Floor plan

Style galleriesThe American Gilded Age

The American Gilded Age

LOCUST BLOSSOMS
Capri, by William Stanley Haseltine, 1869
"King Lear," Act I, Scene I, by Edwin Austin Abbey, 1898
OTTER CLIFFS
James Abbott McNeill Whistler

The works in this room are listed below.

Works in this room

Painting and design in the United States from the Civil War to 1910.

First room, north wall

  1. LOCUST BLOSSOMS
    Locust BlossomsSamuel Colman, June 6, 1877Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. Capri, by William Stanley Haseltine, 1869
    CapriWilliam Stanley Haseltine, 1869Courtesy of the Cleveland Museum of Art

First room, 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. OTTER CLIFFS
    Otter CliffsArnold William Brunner, 1879–80Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. James Abbott McNeill Whistler
    Girl in Black (Pouting Tom)James McNeill Whistler, (1896-1901)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

Second room, south wall

  1. A work made of pen and brown ink, with brush and brown ink, on cream pseudo-laid paper tipped onto cream wove paper.
    Study for "The Blue Girl: Portrait of Miss Elinor Leyland"James McNeill Whistler, c. 1879Courtesy of the Art Institute of Chicago
  2. The Race Track (Death on a Pale Horse), by Albert Pinkham Ryder, c. 1896–1908
    The Race Track (Death on a Pale Horse)Albert Pinkham Ryder, c. 1896–1908Courtesy of the Cleveland Museum of Art
  3. The Gulf Stream, by Winslow Homer, 1899; reworked by 1906
    The Gulf StreamWinslow Homer, 1899; reworked by 1906Courtesy of The Metropolitan Museum of Art

Second room, north wall

  1. Claire Campbell, by Édouard Manet, 1876
    Claire CampbellÉdouard Manet, 1876Courtesy of the Cleveland Museum of Art
  2. Edward Guthrie Kennedy, by William Merritt Chase, ca. 1895
    Edward Guthrie KennedyWilliam Merritt Chase, ca. 1895Courtesy of The Metropolitan Museum of Art
  3. Boy with Anchor, by Winslow Homer, 1873
    Boy with AnchorWinslow Homer, 1873Courtesy of the Cleveland Museum of Art
  4. Leaping Trout, by Winslow Homer, 1889
    Leaping TroutWinslow Homer, 1889Courtesy of the Cleveland Museum of Art

Third room, north wall

  1. DRAPERY STUDY
    Drapery StudyFrancis Augustus Lathrop, ca. 1895Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. Sand Dunes, Harlech, North Wales, by George Elbert Burr, 1899
    Sand Dunes, Harlech, North WalesGeorge Elbert Burr, 1899Courtesy of the Smithsonian American Art Museum
  3. 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.”
    Blue MorningGeorge Bellows, 1909Courtesy National Gallery of Art, Washington
  4. ITALIAN GIRL
    Italian girlElihu Vedder, ca. 1885Courtesy of Cooper Hewitt, Smithsonian Design Museum