A white marble statue of a young female figure, leaning forward holding a staff with eyes closed, her left hand held up to her right ear. A flowing, wind-swept garment drapes the figure. On the base to the left of the figure is a broken capital of a Corinthian column lying on its side.
Based on a character from Edward Bulwer-Lytton's popular 1834 novel, “The Last Days of Pompeii,” Nydia is a blind girl, who had been stolen and sold into slavery, and was bought by Glaucus, a Greek-born young man, to work in his garden in order to save her from the cruelty of her owner. Nydia mistook his act of kindness for fondness and fell passionately and uselessly in love with him, as he was in love with another woman. During the eruption of Mount Vesuvius, Nydia saves Glaucus and his lover and guides them toward the sea where they find safety aboard a ship. The next morning Nydia throws herself into the sea, as she realizes there is no hope for a future with Glaucus, and becomes a symbol of feminine sacrifice and fidelity.
Bust-length portrait of a woman with grey hair in a cream colored dress seated in a red chair with a view of the landscape to right of figure seen through an illusionistic stone oval window or oculus.
Based on a portrait of Martha Washington by his father, Charles Willson Peale, in 1795, this is one of several posthumous portraits of Martha Dandridge Custis Washington (June 2, 1731-May 22, 1802) painted by Rembrandt Peale in the 1850s. The stone oculus surrounding the sitter mirrors Peale’s “porthole portraits” of George Washington, which he framed in stone to underscore the subject’s monumentality and to serve as an allusion to the Roman Republic, whose ideals were continually invoked by the Founding Fathers.
Painting of a young boy sitting in front of a fireplace reading a book in a dark interior setting.
Johnson shows Abraham Lincoln as a young boy seated before a glowing fire reading a book in a dark rustic interior setting. Painted just three years after Lincoln's assassination, this intimate genre scene reflects widely held conceptions of Lincoln’s commonness and modest upbringing while emphasizing his humanity and high moral character through the virtue of his dedication to hard work and to his intense commitment to learning.
Two women on a settee dressed in elegant 19th century attire, one holding a fan and the other a parasol, while another richly clad woman leans in close beside them, in a lavishly decorated interior setting with ornately carved gilded walls, a large mirror above the settee, inlaid marble floor, and large vases to either side of the settee. In the center of the room is a sculpture of the Medici Venus on a pedestal with her back to the viewer, her reflection evident in the mirror. Between the base of the sculpture and the viewer is an elaborately carved gilt stool covered with rich red fabric. Beside the sculpture, another woman holding a book walks towards the cluster of women.
Elegantly dressed women in 19th century attire whisper and titter about the sculpture of Venus de’Medici in the center of the room, depicting the goddess in a fleeting pose as she unsuccessfully attempts to cover her nude body with her arms in a gesture of modesty. Gilardi, who places Venus’s back to the viewer, cleverly reveals her front side reflected in a mirror above a settee upon which the women are seated, enabling the viewer to see both the expressions of the women and what it is they are whispering about, creating a witty commentary on the prudish social mores of 19th century puritanical society.
This painting shows a scene set in a room with high white walls that is open to the sky, like a courtyard. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
This painting shows a scene set in a courtyard with high white walls that is open to the sky. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
Constant began to do paintings with Orientalist subjects following his travels in Spain and Morocco during the 1870s. Prior to that he was well known at the Paris Salon for exhibiting history scenes. The exact meaning of this subject is unknown, however, Constant had done other paintings of street scenes and harem women, including, Harem Women in Morocco, which received a third-class medal at the Salon in 1875. This painting shows his romantic treatment of these subjects and the inclusion of local artifacts, rugs and costumes from his studio collection.
This landscape painting depicts a rocky hillside beneath a blue sky and towering cloud formations. In the foreground area, a stream flows between boulders and cascades over rocks. There is a large square boulder with the roots and stump of a dead tree. The right side of the painting has green vegetation along the edege of the stream and tall green-leafed trees further back on the side of the hill. On the left, beyond the hill, there is a glimpse of far distant mountains. This scene is painted in warm tones of green and brown in a realistic manner. Patches of sunlight highlight areas of the hillside, boulders and the stream.
Thomas Cole was an important American landscape painter during the 1820s and a key figure in the Hudson River school of painting. Cole became famous for painting scenes of the American wilderness following a sketching trip up the Hudson river in 1825. This scene of the Catskill Mountains in New York state shows the rocky terrain of the area, with its rushing stream and craggy boulders, set against a light blue sky and towering clouds.
A large group of young women inside a building surrounded by male servants. The women all wear various styles of kimono, though the predominant colors are red and green. The inside of the building is on the bottom floor with a set of steps leading up to a second floor, not depicted.
A print showing the inside of a brothel in Yoshiwara. The finely dressed courtesans are walking around while young attendants are busy with chores, such as one man blowing air into a furnace, as if the brothel is about to open. The clean state of the brothel implies that it caters to sophisticated and wealthy clients. This print is part of a series of five.
A group of 18 women inside a building wearing various kimono with the predominant colors being grey, red, black, and green. Some of the kimono also have orange coloring. The patterns and designs on the kimono vary from images of flowers to geometric designs. A rice paper door is seen in the background leading to a room at a slightly higher level and an image of a phoenix can be partially seen on the wall in the back and to the left. One of the women near the front is tying the string around a package while three other women near her are arranging small footed trays. One of the women in the forefront and to the left appears to be holding a cup or jar.
The image shows a group of courtesans and their servants and assistants in a brothel in Yoshiwara preparing to open. Female servants in the image wipe off dust from small footed trays while the courtesans walk about. The intricate wood details and the image of the phoenix in the back impy that this house caters to wealthy clients. This print is from a series of five.
A print of 15 women inside a building dressed in various kimono with the predominant colors being grey, red, black, and green. Some of the kimono also have orange coloring. The patterns and designs on the kimono vary from images of flowers to geometric designs. One male is kneeling towards the back and another man can be seen in the background leaving the room. Two women to the very back and left of the image appear to be adjusting their makeup. Three women to the front sit around a tea set (partially visable) and two women to their right are whispering to each other.
A print of a group of courtesans at a brothel in the Yoshiwara district. One male servant is seen in the back kneeling over something while another man, possibly another servant, can be seen exiting the room to the back. The movement of the servants and the image of the two courtesans adjusting their makeup implies that the house is preparing to open for business. The intricate design of the building's interior and the clean floors imply that this house catered to wealthy clients. This print is from a series of five.