In the mid-1940s, Charles Sheeler photographed a rubber plant in West Virginia, focusing on industrial details, including exterior pipes, cylinders, and cat-walks. The paintings he made from these photographs demonstrate his interest in overlapping shapes and shadows—in this picture, the function of the machinery is shown as being secondary to their appearance. In Sheeler's view, his industrial pictures were less about labor than about “the perception of order in the visual world…and its expression in purely plastic terms.”

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.

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.