Landscape painting with mountain peak at center and rolling mountains to either side; valley in foreground with houses hidden among trees in deep shadow and along hillside; blue sky above with wispy clouds.
During the nineteenth century, the White Mountains in New Hampshire attracted the attention of European as well as American painters. This is one of three known views of Mount Washington from Sunset Hill by Luthy, who, like many American painters during the mid-19th century, viewed nature as divine. In "White Mountains" he utilizes the traditional tenets of the picturesque landscape, but infuses his work with emblems of an optimistic and expanding nation through his incorporation of the small village of North Conway in the foreground.
Landscape with trees in foreground, valley in middle ground dotted with minute figures of sheep and a farmer with a team of oxen pulling well-filled haywain. Mountains in distance with a snow-capped mountain in center background.
“White Mountains” was a popular subject amongst 19th century Americans, who, stirred by the doctrine of Manifest Destiny, wanted patriotic emblems of an optimistic and expanding nation. Using the popular tenets of the sublime and the picturesque, Hodgdon juxtaposes an awe-inspiring snow-capped mountain in the distance with a lush valley just beginning to show evidence of a fading summer.
A shepherdess stands between two cows who are grazing at the center of the image. In the foreground is the indication of a rough track leading towards the distance at left. At the right is a woman bending over beneath a tree.
Millet's views of rural life often had a nobility although he did not glamorize or idealize the harshness of country life. This impression does still have some of the burr of drypoint, but there are other impressions that are much darker and richer. Millet also varied the color of the ink and how the plate retained ink in order to convey differences of atmosphere.
In this print, sophisticated use of soft lines, rounded forms, dark sky, and subtle tones convey the utter silence and weariness of the figures as they trudge through the night-time snow near Kambara.
This print is said to be the best in the series, and among Hiroshige's finest work. The scene conveys a sense of silence, and weariness. The villagers hunch under the weight of their loads, the snow and cold, and the night sky.
Vertical lines stream downward across the print indicate torrents of rain. The dark color pallette and black strip across the top indicate that the image is set at night. A giant pine looms over the image.
This print is one of eight that depicted the beauty of Ômi province, centered around Lake Biwa.
The pyramid shaped hills in the background of this print are those of the boiling houses and salt piles of Gyôtoku’s salt industry. A ferry boat, or watashi-bune, carries passengers in the foreground of this picture. In this print a shipman steers using the large rudder located in the back of the boat.
Salt was an important commodity during the Edo period. It was used in a number of rituals and as a method of purification: to this day salt is used to purify the sumo ring before the beginning of a match. One of the most important uses of salt was in the preservation of food, in particular fish. In Edo the price of salt was high, as the long, flat, hard-packed beaches at Gyôtoku were one of the only places in the area suitable for harvesting this precious resource.
The pyramid shaped hills in the background of this print are those of the boiling houses and salt piles of Gyôtoku’s unique industry. Gyôtoku was also the final destination for many ferry boats that ran along the network of Edo canals. One such boat, or watashi-bune, carries passengers in the foreground of this picture. It was typical for two shipmen to pilot these ferries. In this print one steers using the large rudder located in the back of the boat. Long bamboo poles were also used to pilot watashi-bune through shallow waters.
This print portrays a lively interior scene in the 17th century Dutch Republic. There are many figures around the large room, including men, women, and children. At the far right a man tries to embrace a resisting woman. Beside them, a man and a woman dance while a fiddler plays and others look on. On the left, a woman tends to a child as behind her a couple descend a wooden stairway from an upper floor. There are items such as cured meat, a lantern, a chair and laundry, hanging around this room.
This print by Adriaen van Ostade, one of the most important and influential seventeenth-century Dutch artists, is thought to depict a May Day celebration or a wedding feast and is one of the artist’s most complex compositions. The open space with jumbled elements in the background—a hanging chair, disorderly laundry, and stored basins and baskets—as well as the overturned stool in the foreground animate the scene, reinforcing the bustling activity and various emotions of the figures. Ostade came from a family of artists and worked as both a painter and a print-maker, specializing in depictions of peasants and genre subjects of people dancing, fighting, and generally reveling. Indeed, the source for this work—seen reversed in the print—is a painting by Ostade in the collection of the Toledo Museum of Art.
A vase with flowers sits before a window, between two books that lie on a table, and framed by open red curtains. The landscape outside the window shows a blue cloud sky above a body of water.
One of the many paintings mixing elements of still life and landscape that Hartley did after returning to his home state of Maine in the thirties. He was fascinated with the land and lives of New England in his later years, and his works show a mix of European modernism and American regionalism.