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Corcoran Gallery of Art

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Three people gather around the doorway of a small cottage set in a sun-warmed yard in this almost square painting. At the center of the composition, the tan cottage has a faded, peach-tinged thatched roof and a window with an open shutter to the right of the door. The top half of the Dutch door is swung open, and a woman wearing a white cap and blue, low-cut garment leans her forearms along the bottom half from inside the structure. Two men flank the door. One stands to our left, looking at the woman in profile. He wears a straw-colored hat, white shirt, ruby-red vest, and dark pants. To our right, a seated man wears a brown hat, a sage-green coat, and slate-blue pants. A rickety fence to our left separates us from a grove of trees, the massive green canopies almost filling the top left quadrant of the painting. Another picket fence comes toward us from the right side of the cottage. It opens onto the dirt patch that nearly spans the lower edge of the canvas. To our right, the kinked branches of a mostly dead tree with only a few sparse leaves looms above the horizon, which comes about a quarter of the way up the composition. Beyond it, a flat, grassy field stretches back to the edge of a body of water where two cows and possibly other animals stand and lie in the distance. Bands of trees become hazier in the distance. A few birds perch atop the cottage roof and more wheel above, painted as tiny strokes against milky-white clouds that give way to a pale blue sky. The artist signed the lower left corner, “G. C. Bingham.”
George Caleb Bingham, Cottage Scenery, 1845, oil on canvas, Corcoran Collection (Museum Purchase, Gallery Fund and Gifts of Charles C. Glover, Jr., Orme Wilson, and Mr. and Mrs. Lansdell K. Christie, 1961), 2014.79.6

Cottage Scenery

George Caleb Bingham · 1845 · oil on canvas ·  Accession ID  2014.79.6

The sculpture depicts a horse in a rearing position with one front leg raised and bent. It is made of dark bronze with a smooth reflective surface and darker patina in some areas. The horse's nostrils are flared, and its mane appears flowing. The sculpture rests on an oval base, providing stability. The artwork is slightly larger than life, emphasizing the presence and vitality of the horse.
Antoine-Louis Barye, Turkish Horse, Right Foreleg Raised, model n.d., cast c. 1857/1873, bronze, Corcoran Collection (Museum Purchase, 1873), 2015.19.3844

Turkish Horse, Right Foreleg Raised

Antoine-Louis Barye · model n.d., cast c. 1857/1873 · bronze ·  Accession ID  2015.19.3844

The image depicts a ceramic pharmacy jar with a detailed portrayal of a man with a dark beard and a white turban, appearing to read a script. The sculpture is made from ceramics and features vivid colors such as yellows, blues, and greens. The upper and lower bands of the jar have alternating horizontal stripes of yellow and blue, while the central band showcases ornate designs including leafy wreaths and stylized floral motifs. The jar gives the impression of an elaborately decorated, traditional apothecary vessel, finely painted with intricate patterns and an illustration for historical context.
Faenza 16th Century, Albarello with black-bearded physician and trophies of arms, c. 1550/1575, tin-glazed earthenware (maiolica), Corcoran Collection (William A. Clark Collection, 1926), 2015.19.4027

Albarello with black-bearded physician and trophies of arms

Faenza 16th Century · c. 1550/1575 · tin-glazed earthenware (maiolica) ·  Accession ID  2015.19.4027

A woman to our right kneels with her hands in prayer as she looks to our left at a vision in a landscape in this horizontal painting. The vision is of a person wearing gold armor, who is flanked by two more people, all encased an oval-shaped full-body halo. The people all have smooth, pale skin, and the women have ash-blond hair. The armored person, Saint Michael, has copper-colored hair and he hovers, feet hanging loose, low over the ground. His body is angled sharply to our right. Both of his arms are outstretched in front of him at shoulder height, and he holds up a gold sword with his right hand. The end of the long sword disappears into the leafy canopy above. Pale pink and blue wings spread from his shoulders. The people to either side of him both wear white dresses patterned with gold designs, and each stands on a shell-pink cloud. The woman closer to us has a halo and holds a silver helmet. The woman farther from us holds out a long, slender, silver sword with both hands. The encompassing halo is ringed with narrow flames. This trio and the halo take up the leftmost third of the composition. They are backed and surrounded by olive-green and golden brown trees. A thick tree trunk immediately to their right has two gouges taken from near the roots. The kneeling woman wears a black scarf and pink jacket-like garment over a long beige dress. She faces our left in profile, looking up at Saint Michael with her lips parted and her eyebrows lifted. Six cream-white sheep stand and lie on the ground behind her, to our right. A basket near her feet has tipped over, spilling its white contents. Grassy hills dotted with pale green trees extends into the deep distance. Puffy peach clouds line the horizon, which comes just over halfway up the composition. The artist signed the lower left corner, “M.Boutet de Monvel.”
Louis Maurice Boutet de Monvel, The Vision and Inspiration (Joan of Arc series: I), c. 1907-early 1909, oil and gold leaf on canvas, Corcoran Collection (William A. Clark Collection, 1926), 2015.19.34

The Vision and Inspiration (Joan of Arc series: I)

Louis Maurice Boutet de Monvel · c. 1907-early 1909 · oil and gold leaf on canvas ·  Accession ID  2015.19.34

The sculpture depicts a pheasant standing with its head slightly tilted downward and legs grounded on a rectangular base. It showcases a realistic portrayal of the bird, including detailed features like the texture of its feathers and the long tail extending behind it. Crafted from bronze, it shows hues of green with darker accents highlighting the bird's plumage and body contours. The size and proportion of the sculpture make it appear life-like compared to a real pheasant.
Antoine-Louis Barye, Pheasant, Head to Left, model n.d., cast c. 1845/1874, bronze, Corcoran Collection (Museum Purchase, 1874), 2015.19.3872

Pheasant, Head to Left

Antoine-Louis Barye · model n.d., cast c. 1845/1874 · bronze ·  Accession ID  2015.19.3872

A hilly terrain with ridges, bushes, trees, and rocks outlined in dark brown and filled in with earthy tan and pecan brown, goldenrod yellow, and moss and emerald green almost fills this nearly square, stylized landscape painting. Framing the scene is a steel-gray, broken tree trunk to our left and a small grove of leafless bushes, with vertical, nearly straight branches to our right. Another grove of tightly spaced tree trunks is clustered near a smoky, plum-purple ridge at the back center, and a touch of clear blue toward the lower right corner suggests a winding stream. A narrow band of sapphire-blue sky along the top edge of the canvas is streaked with white clouds painted with long swipes of the brush. The artist signed the work in the lower left corner, “Hale Woodruff.”
Hale Woodruff, Landscape, 1936, oil on canvas, Corcoran Collection (The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr., 1996), 2014.136.160

Landscape

Hale Woodruff · 1936 · oil on canvas ·  Accession ID  2014.136.160

The sculpture depicts a horse in motion with its front left leg raised and its head turned to the side. It is crafted from a dark, metallic material with a green patina. The horse's muscles and contours are detailed, and it stands on a rocky base.
Antoine-Louis Barye, Turkish Horse, Left Foreleg Raised, model n.d., cast c. 1857/1873, bronze, Corcoran Collection (Museum Purchase, 1873), 2015.19.3845

Turkish Horse, Left Foreleg Raised

Antoine-Louis Barye · model n.d., cast c. 1857/1873 · bronze ·  Accession ID  2015.19.3845

The sculpture depicts a reclining dog, resembling a greyhound, on a rectangular base. The dog's body is detailed, showcasing strong, defined muscles and the typical sleek form of the breed. The sculpture is made of bronze, with a dark, metallic color and highlights suggesting a patina. The dog's head is turned to one side, with perked ears, and wears a collar. The sculpture's posture, proportions, and surface texture give it a realistic and poised appearance as it rests.
Antoine-Louis Barye, Tom, Algerian Greyhound, model 1868, cast by 1874, bronze, Corcoran Collection (Museum Purchase, 1874), 2015.19.3863

Tom, Algerian Greyhound

Antoine-Louis Barye · model 1868, cast by 1874 · bronze ·  Accession ID  2015.19.3863

Two pale-skinned men in a marshy landscape look at a wide-eyed dog, which holds a dead duck in its mouth in this horizontal landscape painting. One man kneels facing our left in profile and holds one hand out toward the dog. The man has short, dark hair and a dark beard with no mustache. He wears a beige-colored jacket trimmed with red, dark brown pants, and knee-high brown boots. He holds a rifle by its barrel with his other hand so the stock rests on the ground in the lower right corner of the painting. Four dead ducks lie by his foot, where hobnails lining on the sole and heel gleam. The second man stands just behind and to the left of the kneeling fellow. The standing man is clean-shaven and wears a red, brimless, high-crowned cap on his dark hair. His jacket is golden brown, his pants are marine blue, and boots are pale brown. He loads or cleans the barrel of his rifle with a rod. He looks down at the dog, who looks intently at the kneeling man. The dog is mostly brown with long fur and white spots on its nose and down the front of its neck. The animal sits at attention with the bird’s wing clamped in its mouth. Tall marshy grasses and cattails grow around the men and dog, and around a narrow body of water in the near distance to the right. A larger body of water stretches to the horizon, which comes almost two-thirds of the way up the composition. The sky is streaked with pink along the horizon and blanketed with purple-tinged, gray clouds. The artist signed and dated the painting on the bottom edge, “W Ranney 1850.”
William Tylee Ranney, The Retrieve, 1850, oil on canvas, Corcoran Collection (Gift of William Wilson Corcoran, 1869), 2014.79.29

The Retrieve

William Tylee Ranney · 1850 · oil on canvas ·  Accession ID  2014.79.29

From a high vantage point, we look across hills, trees, and a body of water and into the deep distance in this horizontal landscape painting. A shed-like structure with an overhanging roof protecting an image of a woman holding a baby is near the left edge of the composition. In front of the structure, a person wearing a white head covering, red vest, white sleeves, and long blue skirt kneels on the dirt path, and a basket of flowers is near her knees. Two other people, all tiny in scale, stand nearby. One of them wears a brown cape, cassock, and hood, and the other wears a high-crowned hat, a red coat, gray pants, and holds a walking stick. Across the composition, a man sits and a woman stands, facing each other, on the far side of a boulder in the lower right quadrant of the painting. The man wears a burnt-orange jacket, slate-blue pants, a high-crowned hat, and holds a long staff. The woman has brown hair and wears a yellow dress over white sleeves and white lining across the neckline. They both have pale, peachy skin. A sailboat is reflected in the placid body of water that lies far below us, and a complex of buildings tops the hill on the opposite bank. The peanut-brown land flattens and ripples gently back to pale blue mountains lining the horizon, which comes just over halfway up this composition. White clouds pile up over the right side of the horizon, and a few thin clouds drift higher up. The upper corners of the canvas are darkened, suggesting that at one point this was displayed with an arched top. The artist signed and dated the painting as if he had written the information on the face of rocks in the lower right corner: “C.P. CRANCH 1852.”
Christopher Pearse Cranch, Castle Gondolfo, Lake Albano, Italy, 1852, oil on canvas, Corcoran Collection (Gift of William Wilson Corcoran, 1869), 2015.19.110

Castle Gondolfo, Lake Albano, Italy

Christopher Pearse Cranch · 1852 · oil on canvas ·  Accession ID  2015.19.110