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It is now at the National Gallery of Art in Washington, DC.","An elderly woman in a dark blue gown and head covering sits absorbed in the work in her hands, her eyes lowered. She is the chaperone from Thomas Eakins’s late paintings of William Rush, the Philadelphia sculptor shown carving a statue from a nude model while an older woman sits by for propriety, knitting.","This painting shows a person seated on a stool or chair, wearing a long, dark-blue robe or gown. They are slightly turned toward the right, looking downward at something they hold in their hands, and their head is covered with a cloth or cap. The background is textured with earthy tones, mostly tan with some patches of yellow ochre and gray.",{"_298":385,"_300":386,"_302":387},"https://img.ochreeditions.com/m/1618.jpg?dl=1","/art/the-chaperone-nga-72165","/galleries/style/american-gilded-age/the-chaperone-nga-72165",{"_294":383,"_296":384},{"_227":372,"_125":373,"_288":374},{"_279":369,"_281":370,"_283":371,"_285":353},50.425830078124996,61.3,35.425830078124996,{"_290":227,"_123":381,"_154":382,"_140":87},{"_290":125,"_123":378,"_154":379,"_140":380},{"_290":288,"_123":375,"_154":376,"_140":377},"era/20-united-states","20th-century United States",124,"style/painting-20","More paintings of the 20th century",75,"artist/thomas-eakins","More by Thomas Eakins","natural","ivory","https://img.ochreeditions.com/a/1618/480.jpg","https://img.ochreeditions.com/a/1618/960.jpg","https://img.ochreeditions.com/a/1618/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington","Washington, DC",{"_317":405,"_319":406},{"_317":403,"_319":404},{"_317":401,"_319":402},{"_317":399,"_319":400},{"_317":397,"_319":398},"#705c4c",0.0794,"#403837",0.1084,"#514942",0.161,"#8c6e58",0.2889,"#97745a",0.3623,"Thomas Eakins","thomas-eakins","American, 1844–1916",1844,1916,"Philadelphia, Pennsylvania","Eakins studied in Paris under Jean-Léon Gérôme and was impressed in Spain by Velázquez and Ribera, then returned to Philadelphia, where he spent his life.","king-lear-act-i-scene-i-met-10049","\"King Lear,\" Act I, Scene I",{"_42":469,"_224":470,"_331":471,"_333":334,"_335":472,"_337":473,"_339":412,"_340":474,"_342":-5,"_140":103},"1898","Oil on canvas","54 1/4 x 127 1/4 in. (137.8 x 323.2 cm)",323.2,137.8,2.3225616921269094,[454,455,456,457,458],{"_223":451,"_224":452,"_42":453,"_310":311},"Courtesy of The Metropolitan Museum of Art","13.140","Edwin Austin Abbey painted this in 1898, aged 46. It is now at The Met in New York.","\"King Lear,\" Act I, Scene I, by Edwin Austin Abbey, 1898",{"_298":448,"_300":449,"_302":450},"https://img.ochreeditions.com/m/801.jpg?dl=1","/art/king-lear-act-i-scene-i-met-10049","/galleries/style/american-gilded-age/king-lear-act-i-scene-i-met-10049",{"_294":383,"_296":384},{"_227":440,"_125":441,"_288":442},{"_279":436,"_281":437,"_283":438,"_285":439},255,118.33417657475336,240,103.33417657475336,{"_290":227,"_123":446,"_154":447,"_140":89},{"_290":125,"_123":443,"_154":444,"_140":445},{"_290":288,"_123":166,"_154":165,"_140":168},"style/painting-19","More paintings of the 19th century",432,"artist/contemporaries-of-edwin-austin-abbey","Edwin Austin Abbey's contemporaries","https://img.ochreeditions.com/a/801/480.jpg","https://img.ochreeditions.com/a/801/960.jpg","https://img.ochreeditions.com/a/801/1920.jpg","met","the-met","The Metropolitan Museum of Art",{"_317":467,"_319":468},{"_317":465,"_319":466},{"_317":463,"_319":464},{"_317":461,"_319":462},{"_317":459,"_319":460},"#5e2b2b",0.0742,"#79735d",0.0921,"#43302b",0.202,"#4e4739",0.2204,"#2b2b29",0.4113,"Edwin Austin Abbey","edwin-austin-abbey","American, 1852–1911",1852,1911,"London","blue-morning-nga-46557","Blue Morning",{"_42":522,"_224":523,"_331":524,"_333":334,"_335":525,"_337":526,"_339":-5,"_340":-5,"_342":527,"_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,[507,508,509,510,511],{"_223":388,"_224":389,"_42":390,"_310":391},"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.”",{"_298":504,"_300":505,"_302":506},"https://img.ochreeditions.com/m/1524.jpg?dl=1","/art/blue-morning-nga-46557","/galleries/style/american-gilded-age/blue-morning-nga-46557",{"_294":383,"_296":384},{"_227":499,"_125":500,"_288":501},{"_279":496,"_281":497,"_283":480,"_285":498},126.7,102.0474609375,87.0474609375,{"_290":227,"_123":502,"_154":503,"_140":93},{"_290":125,"_123":378,"_154":379,"_140":380},{"_290":288,"_123":375,"_154":376,"_140":377},"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",{"_317":520,"_319":521},{"_317":518,"_319":519},{"_317":516,"_319":517},{"_317":514,"_319":515},{"_317":512,"_319":513},"#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.","pink-roses-nga-134158","Pink Roses",{"_42":573,"_224":574,"_331":575,"_333":334,"_335":576,"_337":338,"_339":577,"_340":578,"_342":-5,"_140":101},"1875","watercolor on wove paper","sheet: 35.56 × 25.4 cm (14 × 10 in.)",35.6,0.71826171875,[559,560,561,562,563],{"_223":388,"_224":389,"_42":390,"_310":391},"2004.165.2","Fidelia Bridges painted this in 1875, aged 41. It is now at the National Gallery of Art in Washington, DC.","This detailed painting shows two pink roses and a pink bud on a long, thin green stem with green leaves and small green thorns. The tall stem rises near the right edge of the painting, with some thin branches reaching out to either side. The largest rose is positioned near the top left corner of the painting, with the small bud right below it. The other large flower is right around the center of the painting. The background is a flat beige color.",{"_298":556,"_300":557,"_302":558},"https://img.ochreeditions.com/m/1658.jpg?dl=1","/art/pink-roses-nga-134158","/galleries/style/american-gilded-age/pink-roses-nga-134158",{"_294":295,"_296":297},{"_227":551,"_125":552,"_288":553},{"_279":548,"_281":549,"_283":550,"_285":534},49.5701171875,59.6,25.5701171875,{"_290":227,"_123":554,"_154":555,"_140":89},{"_290":125,"_123":291,"_154":292,"_140":293},{"_290":288,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-fidelia-bridges","Fidelia Bridges's contemporaries","https://img.ochreeditions.com/a/1658/480.jpg","https://img.ochreeditions.com/a/1658/960.jpg","https://img.ochreeditions.com/a/1658/1920.jpg",{"_317":571,"_319":572},{"_317":569,"_319":570},{"_317":568,"_319":513},{"_317":566,"_319":567},{"_317":564,"_319":565},"#a26a79",0.0267,"#69664e",0.0372,"#837b60","#9a8569",0.2948,"#a28d70",0.5594,"Fidelia Bridges","fidelia-bridges","American, 1834–1923",1834,"Salem, Massachusetts","Canaan, Connecticut","boy-with-anchor-cma-131337","Boy with Anchor",{"_42":634,"_224":635,"_331":636,"_333":334,"_335":336,"_337":637,"_339":638,"_340":639,"_342":640,"_140":53},"1873","Watercolor and graphite on paper","Sheet: 19.4 x 34.9 cm (7 5/8 x 13 3/4 in.)",34.9,19.4,1.7607457276022787,[619,620,621,622,623],{"_223":615,"_224":616,"_42":617,"_310":618},"Courtesy of the Cleveland Museum of Art","1954.128","Winslow Homer painted this in 1873, aged 37. It is now at the Cleveland Museum of Art.",{"_118":613,"_305":614},"Boy with Anchor, by Winslow Homer, 1873",{"_298":610,"_300":611,"_302":612},"https://img.ochreeditions.com/m/603.jpg?dl=1","/art/boy-with-anchor-cma-131337","/galleries/style/american-gilded-age/boy-with-anchor-cma-131337",{"_294":295,"_296":297},{"_227":605,"_125":606,"_288":607},{"_279":602,"_281":603,"_283":585,"_285":604},58.9,43.82114705882353,19.821147058823527,{"_290":227,"_123":608,"_154":609,"_140":53},{"_290":125,"_123":291,"_154":292,"_140":293},{"_290":288,"_123":166,"_154":165,"_140":168},"artist/winslow-homer","More by Winslow Homer","https://img.ochreeditions.com/a/603/480.jpg","https://img.ochreeditions.com/a/603/960.jpg","https://img.ochreeditions.com/a/603/1920.jpg","In this work from a series of watercolors produced in Gloucester, MA, in the summer of 1873 Winslow Homer evokes the fraught nature of the local fishing industry by focusing not on the perilous work of adults, but rather the children they leave behind.","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_317":632,"_319":633},{"_317":630,"_319":631},{"_317":628,"_319":629},{"_317":626,"_319":627},{"_317":624,"_319":625},"#c5c4c8",0.0959,"#6a5a58",0.1532,"#988980",0.1732,"#c9b59c",0.2873,"#8e99b3",0.2904,"Winslow Homer","winslow-homer","American, 1836–1910",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-road-to-the-sea-cma-117715","The Old Road to the Sea",{"_42":689,"_224":690,"_331":691,"_333":334,"_335":692,"_337":411,"_339":693,"_340":311,"_342":694,"_140":93},"c. 1893","Framed: 134.3 x 159.7 x 10.8 cm (52 7/8 x 62 7/8 x 4 1/4 in.); Unframed: 101.5 x 127 cm (39 15/16 x 50 in.); Former: 118.5 x 144 x 5.5 cm (46 5/8 x 56 11/16 x 2 3/16 in.)",127,101.5,1.2513801987486197,[674,675,676,677,678],{"_223":615,"_224":616,"_42":617,"_310":618},"1938.333","William Merritt Chase painted this in about 1893, aged about 39. It is now at the Cleveland Museum of Art.",{"_118":673,"_305":614},"The Old Road to the Sea, by William Merritt Chase, c. 1893",{"_298":670,"_300":671,"_302":672},"https://img.ochreeditions.com/m/534.jpg?dl=1","/art/the-old-road-to-the-sea-cma-117715","/galleries/style/american-gilded-age/the-old-road-to-the-sea-cma-117715",{"_294":383,"_296":384},{"_227":665,"_125":666,"_288":667},{"_279":662,"_281":663,"_283":646,"_285":664},142,116.4879411764706,101.4879411764706,{"_290":227,"_123":668,"_154":669,"_140":93},{"_290":125,"_123":443,"_154":444,"_140":445},{"_290":288,"_123":166,"_154":165,"_140":168},"artist/william-merritt-chase","More by William Merritt Chase","https://img.ochreeditions.com/a/534/480.jpg","https://img.ochreeditions.com/a/534/960.jpg","https://img.ochreeditions.com/a/534/1920.jpg","One of the most influential of the American Impressionists, William Merritt Chase established his own summer school at Shinnecock, on the eastern tip of Long Island, New York. Attracted to the low-lying dunes and beaches, Chase and his students were among the first American artists to pursue open-air painting.",{"_317":687,"_319":688},{"_317":685,"_319":686},{"_317":683,"_319":684},{"_317":681,"_319":682},{"_317":679,"_319":680},"#80a8b3",0.1373,"#85875e",0.1572,"#c9cabf",0.1682,"#adc0be",0.2053,"#aa9f78",0.332,"William Merritt Chase","william-merritt-chase","American, 1849–1916",1849,"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.","view-of-venice-italy-si-chndm-1904-16-455","View of Venice, Italy",{"_42":745,"_224":746,"_331":747,"_333":334,"_335":748,"_337":749,"_339":-5,"_340":-5,"_342":750,"_140":99},"1880","Graphite on wove paper","21.9 × 14.3 cm (8 5/8 × 5 5/8 in.)",14.3,21.9,0.6867469879518072,[730,731,732,733,734],{"_223":307,"_224":308,"_42":309,"_310":311},"1904-16-455","Robert Frederick Blum drew this in 1880, aged 23. It is now at Cooper Hewitt, Smithsonian Design Museum in New York.",{"_118":729,"_305":306},"VIEW OF VENICE, ITALY",{"_298":726,"_300":727,"_302":728},"https://img.ochreeditions.com/m/1711.jpg?dl=1","/art/view-of-venice-italy-si-chndm-1904-16-455","/galleries/style/american-gilded-age/view-of-venice-italy-si-chndm-1904-16-455",{"_294":295,"_296":297},{"_227":721,"_125":722,"_288":723},{"_279":717,"_281":718,"_283":719,"_285":720},41.16867469879518,49,17.16867469879518,25,{"_290":227,"_123":724,"_154":725,"_140":99},{"_290":125,"_123":291,"_154":292,"_140":293},{"_290":288,"_123":166,"_154":165,"_140":168},"artist/robert-frederick-blum","More by Robert Frederick Blum","https://img.ochreeditions.com/a/1711/480.jpg","https://img.ochreeditions.com/a/1711/960.jpg","https://img.ochreeditions.com/a/1711/1920.jpg","Sketch of a gondola on a canal in Venice.",{"_317":743,"_319":744},{"_317":741,"_319":742},{"_317":739,"_319":740},{"_317":737,"_319":738},{"_317":735,"_319":736},"#978573",0.0075,"#b5a59a",0.0295,"#b4b4b7",0.1186,"#c4a282",0.2255,"#cfae8b",0.6189,"Robert Frederick Blum","robert-frederick-blum","American, 1857–1903",1857,1903,"Blum trained in Cincinnati and Philadelphia and became a leading American illustrator, admired for his deft pen work, pastels and etchings. In Venice in 1880 he worked in the circle of Frank Duveneck and was influenced by Whistler.","diving-cormorant-cma-103625","Diving Cormorant",{"_42":798,"_224":799,"_331":800,"_333":334,"_335":801,"_337":802,"_339":-5,"_340":-5,"_342":-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,[783,784,785,786,787],{"_223":615,"_224":616,"_42":617,"_310":618},"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",{"_298":780,"_300":781,"_302":782},"https://img.ochreeditions.com/m/506.jpg?dl=1","/art/diving-cormorant-cma-103625","/galleries/style/american-gilded-age/diving-cormorant-cma-103625",{"_294":383,"_296":384},{"_227":775,"_125":776,"_288":777},{"_279":772,"_281":773,"_283":757,"_285":774},48.2,36.94129411764706,21.94129411764706,{"_290":227,"_123":778,"_154":779,"_140":89},{"_290":125,"_123":443,"_154":444,"_140":445},{"_290":288,"_123":166,"_154":165,"_140":168},"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",{"_317":796,"_319":797},{"_317":794,"_319":795},{"_317":792,"_319":793},{"_317":790,"_319":791},{"_317":788,"_319":789},"#96958a",0.0766,"#757670",0.0982,"#3f4242",0.1391,"#5e615b",0.2932,"#4f5451",0.3929,"Otto H. Bacher","otto-h-bacher","American, 1856–1909",1856,1909,"christ-cma-101158","Christ",{"_42":849,"_224":850,"_331":851,"_333":334,"_335":801,"_337":852,"_339":-5,"_340":-5,"_342":853,"_140":95},"1905","Unframed: 137 x 91.5 cm (53 15/16 x 36 in.)",91.5,137,0.7485294117647059,[834,835,836,837,838],{"_223":615,"_224":616,"_42":617,"_310":618},"1920.150","Kenyon Cox painted this in 1905, aged 49. It is now at the Cleveland Museum of Art.","Christ, by Kenyon Cox, 1905",{"_298":831,"_300":832,"_302":833},"https://img.ochreeditions.com/m/495.jpg?dl=1","/art/christ-cma-101158","/galleries/style/american-gilded-age/christ-cma-101158",{"_294":383,"_296":384},{"_227":826,"_125":827,"_288":828},{"_279":823,"_281":824,"_283":825,"_285":809},117.5485294117647,152,102.5485294117647,{"_290":227,"_123":829,"_154":830,"_140":95},{"_290":125,"_123":378,"_154":379,"_140":380},{"_290":288,"_123":375,"_154":376,"_140":377},"artist/kenyon-cox","More by Kenyon Cox","https://img.ochreeditions.com/a/495/480.jpg","https://img.ochreeditions.com/a/495/960.jpg","https://img.ochreeditions.com/a/495/1920.jpg",{"_317":847,"_319":848},{"_317":845,"_319":846},{"_317":843,"_319":844},{"_317":841,"_319":842},{"_317":839,"_319":840},"#3f4e35",0.1107,"#632f1a",0.1784,"#e0ddd2",0.2064,"#8e7441",0.2367,"#c7aa67",0.2678,"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.","a-rose-met-14931","A Rose",{"_42":900,"_224":901,"_331":902,"_333":334,"_335":903,"_337":904,"_339":905,"_340":906,"_342":907,"_140":99},"1907","58 x 43 7/8 in. (147.3 x 111.4 cm)",111.4,147.3,0.7563138097796883,[885,886,887,888,889],{"_223":451,"_224":452,"_42":453,"_310":311},"1993.324","Thomas Anshutz painted this in 1907, aged 56. It is now at The Met in New York.","A Rose, by Thomas Anshutz, 1907",{"_298":882,"_300":883,"_302":884},"https://img.ochreeditions.com/m/865.jpg?dl=1","/art/a-rose-met-14931","/galleries/style/american-gilded-age/a-rose-met-14931",{"_294":383,"_296":384},{"_227":877,"_125":878,"_288":879},{"_279":874,"_281":875,"_283":876,"_285":860},126.4050241805481,162.3,111.4050241805481,{"_290":227,"_123":880,"_154":881,"_140":99},{"_290":125,"_123":378,"_154":379,"_140":380},{"_290":288,"_123":375,"_154":376,"_140":377},"artist/thomas-anshutz","More by Thomas Anshutz","https://img.ochreeditions.com/a/865/480.jpg","https://img.ochreeditions.com/a/865/960.jpg","https://img.ochreeditions.com/a/865/1920.jpg",{"_317":898,"_319":899},{"_317":896,"_319":897},{"_317":894,"_319":895},{"_317":892,"_319":893},{"_317":890,"_319":891},"#b58d68",0.0534,"#b84a3b",0.109,"#6e4232",0.1211,"#e66e63",0.1911,"#1d1c20",0.5254,"Thomas Anshutz","thomas-anshutz","American, 1851–1912",1851,1912,"Newport, Kentucky","Fort Washington, Pennsylvania","Anshutz studied at the Pennsylvania Academy of the Fine Arts under Thomas Eakins, assisting his photographic and anatomical studies, and succeeded him as a teacher there after Eakins was forced out in 1886.","we-both-must-fade-mrs-fithian-si-saam-1970-101","We Both Must Fade (Mrs. Fithian)",{"_42":958,"_224":959,"_331":960,"_333":334,"_335":961,"_337":962,"_339":-5,"_340":-5,"_342":-5,"_140":101},"1869","72 x 53 3/4 in. (182.9 x 136.5 cm.)",136.5,182.9,0.744,[943,944,945,946,947],{"_223":307,"_224":308,"_42":309,"_310":391},"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":941,"_305":942},"We Both Must Fade (Mrs. Fithian), by Lilly Martin Spencer, 1869",{"_298":938,"_300":939,"_302":940},"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",{"_294":383,"_296":384},{"_227":933,"_125":934,"_288":935},{"_279":930,"_281":931,"_283":932,"_285":914},151.0776,197.9,136.0776,{"_290":227,"_123":936,"_154":937,"_140":89},{"_290":125,"_123":443,"_154":444,"_140":445},{"_290":288,"_123":166,"_154":165,"_140":168},"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.",{"_317":956,"_319":957},{"_317":954,"_319":955},{"_317":952,"_319":953},{"_317":950,"_319":951},{"_317":948,"_319":949},"#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,"three-girls-and-river-si-saam-1980-34-3","Three Girls and River",{"_42":1011,"_224":1012,"_331":1013,"_333":1014,"_335":1015,"_337":1016,"_339":-5,"_340":-5,"_342":1017,"_140":97},"oil on fiberboard","23 x 27 in. (58.5 x 68.5 cm)",68.5,58.5,1.1801730920535012,[996,997,998,999,1000],{"_223":307,"_224":308,"_42":309,"_310":391},"1980.34.3","Louis M. Eilshemius painted this in 1907, aged 43. It is now at the Smithsonian American Art Museum in Washington, DC.",{"_118":995,"_305":942},"Three Girls and River, by Louis M. Eilshemius, 1907",{"_298":992,"_300":993,"_302":994},"https://img.ochreeditions.com/m/1958.jpg?dl=1","/art/three-girls-and-river-si-saam-1980-34-3","/galleries/style/american-gilded-age/three-girls-and-river-si-saam-1980-34-3",{"_294":383,"_296":384},{"_227":987,"_125":988,"_288":989},{"_279":984,"_281":985,"_283":968,"_285":986},83.5,73.04233333333333,58.04233333333333,{"_290":227,"_123":990,"_154":991,"_140":97},{"_290":125,"_123":378,"_154":379,"_140":380},{"_290":288,"_123":375,"_154":376,"_140":377},"artist/louis-m-eilshemius","More by Louis M. Eilshemius","https://img.ochreeditions.com/a/1958/480.jpg","https://img.ochreeditions.com/a/1958/960.jpg","https://img.ochreeditions.com/a/1958/1920.jpg","Louis M. Eilshemius is best known for his romanticized and often erotically charged landscapes that contain nude women or nymphs. In Three Girls and River, three nude women relax in a bucolic setting with lush trees and a babbling river.",{"_317":1009,"_319":1010},{"_317":1007,"_319":1008},{"_317":1005,"_319":1006},{"_317":1003,"_319":1004},{"_317":1001,"_319":1002},"#a69b73",0.1273,"#665b40",0.1487,"#d1bc82",0.1548,"#343838",0.2824,"#5d6767",0.2868,"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.","two-studies-of-women-standing-behind-railing-looking-at-the-si-chndm-1912-12-16","Two Studies of Women Standing behind Railing, Looking at the Launching of Dories, Cullercoats, England",{"_42":634,"_224":635,"_331":636,"_333":334,"_335":336,"_337":637,"_339":638,"_340":639,"_342":640,"_140":53},"1881","Pen and brown ink on off-white wove paper","19.9 x 17.9 cm (7 13/16 x 7 1/16 in.)",17.9,19.9,0.9123489657997133,[1049,1050,1051,1052,1053],{"_223":307,"_224":308,"_42":309,"_310":311},"1912-12-16","Winslow Homer drew this in 1881, aged 45. It is now at Cooper Hewitt, Smithsonian Design Museum in New York.",{"_118":1048,"_305":306},"TWO STUDIES OF WOMEN STANDING BEHIND RAILING, LOOKING AT THE LAUNCHING OF DORIES, CULLERCOATS, ENGLAND",{"_298":1045,"_300":1046,"_302":1047},"https://img.ochreeditions.com/m/1714.jpg?dl=1","/art/two-studies-of-women-standing-behind-railing-looking-at-the-si-chndm-1912-12-16","/galleries/style/american-gilded-age/two-studies-of-women-standing-behind-railing-looking-at-the-si-chndm-1912-12-16",{"_294":295,"_296":297},{"_227":1042,"_125":1043,"_288":1044},{"_279":1040,"_281":718,"_283":1041,"_285":720},46.80872414499283,22.80872414499283,{"_290":227,"_123":608,"_154":609,"_140":53},{"_290":125,"_123":291,"_154":292,"_140":293},{"_290":288,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/1714/480.jpg","https://img.ochreeditions.com/a/1714/960.jpg","https://img.ochreeditions.com/a/1714/1920.jpg","In upper half of composition, figures of women stand at a railing and watch the fishermen and the sea; at left is a house with a hipped roof and porch; beyond the railing, four dories are drawn up on beach. Framing lines.",{"_317":1062,"_319":1063},{"_317":1060,"_319":1061},{"_317":1058,"_319":1059},{"_317":1056,"_319":1057},{"_317":1054,"_319":1055},"#a87f61",0.0207,"#caa688",0.0733,"#dbc1a6",0.1886,"#e4d3bf",0.1996,"#ebe3d4",0.5178,"checker-players-si-saam-1967-136-4","Checker Players",{"_42":900,"_224":901,"_331":902,"_333":334,"_335":903,"_337":904,"_339":905,"_340":906,"_342":907,"_140":99},"ca. 1895","16 1/8 x 20 1/8 in. (40.8 x 51.0 cm.)",51,40.8,1.257100149476831,[1095,1096,1097,1098,1099],{"_223":307,"_224":308,"_42":309,"_310":391},"1967.136.4","Thomas Anshutz painted this in about 1895, aged 44. It is now at the Smithsonian American Art Museum in Washington, DC.",{"_118":1094,"_305":942},"Checker Players, by Thomas Anshutz, ca. 1895",{"_298":1091,"_300":1092,"_302":1093},"https://img.ochreeditions.com/m/1927.jpg?dl=1","/art/checker-players-si-saam-1967-136-4","/galleries/style/american-gilded-age/checker-players-si-saam-1967-136-4",{"_294":383,"_296":384},{"_227":1088,"_125":1089,"_288":1090},{"_279":1085,"_281":1086,"_283":1069,"_285":1087},66,55.569560047562426,40.569560047562426,{"_290":227,"_123":880,"_154":881,"_140":99},{"_290":125,"_123":443,"_154":444,"_140":445},{"_290":288,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/1927/480.jpg","https://img.ochreeditions.com/a/1927/960.jpg","https://img.ochreeditions.com/a/1927/1920.jpg","Two boys sit engrossed in a game of checkers, each focusing intently on his next move. The dark, featureless interior draws our attention to the players' rigid poses.",{"_317":1108,"_319":1109},{"_317":1106,"_319":1107},{"_317":1104,"_319":1105},{"_317":1102,"_319":1103},{"_317":1100,"_319":1101},"#d89553",0.0463,"#bf9c85",0.0551,"#8a5a41",0.0665,"#4f302b",0.1137,"#301d23",0.7184,"girl-in-black-pouting-tom-si-hmsg-66-5532","Girl in Black (Pouting Tom)",{"_42":1157,"_224":1158,"_331":1159,"_333":334,"_335":576,"_337":749,"_339":1160,"_340":474,"_342":1161,"_140":233},"(1896-1901)","20 1/4 x 12 3/8 in. (51.4 x 31.4 cm)",31.4,51.4,0.6110694183864915,[1142,1143,1144,1145,1146],{"_223":307,"_224":308,"_42":309,"_310":391},"Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution","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",{"_298":1139,"_300":1140,"_302":1141},"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",{"_294":383,"_296":384},{"_227":1134,"_125":1135,"_288":1136},{"_279":1131,"_281":1132,"_283":1133,"_285":1116},46.40896810506567,66.4,31.408968105065664,{"_290":227,"_123":1137,"_154":1138,"_140":233},{"_290":125,"_123":443,"_154":444,"_140":445},{"_290":288,"_123":166,"_154":165,"_140":168},"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",{"_317":1155,"_319":1156},{"_317":1153,"_319":1154},{"_317":1151,"_319":1152},{"_317":1149,"_319":1150},{"_317":1147,"_319":1148},"#4f3417",0.0176,"#754f24",0.0288,"#2d2215",0.0709,"#191915",0.1671,"#0d1415",0.7156,"James McNeill Whistler","james-mcneill-whistler","American, 1834–1903","Lowell, Massachusetts","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.",{"_1163":-5,"_1164":1165,"_1166":1167,"_1168":8,"_1169":1170,"_1171":8},"user","csrf","a52c3db345a6da0776b8bea059d43ed75fdd6035","cartCount",0,"dropLive","legal",[1172,1173,1174,1175,1176,1177,1178,1179,1180,1181,1182,1183],"uploadsEnabled",{"_224":1206,"_20":1207},{"_224":1204,"_20":1205},{"_224":1202,"_20":1203},{"_224":1200,"_20":1201},{"_224":1198,"_20":1199},{"_224":1196,"_20":1197},{"_224":1194,"_20":1195},{"_224":1192,"_20":1193},{"_224":1190,"_20":1191},{"_224":1188,"_20":1189},{"_224":1186,"_20":1187},{"_224":1184,"_20":1185},"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"]