United States

In this view of Florence, Italy, Sargent places the viewer in front of the portico of the Uffizi Gallery. We look through the columns and archways towards the lush Boboli Gardens across the Arno River. Sargent collapses the distance between these two landmarks, creating a single place where the morning sun illuminates the day, bathing the city's great artistic and natural treasures in a golden glow.

Black Sea was painted at a pivotal point in the artist's career, one year after his first major museum exhibition. The subject almost certainly was inspired by his regular summer vacations in Gloucester, Massachusetts, where he sketched and painted outdoors. Avery often painted watercolors on site, and he would later translate these compositions into oils in his New York studio. The striking black and yellow colors evoke the moments after sunset, when the sunlight gradually fades into darkness.

Black Sea was painted at a pivotal point in the artist's career, one year after his first major museum exhibition. The subject almost certainly was inspired by his regular summer vacations in Gloucester, Massachusetts, where he sketched and painted outdoors. Avery often painted watercolors on site, and he would later translate these compositions into oils in his New York studio. The striking black and yellow colors evoke the moments after sunset, when the sunlight gradually fades into darkness.

Black Sea was painted at a pivotal point in the artist's career, one year after his first major museum exhibition. The subject almost certainly was inspired by his regular summer vacations in Gloucester, Massachusetts, where he sketched and painted outdoors. Avery often painted watercolors on site, and he would later translate these compositions into oils in his New York studio. The striking black and yellow colors evoke the moments after sunset, when the sunlight gradually fades into darkness.

The tattered clothes of these children identify them immediately as working-class. Likely the offspring of the immigrant population that grew New York City by more than 300,000 people over ten years, these children are burdened by an overcrowded and under resourced urban environment. Despite the circumstances the boys come to the aid of a lost girl and, in so doing, create an idyllic scene of community and support.

The tattered clothes of these children identify them immediately as working-class. Likely the offspring of the immigrant population that grew New York City by more than 300,000 people over ten years, these children are burdened by an overcrowded and under resourced urban environment. Despite the circumstances the boys come to the aid of a lost girl and, in so doing, create an idyllic scene of community and support.

In his study of the artist’s life and work, Gene Hailey concluded, “In the narration of Piazzoni’s interesting life, the evaluators of his work have played upon the adjectives of beauty and truth, a symphony of heavenly music. Searching for a conclusion, the Lux Aeterna seems fitting. In this painting Piazzoni has epitomized the desire of his life; that of flooding the white-robed figure of truth and beauty, in the effulgence of eternal light.”

Dewing painted this portrait of Elizabeth Platt Jencks at the artists’ colony in Cornish, New Hampshire, which he helped establish. When he began this portrait, he had just returned from traveling in Europe, where he toured galleries and shared a London studio with James Abbott McNeill Whistler. Whistler’s influence is evident in Dewing’s fluid brushstrokes and muted tonality. Jencks stands against a mottled gray ground in a firm and confident pose, beautiful and strong.

Dewing painted this portrait of Elizabeth Platt Jencks at the artists’ colony in Cornish, New Hampshire, which he helped establish. When he began this portrait, he had just returned from traveling in Europe, where he toured galleries and shared a London studio with James Abbott McNeill Whistler. Whistler’s influence is evident in Dewing’s fluid brushstrokes and muted tonality. Jencks stands against a mottled gray ground in a firm and confident pose, beautiful and strong.

Moran’s majestically spacious painting attests to the western American landscape as an apt setting for heroic nationalism. At the time this picture was painted, artists were traveling farther in search of ever more extraordinary scenes that could be understood in terms of the national will to explore this nation “from sea to shining sea.” Although Moran’s landscape is from 1906, it is based on sketches made during trips to Yellowstone in the 1870s.