Provenance

Mr. and Mrs. Raymond J. Horowitz

Horowitz, Raymond J. and Margaret

Explore selected works

We look across a profusion of vivid red, blush-pink, and white flowers lining a stony shoreline in this almost square landscape painting. The scene is loosely painted so some details are indistinct, especially the blossoms of the flowers, which are dabs of pink and red. The flowers have long, sage-green stems shaded with flicks of navy blue. The field of flowers covers the bottom third of the composition, and a vibrant green and blue bush peeks in from the right edge of the painting. Beyond the field of flowers is a powder-blue body of water with low, rocky formations, like giant, shallow boulders rolling across the surface of the water. The rocks are painted in shades of white tinged with pink, blue, and green with daubs of rust orange along their edges. An outcropping farther in the distance to our left is carpeted with patches of pea green and canary yellow. One rock formation in the middle of the composition almost spans the width of the painting. Beyond it is a small boat with white sails drifting on the water. In the deep distance is another long finger of oyster-white land stretching across the left half of the horizon, which comes two-thirds of the way up the composition. A lone bird flies through the milk-white sky that fills the top third of the scene. Some patches along the bottom edge of the painting are beige, where the canvas on which this is painted is visible. The artist signed and dated the lower left, “Childe Hassam 1891.”
Childe Hassam, Poppies, Isles of Shoals, 1891, oil on canvas, Gift of Margaret and Raymond Horowitz, 1997.135.1

Poppies, Isles of Shoals

Childe Hassam · 1891 · oil on canvas ·  Accession ID  1997.135.1

This painting depicts a white house in a lush green setting. The house has dark windows and a red chimney, partially obscured by trees that cast dappled shadows on the house's facade. The front door appears to be open. A light brown path runs parallel to the house at the bottom of the image, and small gray steps lead up the grass towards the house. The color palette includes vibrant greens for the foliage and a light blue for the sky behind the house. The brushstrokes are loose and impressionistic, creating a soft and textured appearance in the trees, grass, and building.
Dennis Miller Bunker, Roadside Cottage, 1889, oil on canvas, Gift of Raymond J. and Margaret Horowitz, 2007.94.1

Roadside Cottage

Dennis Miller Bunker · 1889 · oil on canvas ·  Accession ID  2007.94.1

This painting depicts a view from an elevated position. The horizon is in the center of the painting, where the blue sky meets distant green hills. In the middle there is a small structure with a pointed roof and a tall smokestack, partially obscured by green trees. Closest to us, a gray stone bridge curves gracefully in the lower half of the scene, crossing from a gray building on the left towards the bottom right corner of the painting. The bridge spans a wide, light blue river flowing towards the distance. There is a tall tree in the left corner, partially covering the building behind it. The brushstrokes in the painting are soft, and the color palette consists of light pastels and green tones.
Julian Alden Weir, U.S. Thread Company Mills, Willimantic, Connecticut, c. 1893/1897, oil on canvas, Gift of Margaret and Raymond Horowitz, in Honor of the 50th Anniversary of the National Gallery of Art, 1990.74.1

U.S. Thread Company Mills, Willimantic, Connecticut

Julian Alden Weir · c. 1893/1897 · oil on canvas ·  Accession ID  1990.74.1

Shown from the hips up, a mostly nude woman with pale skin and dark hair pulled up into a loose bun sits with her back to us in this vertical pastel. Touches of sunshine yellow, scarlet red, and black suggest a pattern on the spring green cloth loosely encircling her hips along the bottom edge of the paper. She seems to hold her hands in front of her body so her elbows are bent and she looks down, perhaps at something in her lap. Her black hair is flecked with white to suggest glinting light. The background is filled with a golden yellow field interspersed with hazy turquoise, tomato red, sky blue, and black shapes. It is loosely rendered with pastel to create a blurry effect. Eventually it becomes evident that it is a Japanese screen with clusters of people, landscape, and perhaps a courtyard. The artist signed the work with red letters near the woman’s right hip: “Wm M Chase.”
William Merritt Chase, Study of Flesh Color and Gold, 1888, pastel on paper coated with mauve-gray grit (on strainer), Gift of Raymond J. and Margaret Horowitz, 2007.94.2

Study of Flesh Color and Gold

William Merritt Chase · 1888 · pastel on paper coated with mauve-gray grit (on strainer) ·  Accession ID  2007.94.2

George Bellows, Study for Nude with Hexagonal Quilt, 1924, charcoal and black crayon on wove paper mounted to paperboard, Gift of Mr. and Mrs. Raymond J. Horowitz, 1986.82.1

Study for Nude with Hexagonal Quilt

George Bellows · 1924 · charcoal and black crayon on wove paper mounted to paperboard ·  Accession ID  1986.82.1