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Brunner was a New York architect who trained at the Massachusetts Institute of Technology and sketched widely in Europe as a young man.","seventeenth-century-lady-met-10475","Seventeenth Century Lady",{"_42":452,"_222":453,"_329":454,"_331":332,"_333":455,"_335":456,"_337":457,"_338":309,"_339":458,"_140":93},"ca. 1895","painting","Painting","Oil on canvas","36 1/2 x 23 3/4in. (92.7 x 60.3cm)",60.3,92.7,0.6552258064516129,[437,438,439,440,441],{"_221":434,"_222":435,"_42":436,"_308":309},"Courtesy of The Metropolitan Museum of Art","06.1220","William Merritt Chase painted this in about 1895, aged about 43. It is now at The Met in New York.","Seventeenth Century Lady, by William Merritt Chase, ca. 1895",{"_296":431,"_298":432,"_300":433},"https://img.ochreeditions.com/m/810.jpg?dl=1","/art/seventeenth-century-lady-met-10475","/galleries/style/american-gilded-age/seventeenth-century-lady-met-10475",{"_292":429,"_294":430},{"_225":421,"_125":422,"_286":423},{"_276":418,"_278":419,"_280":420,"_282":403},75.73943225806451,107.7,60.73943225806452,{"_288":225,"_123":427,"_154":428,"_140":93},{"_288":125,"_123":424,"_154":425,"_140":426},{"_288":286,"_123":167,"_154":166,"_140":169},"style/painting-19","More paintings of the 19th century",432,"artist/william-merritt-chase","More by William Merritt Chase","natural","ivory","https://img.ochreeditions.com/a/810/480.jpg","https://img.ochreeditions.com/a/810/960.jpg","https://img.ochreeditions.com/a/810/1920.jpg","met","the-met","The Metropolitan Museum of Art",{"_315":450,"_317":451},{"_315":448,"_317":449},{"_315":446,"_317":447},{"_315":444,"_317":445},{"_315":442,"_317":443},"#6a603f",0.1027,"#433625",0.1376,"#8f8157",0.1522,"#312a20",0.1581,"#221f18",0.4494,"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.","landscape-cma-110952","Landscape",{"_42":511,"_222":512,"_329":513,"_331":332,"_333":514,"_335":515,"_337":516,"_338":517,"_339":518,"_140":95},"1888","oil on canvas","Framed: 79.5 x 92 x 6 cm (31 5/16 x 36 1/4 x 2 3/8 in.); Unframed: 56.2 x 70 cm (22 1/8 x 27 9/16 in.)",70,56.2,1.2151536812008576,[496,497,498,499,500],{"_221":492,"_222":493,"_42":494,"_308":495},"Courtesy of the Cleveland Museum of Art","1929.464","George Inness painted this in 1888, aged 63. It is now at the Cleveland Museum of Art.","Landscape, by George Inness, 1888",{"_296":489,"_298":490,"_300":491},"https://img.ochreeditions.com/m/523.jpg?dl=1","/art/landscape-cma-110952","/galleries/style/american-gilded-age/landscape-cma-110952",{"_292":429,"_294":430},{"_225":484,"_125":485,"_286":486},{"_276":481,"_278":482,"_280":465,"_282":483},85,72.60588235294118,57.60588235294118,{"_288":225,"_123":487,"_154":488,"_140":95},{"_288":125,"_123":424,"_154":425,"_140":426},{"_288":286,"_123":167,"_154":166,"_140":169},"artist/george-inness","More by George Inness","https://img.ochreeditions.com/a/523/480.jpg","https://img.ochreeditions.com/a/523/960.jpg","https://img.ochreeditions.com/a/523/1920.jpg","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_315":509,"_317":510},{"_315":507,"_317":508},{"_315":505,"_317":506},{"_315":503,"_317":504},{"_315":501,"_317":502},"#b19364",0.079,"#797057",0.1583,"#694d2a",0.2099,"#494731",0.2703,"#2b2919",0.2825,"George Inness","george-inness","American, 1825–1894",1825,1894,"Newburgh, New York","Bridge of Allan, Scotland","Inness was largely self-taught and began in the manner of the Hudson River School, but journeys to Italy and France, where he admired the Barbizon painters, led him towards broader, more atmospheric landscapes.","samoan-scene-si-hmsg-66-1730","Samoan Scene",{"_42":575,"_222":576,"_329":577,"_331":578,"_333":579,"_335":580,"_337":-5,"_338":-5,"_339":581,"_140":97},"1908",20,"Oil on fiberboard","23 1/4 x 30 in. (59.1 x 76.4 cm)",76.4,59.1,1.3204667863554758,[560,561,562,563,564],{"_221":305,"_222":306,"_42":307,"_308":559},"Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution","66.1730","Louis M. Eilshemius painted this in 1908, aged 44. It is now at the Hirshhorn Museum and Sculpture Garden in Washington, DC.","Louis Eilshemius",{"_296":556,"_298":557,"_300":558},"https://img.ochreeditions.com/m/1823.jpg?dl=1","/art/samoan-scene-si-hmsg-66-1730","/galleries/style/american-gilded-age/samoan-scene-si-hmsg-66-1730",{"_292":429,"_294":430},{"_225":545,"_125":546,"_286":547},{"_276":542,"_278":543,"_280":526,"_282":544},91.4,72.85832766825288,57.85832766825289,{"_288":225,"_123":554,"_154":555,"_140":97},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":548,"_154":549,"_140":550},"era/20-united-states","20th-century United States",124,"style/painting-20","More paintings of the 20th century",75,"artist/louis-m-eilshemius","More by Louis M. Eilshemius","https://img.ochreeditions.com/a/1823/480.jpg","https://img.ochreeditions.com/a/1823/960.jpg","https://img.ochreeditions.com/a/1823/1920.jpg","Washington, DC",{"_315":573,"_317":574},{"_315":571,"_317":572},{"_315":569,"_317":570},{"_315":567,"_317":568},{"_315":565,"_317":566},"#733c09",0.1276,"#d79435",0.1348,"#daa762",0.1559,"#9f5303",0.2858,"#bc6907",0.2959,"Louis M. Eilshemius","louis-m-eilshemius","New Jersey, 1864–1941","New Jersey",1864,1941,"Eilshemius studied in New York and at the Académie Julian in Paris and travelled widely, as far as Samoa, painting romantic landscapes and nudes that found few admirers.","girl-in-black-pouting-tom-si-hmsg-66-5532","Girl in Black (Pouting Tom)",{"_42":628,"_222":629,"_329":630,"_331":332,"_333":631,"_335":336,"_337":632,"_338":633,"_339":634,"_140":231},"(1896-1901)","20 1/4 x 12 3/8 in. (51.4 x 31.4 cm)",31.4,51.4,0.6110694183864915,[613,614,615,616,617],{"_221":305,"_222":306,"_42":307,"_308":559},"66.5532","James McNeill Whistler painted this ((1896-1901)), aged about 62. It is now at the Hirshhorn Museum and Sculpture Garden in Washington, DC.","James Abbott McNeill Whistler",{"_296":610,"_298":611,"_300":612},"https://img.ochreeditions.com/m/1828.jpg?dl=1","/art/girl-in-black-pouting-tom-si-hmsg-66-5532","/galleries/style/american-gilded-age/girl-in-black-pouting-tom-si-hmsg-66-5532",{"_292":429,"_294":430},{"_225":605,"_125":606,"_286":607},{"_276":602,"_278":603,"_280":604,"_282":588},46.40896810506567,66.4,31.408968105065664,{"_288":225,"_123":608,"_154":609,"_140":231},{"_288":125,"_123":424,"_154":425,"_140":426},{"_288":286,"_123":167,"_154":166,"_140":169},"artist/james-mcneill-whistler","More by James McNeill Whistler","https://img.ochreeditions.com/a/1828/480.jpg","https://img.ochreeditions.com/a/1828/960.jpg","https://img.ochreeditions.com/a/1828/1920.jpg",{"_315":626,"_317":627},{"_315":624,"_317":625},{"_315":622,"_317":623},{"_315":620,"_317":621},{"_315":618,"_317":619},"#4f3417",0.0176,"#754f24",0.0288,"#2d2215",0.0709,"#191915",0.1671,"#0d1415",0.7156,"James McNeill Whistler","james-mcneill-whistler","American, 1834–1903",1834,"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.","good-friends-si-hmsg-66-880","Good Friends",{"_42":452,"_222":453,"_329":454,"_331":332,"_333":455,"_335":456,"_337":457,"_338":309,"_339":458,"_140":93},"(c. 1909)","Oil on wood","22 1/4 x 31 in. (56.4 x 78.5 cm)",78.5,56.4,1.393296089385475,[664,665,666,667,668],{"_221":305,"_222":306,"_42":307,"_308":559},"66.880","William Merritt Chase painted this ((c. 1909)), aged 60. It is now at the Hirshhorn Museum and Sculpture Garden in Washington, DC.",{"_296":661,"_298":662,"_300":663},"https://img.ochreeditions.com/m/1829.jpg?dl=1","/art/good-friends-si-hmsg-66-880","/galleries/style/american-gilded-age/good-friends-si-hmsg-66-880",{"_292":429,"_294":430},{"_225":658,"_125":659,"_286":660},{"_276":655,"_278":656,"_280":641,"_282":657},93.5,71.341218925421,56.34121892542101,{"_288":225,"_123":427,"_154":428,"_140":93},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":548,"_154":549,"_140":550},"https://img.ochreeditions.com/a/1829/480.jpg","https://img.ochreeditions.com/a/1829/960.jpg","https://img.ochreeditions.com/a/1829/1920.jpg",{"_315":677,"_317":678},{"_315":675,"_317":676},{"_315":673,"_317":674},{"_315":671,"_317":672},{"_315":669,"_317":670},"#98acb8",0.0958,"#233721",0.1016,"#928e6b",0.2167,"#5b6541",0.2554,"#8d914b",0.3305,"autumn-nga-66420","Autumn",{"_42":730,"_222":731,"_329":732,"_331":332,"_333":733,"_335":734,"_337":735,"_338":736,"_339":737,"_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,[715,716,717,718,719],{"_221":712,"_222":713,"_42":714,"_308":559},"Courtesy National Gallery of Art, Washington","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.",{"_296":709,"_298":710,"_300":711},"https://img.ochreeditions.com/m/1611.jpg?dl=1","/art/autumn-nga-66420","/galleries/style/american-gilded-age/autumn-nga-66420",{"_292":429,"_294":430},{"_225":704,"_125":705,"_286":706},{"_276":701,"_278":702,"_280":703,"_282":685},75.8060302734375,112.1,60.80603027343749,{"_288":225,"_123":707,"_154":708,"_140":53},{"_288":125,"_123":424,"_154":425,"_140":426},{"_288":286,"_123":167,"_154":166,"_140":169},"artist/winslow-homer","More by Winslow Homer","https://img.ochreeditions.com/a/1611/480.jpg","https://img.ochreeditions.com/a/1611/960.jpg","https://img.ochreeditions.com/a/1611/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington",{"_315":728,"_317":729},{"_315":726,"_317":727},{"_315":724,"_317":725},{"_315":722,"_317":723},{"_315":720,"_317":721},"#1e1811",0.0441,"#695539",0.0754,"#6a2e18",0.2262,"#552d15",0.3074,"#442b15",0.3469,"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.","as-they-threw-their-animals-back-upon-their-haunches-illustr-aic-99607","\"As They Threw their Animals Back upon their Haunches,\" illustration for An Arabian Day and Night, in Harper's New Monthly Magazine",{"_42":796,"_222":797,"_329":798,"_331":332,"_333":799,"_335":800,"_337":-5,"_338":-5,"_339":-5,"_140":103},"n.d.","watercolour","Drawing and Watercolor","Brush and black gray wash heightened with white gouache over graphite, on cream laminate board","34.9 × 44.7 cm (13 3/4 × 17 5/8 in.)",44,34,0.6854395604395604,[781,782,783,784,785],{"_221":777,"_222":778,"_42":779,"_308":780},"Courtesy of the Art Institute of Chicago","1982.1583","Frederic Remington painted this (n.d.), aged 33. It is now at the Art Institute of Chicago.","A work made of brush and black gray wash heightened with white gouache over graphite, on cream laminate board.",{"_296":774,"_298":775,"_300":776},"https://img.ochreeditions.com/m/257.jpg?dl=1","/art/as-they-threw-their-animals-back-upon-their-haunches-illustr-aic-99607","/galleries/style/american-gilded-age/as-they-threw-their-animals-back-upon-their-haunches-illustr-aic-99607",{"_292":293,"_294":295},{"_225":766,"_125":767,"_286":768},{"_276":762,"_278":763,"_280":764,"_282":765},56.02214206478983,70.71767419472344,32.02214206478983,46.71767419472344,{"_288":225,"_123":772,"_154":773,"_140":89},{"_288":125,"_123":769,"_154":770,"_140":771},{"_288":286,"_123":167,"_154":166,"_140":169},"style/watercolour-19","More watercolours of the 19th century",40,"artist/contemporaries-of-frederic-remington","Frederic Remington's contemporaries","https://img.ochreeditions.com/a/257/480.jpg","https://img.ochreeditions.com/a/257/960.jpg","https://img.ochreeditions.com/a/257/1920.jpg","aic","art-institute-of-chicago","Art Institute of Chicago","Chicago",{"_315":794,"_317":795},{"_315":792,"_317":793},{"_315":790,"_317":791},{"_315":788,"_317":789},{"_315":786,"_317":787},"#36322b",0.0433,"#6c665a",0.1019,"#a09787",0.131,"#c8bdac",0.3253,"#dcd5c5",0.3985,"Frederic Remington","frederic-remington","American, 1861–1909",1861,1909,"repose-met-10065","Repose",{"_42":847,"_222":848,"_329":849,"_331":332,"_333":850,"_335":851,"_337":852,"_338":309,"_339":-5,"_140":103},"1895","52 1/4 x 63 5/8 in. (132.7 x 161.6 cm)",161.6,132.7,1.2113795295613476,[832,833,834,835,836],{"_221":434,"_222":435,"_42":436,"_308":309},"1980.224","John White Alexander painted this in 1895, aged 39. It is now at The Met in New York.","Repose, by John White Alexander, 1895",{"_296":829,"_298":830,"_300":831},"https://img.ochreeditions.com/m/802.jpg?dl=1","/art/repose-met-10065","/galleries/style/american-gilded-age/repose-met-10065",{"_292":429,"_294":430},{"_225":824,"_125":825,"_286":826},{"_276":821,"_278":822,"_280":806,"_282":823},176.6,148.40162686958803,133.40162686958803,{"_288":225,"_123":827,"_154":828,"_140":89},{"_288":125,"_123":424,"_154":425,"_140":426},{"_288":286,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-john-white-alexander","John White Alexander's contemporaries","https://img.ochreeditions.com/a/802/480.jpg","https://img.ochreeditions.com/a/802/960.jpg","https://img.ochreeditions.com/a/802/1920.jpg",{"_315":845,"_317":846},{"_315":843,"_317":844},{"_315":841,"_317":842},{"_315":839,"_317":840},{"_315":837,"_317":838},"#613c27",0.1001,"#806c50",0.1749,"#584a3c",0.1752,"#3a2d24",0.2575,"#a9a486",0.2923,"John White Alexander","john-white-alexander","American, 1856–1915",1856,1915,"Allegheny, Pennsylvania","the-gulf-stream-met-11122","The Gulf Stream",{"_42":730,"_222":731,"_329":732,"_331":332,"_333":733,"_335":734,"_337":735,"_338":736,"_339":737,"_140":53},"1899; reworked by 1906","28 1/8 x 49 1/8 in. (71.4 x 124.8 cm) Framed: 42 5/16 x 62 11/16 x 5 7/8 in. (107.5 x 159.3 x 15 cm)",124.8,71.4,1.6207455429497568,[883,884,885,886,887],{"_221":434,"_222":435,"_42":436,"_308":309},"06.1234","Winslow Homer painted this in 1899; reworked by 1906, aged about 63. It is now at The Met in New York.","A lone Black sailor lies on the deck of a dismasted, rudderless boat in the open sea, surrounded by circling sharks, while a waterspout churns on the horizon and a distant ship sails by, apparently unaware of him.","The Gulf Stream, by Winslow Homer, 1899; reworked by 1906",{"_296":880,"_298":881,"_300":882},"https://img.ochreeditions.com/m/832.jpg?dl=1","/art/the-gulf-stream-met-11122","/galleries/style/american-gilded-age/the-gulf-stream-met-11122",{"_292":429,"_294":430},{"_225":877,"_125":878,"_286":879},{"_276":874,"_278":875,"_280":858,"_282":876},139.8,92.0016,77.0016,{"_288":225,"_123":707,"_154":708,"_140":53},{"_288":125,"_123":424,"_154":425,"_140":426},{"_288":286,"_123":167,"_154":166,"_140":169},"https://img.ochreeditions.com/a/832/480.jpg","https://img.ochreeditions.com/a/832/960.jpg","https://img.ochreeditions.com/a/832/1920.jpg",{"_315":895,"_317":896},{"_315":893,"_317":894},{"_315":892,"_317":674},{"_315":890,"_317":891},{"_315":888,"_317":889},"#5c422e",0.0529,"#3a524c",0.2151,"#233231","#90866d",0.2179,"#151819",0.2974,"figures-si-chndm-1904-16-345","Figures",{"_42":327,"_222":328,"_329":330,"_331":332,"_333":334,"_335":336,"_337":-5,"_338":-5,"_339":340,"_140":99},"1881","16.9 × 10.9 cm (6 5/8 × 4 5/16 in.)",10.9,16.9,0.6752250750250083,[927,928,929,930,931],{"_221":305,"_222":306,"_42":307,"_308":309},"1904-16-345","Robert Frederick Blum drew this in 1881, aged 24. It is now at Cooper Hewitt, Smithsonian Design Museum in New York.",{"_118":926,"_303":304},"FIGURES",{"_296":923,"_298":924,"_300":925},"https://img.ochreeditions.com/m/1710.jpg?dl=1","/art/figures-si-chndm-1904-16-345","/galleries/style/american-gilded-age/figures-si-chndm-1904-16-345",{"_292":293,"_294":295},{"_225":920,"_125":921,"_286":922},{"_276":918,"_278":279,"_280":919,"_282":283},40.88062687562521,16.880626875625207,{"_288":225,"_123":171,"_154":170,"_140":99},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":167,"_154":166,"_140":169},"https://img.ochreeditions.com/a/1710/480.jpg","https://img.ochreeditions.com/a/1710/960.jpg","https://img.ochreeditions.com/a/1710/1920.jpg","Partial sketch of three figures.",{"_315":940,"_317":941},{"_315":938,"_317":939},{"_315":936,"_317":937},{"_315":934,"_317":935},{"_315":932,"_317":933},"#d2c6b8",0.0498,"#beb8b1",0.077,"#b5b5b9",0.0781,"#dfd3c4",0.2936,"#e1d4c3",0.5015,"blue-morning-nga-46557","Blue Morning",{"_42":989,"_222":990,"_329":991,"_331":332,"_333":992,"_335":392,"_337":-5,"_338":-5,"_339":993,"_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,[974,975,976,977,978],{"_221":712,"_222":713,"_42":714,"_308":559},"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.”",{"_296":971,"_298":972,"_300":973},"https://img.ochreeditions.com/m/1524.jpg?dl=1","/art/blue-morning-nga-46557","/galleries/style/american-gilded-age/blue-morning-nga-46557",{"_292":429,"_294":430},{"_225":966,"_125":967,"_286":968},{"_276":963,"_278":964,"_280":947,"_282":965},126.7,102.0474609375,87.0474609375,{"_288":225,"_123":969,"_154":970,"_140":93},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":548,"_154":549,"_140":550},"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",{"_315":987,"_317":988},{"_315":985,"_317":986},{"_315":983,"_317":984},{"_315":981,"_317":982},{"_315":979,"_317":980},"#426e85",0.0819,"#7c7f6c",0.1334,"#c2ccc2",0.1628,"#7c9aa1",0.2516,"#383f3e",0.3703,"George Bellows","george-bellows","American, 1882–1925",1882,"Bellows left Ohio State University to study in New York with Robert Henri and became the most celebrated of the younger realists around him.","the-lone-tenement-nga-46558","The Lone Tenement",{"_42":989,"_222":990,"_329":991,"_331":332,"_333":992,"_335":392,"_337":-5,"_338":-5,"_339":993,"_140":93},"overall: 91.8 x 122.3 cm (36 1/8 x 48 1/8 in.) framed: 123.2 x 153.4 x 12.7 cm (48 1/2 x 60 3/8 x 5 in.)",122.3,91.8,1.336378466557912,[1022,1023,1024,1025,1026],{"_221":712,"_222":713,"_42":714,"_308":559},"1963.10.83","A narrow six-storey tenement stands alone on a cleared lot beneath the massive pier and deck of a bridge, its top floor catching warm sunlight while people gather around a small fire at its foot. Beyond, a tugboat puffs white smoke on an icy river.","A six-story, narrow building stands alone in an otherwise unoccupied lot under the deck of a high bridge, with a river and cityscape in the background in this horizontal painting. Dozens of people, small in scale, are each painted with a few swipes of black and some with peach-colored faces. They gather at the foot of the building and around a fire to our left, near the lower left corner of the composition. The fire is painted with a dash of orange, a few touches of canary yellow, and a smudge of gray smoke. Several more people stand and sit against the building, which has a streetlamp near its entrance. The back end of the building angles away from us to our right, so we see the narrow, front entrance side to our left. Each of the six floors of the building has two windows with fire escape ladders on the narrow side we can see. Some strokes in red and white on the lower levels of the long, flat side of the building suggest signs or posters. The top story glows a warm sienna brown in sunlight, while the rest of the building and the scene below are in shadow. More people walk along a grayish-violet fence that encloses the lot beyond the building. The ground is painted thickly with slate gray, pale, sage green, and one smear of white to suggest snow. To our right and a short distance from us, a white horse pulls a carriage near the foot of the bridge. The ivory-white, concrete piling rises up and off the right edge of the canvas and supports the deck of the bridge above. Only a sliver of the brick-red underside of the bridge is visible, skimming the top edge of the painting in the upper right corner. Two twiggy, barren trees grow up beyond the muted purple fence, and the landscape beyond is bright in the sunlight. A terracotta-orange building rises along the left edge of the painting, with the area between it and the lot under the bridge filled with thickly painted patches of butter yellow, amethyst purple, and sage green. Beyond that, an ice-blue river flows across the composition. The shore beyond is lined with patches of beige and tan paint that could be buildings. A black tugboat puffs bright white smoke in the river. The sky above is frosty white. The artist signed the work with dark blue in the lower left corner of the painting, “Geo Bellows.”",{"_296":1019,"_298":1020,"_300":1021},"https://img.ochreeditions.com/m/1525.jpg?dl=1","/art/the-lone-tenement-nga-46558","/galleries/style/american-gilded-age/the-lone-tenement-nga-46558",{"_292":429,"_294":430},{"_225":1016,"_125":1017,"_286":1018},{"_276":1013,"_278":1014,"_280":998,"_282":1015},137.3,106.5159912109375,91.5159912109375,{"_288":225,"_123":969,"_154":970,"_140":93},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":548,"_154":549,"_140":550},"https://img.ochreeditions.com/a/1525/480.jpg","https://img.ochreeditions.com/a/1525/960.jpg","https://img.ochreeditions.com/a/1525/1920.jpg",{"_315":1035,"_317":1036},{"_315":1033,"_317":1034},{"_315":1031,"_317":1032},{"_315":1029,"_317":1030},{"_315":1027,"_317":1028},"#7c602a",0.1346,"#d2d2c8",0.141,"#483f2e",0.1563,"#ae9f71",0.1799,"#85866f",0.3882,"stag-at-sharkey-s-cma-92937","Stag at Sharkey's",{"_42":989,"_222":990,"_329":991,"_331":332,"_333":992,"_335":392,"_337":-5,"_338":-5,"_339":993,"_140":93},"Framed: 110 x 140.5 x 8.5 cm (43 5/16 x 55 5/16 x 3 3/8 in.); Unframed: 92 x 122.6 cm (36 1/4 x 48 1/4 in.)",122.6,1.3375295043273014,[1067,1068,1069,1070,1071],{"_221":492,"_222":493,"_42":494,"_308":495},"1922.1133","George Bellows painted this in 1909, aged 27. It is now at the Cleveland Museum of Art.",{"_118":1065,"_303":1066},"Stag at Sharkey's, by George Bellows, 1909",{"_296":1062,"_298":1063,"_300":1064},"https://img.ochreeditions.com/m/459.jpg?dl=1","/art/stag-at-sharkey-s-cma-92937","/galleries/style/american-gilded-age/stag-at-sharkey-s-cma-92937",{"_292":429,"_294":430},{"_225":1059,"_125":1060,"_286":1061},{"_276":1056,"_278":1057,"_280":1041,"_282":1058},137.6,106.66152941176469,91.66152941176469,{"_288":225,"_123":969,"_154":970,"_140":93},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":548,"_154":549,"_140":550},"https://img.ochreeditions.com/a/459/480.jpg","https://img.ochreeditions.com/a/459/960.jpg","https://img.ochreeditions.com/a/459/1920.jpg","Bellows was no stranger to Sharkey’s Athletic Club, a raucous saloon with a backroom boxing ring, located near his studio. Founded by Tom “Sailor” Sharkey, an ex-fighter who had also served in the US Navy, the club attracted men seeking to watch or participate in matches.","Text from the Cleveland Museum of Art.",{"_315":1080,"_317":1081},{"_315":1078,"_317":1079},{"_315":1076,"_317":1077},{"_315":1074,"_317":1075},{"_315":1072,"_317":1073},"#765643",0.0469,"#b59f8d",0.0605,"#646363",0.0684,"#2e2d2d",0.235,"#141517",0.5892,"cartoon-for-mural-of-minnesota-state-capital-institute-of-ju-si-saam-1983-114-23","Cartoon for mural of Minnesota State Capital, \"Institute of Justice\"",{"_42":1128,"_222":1129,"_329":1130,"_331":332,"_333":850,"_335":1131,"_337":-5,"_338":-5,"_339":1132,"_140":95},"ca. 1904","22 1/8 x 45 3/8 in. (56.2 x 115.1 cm)",115.1,2.0380434782608696,[1113,1114,1115,1116,1117],{"_221":305,"_222":306,"_42":307,"_308":559},"Courtesy of the Smithsonian American Art Museum","1983.114.23","Kenyon Cox painted this in about 1904, aged 48. It is now at the Smithsonian American Art Museum in Washington, DC.","Cartoon for mural of Minnesota State Capital, \"Institute of Justice\", by Kenyon Cox, ca. 1904",{"_296":1110,"_298":1111,"_300":1112},"https://img.ochreeditions.com/m/1966.jpg?dl=1","/art/cartoon-for-mural-of-minnesota-state-capital-institute-of-ju-si-saam-1983-114-23","/galleries/style/american-gilded-age/cartoon-for-mural-of-minnesota-state-capital-institute-of-ju-si-saam-1983-114-23",{"_292":429,"_294":430},{"_225":1105,"_125":1106,"_286":1107},{"_276":1102,"_278":1103,"_280":1087,"_282":1104},130.1,71.47573333333332,56.47573333333333,{"_288":225,"_123":1108,"_154":1109,"_140":95},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":548,"_154":549,"_140":550},"artist/kenyon-cox","More by Kenyon Cox","https://img.ochreeditions.com/a/1966/480.jpg","https://img.ochreeditions.com/a/1966/960.jpg","https://img.ochreeditions.com/a/1966/1920.jpg",{"_315":1126,"_317":1127},{"_315":1124,"_317":1125},{"_315":1122,"_317":1123},{"_315":1120,"_317":1121},{"_315":1118,"_317":1119},"#7e4b22",0.0353,"#986c40",0.0998,"#a9855e",0.1709,"#b39977",0.3367,"#bda686",0.3573,"Kenyon Cox","kenyon-cox","American, 1856–1919",1919,"Cox trained in Cincinnati, Philadelphia and Paris, where he studied with Carolus-Duran and Jean-Léon Gérôme, before settling in New York in 1883.",{"_1134":-5,"_1135":1136,"_1137":1138,"_1139":8,"_1140":1141,"_1142":8},"user","csrf","445ff6a9e4de81d79854e84abff138b17d506da0","cartCount",0,"dropLive","legal",[1143,1144,1145,1146,1147,1148,1149,1150,1151,1152,1153,1154],"uploadsEnabled",{"_222":1177,"_20":1178},{"_222":1175,"_20":1176},{"_222":1173,"_20":1174},{"_222":1171,"_20":1172},{"_222":1169,"_20":1170},{"_222":1167,"_20":1168},{"_222":1165,"_20":1166},{"_222":1163,"_20":1164},{"_222":1161,"_20":1162},{"_222":1159,"_20":1160},{"_222":1157,"_20":1158},{"_222":1155,"_20":1156},"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"]