Gallery 25

This striking oil study is a deviation from the more polished still-life tradition, and one of hundreds made by 19th-century painters. This work allows us to better understand the artist’s techniques and compositional strategies by observing his thought process as he worked through the problems of individual objects. Each element has a slightly flat quality that allows it to occupy its own iconic space, which may unintentionally make Harnett’s study look rather modern to contemporary eyes.

This striking oil study is a deviation from the more polished still-life tradition, and one of hundreds made by 19th-century painters. This work allows us to better understand the artist’s techniques and compositional strategies by observing his thought process as he worked through the problems of individual objects. Each element has a slightly flat quality that allows it to occupy its own iconic space, which may unintentionally make Harnett’s study look rather modern to contemporary eyes.

In this painting of three freshly killed game birds—a fowl and two colorful ducks—one sees patiently detailed treatment of the birds’ luxuriant plumage, still glossy and vivid, as well as frank attention to the way that game is hung up to drain after beheading. Morse’s painting evidences connections to the earlier 17th-century Dutch tradition, but there is also a matter-of-factness more characteristic of 19th-century American still lifes.

In this painting of three freshly killed game birds—a fowl and two colorful ducks—one sees patiently detailed treatment of the birds’ luxuriant plumage, still glossy and vivid, as well as frank attention to the way that game is hung up to drain after beheading. Morse’s painting evidences connections to the earlier 17th-century Dutch tradition, but there is also a matter-of-factness more characteristic of 19th-century American still lifes.

In this picture, Peto returned to his favored allegorical subject of books in various states of disarray and decay. One book stands and catches a ray of direct light, only to reveal its peeling, wordless spine; the back cover of another thick and stubby volume literally and figuratively hangs by a thread. The Industrial Revolution was well underway when Peto painted this scene—these neglected objects are shown as remnants of a bygone past left behind in the wake of progress.

In this picture, Peto returned to his favored allegorical subject of books in various states of disarray and decay. One book stands and catches a ray of direct light, only to reveal its peeling, wordless spine; the back cover of another thick and stubby volume literally and figuratively hangs by a thread. The Industrial Revolution was well underway when Peto painted this scene—these neglected objects are shown as remnants of a bygone past left behind in the wake of progress.

The title of this painting playfully describes the state of an overturned container. We are invited to look carefully at the spilled contents of a white open box. In this tightly compact, horizontal image, a dizzying variety of candies are proffered for the viewer: multicolored and variously shaped, shiny, jellied, sugar-encrusted, caramelized, cubed and ovoid, candied, paper-wrapped, transparent, and opaque.

The title of this painting playfully describes the state of an overturned container. We are invited to look carefully at the spilled contents of a white open box. In this tightly compact, horizontal image, a dizzying variety of candies are proffered for the viewer: multicolored and variously shaped, shiny, jellied, sugar-encrusted, caramelized, cubed and ovoid, candied, paper-wrapped, transparent, and opaque.

The dimensions of this small painting depicting a writing slate make the representation life size, which makes the trompe l’oeil effect feel even more realistic. The text reads: “My last slate at Wavertown. FRED,” hinting at a bygone adolescent life. At the lower left, hovering over the artist’s own printed signature, is a crude stick figure–a schoolboy doodle–that underlines its vulgar distance from the “real” artist’s virtuosity and elevated status.

The dimensions of this small painting depicting a writing slate make the representation life size, which makes the trompe l’oeil effect feel even more realistic. The text reads: “My last slate at Wavertown. FRED,” hinting at a bygone adolescent life. At the lower left, hovering over the artist’s own printed signature, is a crude stick figure–a schoolboy doodle–that underlines its vulgar distance from the “real” artist’s virtuosity and elevated status.