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Bierstadt‘s first wife, Rosalie, suffered from tuberculosis. Treatment consisted of rest and a warm climate, and Nassau, capital of the Bahamas, had both. Rosalie went there in 1877, and her husband visited as often as possible between his various painting trips. This scene was done during one of his visits. Bierstadt probably did most of the work on the spot, laying the brilliant blues and greens of the ocean with long strokes and dabbing in the sandy foreground with quick touches.

Having studied art at the Düsseldorf Academy in Germany, Haseltine returned to Europe in 1866, funded by an auction of his work. He settled in Rome, painting mostly European subjects and exhibiting occasionally in the United States. This view depicts Mont Saint-Michel, a medieval abbey that sits atop a rocky island near the coasts of Normandy and Brittany. The abbey, which was constructed over 1,300 years, remains a popular tourist destination today.

Having studied art at the Düsseldorf Academy in Germany, Haseltine returned to Europe in 1866, funded by an auction of his work. He settled in Rome, painting mostly European subjects and exhibiting occasionally in the United States. This view depicts Mont Saint-Michel, a medieval abbey that sits atop a rocky island near the coasts of Normandy and Brittany. The abbey, which was constructed over 1,300 years, remains a popular tourist destination today.

In the mid-19th century Windsor Castle, the royal residence of Queen Victoria and Prince Albert, symbolized England’s noble history and culture. The castle became a popular destination for American tourists, and Gifford traveled to Windsor in 1855 during his first tour of Europe. In a journal entry from that trip, he described observing and sketching a stunning view of the castle at twilight.

In the mid-19th century Windsor Castle, the royal residence of Queen Victoria and Prince Albert, symbolized England’s noble history and culture. The castle became a popular destination for American tourists, and Gifford traveled to Windsor in 1855 during his first tour of Europe. In a journal entry from that trip, he described observing and sketching a stunning view of the castle at twilight.

Cropsey first visited Greenwood Lake in 1843 and returned there often to sketch: “I lived at Greenwood Lake during the summer for a number of years and found a strong attachment to the place. It has been the origin of many of my pictures.” This scene shows the artist’s interest in the light and atmosphere of the landscape, the majesty of which is emphasized by the inclusion of a small figure who stands in for the viewer and takes in the sweeping view.

Cropsey first visited Greenwood Lake in 1843 and returned there often to sketch: “I lived at Greenwood Lake during the summer for a number of years and found a strong attachment to the place. It has been the origin of many of my pictures.” This scene shows the artist’s interest in the light and atmosphere of the landscape, the majesty of which is emphasized by the inclusion of a small figure who stands in for the viewer and takes in the sweeping view.

In his influential series of articles “Letters on Landscape Painting” (1855), Durand shared his view that a realistic depiction of nature could reveal spiritual qualities: “The humblest scenes of your successful labors will become hallowed ground to which, in memory at least, you will make many a joyous pilgrimage, and . . . in the fullness of your emotions, kiss the very earth that bore the print of your oft-repeated footsteps.”

In his influential series of articles “Letters on Landscape Painting” (1855), Durand shared his view that a realistic depiction of nature could reveal spiritual qualities: “The humblest scenes of your successful labors will become hallowed ground to which, in memory at least, you will make many a joyous pilgrimage, and . . . in the fullness of your emotions, kiss the very earth that bore the print of your oft-repeated footsteps.”

Gifford, who once described landscape painting as “air painting,” here captured the hazy atmosphere of a sunny afternoon in autumn, presenting us with a low, hilly landscape rolling beneath a pale and misty sky. This painting was inspired by a sketching trip the artist took in September 1862, when he spent about three weeks traveling with the artists Launt Thompson and Worthington Whittredge along the Housatonic River in western Connecticut and Massachusetts.