chase","American, 1849–1916",1849,1916,"Williamsburg, Indiana","Chase studied at the Royal Academy in Munich, then returned to New York in 1878 to teach at the Art Students League, setting up a lavish Tenth Street studio that became a showcase.","diving-cormorant-cma-103625","Diving Cormorant",{"_42":519,"_221":520,"_324":521,"_326":327,"_328":522,"_330":406,"_332":-5,"_334":-5,"_336":-5,"_140":103},"1900","oil on board","Unframed: 23 x 33.2 cm (9 1/16 x 13 1/16 in.)",33.2,23,1.5131286159323543,[505,506,507,508,509],{"_220":447,"_221":448,"_42":449,"_303":450},"1921.571","Otto H. Bacher painted this in 1900, aged 44. It is now at the Cleveland Museum of Art.","Diving Cormorant, by Otto H. Bacher, 1900",{"_294":502,"_296":503,"_298":504},"https://img.ochreeditions.com/m/506.jpg?dl=1","/art/diving-cormorant-cma-103625","/galleries/style/american-gilded-age/diving-cormorant-cma-103625",{"_290":291,"_292":293},{"_224":497,"_125":498,"_284":499},{"_275":494,"_277":495,"_279":479,"_281":496},48.2,36.94129411764706,21.94129411764706,{"_286":224,"_123":500,"_154":501,"_140":89},{"_286":125,"_123":436,"_154":437,"_140":438},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-otto-h-bacher","Otto H. Bacher's contemporaries","https://img.ochreeditions.com/a/506/480.jpg","https://img.ochreeditions.com/a/506/960.jpg","https://img.ochreeditions.com/a/506/1920.jpg",{"_310":517,"_312":518},{"_310":515,"_312":516},{"_310":513,"_312":514},{"_310":511,"_312":512},{"_310":510,"_312":457},"#96958a","#757670",0.0982,"#3f4242",0.1391,"#5e615b",0.2932,"#4f5451",0.3929,"Otto H. Bacher","otto-h-bacher","American, 1856–1909",1856,"we-both-must-fade-mrs-fithian-si-saam-1970-101","We Both Must Fade (Mrs. Fithian)",{"_42":577,"_221":578,"_324":579,"_326":327,"_328":580,"_330":581,"_332":-5,"_334":-5,"_336":-5,"_140":101},"1869","72 x 53 3/4 in. (182.9 x 136.5 cm.)",136.5,182.9,0.744,[562,563,564,565,566],{"_220":558,"_221":559,"_42":560,"_303":561},"Courtesy of the Smithsonian American Art Museum","1970.101","Lilly Martin Spencer painted this in 1869, aged 47. It is now at the Smithsonian American Art Museum in Washington, DC.",{"_118":556,"_445":557},"We Both Must Fade (Mrs. Fithian), by Lilly Martin Spencer, 1869",{"_294":553,"_296":554,"_298":555},"https://img.ochreeditions.com/m/1938.jpg?dl=1","/art/we-both-must-fade-mrs-fithian-si-saam-1970-101","/galleries/style/american-gilded-age/we-both-must-fade-mrs-fithian-si-saam-1970-101",{"_290":291,"_292":293},{"_224":548,"_125":549,"_284":550},{"_275":545,"_277":546,"_279":547,"_281":529},151.0776,197.9,136.0776,{"_286":224,"_123":551,"_154":552,"_140":89},{"_286":125,"_123":436,"_154":437,"_140":438},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-lilly-martin-spencer","Lilly Martin Spencer's contemporaries","https://img.ochreeditions.com/a/1938/480.jpg","https://img.ochreeditions.com/a/1938/960.jpg","https://img.ochreeditions.com/a/1938/1920.jpg","Mrs. Fithian stands before a mirror, admiring the tokens that others have given in praise of her beauty. She wears lace and pearls, and a blue gown that has just been taken from its box. But like the rose in her hand with its falling petals, her beauty will fade, and with it, all the pleasures the world can provide.","Text from the Smithsonian American Art Museum.","si","smithsonian","Smithsonian Institution","Washington, DC",{"_310":575,"_312":576},{"_310":573,"_312":574},{"_310":571,"_312":572},{"_310":569,"_312":570},{"_310":567,"_312":568},"#b4a487",0.0854,"#1c2f4f",0.1024,"#5c7b90",0.1157,"#542916",0.2586,"#261210",0.4379,"Lilly Martin Spencer","lilly-martin-spencer","1822–1902",1822,1902,"pointe-de-cabellou-brittany-cma-151796","Pointe de Cabellou, Brittany",{"_42":628,"_221":629,"_324":630,"_326":327,"_328":631,"_330":632,"_332":-5,"_334":-5,"_336":-5,"_140":103},"1881","Unframed: 60.3 x 92.2 cm (23 3/4 x 36 5/16 in.)",92.2,60.3,1.5440508628519527,[613,614,615,616,617],{"_220":447,"_221":448,"_42":449,"_303":450},"1984.13","William L. Picknell painted this in 1881, aged 27. It is now at the Cleveland Museum of Art.","Pointe de Cabellou, Brittany, by William L. Picknell, 1881",{"_294":610,"_296":611,"_298":612},"https://img.ochreeditions.com/m/720.jpg?dl=1","/art/pointe-de-cabellou-brittany-cma-151796","/galleries/style/american-gilded-age/pointe-de-cabellou-brittany-cma-151796",{"_290":291,"_292":293},{"_224":605,"_125":606,"_284":607},{"_275":602,"_277":603,"_279":587,"_281":604},107.2,74.71305882352942,59.713058823529416,{"_286":224,"_123":608,"_154":609,"_140":89},{"_286":125,"_123":436,"_154":437,"_140":438},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-william-l-picknell","William L. Picknell's contemporaries","https://img.ochreeditions.com/a/720/480.jpg","https://img.ochreeditions.com/a/720/960.jpg","https://img.ochreeditions.com/a/720/1920.jpg",{"_310":626,"_312":627},{"_310":624,"_312":625},{"_310":622,"_312":623},{"_310":620,"_312":621},{"_310":618,"_312":619},"#352e2a",0.0956,"#897665",0.1083,"#b4bec3",0.1447,"#bdac98",0.2147,"#7ea0b6",0.4367,"William L. Picknell","william-l-picknell","American, 1854–1897",1854,1897,"blue-morning-nga-46557","Blue Morning",{"_42":684,"_221":685,"_324":686,"_326":327,"_328":687,"_330":688,"_332":-5,"_334":-5,"_336":689,"_140":93},"1909","overall: 86.3 x 111.7 cm (34 x 44 in.) framed: 102.9 x 135.6 x 6 cm (40 1/2 x 53 3/8 x 2 3/8 in.)",111.7,86.3,1.2832080200501252,[669,670,671,672,673],{"_220":666,"_221":667,"_42":668,"_303":561},"Courtesy National Gallery of Art, Washington","1963.10.82","George Bellows painted this in 1909, aged 27. It is now at the National Gallery of Art in Washington, DC.","Workmen hammer and haul behind a wooden fence beneath the iron column of an elevated railway, while beyond them the ground drops into a vast excavation and the pale blue façade of a building rises in the haze.","From under an elevated train track, we look at a cluster of people hammering and working on the far side of a wooden fence, all against a silvery-blue building that fills most of the background in this horizontal painting. The scene is loosely painted mostly in tones of hazy and saturated blues, so many of the details are indistinct. About a quarter of the way in from the right edge of the composition, a thin iron column holds up the train platform. The column nearly spans the height of the painting, and the track it supports runs across the top edge of the canvas. At the foot of the column, along the bottom edge, are two parallel tracks embedded in an area otherwise painted with short, diagonal strokes in topaz blue, olive green, and straw yellow. Just beyond the tracks, the split-rail wooden fence runs across most of the painting, though there is an opening at the left edge of the canvas. A man sits with his back to us on the railing to our right of center. He wears a dark cap, a lapis-blue shirt, and navy-blue pants. Several men work on or near a mound-shaped form, perhaps a piece of machinery, just beyond the fence, near the center of the painting. One man holds a hammer high overhead while another reaches down or strikes the mound with his feet planted wide. More people work together to our left, and a man to our right stands near a crane. The people and these areas are painted with broad strokes and touches of cobalt blue, charcoal gray, khaki brown, and a few swipes of shell pink and bright white. A puff of white smoke billows up behind the central group, before the land drops precipitously away. The chasm is painted with shimmering tones of aquamarine and cerulean blue. A sky-blue, rectangular building perches at the far edge. A few windows are outlined in royal blue to our left but the rest of the building is loosely painted with long, vertical strokes so no architectural details can be made out. Behind this structure are more city buildings, suggested with strokes of muted rust red, parchment and bright white, and cobalt blue. The ice-blue sky fills the band between the top of the buildings and the train track running overhead. The artist signed his name near the lower left corner, “BELLOWS.”",{"_294":663,"_296":664,"_298":665},"https://img.ochreeditions.com/m/1524.jpg?dl=1","/art/blue-morning-nga-46557","/galleries/style/american-gilded-age/blue-morning-nga-46557",{"_290":291,"_292":293},{"_224":658,"_125":659,"_284":660},{"_275":655,"_277":656,"_279":638,"_281":657},126.7,102.0474609375,87.0474609375,{"_286":224,"_123":661,"_154":662,"_140":93},{"_286":125,"_123":287,"_154":288,"_140":289},{"_286":284,"_123":166,"_154":165,"_140":168},"artist/george-bellows","More by George Bellows","https://img.ochreeditions.com/a/1524/480.jpg","https://img.ochreeditions.com/a/1524/960.jpg","https://img.ochreeditions.com/a/1524/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington",{"_310":682,"_312":683},{"_310":680,"_312":681},{"_310":678,"_312":679},{"_310":676,"_312":677},{"_310":674,"_312":675},"#426e85",0.0819,"#7c7f6c",0.1334,"#c2ccc2",0.1628,"#7c9aa1",0.2516,"#383f3e",0.3703,"George Bellows","george-bellows","American, 1882–1925",1882,1925,"Bellows left Ohio State University to study in New York with Robert Henri and became the most celebrated of the younger realists around him.","study-for-diana-and-her-attendants-among-the-constellations-si-chndm-1914-38-3","Study for \"Diana and Her Attendants among the Constellations\"",{"_42":746,"_221":747,"_324":748,"_326":327,"_328":469,"_330":406,"_332":-5,"_334":-5,"_336":749,"_140":99},"ca. 1894","drawing","Drawing","Graphite on paper","42.9 × 67.8 cm (16 7/8 × 26 11/16 in.)",67.8,42.9,1.5276033773544058,[731,732,733,734,735],{"_220":558,"_221":559,"_42":560,"_303":304},"Courtesy of Cooper Hewitt, Smithsonian Design Museum","1914-38-3","Francis Augustus Lathrop drew this in about 1894, aged 45. It is now at Cooper Hewitt, Smithsonian Design Museum in New York.",{"_118":729,"_445":730},"STUDY FOR \"DIANA AND HER ATTENDANTS AMONG THE CONSTELLATIONS\"",{"_294":726,"_296":727,"_298":728},"https://img.ochreeditions.com/m/1719.jpg?dl=1","/art/study-for-diana-and-her-attendants-among-the-constellations-si-chndm-1914-38-3","/galleries/style/american-gilded-age/study-for-diana-and-her-attendants-among-the-constellations-si-chndm-1914-38-3",{"_290":378,"_292":379},{"_224":718,"_125":719,"_284":720},{"_275":715,"_277":716,"_279":698,"_281":717},91.8,68.38324829931972,44.383248299319725,{"_286":224,"_123":724,"_154":725,"_140":99},{"_286":125,"_123":721,"_154":722,"_140":723},{"_286":284,"_123":370,"_154":371,"_140":372},"style/drawing-19","More drawings of the 19th century",92,"artist/francis-augustus-lathrop","More by Francis Augustus Lathrop","https://img.ochreeditions.com/a/1719/480.jpg","https://img.ochreeditions.com/a/1719/960.jpg","https://img.ochreeditions.com/a/1719/1920.jpg","Sketch of a female nude figure reclining.","Text from Cooper Hewitt, Smithsonian Design Museum.",{"_310":744,"_312":745},{"_310":742,"_312":743},{"_310":740,"_312":741},{"_310":738,"_312":739},{"_310":736,"_312":737},"#dfcdb6",0.0149,"#f7f2e5",0.0387,"#efe8cd",0.0472,"#c6a17e",0.0521,"#ba855c",0.8471,"Francis Augustus Lathrop","francis-augustus-lathrop","American, 1849–1909","Lathrop trained in London, where he worked with the Pre-Raphaelite circle around Ford Madox Brown and William Morris.","leaping-trout-cma-147393","Leaping Trout",{"_42":799,"_221":800,"_324":801,"_326":327,"_328":802,"_330":803,"_332":804,"_334":805,"_336":806,"_140":53},"1889","watercolor over graphite","Sheet: 35 x 50.6 cm (13 3/4 x 19 15/16 in.)",50.6,35,1.423785594639866,[784,785,786,787,788],{"_220":447,"_221":448,"_42":449,"_303":450},"1973.142","Winslow Homer painted this in 1889, aged 53. It is now at the Cleveland Museum of Art.",{"_118":783,"_445":446},"Leaping Trout, by Winslow Homer, 1889",{"_294":780,"_296":781,"_298":782},"https://img.ochreeditions.com/m/682.jpg?dl=1","/art/leaping-trout-cma-147393","/galleries/style/american-gilded-age/leaping-trout-cma-147393",{"_290":378,"_292":379},{"_224":775,"_125":776,"_284":777},{"_275":772,"_277":773,"_279":756,"_281":774},74.6,59.53905882352941,35.53905882352941,{"_286":224,"_123":778,"_154":779,"_140":53},{"_286":125,"_123":721,"_154":722,"_140":723},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/winslow-homer","More by Winslow Homer","https://img.ochreeditions.com/a/682/480.jpg","https://img.ochreeditions.com/a/682/960.jpg","https://img.ochreeditions.com/a/682/1920.jpg","In 1886, Winslow Homer began to produce oil paintings and watercolors of subjects in the Adirondack Mountains, where he and his brother Charles had fished and hunted since the 1870s. In Leaping Trout , a silvery trout propels itself from the water in pursuit of a hapless insect or a fisherman’s fly.",{"_310":797,"_312":798},{"_310":795,"_312":796},{"_310":793,"_312":794},{"_310":791,"_312":792},{"_310":789,"_312":790},"#b5b0a6",0.0785,"#79766d",0.0979,"#30312e",0.1965,"#4b4e42",0.251,"#3d3f38",0.3761,"Winslow Homer","winslow-homer","American, 1836–1910",1836,1910,"Boston, Massachusetts","Prouts Neck, Maine","Homer began as an illustrator, covering the Civil War for Harper’s Weekly, and first made his name in painting with scenes of soldiers and country life.","the-old-hopkinson-house-bordentown-nj-si-chndm-1923-41-11","The Old Hopkinson House, Bordentown, NJ",{"_42":856,"_221":857,"_324":858,"_326":327,"_328":859,"_330":860,"_332":-5,"_334":-5,"_336":-5,"_140":103},"ca. 1880","Charcoal, brush and gouache on paper","32.2 × 56.7 cm (12 11/16 × 22 5/16 in.)",56.7,32.2,1.7116778523489933,[841,842,843,844,845],{"_220":558,"_221":559,"_42":560,"_303":304},"1923-41-11","Francis Hopkinson Smith painted this in about 1880, aged 42. It is now at Cooper Hewitt, Smithsonian Design Museum in New York.",{"_118":840,"_445":730},"THE OLD HOPKINSON HOUSE, BORDENTOWN, NJ",{"_294":837,"_296":838,"_298":839},"https://img.ochreeditions.com/m/1727.jpg?dl=1","/art/the-old-hopkinson-house-bordentown-nj-si-chndm-1923-41-11","/galleries/style/american-gilded-age/the-old-hopkinson-house-bordentown-nj-si-chndm-1923-41-11",{"_290":378,"_292":379},{"_224":832,"_125":833,"_284":834},{"_275":829,"_277":830,"_279":813,"_281":831},80.7,57.12539209535759,33.12539209535759,{"_286":224,"_123":835,"_154":836,"_140":89},{"_286":125,"_123":721,"_154":722,"_140":723},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-francis-hopkinson-smith","Francis Hopkinson Smith's contemporaries","https://img.ochreeditions.com/a/1727/480.jpg","https://img.ochreeditions.com/a/1727/960.jpg","https://img.ochreeditions.com/a/1727/1920.jpg","Exterior of a house, seen through trees, from a path that leads to the porch steps.",{"_310":854,"_312":855},{"_310":852,"_312":853},{"_310":850,"_312":851},{"_310":848,"_312":849},{"_310":846,"_312":847},"#67635a",0.0498,"#ddd6c0",0.0845,"#868373",0.1807,"#989481",0.3062,"#a4a28e",0.3788,"Francis Hopkinson Smith","francis-hopkinson-smith","American, 1838–1915",1838,1915,"vignette-man-crouching-on-a-scaffolding-si-chndm-1957-58-13","Vignette: Man Crouching on a Scaffolding",{"_42":910,"_221":911,"_324":912,"_326":327,"_328":913,"_330":914,"_332":-5,"_334":-5,"_336":-5,"_140":103},"1899","Brush and black washes, with graphite, on white watercolor paper","39.3 × 30.6 cm (15 1/2 × 12 1/16 in.)",30.6,39.3,0.754759011745646,[895,896,897,898,899],{"_220":558,"_221":559,"_42":560,"_303":304},"1957-58-13","Walter Appleton Clark painted this in 1899, aged 23. It is now at Cooper Hewitt, Smithsonian Design Museum in New York.",{"_118":894,"_445":730},"VIGNETTE: MAN CROUCHING ON A SCAFFOLDING",{"_294":891,"_296":892,"_298":893},"https://img.ochreeditions.com/m/1753.jpg?dl=1","/art/vignette-man-crouching-on-a-scaffolding-si-chndm-1957-58-13","/galleries/style/american-gilded-age/vignette-man-crouching-on-a-scaffolding-si-chndm-1957-58-13",{"_290":378,"_292":379},{"_224":886,"_125":887,"_284":888},{"_275":883,"_277":884,"_279":885,"_281":868},53.66202916160388,63.3,29.662029161603883,{"_286":224,"_123":889,"_154":890,"_140":89},{"_286":125,"_123":721,"_154":722,"_140":723},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-walter-appleton-clark","Walter Appleton Clark's contemporaries","https://img.ochreeditions.com/a/1753/480.jpg","https://img.ochreeditions.com/a/1753/960.jpg","https://img.ochreeditions.com/a/1753/1920.jpg","Vignette showing a workman on his knees croushing on a scaffolding, a trowel and wooden bucket beside him.",{"_310":908,"_312":909},{"_310":906,"_312":907},{"_310":904,"_312":905},{"_310":902,"_312":903},{"_310":900,"_312":901},"#a49c8f",0.0488,"#777166",0.0638,"#47433d",0.0804,"#c7bfb0",0.0807,"#f0ebdd",0.7263,"Walter Appleton Clark","walter-appleton-clark","American, 1876–1906",1876,1906,"sand-dunes-harlech-north-wales-si-saam-1983-83-268","Sand Dunes, Harlech, North Wales",{"_42":960,"_221":961,"_324":962,"_326":327,"_328":963,"_330":964,"_332":-5,"_334":-5,"_336":965,"_140":99},"watercolor on paper","sheet: 5 1/2 x 8 7/8 in. (14.0 x 22.5 cm)",22.5,1.6130917592051432,[945,946,947,948,949],{"_220":558,"_221":559,"_42":560,"_303":561},"1983.83.268","George Elbert Burr painted this in 1899, aged 40. It is now at the Smithsonian American Art Museum in Washington, DC.","Sand Dunes, Harlech, North Wales, by George Elbert Burr, 1899",{"_294":942,"_296":943,"_298":944},"https://img.ochreeditions.com/m/1969.jpg?dl=1","/art/sand-dunes-harlech-north-wales-si-saam-1983-83-268","/galleries/style/american-gilded-age/sand-dunes-harlech-north-wales-si-saam-1983-83-268",{"_290":291,"_292":293},{"_224":937,"_125":938,"_284":939},{"_275":375,"_277":934,"_279":935,"_281":936},30.4981884057971,25,15.498188405797102,{"_286":224,"_123":940,"_154":941,"_140":99},{"_286":125,"_123":436,"_154":437,"_140":438},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/george-elbert-burr","More by George Elbert Burr","https://img.ochreeditions.com/a/1969/480.jpg","https://img.ochreeditions.com/a/1969/960.jpg","https://img.ochreeditions.com/a/1969/1920.jpg",{"_310":958,"_312":959},{"_310":956,"_312":957},{"_310":954,"_312":955},{"_310":952,"_312":953},{"_310":950,"_312":951},"#9793a1",0.0898,"#9f866a",0.1016,"#c0beb6",0.1203,"#a6b0b5",0.2246,"#d4b79d",0.4637,"George Elbert Burr","george-elbert-burr","American, 1859–1939",1859,1939,"Burr worked as an illustrator in New York before spending several years travelling and sketching in Europe around 1900.","autumn-nga-66420","Autumn",{"_42":799,"_221":800,"_324":801,"_326":327,"_328":802,"_330":803,"_332":804,"_334":805,"_336":806,"_140":53},"1877","overall: 97.1 x 58.9 cm (38 1/4 x 23 3/16 in.) framed: 126.4 x 91.1 x 7.9 cm (49 3/4 x 35 7/8 x 3 1/8 in.)",58.9,97.1,0.626220703125,[996,997,998,999,1000],{"_220":666,"_221":667,"_42":668,"_303":561},"1985.64.22","Winslow Homer painted this in 1877, aged 41. It is now at the National Gallery of Art in Washington, DC.","A fashionably dressed young woman in a black jacket and round hat stands on a hillside carpeted with fallen leaves, lifting her ruffled skirt to reveal its sky-blue lining and holding a basket overflowing with orange foliage. She looks straight out at us.","A woman with smooth, pale skin and wearing a hat, long dress, and gloves, stands holding a bunch of pumpkin-orange leaves against a background of trees painted with touches of rust orange and pine green in this vertical painting. The woman tips her head back slightly to look at us with dark eyes under arched eyebrows. Her cheeks are flushed and her coral-pink lips closed. Her round black hat perches on the back of her head and she has an inky black, long-sleeved, hip-length jacket with bronze trim at the shoulders, cuffs, and down the front. A gauzy bow is tied at her neck. Her left elbow, on our right, is bent and she holds up her tan-colored, ruffled skirt with a white-gloved hand. The raised skirt exposes sky-blue lining and white, ruffled flounces at her feet. Her right arm, on our left, hangs at her side and holds the handle of a basket. Deep marigold-orange leaves cascade out of the basket. One black shoe peeks out from under her long skirt. She stands on a hill carpeted with crimson-red, tawny-brown, golden yellow, and forest-green leaves. The space behind her is filled with touches and dabs of red, orange, brown, black, and tan.",{"_294":993,"_296":994,"_298":995},"https://img.ochreeditions.com/m/1611.jpg?dl=1","/art/autumn-nga-66420","/galleries/style/american-gilded-age/autumn-nga-66420",{"_290":291,"_292":293},{"_224":990,"_125":991,"_284":992},{"_275":987,"_277":988,"_279":989,"_281":972},75.8060302734375,112.1,60.80603027343749,{"_286":224,"_123":778,"_154":779,"_140":53},{"_286":125,"_123":436,"_154":437,"_140":438},{"_286":284,"_123":370,"_154":371,"_140":372},"https://img.ochreeditions.com/a/1611/480.jpg","https://img.ochreeditions.com/a/1611/960.jpg","https://img.ochreeditions.com/a/1611/1920.jpg",{"_310":1009,"_312":1010},{"_310":1007,"_312":1008},{"_310":1005,"_312":1006},{"_310":1003,"_312":1004},{"_310":1001,"_312":1002},"#1e1811",0.0441,"#695539",0.0754,"#6a2e18",0.2262,"#552d15",0.3074,"#442b15",0.3469,"peaceful-valley-nga-50295","Peaceful Valley",{"_42":1057,"_221":1058,"_324":1059,"_326":327,"_328":802,"_330":1060,"_332":-5,"_334":-5,"_336":-5,"_140":103},"c. 1872","overall: 17.7 x 31.1 cm (6 15/16 x 12 1/4 in.) framed: 36.8 x 49.5 x 4.8 cm (14 1/2 x 19 1/2 x 1 7/8 in.)",31.1,17.7,1.7333897587812104,[1042,1043,1044,1045,1046],{"_220":666,"_221":667,"_42":668,"_303":561},"1965.10.1","Alexander Helwig Wyant painted this in about 1872, aged 36. It is now at the National Gallery of Art in Washington, DC.","The painting depicts a rural landscape at sunset or sunrise. The horizon is slightly above the center, showing distant pale-pink and purple mountains against the sky. Closest to us is an area with dark green bushes and vegetation, leading to a lighter green field surrounded by green-and-brown trees. The palette is warm and earthy, with greens and browns in the bottom transitioning to purples and pinks in the distance. The sky is a pale-yellow color that fades into light blue towards the top left corner, and faint yellow and gray clouds drift across it.",{"_294":1039,"_296":1040,"_298":1041},"https://img.ochreeditions.com/m/1535.jpg?dl=1","/art/peaceful-valley-nga-50295","/galleries/style/american-gilded-age/peaceful-valley-nga-50295",{"_290":291,"_292":293},{"_224":1034,"_125":1035,"_284":1036},{"_275":1031,"_277":1032,"_279":1016,"_281":1033},46.1,32.9417236328125,17.9417236328125,{"_286":224,"_123":1037,"_154":1038,"_140":89},{"_286":125,"_123":436,"_154":437,"_140":438},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-alexander-helwig-wyant","Alexander Helwig Wyant's contemporaries","https://img.ochreeditions.com/a/1535/480.jpg","https://img.ochreeditions.com/a/1535/960.jpg","https://img.ochreeditions.com/a/1535/1920.jpg",{"_310":1055,"_312":1056},{"_310":1053,"_312":1054},{"_310":1051,"_312":1052},{"_310":1049,"_312":1050},{"_310":1047,"_312":1048},"#4c3923",0.1376,"#815b28",0.1693,"#322a1e",0.1879,"#cba885",0.2339,"#e8bc81",0.2713,"Alexander Helwig Wyant","alexander-helwig-wyant","American, 1836–1892",1892,"claire-campbell-cma-134236","Claire Campbell",{"_42":1110,"_221":1111,"_324":1112,"_326":1113,"_328":1114,"_330":1115,"_332":1116,"_334":1116,"_336":1117,"_140":53},"1876","Pastel with oil on fine-weave canvas","Unframed: 55.2 x 45.7 cm (21 3/4 x 18 in.)",45.7,55.2,0.8232352941176471,[1095,1096,1097,1098,1099],{"_220":447,"_221":448,"_42":449,"_303":450},"1956.718","Édouard Manet painted this in 1876, aged 44. It is now at the Cleveland Museum of Art.",{"_118":1094,"_445":446},"Claire Campbell, by Édouard Manet, 1876",{"_294":1091,"_296":1092,"_298":1093},"https://img.ochreeditions.com/m/612.jpg?dl=1","/art/claire-campbell-cma-134236","/galleries/style/american-gilded-age/claire-campbell-cma-134236",{"_290":378,"_292":379},{"_224":1086,"_125":1087,"_284":1088},{"_275":1083,"_277":1084,"_279":1085,"_281":1068},69.44258823529412,79.2,45.44258823529412,{"_286":224,"_123":1089,"_154":1090,"_140":53},{"_286":125,"_123":721,"_154":722,"_140":723},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/edouard-manet","More by Édouard Manet","https://img.ochreeditions.com/a/612/480.jpg","https://img.ochreeditions.com/a/612/960.jpg","https://img.ochreeditions.com/a/612/1920.jpg","During the late 1870s, Edouard Manet began to experience health problems that made it difficult for him to work in oil painting. Instead, he began to draw using pastel, a powdery medium that allowed him to render line and color with each stroke.",{"_310":1108,"_312":1109},{"_310":1106,"_312":1107},{"_310":1104,"_312":1105},{"_310":1102,"_312":1103},{"_310":1100,"_312":1101},"#42362f",0.1215,"#c4b4a5",0.1353,"#6e6b66",0.1483,"#a99f90",0.2618,"#8f8a84",0.3331,"Édouard Manet","edouard-manet","French, 1832–1883","French",1832,1883,"Paris","Manet came from a prosperous Parisian family, trained under Thomas Couture and studied the old masters, Velázquez above all. In the 1860s he provoked critics with Le Déjeuner sur l’herbe and Olympia, modern subjects painted in flat, frank colour with little modelling.","green-and-blue-the-dancer-aic-111164","Green and Blue: The Dancer",{"_42":1166,"_221":1167,"_324":1168,"_326":327,"_328":1169,"_330":1170,"_332":1171,"_334":1172,"_336":1173,"_140":342},"c. 1893","Watercolor and opaque watercolor over traces of black chalk on brown wove paper laid down on card","27.5 × 18.3 cm (10 7/8 × 7 1/4 in.)",18,27,0.6738479098302183,[1151,1152,1153,1154,1155],{"_220":383,"_221":384,"_42":385,"_303":386},"1988.219","James McNeill Whistler painted this in about 1893, aged about 54. It is now at the Art Institute of Chicago.","A young dancer in a long, sheer dress is set down in pale washes of watercolour and opaque colour on brown paper, her form emerging from the warm tone of the sheet.","Pale watercolor drawing of young dancer in long sheer dress.",{"_294":1148,"_296":1149,"_298":1150},"https://img.ochreeditions.com/m/277.jpg?dl=1","/art/green-and-blue-the-dancer-aic-111164","/galleries/style/american-gilded-age/green-and-blue-the-dancer-aic-111164",{"_290":378,"_292":379},{"_224":1143,"_125":1144,"_284":1145},{"_275":1140,"_277":1141,"_279":1142,"_281":1125},42.19389356541589,51,18.19389356541589,{"_286":224,"_123":1146,"_154":1147,"_140":342},{"_286":125,"_123":373,"_154":374,"_140":375},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/james-mcneill-whistler","More by James McNeill Whistler","https://img.ochreeditions.com/a/277/480.jpg","https://img.ochreeditions.com/a/277/960.jpg","https://img.ochreeditions.com/a/277/1920.jpg",{"_310":1164,"_312":1165},{"_310":1162,"_312":1163},{"_310":1160,"_312":1161},{"_310":1158,"_312":1159},{"_310":1156,"_312":1157},"#8f867d",0.0887,"#757d71",0.1744,"#817b68",0.2424,"#756a5a",0.2449,"#8a725c",0.2496,"James McNeill Whistler","james-mcneill-whistler","American, 1834–1903",1834,1903,"Lowell, Massachusetts","London","Whistler spent part of his boyhood in Russia, left West Point without graduating and trained as a painter in Paris before settling in London in 1859.",{"_1175":-5,"_1176":1177,"_1178":1179,"_1180":8,"_1181":1182,"_1183":8},"user","csrf","53b6261daa0c19596e3577d7dfc2337b94ef9a77","cartCount",0,"dropLive","legal",[1184,1185,1186,1187,1188,1189,1190,1191,1192,1193,1194,1195],"uploadsEnabled",{"_221":1218,"_20":1219},{"_221":1216,"_20":1217},{"_221":1214,"_20":1215},{"_221":1212,"_20":1213},{"_221":1210,"_20":1211},{"_221":1208,"_20":1209},{"_221":1206,"_20":1207},{"_221":1204,"_20":1205},{"_221":1202,"_20":1203},{"_221":1200,"_20":1201},{"_221":1198,"_20":1199},{"_221":1196,"_20":1197},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]