United States

This ambitious collaborative work is a panoramic landscape that is equal parts representational and abstract. The painting is divided vertically and horizontally into map- or grid-like geometric sections that resemble the disjunctive crosscuts of cinema, collage, or cartoons. Given the collaborative nature of this work, it also recalls the Surrealist drawing game known as “the exquisite corpse,” in which artists take turns making marks on a single piece of paper.

This ambitious collaborative work is a panoramic landscape that is equal parts representational and abstract. The painting is divided vertically and horizontally into map- or grid-like geometric sections that resemble the disjunctive crosscuts of cinema, collage, or cartoons. Given the collaborative nature of this work, it also recalls the Surrealist drawing game known as “the exquisite corpse,” in which artists take turns making marks on a single piece of paper.

Isaac and William were descendants of John Hand, who emigrated from England to Lynn, Massachusetts, in 1635. Both sons were born in Lynn, and this double portrait celebrates the joys of childhood in early America. While many early American portraits of children included toys, Prior depicted the Hand brothers and their kite and drum with particular delight. The landscape view, with its brushy, highlighted trees and pink sunset sky, is characteristic of Prior’s portrait commissions.

Isaac and William were descendants of John Hand, who emigrated from England to Lynn, Massachusetts, in 1635. Both sons were born in Lynn, and this double portrait celebrates the joys of childhood in early America. While many early American portraits of children included toys, Prior depicted the Hand brothers and their kite and drum with particular delight. The landscape view, with its brushy, highlighted trees and pink sunset sky, is characteristic of Prior’s portrait commissions.

Miller’s portraits of children share some common attributes, such as large, almond-shaped eyes, individually painted eyelashes, meticulously rendered clothing details, and full, pink cheeks. His flesh tones feature shades of blue, which he probably used to prime his canvases. In this painting, a young boy looks up from his picture book to meet the viewer’s gaze; his puppy appears to have just jumped up, perhaps excited by the viewer entering the scene to meet them.

Miller’s portraits of children share some common attributes, such as large, almond-shaped eyes, individually painted eyelashes, meticulously rendered clothing details, and full, pink cheeks. His flesh tones feature shades of blue, which he probably used to prime his canvases. In this painting, a young boy looks up from his picture book to meet the viewer’s gaze; his puppy appears to have just jumped up, perhaps excited by the viewer entering the scene to meet them.

Miller’s portraits of children share some common attributes, such as large, almond-shaped eyes, individually painted eyelashes, meticulously rendered clothing details, and full, pink cheeks. His flesh tones feature shades of blue, which he probably used to prime his canvases. In this painting, a young girl pauses in the middle of picking pink roses from a potted bush. Her minimally modeled forearms, stylized flowers, and carefully depicted cotton pantalettes are hallmarks of Miller’s artistic style.

Miller’s portraits of children share some common attributes, such as large, almond-shaped eyes, individually painted eyelashes, meticulously rendered clothing details, and full, pink cheeks. His flesh tones feature shades of blue, which he probably used to prime his canvases. In this painting, a young girl pauses in the middle of picking pink roses from a potted bush. Her minimally modeled forearms, stylized flowers, and carefully depicted cotton pantalettes are hallmarks of Miller’s artistic style.