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It is now at The Met in New York.","note","In a shaded forest pool, the goddess Diana and her nymphs are bathing when the hunter Actaeon stumbles upon them; for this glimpse she will turn him into a stag, to be torn apart by his own hounds.","Diana and Actaeon (Diana Surprised in Her Bath), by Jean Baptiste Camille Corot, 1836","images",{"_298":299,"_300":301,"_302":303},"download_url","https://img.ochreeditions.com/m/1261.jpg?dl=1","page_url","/art/diana-and-actaeon-diana-surprised-in-her-bath-met-459093","walk_url","/galleries/style/painting-19/diana-and-actaeon-diana-surprised-in-her-bath-met-459093","frame",{"_294":295,"_296":297},{"_227":286,"_125":287,"_288":289},"size",{"_279":280,"_281":282,"_283":284,"_285":248},"w",129.20042987641054,"h",171.5,"image_w",114.20042987641054,"image_h",{"_290":227,"_123":170,"_154":169,"_140":87},{"_290":125,"_123":291,"_154":292,"_140":293},"era",{"_290":288,"_123":166,"_154":165,"_140":168},"facet","style/paris-salon-painting","More Paris Salon painting",79,"moulding","natural","mount","ivory","480","https://img.ochreeditions.com/a/1261/480.jpg","960","https://img.ochreeditions.com/a/1261/960.jpg","1920","https://img.ochreeditions.com/a/1261/1920.jpg","met","the-met","The Metropolitan Museum of Art","city","New York",{"_314":324,"_316":325},{"_314":322,"_316":323},{"_314":320,"_316":321},{"_314":318,"_316":319},{"_314":315,"_316":317},"hex","#c4c9c0","weight",0.1031,"#827f5c",0.114,"#514e2f",0.2055,"#2b301c",0.2703,"#111a13",0.3071,"Jean Baptiste Camille Corot","jean-baptiste-camille-corot","bio","French, 1796–1875","nationality","French","birth_year",1796,"death_year",1875,"birth_place","Paris","death_place","about_excerpt","Corot trained with the landscape painters Achille-Etna Michallon and Jean-Victor Bertin, then spent 1825–28 in Italy, where his small oil sketches of Rome and the Campagna caught its clear light with great economy. He returned to Italy twice and travelled widely in France.","the-old-oak-nga-35089","The Old Oak",{"_42":394,"_224":395,"_328":396,"_330":331,"_332":397,"_334":398,"_336":-5,"_338":-5,"_339":-5,"_140":101},"c. 1870","Painting","oil on canvas","overall: 32.1 x 41.5 cm (12 5/8 x 16 5/16 in.) framed: 55.3 x 64.8 x 8.3 cm (21 3/4 x 25 1/2 x 3 1/4 in.)",41.5,32.1,1.2966128521684077,[379,380,381,382,383],{"_223":375,"_224":376,"_42":377,"_307":378},"Courtesy National Gallery of Art, Washington","1949.1.5","Jules Dupré painted this in about 1870, aged 59. It is now at the National Gallery of Art in Washington, DC.","The painting depicts a landscape with a field, trees, and a dramatic cloudy sky. Grass, rocks, and a group of large trees are visible in the center of the composition. Below the trees, there is a small shape that could be a person looking up. Farther back, there are some small triangular structures that might be houses. 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A donkey pulls a small carriage with two people near a bridge that crosses the lake in the distance to our left. The brick manor house is visible through a break in the full, deep green trees that line the horizon, which comes halfway up the composition. The clouds cast noticeable shadows in the brightly sunlit scene.",{"_298":436,"_300":437,"_302":438},"https://img.ochreeditions.com/m/1327.jpg?dl=1","/art/wivenhoe-park-essex-nga-1147","/galleries/style/painting-19/wivenhoe-park-essex-nga-1147",{"_294":295,"_296":297},{"_227":425,"_125":426,"_288":427},{"_279":422,"_281":423,"_283":406,"_285":424},116.2,69.8001953125,54.8001953125,{"_290":227,"_123":434,"_154":435,"_140":99},{"_290":125,"_123":431,"_154":432,"_140":433},{"_290":288,"_123":428,"_154":429,"_140":430},"era/19-britain","19th-century Britain",40,"style/georgian-britain","More Georgian Britain",63,"artist/john-constable","More by John Constable","https://img.ochreeditions.com/a/1327/480.jpg","https://img.ochreeditions.com/a/1327/960.jpg","https://img.ochreeditions.com/a/1327/1920.jpg",{"_314":452,"_316":453},{"_314":450,"_316":451},{"_314":448,"_316":449},{"_314":446,"_316":447},{"_314":444,"_316":445},"#796b3d",0.0911,"#7c8b94",0.0987,"#4d442a",0.2058,"#322d1a",0.2536,"#837f77",0.3508,"John Constable","john-constable","English, 1776–1837","English",1776,1837,"Constable painted the countryside of his native Suffolk, especially the Stour valley around his father’s mills, with an attention to weather and light new to English art.","george-washington-porthole-type-si-npg-npg-75-4","George Washington (Porthole type)",{"_42":521,"_224":522,"_328":523,"_330":-5,"_332":524,"_334":525,"_336":-5,"_338":-5,"_339":-5,"_140":103},"c. 1853","Sight: 89.5 x 71.9cm (35 1/4 x 28 5/16\")",71.9,89.5,0.80825,[506,507,508,509,510],{"_223":503,"_224":504,"_42":505,"_307":378},"Courtesy of the National Portrait Gallery, Smithsonian Institution","NPG.75.4","Rembrandt Peale painted this in about 1853, aged 75. It is now at the National Portrait Gallery in Washington, DC.",{"_118":500,"_501":502},"Artist: Rembrandt Peale, Sitter: George Washington, Current owner: National Portrait Gallery, Smithsonian Institution",{"_298":497,"_300":498,"_302":499},"https://img.ochreeditions.com/m/1848.jpg?dl=1","/art/george-washington-porthole-type-si-npg-npg-75-4","/galleries/style/painting-19/george-washington-porthole-type-si-npg-npg-75-4",{"_294":295,"_296":297},{"_227":486,"_125":487,"_288":488},{"_279":483,"_281":484,"_283":485,"_285":467},87.338375,104.5,72.338375,{"_290":227,"_123":495,"_154":496,"_140":89},{"_290":125,"_123":492,"_154":493,"_140":494},{"_290":288,"_123":489,"_154":490,"_140":491},"era/19","The 19th century",731,"style/painting","More paintings",1127,"artist/contemporaries-of-rembrandt-peale","Rembrandt Peale's contemporaries","https://img.ochreeditions.com/a/1848/480.jpg","https://img.ochreeditions.com/a/1848/960.jpg","https://img.ochreeditions.com/a/1848/1920.jpg","Born Westmoreland County, Virginia","source","Text from the National Portrait Gallery.","si","smithsonian","Smithsonian Institution",{"_314":519,"_316":520},{"_314":517,"_316":518},{"_314":515,"_316":516},{"_314":513,"_316":514},{"_314":511,"_316":512},"#885728",0.0904,"#ddc096",0.1109,"#1a140b",0.1232,"#a2886c",0.1274,"#4e371e",0.5481,"Rembrandt Peale","rembrandt-peale","22 Feb 1778 - 3 Oct 1860",1778,1860,"musidora-met-12699","Musidora",{"_42":582,"_224":583,"_328":584,"_330":585,"_332":586,"_334":587,"_336":588,"_338":589,"_339":590,"_140":91},"1813–35","united-states","romanticism","Oil on wood","28 1/8 x 22 1/2 in. (71.4 x 57.2 cm)",57.2,71.4,0.8032786885245902,[567,568,569,570,571],{"_223":304,"_224":305,"_42":306,"_307":308},"21.48","Thomas Sully painted this in 1813–35, aged about 30. It is now at The Met in New York.","Musidora, the heroine of a passage in James Thomson’s poem The Seasons, undresses to bathe in a secluded woodland stream, unaware that she is being watched, as the poem tells.","Musidora, by Thomas Sully, 1813–35",{"_298":564,"_300":565,"_302":566},"https://img.ochreeditions.com/m/856.jpg?dl=1","/art/musidora-met-12699","/galleries/style/painting-19/musidora-met-12699",{"_294":295,"_296":297},{"_227":553,"_125":554,"_288":555},{"_279":550,"_281":551,"_283":552,"_285":535},72.35409836065574,86.4,57.35409836065574,{"_290":227,"_123":562,"_154":563,"_140":91},{"_290":125,"_123":559,"_154":560,"_140":561},{"_290":288,"_123":556,"_154":557,"_140":558},"era/19-united-states","19th-century United States",198,"style/romanticism","More Romanticism",32,"artist/thomas-sully","More by Thomas Sully","https://img.ochreeditions.com/a/856/480.jpg","https://img.ochreeditions.com/a/856/960.jpg","https://img.ochreeditions.com/a/856/1920.jpg",{"_314":580,"_316":581},{"_314":578,"_316":579},{"_314":576,"_316":577},{"_314":574,"_316":575},{"_314":572,"_316":573},"#826237",0.1005,"#b59a6d",0.1094,"#2a1d10",0.1569,"#523f1d",0.1713,"#0c0d0a",0.4619,"Thomas Sully","thomas-sully","American, 1783–1872","American",1783,1872,"Horncastle, Lincolnshire","Philadelphia, Pennsylvania","Sully was taken from England to America as a child by his actor parents and settled in Philadelphia in 1808. After brief study with Gilbert Stuart, he went to London, where he worked under Benjamin West and came under the influence of Thomas Lawrence.","the-united-states-frigate-president-engaging-the-british-squ-nga-195475","The United States Frigate \"President\" Engaging the British Squadron, 1815",{"_42":641,"_224":642,"_328":643,"_330":585,"_332":644,"_334":645,"_336":-5,"_338":-5,"_339":-5,"_140":101},"1850","antebellum-america","overall: 71.12 × 106.68 cm (28 × 42 in.) framed: 89.85 × 125.1 × 6.03 cm (35 3/8 × 49 1/4 × 2 3/8 in.)",106.7,71.1,1.502016868353502,[626,627,628,629,630],{"_223":375,"_224":376,"_42":377,"_307":378},"2014.136.82","Fitz Henry Lane painted this in 1850, aged 46. It is now at the National Gallery of Art in Washington, DC.","This painting shows a maritime landscape with an expansive view of the ocean and sky. The horizon is positioned in the lower third of the composition, meeting a clear sky with soft, diffused clouds. Two ships appear to be engaged in a conflict on the green, wave-filled water. One large sailing ship with fully extended sails is near the bottom right corner of the painting. It has two tall masts and multiple white sails, and it flies the flag of the U.S.A in several places. The body of this ship is gray with a wide white stripe, and cannons stick out of small holes across the ship. Small people climb on ropes up into the sails, which are covered in small white and gray dots, perhaps indicating holes. Another ship is visible in the distance on the left side of the painting, and its cannons appear to be firing, with bursts of yellow flame and smoke drifting across the water. This ship flies several flags in shades of red, blue, and white. In the background, the faint gray silhouettes of other ships can be seen across the water. The ocean is depicted with smooth brushstrokes in shades of green and white, and the wide sky is a gradient, with light blue at the top and pale yellow towards the horizon. Faint white clouds drift in the top left corner of the painting.",{"_298":623,"_300":624,"_302":625},"https://img.ochreeditions.com/m/1691.jpg?dl=1","/art/the-united-states-frigate-president-engaging-the-british-squ-nga-195475","/galleries/style/painting-19/the-united-states-frigate-president-engaging-the-british-squ-nga-195475",{"_294":295,"_296":297},{"_227":615,"_125":616,"_288":617},{"_279":612,"_281":613,"_283":597,"_285":614},121.7,86.0378173828125,71.0378173828125,{"_290":227,"_123":621,"_154":622,"_140":89},{"_290":125,"_123":618,"_154":619,"_140":620},{"_290":288,"_123":556,"_154":557,"_140":558},"style/antebellum-america","More Antebellum America",33,"artist/contemporaries-of-fitz-henry-lane","Fitz Henry Lane's contemporaries","https://img.ochreeditions.com/a/1691/480.jpg","https://img.ochreeditions.com/a/1691/960.jpg","https://img.ochreeditions.com/a/1691/1920.jpg",{"_314":639,"_316":640},{"_314":637,"_316":638},{"_314":635,"_316":636},{"_314":633,"_316":634},{"_314":631,"_316":632},"#d0d4b7",0.0409,"#707058",0.0811,"#a09980",0.1555,"#c3baa8",0.3534,"#dbc9ac",0.3691,"Fitz Henry Lane","fitz-henry-lane","1804–1865",1804,1865,"the-aegean-sea-met-10480","The Aegean Sea",{"_42":696,"_224":697,"_328":698,"_330":585,"_332":699,"_334":700,"_336":701,"_338":308,"_339":702,"_140":89},"ca. 1877","hudson-river-school","54 in. × 84 1/4 in. (137.2 × 214 cm)",214,137.2,1.5761078998073217,[681,682,683,684,685],{"_223":304,"_224":305,"_42":306,"_307":308},"02.23","Frederic Edwin Church painted this in about 1877, aged about 48. It is now at The Met in New York.","The Aegean Sea, by Frederic Edwin Church, ca. 1877",{"_298":678,"_300":679,"_302":680},"https://img.ochreeditions.com/m/811.jpg?dl=1","/art/the-aegean-sea-met-10480","/galleries/style/painting-19/the-aegean-sea-met-10480",{"_294":295,"_296":297},{"_227":670,"_125":671,"_288":672},{"_279":667,"_281":668,"_283":652,"_285":669},229,150.77750611246944,135.77750611246944,{"_290":227,"_123":676,"_154":677,"_140":89},{"_290":125,"_123":673,"_154":674,"_140":675},{"_290":288,"_123":556,"_154":557,"_140":558},"style/hudson-river-school","More Hudson River School",27,"artist/frederic-edwin-church","More by Frederic Edwin Church","https://img.ochreeditions.com/a/811/480.jpg","https://img.ochreeditions.com/a/811/960.jpg","https://img.ochreeditions.com/a/811/1920.jpg",{"_314":694,"_316":695},{"_314":692,"_316":693},{"_314":690,"_316":691},{"_314":688,"_316":689},{"_314":686,"_316":687},"#c3a47b",0.1185,"#483a2b",0.1441,"#937e60",0.2008,"#6e5d48",0.213,"#2a2420",0.3236,"Frederic Edwin Church","frederic-edwin-church","American, 1826–1900",1826,1900,"Hartford, Connecticut","Church studied with Thomas Cole in the Catskills and became the most celebrated American landscape painter of the mid-nineteenth century.","the-sea-si-saam-1925-12-2","The Sea",{"_42":750,"_224":751,"_328":752,"_330":-5,"_332":753,"_334":754,"_336":-5,"_338":-5,"_339":-5,"_140":101},"1870","sight 29 7/8 x 49 3/4 in. (75.9 x 126.3 cm.)",126.3,75.9,1.6574585635359116,[735,736,737,738,739],{"_223":503,"_224":504,"_42":505,"_307":378},"Courtesy of the Smithsonian American Art Museum","1925.12.2","Edward Moran painted this in 1870, aged 41. It is now at the Smithsonian American Art Museum in Washington, DC.","The Sea, by Edward Moran, 1870",{"_298":732,"_300":733,"_302":734},"https://img.ochreeditions.com/m/1871.jpg?dl=1","/art/the-sea-si-saam-1925-12-2","/galleries/style/painting-19/the-sea-si-saam-1925-12-2",{"_294":295,"_296":297},{"_227":727,"_125":728,"_288":729},{"_279":724,"_281":725,"_283":708,"_285":726},141.3,91.201,76.201,{"_290":227,"_123":730,"_154":731,"_140":89},{"_290":125,"_123":492,"_154":493,"_140":494},{"_290":288,"_123":489,"_154":490,"_140":491},"artist/contemporaries-of-edward-moran","Edward Moran's contemporaries","https://img.ochreeditions.com/a/1871/480.jpg","https://img.ochreeditions.com/a/1871/960.jpg","https://img.ochreeditions.com/a/1871/1920.jpg",{"_314":748,"_316":749},{"_314":746,"_316":747},{"_314":744,"_316":745},{"_314":742,"_316":743},{"_314":740,"_316":741},"#847d6b",0.088,"#32322f",0.183,"#696559",0.1904,"#151515",0.2229,"#4a4842",0.3157,"Edward Moran","edward-moran","born Bolton, England 1829-died New York City 1901",1829,1901,"samuel-putnam-avery-si-npg-npg-72-88","Samuel Putnam Avery",{"_42":800,"_224":801,"_328":802,"_330":-5,"_332":803,"_334":804,"_336":-5,"_338":-5,"_339":-5,"_140":103},"1863","76.2cm x 63.5cm (30\" x 25\"), Accurate",0.7728689524325789,[785,786,787,788,789],{"_223":503,"_224":504,"_42":505,"_307":378},"NPG.72.88","Charles Loring Elliott painted this in 1863, aged 51. It is now at the National Portrait Gallery in Washington, DC.","Artist: Charles Loring Elliott, Sitter: Samuel Putnam Avery, Current owner: National Portrait Gallery, Smithsonian Institution",{"_298":782,"_300":783,"_302":784},"https://img.ochreeditions.com/m/1843.jpg?dl=1","/art/samuel-putnam-avery-si-npg-npg-72-88","/galleries/style/painting-19/samuel-putnam-avery-si-npg-npg-72-88",{"_294":295,"_296":297},{"_227":777,"_125":778,"_288":779},{"_279":773,"_281":774,"_283":775,"_285":776},61.37213714595474,75,46.37213714595474,60,{"_290":227,"_123":780,"_154":781,"_140":89},{"_290":125,"_123":492,"_154":493,"_140":494},{"_290":288,"_123":489,"_154":490,"_140":491},"artist/contemporaries-of-charles-loring-elliott","Charles Loring Elliott's contemporaries","https://img.ochreeditions.com/a/1843/480.jpg","https://img.ochreeditions.com/a/1843/960.jpg","https://img.ochreeditions.com/a/1843/1920.jpg",{"_314":798,"_316":799},{"_314":796,"_316":797},{"_314":794,"_316":795},{"_314":792,"_316":793},{"_314":790,"_316":791},"#2c251c",0.0427,"#c67a4b",0.0609,"#683e23",0.1078,"#9d7953",0.1607,"#c6a178",0.6279,"Charles Loring Elliott","charles-loring-elliott","12 Oct 1812 - 25 Aug 1868",1812,1868,"repose-met-10065","Repose",{"_42":855,"_224":856,"_328":857,"_330":585,"_332":858,"_334":859,"_336":860,"_338":308,"_339":-5,"_140":103},"1895","american-gilded-age","52 1/4 x 63 5/8 in. (132.7 x 161.6 cm)",161.6,132.7,1.2113795295613476,[840,841,842,843,844],{"_223":304,"_224":305,"_42":306,"_307":308},"1980.224","John White Alexander painted this in 1895, aged 39. It is now at The Met in New York.","Repose, by John White Alexander, 1895",{"_298":837,"_300":838,"_302":839},"https://img.ochreeditions.com/m/802.jpg?dl=1","/art/repose-met-10065","/galleries/style/painting-19/repose-met-10065",{"_294":295,"_296":297},{"_227":829,"_125":830,"_288":831},{"_279":826,"_281":827,"_283":811,"_285":828},176.6,148.40162686958803,133.40162686958803,{"_290":227,"_123":835,"_154":836,"_140":89},{"_290":125,"_123":832,"_154":833,"_140":834},{"_290":288,"_123":556,"_154":557,"_140":558},"style/american-gilded-age","More American Gilded Age",67,"artist/contemporaries-of-john-white-alexander","John White Alexander's contemporaries","https://img.ochreeditions.com/a/802/480.jpg","https://img.ochreeditions.com/a/802/960.jpg","https://img.ochreeditions.com/a/802/1920.jpg",{"_314":853,"_316":854},{"_314":851,"_316":852},{"_314":849,"_316":850},{"_314":847,"_316":848},{"_314":845,"_316":846},"#613c27",0.1001,"#806c50",0.1749,"#584a3c",0.1752,"#3a2d24",0.2575,"#a9a486",0.2923,"John White Alexander","john-white-alexander","American, 1856–1915",1856,1915,"Allegheny, Pennsylvania","a-woman-at-the-elysee-montmartre-femme-a-l-elysee-montmartre-aic-222002","A Woman at the Élysée Montmartre (Femme à l’Élysée Montmartre)",{"_42":914,"_224":915,"_328":916,"_330":331,"_332":917,"_334":918,"_336":-5,"_338":-5,"_339":-5,"_140":103},"1888","90.5 × 72 cm (35 5/8 × 28 3/8 in.)",72,90,0.7875838926174497,[900,901,902,903,904],{"_223":896,"_224":897,"_42":898,"_307":899},"Courtesy of the Art Institute of Chicago","2014.645","Louis Anquetin painted this in 1888, aged 27. It is now at the Art Institute of Chicago.",{"_118":894,"_501":895},"A work made of oil on canvas.",{"_298":891,"_300":892,"_302":893},"https://img.ochreeditions.com/m/363.jpg?dl=1","/art/a-woman-at-the-elysee-montmartre-femme-a-l-elysee-montmartre-aic-222002","/galleries/style/painting-19/a-woman-at-the-elysee-montmartre-femme-a-l-elysee-montmartre-aic-222002",{"_294":295,"_296":297},{"_227":886,"_125":887,"_288":888},{"_279":883,"_281":884,"_283":885,"_285":867},85.88255033557047,105,70.88255033557047,{"_290":227,"_123":889,"_154":890,"_140":89},{"_290":125,"_123":291,"_154":292,"_140":293},{"_290":288,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-louis-anquetin","Louis Anquetin's contemporaries","https://img.ochreeditions.com/a/363/480.jpg","https://img.ochreeditions.com/a/363/960.jpg","https://img.ochreeditions.com/a/363/1920.jpg","Like Henri de Toulouse-Lautrec, Anquetin's work focused on modern life, particularly Parisian nightlife. This painting depicts an unescorted woman—unusual at that time—walking through the garden of the Élysée Montmartre, a dance hall in Montmartre.","Text from the Art Institute of Chicago.","aic","art-institute-of-chicago","Art Institute of Chicago","Chicago",{"_314":912,"_316":913},{"_314":910,"_316":911},{"_314":908,"_316":909},{"_314":907,"_316":514},{"_314":905,"_316":906},"#7e3522",0.085,"#795d38","#9d9c7f",0.2147,"#5c7263",0.265,"#323028",0.3244,"Louis Anquetin","louis-anquetin","French, 1861–1932",1861,1932,"the-knapp-children-met-13095","The Knapp Children",{"_42":965,"_224":966,"_328":967,"_330":585,"_332":586,"_334":917,"_336":-5,"_338":-5,"_339":-5,"_140":101},"ca. 1833–34","70 x 57 1/2 in. (177.8 x 146.1 cm)",146.1,177.8,0.8191603875134553,[950,951,952,953,954],{"_223":304,"_224":305,"_42":306,"_307":308},"59.114","Samuel Lovett Waldo painted this in about 1833–34, aged about 47. It is now at The Met in New York.","The Knapp Children, by Samuel Lovett Waldo, ca. 1833–34",{"_298":947,"_300":948,"_302":949},"https://img.ochreeditions.com/m/861.jpg?dl=1","/art/the-knapp-children-met-13095","/galleries/style/painting-19/the-knapp-children-met-13095",{"_294":295,"_296":297},{"_227":942,"_125":943,"_288":944},{"_279":939,"_281":940,"_283":941,"_285":925},160.64671689989237,192.8,145.64671689989237,{"_290":227,"_123":945,"_154":946,"_140":89},{"_290":125,"_123":559,"_154":560,"_140":561},{"_290":288,"_123":556,"_154":557,"_140":558},"artist/contemporaries-of-samuel-lovett-waldo","Samuel Lovett Waldo's contemporaries","https://img.ochreeditions.com/a/861/480.jpg","https://img.ochreeditions.com/a/861/960.jpg","https://img.ochreeditions.com/a/861/1920.jpg",{"_314":963,"_316":964},{"_314":961,"_316":962},{"_314":959,"_316":960},{"_314":957,"_316":958},{"_314":955,"_316":956},"#b2ada9",0.0622,"#937856",0.0977,"#4c433b",0.2326,"#4e2b25",0.2356,"#231f26",0.3719,"Samuel Lovett Waldo","samuel-lovett-waldo","1783–1861","senator-thomas-hart-benton-cma-120877","Senator Thomas Hart Benton",{"_42":1022,"_224":1023,"_328":1024,"_330":585,"_332":1025,"_334":1026,"_336":-5,"_338":-5,"_339":-5,"_140":103},"1820s","american-colonial-and-federal","oil on wood","Unframed: 71.4 x 59.6 cm (28 1/8 x 23 7/16 in.)",59.6,0.8123529411764706,[1007,1008,1009,1010,1011],{"_223":1003,"_224":1004,"_42":1005,"_307":1006},"Courtesy of the Cleveland Museum of Art","1941.597","Matthew Harris Jouett painted this in the 1820s, aged about 33. It is now at the Cleveland Museum of Art.","Senator Thomas Hart Benton, by Matthew Harris Jouett, 1820s",{"_298":1000,"_300":1001,"_302":1002},"https://img.ochreeditions.com/m/547.jpg?dl=1","/art/senator-thomas-hart-benton-cma-120877","/galleries/style/painting-19/senator-thomas-hart-benton-cma-120877",{"_294":295,"_296":297},{"_227":992,"_125":993,"_288":994},{"_279":990,"_281":551,"_283":991,"_285":535},73.00200000000001,58.00200000000001,{"_290":227,"_123":998,"_154":999,"_140":89},{"_290":125,"_123":995,"_154":996,"_140":997},{"_290":288,"_123":556,"_154":557,"_140":558},"style/american-colonial-and-federal","More American colonial and Federal art",29,"artist/contemporaries-of-matthew-harris-jouett","Matthew Harris Jouett's contemporaries","https://img.ochreeditions.com/a/547/480.jpg","https://img.ochreeditions.com/a/547/960.jpg","https://img.ochreeditions.com/a/547/1920.jpg","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_314":1020,"_316":1021},{"_314":1018,"_316":1019},{"_314":1016,"_316":1017},{"_314":1014,"_316":1015},{"_314":1012,"_316":1013},"#b0a598",0.0349,"#8a6a5d",0.0523,"#544a41",0.2671,"#36302a",0.3188,"#171513",0.3269,"Matthew Harris Jouett","matthew-harris-jouett","American, 1787/88–1827",1787,1827,"hunting-in-the-pontine-marshes-nga-70970","Hunting in the Pontine Marshes",{"_42":1073,"_224":1074,"_328":1075,"_330":331,"_332":1076,"_334":1077,"_336":-5,"_338":-5,"_339":-5,"_140":103},"1833","overall: 100 × 137 cm (39 3/8 × 53 15/16 in.) framed: 136.53 × 173.36 × 16.51 cm (53 3/4 × 68 1/4 × 6 1/2 in.)",137,100,1.3795890872347591,[1058,1059,1060,1061,1062],{"_223":375,"_224":376,"_42":377,"_307":378},"1989.3.1","Horace Vernet painted this in 1833, aged 44. It is now at the National Gallery of Art in Washington, DC.","A leafless, ash-white tree trunk has fallen from a broken stump into the wide V of a neighboring tree at the edge of a body of water near a verdant forest in this horizontal landscape painting. The fallen trunk creates a diagonal from near the lower left corner to the upper right. As it fell, it sheared off a substantial branch from a neighboring tree with a dark trunk. The bark where the damaged branch has pulled away is honey-orange, the same color as the leaves at the canopy, which has been pinned under the fallen trunk. Trees, vines, and other vegetation fill the space around and beyond this pair. In the lower right corner of the painting, vines grow over a broken stump, which deep in shadow. Between the stump and fallen tree, the peanut-brown surface of the water is smooth. Tiny in scale beneath the fallen tree and easily overlooked, there are two men and a dog in a boat. One man stands at the back of the boat and pushes it along with a long pole. He wears a tall, brown, cloth hat, a white shirt rolled up to the elbows under a blue vest, and loose-fitting pants. A second man wears a flat-topped, white hat with a black brim, a long, forest-green jacket, and tight-fitting slate-blue pants. He braces a rifle against one shoulder and shoots into the forest. The dog is white with brown spots, and it stands with its front paws on the edge of the boat, presumably ready to spring after the target. A patch of blue sky with puffy white clouds is seen above the trees in the upper left corner. The artist signed and dated the work in the lower right corner: “H. Vernet Rome 1833.”",{"_298":1055,"_300":1056,"_302":1057},"https://img.ochreeditions.com/m/1617.jpg?dl=1","/art/hunting-in-the-pontine-marshes-nga-70970","/galleries/style/painting-19/hunting-in-the-pontine-marshes-nga-70970",{"_294":295,"_296":297},{"_227":1050,"_125":1051,"_288":1052},{"_279":1047,"_281":1048,"_283":1032,"_285":1049},152,114.304931640625,99.304931640625,{"_290":227,"_123":1053,"_154":1054,"_140":89},{"_290":125,"_123":291,"_154":292,"_140":293},{"_290":288,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-horace-vernet","Horace Vernet's contemporaries","https://img.ochreeditions.com/a/1617/480.jpg","https://img.ochreeditions.com/a/1617/960.jpg","https://img.ochreeditions.com/a/1617/1920.jpg",{"_314":1071,"_316":1072},{"_314":1069,"_316":1070},{"_314":1067,"_316":1068},{"_314":1065,"_316":1066},{"_314":1063,"_316":1064},"#bab79d",0.0649,"#6b492c",0.0676,"#696141",0.1498,"#443d2e",0.3108,"#282623",0.4069,"Horace Vernet","horace-vernet","French, 1789–1863",1789,1863,"before-the-ballet-nga-1158","Before the Ballet",{"_42":1128,"_224":1129,"_328":1130,"_330":331,"_332":1131,"_334":1132,"_336":337,"_338":337,"_339":1133,"_140":75},"1890/1892","impressionism","overall: 40 x 88.9 cm (15 3/4 x 35 in.) framed: 59.7 x 109.8 x 8.2 cm (23 1/2 x 43 1/4 x 3 1/4 in.)",88.9,2.303712035995501,[1113,1114,1115,1116,1117],{"_223":375,"_224":376,"_42":377,"_307":378},"1942.9.19","Edgar Degas painted this in 1890/1892, aged about 56. It is now at the National Gallery of Art in Washington, DC.","Two dancers in robin’s-egg-blue tutus sit on a bench in the foreground, one bending low to reach her foot, the other pulling on her pink tights, while across a broad expanse of floor four more practise with legs raised high.","In a dance studio, two ballerinas wearing knee-length tutus and ballet slippers sit on a bench and stretch to our right while four more pose at the back of the space, to our left, in this long, horizontal painting. The scene and dancers are loosely painted so many features are indistinct. All the women have light skin and dark brown hair. Each pale, robins’ egg-blue costume has a low-cut, tightly fitting, sleeveless bodice and a full skirt. Dabs of off white, teal, and blue suggest flowers lining the deep U of the neckline at the front and down the back of each bodice. Closest to us and nearly brushing the edges of the lower right corner of the canvas, one dancer sits on the end of a wooden bench and leans down between her legs, her feet widely planted. She rests her torso on an elbow folded onto one knee as she reaches for her left foot, farther from us, with her other hand. Her hair is pulled up and her face, looking downward, is deep in shadow. Sitting behind her on the bench, to our left, a second dancer lifts her right leg, toe pointing, as she pulls on her pale pink tights. Her other leg stretches straight, pointed toe brushing the floor, in front of her. This woman’s hair hangs loose around her shoulders. The pair is brightly lit from a source to our right, and an arched area of electric blue and mustard yellow behind them is difficult to interpret. The floor, which takes up about two-thirds of the composition, is painted with dabs of teal blue, pale fuchsia pink, and caramel brown. It leads us back to the upper left corner of the painting where four more four ballerinas stand in a line. The pair to our left stands with their backs to us, facing the wall with their right legs raised to shoulder height, toes pointed. The pair to our right faces us. They also stand with their right legs raised, creating a wide angle with their standing legs. All four ballerinas bend their arms gently at the elbow, and some tip their heads toward the raised legs. The rightmost dancer is illuminated by a pair of French doors at the back corner, at the top center of the painting. The wall behind the bench is streaked with mint green over honey brown, and the wall at the back of the room is leather brown. The visible, soft brushstrokes give the image a blurred, ethereal appearance in the dimmed studio. The artist signed the painting in the lower left corner, “Degas.”",{"_298":1110,"_300":1111,"_302":1112},"https://img.ochreeditions.com/m/1335.jpg?dl=1","/art/before-the-ballet-nga-1158","/galleries/style/painting-19/before-the-ballet-nga-1158",{"_294":295,"_296":297},{"_227":1102,"_125":1103,"_288":1104},{"_279":1099,"_281":1100,"_283":1084,"_285":1101},103.9,53.589892578124996,38.589892578124996,{"_290":227,"_123":1108,"_154":1109,"_140":75},{"_290":125,"_123":1105,"_154":1106,"_140":1107},{"_290":288,"_123":166,"_154":165,"_140":168},"style/impressionism","More Impressionism",53,"artist/edgar-degas","More by Edgar Degas","https://img.ochreeditions.com/a/1335/480.jpg","https://img.ochreeditions.com/a/1335/960.jpg","https://img.ochreeditions.com/a/1335/1920.jpg",{"_314":1126,"_316":1127},{"_314":1124,"_316":1125},{"_314":1122,"_316":1123},{"_314":1120,"_316":1121},{"_314":1118,"_316":1119},"#857e66",0.0737,"#535e4f",0.1133,"#423113",0.125,"#605339",0.2455,"#423a2d",0.4425,"Edgar Degas","edgar-degas","French, 1834–1917",1834,1917,"Degas trained in the academic tradition, admired Ingres and spent three years in Italy copying earlier art, but turned to modern Paris for his subjects: dancers, racecourses, laundresses, milliners and café singers.","somali-man-si-saam-1985-66-165-703","Somali Man",{"_42":1177,"_224":1178,"_328":1179,"_330":-5,"_332":1180,"_334":1181,"_336":-5,"_338":-5,"_339":-5,"_140":101},"ca. 1893","42 x 28 in. (106.7 x 71.1 cm.)",0.6613333333333333,[1162,1163,1164,1165,1166],{"_223":503,"_224":504,"_42":505,"_307":378},"1985.66.165,703","Antonion Zeno Shindler painted this in about 1893, aged 80. It is now at the Smithsonian American Art Museum in Washington, DC.","Somali Man, by Antonion Zeno Shindler, ca. 1893",{"_298":1159,"_300":1160,"_302":1161},"https://img.ochreeditions.com/m/1976.jpg?dl=1","/art/somali-man-si-saam-1985-66-165-703","/galleries/style/painting-19/somali-man-si-saam-1985-66-165-703",{"_294":295,"_296":297},{"_227":1154,"_125":1155,"_288":1156},{"_279":1152,"_281":612,"_283":1153,"_285":597},85.56426666666667,70.56426666666667,{"_290":227,"_123":1157,"_154":1158,"_140":89},{"_290":125,"_123":492,"_154":493,"_140":494},{"_290":288,"_123":489,"_154":490,"_140":491},"artist/contemporaries-of-antonion-zeno-shindler","Antonion Zeno Shindler's contemporaries","https://img.ochreeditions.com/a/1976/480.jpg","https://img.ochreeditions.com/a/1976/960.jpg","https://img.ochreeditions.com/a/1976/1920.jpg",{"_314":1175,"_316":1176},{"_314":1173,"_316":1174},{"_314":1171,"_316":1172},{"_314":1169,"_316":1170},{"_314":1167,"_316":1168},"#5d2516",0.1217,"#bca599",0.16,"#99969e",0.1622,"#4f4440",0.2507,"#99705b",0.3054,"Antonion Zeno Shindler","antonion-zeno-shindler","1813 Bulgaria-died Washington, DC 1899",1813,1899,{"_1183":-5,"_1184":1185,"_1186":1187,"_1188":8,"_1189":1190,"_1191":8},"user","csrf","5baadcff2e8f0594b0ecaaba67d4989375bd89fe","cartCount",0,"dropLive","legal",[1192,1193,1194,1195,1196,1197,1198,1199,1200,1201,1202,1203],"uploadsEnabled",{"_224":1226,"_20":1227},{"_224":1224,"_20":1225},{"_224":1222,"_20":1223},{"_224":1220,"_20":1221},{"_224":1218,"_20":1219},{"_224":1216,"_20":1217},{"_224":1214,"_20":1215},{"_224":1212,"_20":1213},{"_224":1210,"_20":1211},{"_224":1208,"_20":1209},{"_224":1206,"_20":1207},{"_224":1204,"_20":1205},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]