Floor plan

Style galleriesPaintings of the 19th century

Paintings of the 19th century

Dying Buffalo, Shot with an Arrow, by George Catlin, 1832-1833
Symbolic Head, by Odilon Redon, c. 1890
A pale-skinned child wearing a short-sleeved red dress and a white bonnet stands before a shadowy green forest under dark clouds in this vertical portrait painting. The child’s over-large head is out of scale with the rest of her body. She looks toward us with brown eyes in her wide, round-jawed face. She has a broad nose, and her pale lips are set in a line. Her lace bonnet lines her black hair like frothy seafoam and is tied with spring-green bows at the top and under her right ear, to our left. The low neckline of her crimson dress is lined with a wide white ruffle. Red fabric covers her hands, which are gathered in front of her waist. Gray clouds sweep over the hazy green forest in the background. A gnarled tree grows up the left side of the painting, framing the girl.
A work made of oil on paper, laid onto cardboard.
A young, pale-skinned woman sits with her back to us as she looks at a painting on an easel in a studio in this vertical painting. She sits in a ladder-back wood chair so her knees angle away from us, toward the back right corner of the studio. We look onto the side of her right cheek as she leans forward. Her brown hair is combed back and twisted into a bun wrapped with a raspberry-red ribbon that trails down her back. Touches of pearl white, pale pink, and silvery gray suggest flowers by the ear we can see. A cream-white chemise falls off the shoulder closer to us, under a grass-green bodice. She holds a mandolin down by her right side, which is closer to us, to nestle in the folds of her voluminous, olive-green skirt. She reaches forward with her other hand to touch the lower left corner of the painting resting on the easel. That vertically-oriented scene is loosely painted and shows a few people gathered in a landscape. A white and black dog stands with one front leg lifted to the left of the woman's chair, looking at her. The wall opposite us is parchment white over a strip of molding, like a high chair rail, and muted mauve pink below. An L-shaped pipe leads to an iron stove to our left of center. A narrow shelf tucked into the L of the pipe holds three hand-sized sculptures or casts. Small paintings and plaster casts hang around it on the wall above the molding. The artist signed the painting in the lower right: “COROT.”
The Sea, by Edward Moran, 1870
A work made of oil on canvas.

The works in this room are listed below.

Works in this room

Paintings made in the 19th century, from every museum.

First room, north wall

  1. Dying Buffalo, Shot with an Arrow, by George Catlin, 1832-1833
    Dying Buffalo, Shot with an ArrowGeorge Catlin, 1832-1833Courtesy of the Smithsonian American Art Museum
  2. Symbolic Head, by Odilon Redon, c. 1890
    Symbolic HeadOdilon Redon, c. 1890Courtesy of the Cleveland Museum of Art
  3. A pale-skinned child wearing a short-sleeved red dress and a white bonnet stands before a shadowy green forest under dark clouds in this vertical portrait painting. The child’s over-large head is out of scale with the rest of her body. She looks toward us with brown eyes in her wide, round-jawed face. She has a broad nose, and her pale lips are set in a line. Her lace bonnet lines her black hair like frothy seafoam and is tied with spring-green bows at the top and under her right ear, to our left. The low neckline of her crimson dress is lined with a wide white ruffle. Red fabric covers her hands, which are gathered in front of her waist. Gray clouds sweep over the hazy green forest in the background. A gnarled tree grows up the left side of the painting, framing the girl.
    Portrait of a ChildEdward Hicks, c. 1840Courtesy National Gallery of Art, Washington
  4. A work made of oil on paper, laid onto cardboard.
    A Farmhouse in the Bavarian AlpsJohann Georg von Dillis, c. 1825Courtesy of the Art Institute of Chicago

First room, south wall

  1. A young, pale-skinned woman sits with her back to us as she looks at a painting on an easel in a studio in this vertical painting. She sits in a ladder-back wood chair so her knees angle away from us, toward the back right corner of the studio. We look onto the side of her right cheek as she leans forward. Her brown hair is combed back and twisted into a bun wrapped with a raspberry-red ribbon that trails down her back. Touches of pearl white, pale pink, and silvery gray suggest flowers by the ear we can see. A cream-white chemise falls off the shoulder closer to us, under a grass-green bodice. She holds a mandolin down by her right side, which is closer to us, to nestle in the folds of her voluminous, olive-green skirt. She reaches forward with her other hand to touch the lower left corner of the painting resting on the easel. That vertically-oriented scene is loosely painted and shows a few people gathered in a landscape. A white and black dog stands with one front leg lifted to the left of the woman's chair, looking at her. The wall opposite us is parchment white over a strip of molding, like a high chair rail, and muted mauve pink below. An L-shaped pipe leads to an iron stove to our left of center. A narrow shelf tucked into the L of the pipe holds three hand-sized sculptures or casts. Small paintings and plaster casts hang around it on the wall above the molding. The artist signed the painting in the lower right: “COROT.”
    Corot's Studio: Woman Seated Before an Easel, a Mandolin in her HandJean Baptiste Camille Corot, c. 1868Courtesy National Gallery of Art, Washington
  2. The Sea, by Edward Moran, 1870
    The SeaEdward Moran, 1870Courtesy of the Smithsonian American Art Museum
  3. A work made of oil on canvas.
    Rabbit Warren at Pontoise, SnowCamille Pissarro, 1879Courtesy of the Art Institute of Chicago

Second room, south wall

  1. Newburyport Meadows, by Martin Johnson Heade, ca. 1876–81
    Newburyport MeadowsMartin Johnson Heade, ca. 1876–81Courtesy of The Metropolitan Museum of Art
  2. Still Life with Fan and Roses, by Thomas Hovenden, 1874
    Still Life with Fan and RosesThomas Hovenden, 1874Courtesy of the Smithsonian American Art Museum
  3. The image shows a child standing upright, facing forward. They have fair skin, rounded cheeks, short reddish-brown hair, and are wearing a white dress with lace details and a pink ribbon, white pants with lace trim, blue shoes, a red necklace and a heart-shaped pendant. They hold a light pink rose in their left hand and a small black drawstring purse with red accents in their right hand. The background is a gradient from dark green to light green, with a floral-patterned carpet in black, brown, and red on the floor.
    Girl with Reticule and RoseJoseph Whiting Stock, c. 1840Courtesy National Gallery of Art, Washington
  4. Painted in muted lime green, plum purple, buttercup yellow, slate and royal blue, the head and shoulders of a man with peach-colored skin sitting in front of a window looks at us in this stylized, vertical portrait. His body and face are angled to our right but he looks at us from the corners of his eyes, which are grass-green with touches of yellow. One cobalt-blue eyebrow is cocked, and shading in denim blue, butter yellow, and fern green create hollows under both eyes. His flat nose has a broad bridge, and his pale pink lips are closed, the far corner pulled slightly up. His mustache is painted with visible strokes of forest green and his ginger-orange beard is trimmed along his prominent, jutting chin. His short, dark hair is brushed back from his temples and is painted with strokes of pine green, navy blue, and coral orange. His shirt has a wide, golden yellow stripe along the collar above indigo blue, under a grayish-violet purple jacket. The wall over his shoulder, in the upper left corner, is painted vivid lime green with long, vertical brushstrokes. The view through the window beyond his other shoulder is of vegetation and mountains. The portrait is painted with visible brushstrokes throughout, and is especially loose in the background, hair, and jacket. An inscription in dark green script in the upper left reads, “a l'ami Carriere PGauguin.” A second inscription in the lower left is written with dark brown paint: “l'ami Laval PGo.”
    Self-Portrait Dedicated to CarrièrePaul Gauguin, 1888 or 1889Courtesy National Gallery of Art, Washington

Second room, north wall

  1. A work made of watercolor on paper watermarked j. whatman with pencil, pen, ink and gold.
    I'timad-ud-Daula's Tomb at AgraUnrecorded Indian maker, c. 1820Courtesy of the Art Institute of Chicago
  2. Watercolor
    Pink Note–Shelling PeasJames McNeill Whistler, 1882-1884Courtesy of the National Museum of Asian Art, Smithsonian Institution
  3. A work made of oil on canvas.
    Landscape at ChaillyFrédéric Bazille, 1865Courtesy of the Art Institute of Chicago

Third room, north wall

  1. A work made of oil on canvas.
    In the WingsJean Louis Forain, 1899Courtesy of the Art Institute of Chicago
  2. Seventh Regiment on Review, Washington Square, New York, by Otto Boetticher, 1851
    Seventh Regiment on Review, Washington Square, New YorkOtto Boetticher, 1851Courtesy of The Metropolitan Museum of Art