American Paintings 1750–1900

On View: West Building, Main Floor

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166 artworks on view.

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The sculpture depicts a scene of a mounted figure on a horse in mid-stride. Surrounding the central figure are several more figures in various positions. The composition is in low relief, causing the subjects to subtly rise from the background. The material appears to be a white, stone-like substance, giving it a monochromatic and smooth finish. The sculpture is a rectangular slab with a curved top. At the base of the slab, there is a small additional sculpture of an animal integrated into the relief. The level of detail is moderate, where figures are identifiable but not intricately finished, creating a sense of an archaic or primitive style.

Preliminary Study for The Shaw 54th Regiment Memorial

Augustus Saint-Gaudens

1883

Plaster  Accession ID  X.15232

On View: West Building Main Floor, Gallery M66
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Study Head of a Black Soldier

Augustus Saint-Gaudens

1883/1893

Plaster  Accession ID  X.15227

On View: West Building Main Floor, Gallery M66
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The sculpture is a bust representing a human head with detailed facial features, such as the eyes, nose, and mouth. The subject appears to be wearing a cap. The sculpture is made of bronze with a developed patina, giving it a greenish hue. The head is mounted on a plain rectangular base, elevating it to eye level for clear observation.

Study Head of a Black Soldier

Augustus Saint-Gaudens

1883/1893

Plaster  Accession ID  X.15226

On View: West Building Main Floor, Gallery M66
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This sculpture depicts a human head of a young person wearing a hat. The facial features are detailed, including the nose, mouth, and eyes. The sculpture is made from a light-colored material that appears smooth yet slightly textured. The hat's outline and folds are visible, and the head is mounted on a small pedestal. The piece is portrayed in a three-dimensional format, providing a lifelike representation.

Study Head of a Black Soldier

Augustus Saint-Gaudens

1883/1893

Plaster  Accession ID  X.15230

On View: West Building Main Floor, Gallery M66
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The sculpture depicts the head of an individual wearing a cap that sits slightly tilted towards the right side of their head. The subject appears to be looking forward with a calm facial expression. The sculpture is crafted from a material that resembles plaster or ceramic and has a sandy beige color with subtle variations in tone, giving it a natural and realistic appearance. The texture on the surface is slightly rough, revealing detailed contours and facial features such as the nose, lips, and eyes. The sculpture is presented on a simple stand.

Study Head of a Black Soldier

Augustus Saint-Gaudens

1883/1893

Plaster  Accession ID  X.15231

On View: West Building Main Floor, Gallery M66
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Study Head of a Black Soldier

Augustus Saint-Gaudens

1883/1893

Plaster  Accession ID  X.15229

On View: West Building Main Floor, Gallery M66
The sculpture depicts a male profile with distinct facial features including a nose, lips, and ear in a classical style. The head wears a stylized cap or headgear, with roughly carved hair details. The material appears to be stone or a stone-like substance, showing a weathered, earthy beige color with textured variations. The sculpture is mounted on a rectangular base. The head is in high relief, standing out from the flat back, with details meant to be seen from the side profile, creating a realistic and three-dimensional appearance.

Study Head of a Black Soldier

Augustus Saint-Gaudens

1883/1893

Plaster  Accession ID  X.15228

On View: West Building Main Floor, Gallery M66
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This painting depicts a dark brown teapot and a fish on a white cloth. The fish is mostly greenish gray, with some white and pale red scales. It appears to be propped up on something, perhaps a plate or another fish, and its head is facing the right. The teapot is on the left, with its spout turned towards us. The background is textured beige, and the white cloth below the objects has some small folds in it.

An English Breakfast

John Frederick Peto

c. 1890s

Oil on academy board  Accession ID  1999.79.30

On View: West Building Main Floor, Gallery M69
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Several pieces of fruit, a bunch of green grapes, a stem of raisins, and several types of nuts in their shells are piled on a putty-brown tabletop or ledge with rounded corners against a dark background in this horizontal still life painting. The food is brightly lit from the front, and we look slightly down onto the table. There are two round red apples and two pieces of small yellow fruit, perhaps quinces, flanking a golden yellow pear at the back center. The bunch of grapes drapes over the fruit to our right and the raisins lie between the apples. Thirteen walnuts, peanuts, almonds, hazelnuts, and perhaps a brazil nut are scattered in a loose band in front of the fruit. The surface on which the still life sits becomes swallowed in shadow behind the fruit, and blends into the dark brown background. The artist signed and dated the work in dark paint in the lower right corner, almost lost in shadow under the ledge: “R.S. Duncanson 1848.”

Still Life with Fruit and Nuts

Robert Seldon Duncanson

1848

Oil on board  Accession ID  2011.98.1

On View: West Building Main Floor, Gallery M69
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A clear glass pitcher filled with white milk and a plate of bright red strawberries are the main focus of this painting. The plate of strawberries is on the left, and wide green leaves and small white flowers extend beyond the plate to the left and right. The glass pitcher is placed to the right of the strawberries, reflecting small squares of light. The surface under the plate and pitcher is blue-gray with hints of wood grain, and the wall behind them is dark brown, with an area of lighter brown on the right.

Strawberries and Cream

Raphaelle Peale

1816

Oil on wood  Accession ID  2014.18.34

On View: West Building Main Floor, Gallery M69
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The painting features a valley with purple and brown mountains in the distance, surrounding a reflective body of water with a small rowboat floating on it. Closer to us, there are gray rocks, brown tree trunks and branches, and lush green vegetation at the edge of the water. The sky above is painted in warm shades of yellow, peach, and orange, which transition to pale greenish-blue at the top. The water below reflects these colors, as well as those of the distant mountain and surrounding trees.

American Landscape

Elizabeth Gilbert Jerome

1872

Oil on canvas  Accession ID  2025.25.1

On View: West Building Main Floor, Gallery M64
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Far below us, a river winds through a valley lined with hazy mountains in this horizontal landscape painting. In the distance, the line of mountains emerges from the left, near the top of the canvas, and marches down toward the center, growing lighter and mistier in the distance. Streaks of olive-green growth drape down their sides, and pale sunlight from the upper right warms their craggy faces, which are painted in tones of peach, tan, taupe, and parchment white with pewter-gray fissures. The mountains move across the canvas and angle way from us, to our right. There, they are overlapped, just off center, by a tree-covered slope that emerges from the right. At its foot is a steel-gray river that winds from the lower right toward the center of the composition. The land sweeps down from the left side, spreading out into meadows that meet the river. They are carpeted in moss green with streaks and patches of rust-brown earth and scattered with clusters of trees painted in tones of celery, olive, and pine green. Closest to us and near the lower left corner of the painting, is a man, tiny in scale, on a flat bluff. He wears a white coat and trousers, and sits hunched on a stool facing our left. He looks toward a grove of trees with pea-green leaves and ginger-brown trunks that tower over him, along the left edge of the composition. He has turned away from a painting on an easel that stands just beyond him, and an open wooden box that sits on the ground behind him. A closed, seafoam-green parasol also lies nearby. Just beyond the lip of the bluff and down in the valley are creamy white dots that suggest livestock. Farther back, near the foot of the mountains, a cluster of buildings sit near the tree line in the meadow. Wispy white clouds drift through the light azure-blue sky. The artist signed and dated the painting in the lower left corner, “THOS.MORAN.1864 OP.8.”

The Juniata, Evening

Thomas Moran

1864

Oil on canvas  Accession ID  2010.107.1

On View: West Building Main Floor, Gallery M64
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