United States

The Wild Swan was owned for many years by the Massachusetts Society for the Prevention of Cruelty to Animals. In the early 20th century it came to be known as The Trumpeter Swan, perhaps in response to the suggestion that the painting brought attention to the threatened status of trumpeter swans, who were then close to extinction.

The Wild Swan was owned for many years by the Massachusetts Society for the Prevention of Cruelty to Animals. In the early 20th century it came to be known as The Trumpeter Swan, perhaps in response to the suggestion that the painting brought attention to the threatened status of trumpeter swans, who were then close to extinction.

When Raphael began painting in a more impressionistic style, he used a heavy impasto, thickly applying layers of paint so that it stands out from the surface of the canvas. In Child Sewing, Raphael’s impasto brings to life the bright colors, sparkling light, and countless blossoms of a spring garden. The child sewing at the table was likely one of Raphael’s children, who regularly served as models for their father.

In the nineteenth century, many American painters turned to rural themes as a reaction against increasing industrialization and technological progress. In this portrait of an American farmer at rest, Thomas Waterman Wood offers viewers an idealized image of a model citizen. Hardworking and happy, Wood's figure embodies the nostalgia of the era — leaning on his pitchfork with his jacket slung casually over his shoulder, he appears worlds removed from the rapid mechanization of the time.

In the nineteenth century, many American painters turned to rural themes as a reaction against increasing industrialization and technological progress. In this portrait of an American farmer at rest, Thomas Waterman Wood offers viewers an idealized image of a model citizen. Hardworking and happy, Wood's figure embodies the nostalgia of the era — leaning on his pitchfork with his jacket slung casually over his shoulder, he appears worlds removed from the rapid mechanization of the time.

Here, a triangular arrow surrounded by cloudlike forms suggests mountains and dramatic weather phenomena, while the doubled silhouettes may serve as a metaphor for biological reproduction. Pelton joined these forms, linking the forces of physical creation with the broader theme of cosmic creation. The arrow, S-curves, and snakelike lines connect the earthly and heavenly realms, conveying a sense of ascension and aspiration toward a higher state of spiritual rebirth and enlightenment.

This painting, inspired by a 1927 trip, depicts a lake in a valley beneath Yosemite’s Johnson Peak, south of Tuolumne Meadows. Describing the scene, Obata recalled, “Countless streams run down the frozen mountainside, lending a sublime melody. Man’s very soul and body seem to melt away into the singular silence and tranquility of the surrounding air.” Although Obata’s composition was inspired by a specific site, the generic title leaves space for the viewer’s imagination.

Obata’s Mother Earth depicts the artist’s young wife during her pregnancy. She stands in a grove of redwood trees, her long dark hair covering her body. The title evokes nature, fertility, maternity, and the cycles and seasons of life. Although his Japanese wife served as his model, Obata transformed this personal subject into a universal ode to nature, once observing: “Above the border line of nationality everybody must feel a deep appreciation toward Mother Earth.”

Obata’s Mother Earth depicts the artist’s young wife during her pregnancy. She stands in a grove of redwood trees, her long dark hair covering her body. The title evokes nature, fertility, maternity, and the cycles and seasons of life. Although his Japanese wife served as his model, Obata transformed this personal subject into a universal ode to nature, once observing: “Above the border line of nationality everybody must feel a deep appreciation toward Mother Earth.”

Cole took the narrative for this painting from Prometheus Bound, the classical tragedy. Prometheus was a Titan, a race of immortal giants. Jupiter charged him to create human beings, whom he fashioned out of mud and water in the image of the gods. Prometheus then stole fire from the gods to help the humans. The theft angered Jupiter, who had Prometheus chained to a rock; he was condemned to have his liver devoured by a vulture, only to have it regrow and be devoured again the next day.