Floor plan

Style galleriesThe American Gilded Age

The American Gilded Age

Claire Campbell, by Édouard Manet, 1876
VIGNETTE: MAN CROUCHING ON A SCAFFOLDING
Christ, by Kenyon Cox, 1905
STUDY OF DRAPERY
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.
Portrait of Dora Wheeler, by William Merritt Chase, 1882–83

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. Claire Campbell, by Édouard Manet, 1876
    Claire CampbellÉdouard Manet, 1876Courtesy of the Cleveland Museum of Art
  2. VIGNETTE: MAN CROUCHING ON A SCAFFOLDING
    Vignette: Man Crouching on a ScaffoldingWalter Appleton Clark, 1899Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. Christ, by Kenyon Cox, 1905
    ChristKenyon Cox, 1905Courtesy of the Cleveland Museum of Art
  4. STUDY OF DRAPERY
    Study of DraperyFrancis Augustus Lathrop, ca. 1895Courtesy of Cooper Hewitt, Smithsonian Design Museum

First room, south 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. Portrait of Dora Wheeler, by William Merritt Chase, 1882–83
    Portrait of Dora WheelerWilliam Merritt Chase, 1882–83Courtesy of the Cleveland Museum of Art

Second room, south wall

  1. The Biglin Brothers Turning the Stake, by Thomas Eakins, 1873
    The Biglin Brothers Turning the StakeThomas Eakins, 1873Courtesy of the Cleveland Museum of Art
  2. "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

Second room, north wall

  1. 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
  2. A young man with a peachy, ruddy complexion lies on his stomach in a wooden rowboat on a river, reaching forward to grasp the horn of a stag almost completely submerged in the rippling water with one hand. On the opposite riverbank, gold, rust, and scarlet-red trees span the width of this horizontal painting. The boy’s arms straddle the stern of the boat so one holds the antler with his right hand, closer to us, while the other clutches a rope with a loop at the end. He turns his face, mouth agape and cheeks flushed, over his right shoulder to look to our left, at a dog swimming toward the boat. The dog has white and caramel-brown markings, with dark brown ears. The boy wears earth-brown clothing and the front of his wide-brimmed hat is pushed up to reveal dark eyes and sable-brown bangs and brows. The stag and dog are between us and the boat, and are surrounded by thick brushstrokes of parchment white to create ripples in the forest-green water. Only the open muzzle, part of the eye, and the tips of the stag’s antlers are above the water’s surface. To our right, a bare, fallen tree lies along the far riverbank parallel to the boat. The boat and water fill the lower half of the scene and the autumn trees fill the upper half. The artist has signed and dated the painting in the lower right, “Winslow Homer 1892.”
    Hound and HunterWinslow Homer, 1892Courtesy National Gallery of Art, Washington
  3. Louis Eilshemius
    Samoan SceneLouis M. Eilshemius, 1908Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

Third room, north wall

  1. 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
  2. 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
  3. A six-story, narrow building stands alone in an otherwise unoccupied lot under the deck of a high bridge, with a river and cityscape in the background in this horizontal painting. Dozens of people, small in scale, are each painted with a few swipes of black and some with peach-colored faces. They gather at the foot of the building and around a fire to our left, near the lower left corner of the composition. The fire is painted with a dash of orange, a few touches of canary yellow, and a smudge of gray smoke. Several more people stand and sit against the building, which has a streetlamp near its entrance. The back end of the building angles away from us to our right, so we see the narrow, front entrance side to our left. Each of the six floors of the building has two windows with fire escape ladders on the narrow side we can see. Some strokes in red and white on the lower levels of the long, flat side of the building suggest signs or posters. The top story glows a warm sienna brown in sunlight, while the rest of the building and the scene below are in shadow. More people walk along a grayish-violet fence that encloses the lot beyond the building. The ground is painted thickly with slate gray, pale, sage green, and one smear of white to suggest snow. To our right and a short distance from us, a white horse pulls a carriage near the foot of the bridge. The ivory-white, concrete piling rises up and off the right edge of the canvas and supports the deck of the bridge above. Only a sliver of the brick-red underside of the bridge is visible, skimming the top edge of the painting in the upper right corner. Two twiggy, barren trees grow up beyond the muted purple fence, and the landscape beyond is bright in the sunlight. A terracotta-orange building rises along the left edge of the painting, with the area between it and the lot under the bridge filled with thickly painted patches of butter yellow, amethyst purple, and sage green. Beyond that, an ice-blue river flows across the composition. The shore beyond is lined with patches of beige and tan paint that could be buildings. A black tugboat puffs bright white smoke in the river. The sky above is frosty white. The artist signed the work with dark blue in the lower left corner of the painting, “Geo Bellows.”
    The Lone TenementGeorge Bellows, 1909Courtesy National Gallery of Art, Washington

Third room, south wall

  1. THE OLD HOPKINSON HOUSE, BORDENTOWN, NJ
    The Old Hopkinson House, Bordentown, NJFrancis Hopkinson Smith, ca. 1880Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. Checker Players, by Thomas Anshutz, ca. 1895
    Checker PlayersThomas Anshutz, ca. 1895Courtesy of the Smithsonian American Art Museum