Floor plan

Style galleriesHudson River School

Hudson River School

Niagara Falls by Moonlight, by Frederic Edwin Church, probably 1856
Eaton's Neck, Long Island, by John Frederick Kensett, 1872
Mountains in Colorado, by John Frederick Kensett, 1870
Albert Bierstadt
The Pilgrim of the Cross at the End of His Journey (study for series, The Cross and the World), by Thomas Cole, ca. 1846-1848
CENTURY PLANT, JAMAICA
View near Newport, by John Frederick Kensett, 1860s

The works in this room are listed below.

Works in this room

American landscape painters of the mid-1800s who made wilderness their grand subject.

Section 1, north wall

  1. Niagara Falls by Moonlight, by Frederic Edwin Church, probably 1856
    Niagara Falls by MoonlightFrederic Edwin Church, probably 1856Courtesy of the Cleveland Museum of Art
  2. Eaton's Neck, Long Island, by John Frederick Kensett, 1872
    Eaton's Neck, Long IslandJohn Frederick Kensett, 1872Courtesy of The Metropolitan Museum of Art
  3. Mountains in Colorado, by John Frederick Kensett, 1870
    Mountains in ColoradoJohn Frederick Kensett, 1870Courtesy of the Smithsonian American Art Museum
  4. Albert Bierstadt
    Gathering StormAlbert Bierstadt, (c. 1857-1858)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

Section 1, south wall

  1. The Pilgrim of the Cross at the End of His Journey (study for series, The Cross and the World), by Thomas Cole, ca. 1846-1848
    The Pilgrim of the Cross at the End of His Journey (study for series, The Cross and the World)Thomas Cole, ca. 1846-1848Courtesy of the Smithsonian American Art Museum
  2. CENTURY PLANT, JAMAICA
    Century Plant, JamaicaFrederic Edwin Church, May–September 1865Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. View near Newport, by John Frederick Kensett, 1860s
    View near NewportJohn Frederick Kensett, 1860sCourtesy of the Cleveland Museum of Art

Section 2, south wall

  1. The Rocky Mountains, Lander's Peak, by Albert Bierstadt, 1863
    The Rocky Mountains, Lander's PeakAlbert Bierstadt, 1863Courtesy of The Metropolitan Museum of Art
  2. MT. KATAHDIN FROM SOUTH TURNER MOUNTAIN, MAINE
    Mt. Katahdin from South Turner Mountain, MaineFrederic Edwin Church, 1877–78Courtesy of Cooper Hewitt, Smithsonian Design Museum

Section 2, north wall

  1. View of Florence, by Thomas Cole, 1837
    View of FlorenceThomas Cole, 1837Courtesy of the Cleveland Museum of Art
  2. Near Ariccia, Italy, by Sanford Robinson Gifford, 1868
    Near Ariccia, ItalySanford Robinson Gifford, 1868Courtesy of the Smithsonian American Art Museum
  3. October in the Marshes, by John Frederick Kensett, 1872
    October in the MarshesJohn Frederick Kensett, 1872Courtesy of The Metropolitan Museum of Art

Section 3, north wall

  1. This painting shows a view looking out over a vast landscape. Most of the painting is circular, with a small part of the bottom bleeding out of the circle towards us. The top third of the circle shows a mountain range with a large purple peak in the distance. In front of the mountain is a faint rainbow. A body of water flows from in front of the mountain to the bottom of the painting, weaving in between shorter white peaks. Towards the bottom, the water appears to flow into small, layered pools of various bright colors including yellow, orange, red, pink, blue, and teal. The sky is a light blue-gray color. The background of the painting outside of the circle is plain paper.
    Minerva Terrace, YellowstoneThomas Moran, 1872Courtesy National Gallery of Art, Washington
  2. THE TETONS, SHOWN FROM THE PLAIN
    The Tetons, Shown from the PlainThomas Moran, August 28, 1879Courtesy of Cooper Hewitt, Smithsonian Design Museum

Section 3, south wall

  1. View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow, by Thomas Cole, 1836
    View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The OxbowThomas Cole, 1836Courtesy of The Metropolitan Museum of Art
  2. The Parthenon, by Frederic Edwin Church, 1871
    The ParthenonFrederic Edwin Church, 1871Courtesy of The Metropolitan Museum of Art