Floor plan

Style galleriesThe American Gilded Age

The American Gilded Age

Shown from the knees up, a pale-skinned woman stands close to us with a red schoolhouse in the distance under a sunset sky in this vertical painting. The woman’s body faces us, but she turns her head to look off to the left with light brown eyes. She has a short, straight nose, full pink lips, and a round face. Her blond hair is pulled up under a round white hat layered with ruffles, which lies like a pancake over the top of her head. Her white dress is vertically striped with thin rust-red lines and has a long-sleeved, tight-fitting bodice and a long skirt. A dark gray belt is cinched around her narrow waist, and she wears a black, lacy ruffle around her neck. The woman’s arms hang by her sides, and she holds two paperback-sized books in her left hand, to our right. An earth-brown lawn stretches back to the schoolhouse, which has crimson-red walls, a chimney, and a dark gray roof. Three forms painted with a few streaks of dark or light gray or topaz blue suggest people standing near the door of the schoolhouse. Trees and a grassy lawn beyond the building are loosely painted with blended strokes. The sky is shaded pale lemon yellow and light peach with touches of rose pink. The artist signed and dated the lower right corner, “HOMER 1873.”
The Old Road to the Sea, by William Merritt Chase, c. 1893
Diving Cormorant, by Otto H. Bacher, 1900
The Bridge at Grez [recto], by Childe Hassam, 1904
Low Tide, Riverside Yacht Club, by Theodore Robinson, 1894
THE OLD HOPKINSON HOUSE, BORDENTOWN, NJ
The Witch's Daughter, by Frederick Stuart Church, 1881
STUDY FOR "DIANA AND HER ATTENDANTS AMONG THE CONSTELLATIONS"

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. Shown from the knees up, a pale-skinned woman stands close to us with a red schoolhouse in the distance under a sunset sky in this vertical painting. The woman’s body faces us, but she turns her head to look off to the left with light brown eyes. She has a short, straight nose, full pink lips, and a round face. Her blond hair is pulled up under a round white hat layered with ruffles, which lies like a pancake over the top of her head. Her white dress is vertically striped with thin rust-red lines and has a long-sleeved, tight-fitting bodice and a long skirt. A dark gray belt is cinched around her narrow waist, and she wears a black, lacy ruffle around her neck. The woman’s arms hang by her sides, and she holds two paperback-sized books in her left hand, to our right. An earth-brown lawn stretches back to the schoolhouse, which has crimson-red walls, a chimney, and a dark gray roof. Three forms painted with a few streaks of dark or light gray or topaz blue suggest people standing near the door of the schoolhouse. Trees and a grassy lawn beyond the building are loosely painted with blended strokes. The sky is shaded pale lemon yellow and light peach with touches of rose pink. The artist signed and dated the lower right corner, “HOMER 1873.”
    The Red School HouseWinslow Homer, 1873Courtesy National Gallery of Art, Washington
  2. The Old Road to the Sea, by William Merritt Chase, c. 1893
    The Old Road to the SeaWilliam Merritt Chase, c. 1893Courtesy of the Cleveland Museum of Art
  3. Diving Cormorant, by Otto H. Bacher, 1900
    Diving CormorantOtto H. Bacher, 1900Courtesy of the Cleveland Museum of Art
  4. The Bridge at Grez [recto], by Childe Hassam, 1904
    The Bridge at Grez [recto]Childe Hassam, 1904Courtesy National Gallery of Art, Washington

First room, south wall

  1. Low Tide, Riverside Yacht Club, by Theodore Robinson, 1894
    Low Tide, Riverside Yacht ClubTheodore Robinson, 1894Courtesy of The Metropolitan Museum of Art
  2. THE OLD HOPKINSON HOUSE, BORDENTOWN, NJ
    The Old Hopkinson House, Bordentown, NJFrancis Hopkinson Smith, ca. 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. The Witch's Daughter, by Frederick Stuart Church, 1881
    The Witch's DaughterFrederick Stuart Church, 1881Courtesy of the Smithsonian American Art Museum
  4. STUDY FOR "DIANA AND HER ATTENDANTS AMONG THE CONSTELLATIONS"
    Study for "Diana and Her Attendants among the Constellations"Francis Augustus Lathrop, ca. 1894Courtesy of Cooper Hewitt, Smithsonian Design Museum

Second room, south wall

  1. 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.
    The ChaperoneThomas Eakins, c. 1908Courtesy National Gallery of Art, Washington
  2. DRAPERY STUDY
    Drapery StudyFrancis Augustus Lathrop, ca. 1895Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. 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
  4. William Merritt Chase
    Good FriendsWilliam Merritt Chase, (c. 1909)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

Second room, north wall

  1. Edward Guthrie Kennedy, by William Merritt Chase, ca. 1895
    Edward Guthrie KennedyWilliam Merritt Chase, ca. 1895Courtesy of The Metropolitan Museum of Art
  2. VIEW OF VENICE, ITALY
    View of Venice, ItalyRobert Frederick Blum, 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. Pale watercolor drawing of young dancer in long sheer dress.
    Green and Blue: The DancerJames McNeill Whistler, c. 1893Courtesy of the Art Institute of Chicago
  4. BALCONY
    BalconyRobert Frederick Blum, 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum