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The American Gilded Age

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

67 works · hang 4641 ·

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

Walk this roomRehang this room

First room, north wall

  1. VIEW OF VENICE, ITALY
    View of Venice, ItalyRobert Frederick Blum, 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. 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
  3. Thomas Eakins
    Portrait of Mrs. Helen Mac Knight (Portrait of a Mother)Thomas Eakins, (c. 1903)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution
  4. Landscape, by George Inness, 1888
    LandscapeGeorge Inness, 1888Courtesy of the Cleveland Museum of Art

First room, south wall

  1. Boy with Anchor, by Winslow Homer, 1873
    Boy with AnchorWinslow Homer, 1873Courtesy of the Cleveland 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. Christ, by Kenyon Cox, 1905
    ChristKenyon Cox, 1905Courtesy of the Cleveland Museum of Art
  4. The image shows a street scene from an elevated viewpoint. A horse-drawn carriage is seen moving on a wet road, reflecting light. Pedestrians with umbrellas populate the avenue. The road is visibly marked with rainwater. The skyline displays detailed architectural features like church spires and towers. The painting is done in fine, linear brushstrokes highlighting movement and atmosphere. The grayscale palette emphasizes the rainy urban setting. Wisps of steam or smoke are visible. The intricate line work and shading depict a textured, busy street under an overcast sky.
    Rainy Day, BostonChilde Hassam, 1886Courtesy National Gallery of Art, Washington

Second room, south wall

  1. Louis Eilshemius
    Samoan SceneLouis M. Eilshemius, 1908Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution
  2. 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
  3. Thomas Eakins
    Portrait of Mrs. Thomas EakinsThomas Eakins, (c. 1899)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution
  4. VIGNETTE: MAN CROUCHING ON A SCAFFOLDING
    Vignette: Man Crouching on a ScaffoldingWalter Appleton Clark, 1899Courtesy of Cooper Hewitt, Smithsonian Design Museum

Second room, north wall

  1. Artist: Thomas Cowperthwaite Eakins, Sitter: Talcott Williams, Current owner: National Portrait Gallery, Smithsonian Institution
    Talcott WilliamsThomas Eakins, c. 1889Courtesy of the National Portrait Gallery, Smithsonian Institution
  2. 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
  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. 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