| Preview | Description | Artist | Notes | Content |
|---|---|---|---|---|
 | London, Evening 1897 Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Washington, D.C. | Hassam, Frederick Childe | GA | |
 | Louise Howland King (Mrs. Kenyon Cox) 1892 Smithsonian American Art Museum Washington, D.C. | Cox, Kenyon |  Kenyon Cox gave this portrait as a wedding gift to his young bride and former student, Louise Howland King. His mother saw it before she met Louise, and later reported that she was relieved and surprised at how pretty her new daughter-in-law was. Cox responded to this backhanded compliment by telling his mother that most people thought the painting... | GA |
 | Low Tide, Riverside Yacht Club 1894 Metropolitan Museum of Art New York, NY | Robinson, Theodore | GA | |
 | Madelaine c. 1890 The Terra Foundation for American Art Chicago, IL | Dewing, Thomas Wilmer | GA | |
 | Manhattan's Misty Sunset 1911 Butler Institute of American Art Youngstown, OH | Hassam, Frederick Childe | Childe Hassam was the premier Impressionist painter of New York City. From 1890 through World War I he painted its fashionable boulevards, genteel park lanes, festive military parades, new neighborhoods, and occasionally, as in Manhattan's Misty Sunset, the new skyline that was prompting many to call New York the eighth wonder of the world | GA |
 | Margaret ("Gretchen") Strong ca. 1909. National Gallery of Art Washington, D.C. | Benson, Frank Weston | GA | |
 | Margery and Little Edmund 1928 Smithsonian American Art Museum Washington, D.C. | Tarbell, Edmund Charles | GA | |
 | Marguerite circa 1918 Bowers Museum Santa Ana, CA | Rose, Guy | GA | |
 | Marshal Ferdinand Foch 1920 Smithsonian American Art Museum Washington, D.C. | Tarbell, Edmund Charles | GA | |
 | Meadow Flowers (Golden Rod and Wild Aster) ca. 1892 Brooklyn Museum New York, NY | Twachtman, John Henry | re is no horizon or measured recession--resulting in a visual emphasis on the richly textured paint surface and the subtly animated pattern of the brushwork. The painting is further enriched by an opulent gilded frame designed by the architect Stanford White. | GA |
- American Impressionism
