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The American Gilded Age

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

67 works · hang 1469 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. We Both Must Fade (Mrs. Fithian), by Lilly Martin Spencer, 1869
    We Both Must Fade (Mrs. Fithian)Lilly Martin Spencer, 1869Courtesy of the Smithsonian American Art Museum
  2. William Merritt Chase
    Good FriendsWilliam Merritt Chase, (c. 1909)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

First room, south wall

  1. Portrait of Dora Wheeler, by William Merritt Chase, 1882–83
    Portrait of Dora WheelerWilliam Merritt Chase, 1882–83Courtesy of the Cleveland Museum of Art
  2. Boy with Anchor, by Winslow Homer, 1873
    Boy with AnchorWinslow Homer, 1873Courtesy of the Cleveland Museum of Art
  3. Capri, by William Stanley Haseltine, 1869
    CapriWilliam Stanley Haseltine, 1869Courtesy of the Cleveland Museum of Art

Second room, south wall

  1. Pointe de Cabellou, Brittany, by William L. Picknell, 1881
    Pointe de Cabellou, BrittanyWilliam L. Picknell, 1881Courtesy of the Cleveland Museum of Art
  2. Christ, by Kenyon Cox, 1905
    ChristKenyon Cox, 1905Courtesy of the Cleveland Museum of Art
  3. BALCONY
    BalconyRobert Frederick Blum, 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum

Second room, north wall

  1. 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.
    AutumnWinslow Homer, 1877Courtesy National Gallery of Art, Washington
  2. Checker Players, by Thomas Anshutz, ca. 1895
    Checker PlayersThomas Anshutz, ca. 1895Courtesy of the Smithsonian American Art Museum
  3. VIEW OF VENICE, ITALY
    View of Venice, ItalyRobert Frederick Blum, 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum
  4. 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

Third room, north wall

  1. LOCUST BLOSSOMS
    Locust BlossomsSamuel Colman, June 6, 1877Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. A work made of brush and black gray wash heightened with white gouache over graphite, on cream laminate board.
    "As They Threw their Animals Back upon their Haunches," illustration for An Arabian Day and Night, in Harper's New Monthly MagazineFrederic Remington, n.d.Courtesy of the Art Institute of Chicago
  3. 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.
    Peaceful ValleyAlexander Helwig Wyant, c. 1872Courtesy National Gallery of Art, Washington
  4. Louis Eilshemius
    Samoan SceneLouis M. Eilshemius, 1908Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution