| Preview | Description | Artist
  | Notes |
|---|---|---|---|
 | Virgin Enthroned by Abbott Handerson Thayer 1891 Smithsonian American Art Museum Washington, D.C. | Thayer, Abbott Handerson | |
 | Polly Ouldfield Of Winyah by Jeremiah Theus ca. 1761 Smithsonian American Art Museum Washington, D.C. | Theus, Jeremiah |  Polly Ouldfield was born into a life of privilege. Her father was a member of the Commons House of Assembly in London, and records indicate that he owned land in Georgetown in 1752. Polly's husband was a landowner from Charleston, South Carolina, who served as Commissary of Militia in the Georgetown District during the Revolutionary War. (Middleton,... |
 | Market Day Outside the Walls of Tangiers, Morocco by Louis Comfort Tiffany 1873 Smithsonian American Art Museum Washington, D.C. | Tiffany, Louis Comfort | |
 | Anne Hume Shippen by Benjamin Trott ca. 1796 Smithsonian American Art Museum Washington, D.C. | Trott, Benjamin | Benjamin Trott's portrait of Anne Hume "Nancy" Shippen is a rare example, because he painted very few women early in his career. The sitter was regarded by her numerous admirers as "sweet to look upon, and sweeter yet to hold." To please her parents, Shippen broke off an engagement with the man she loved in order to marry Colonel Henry Beekman... |
 | David Mcclellan by Benjamin Trott ca. 1805 Smithsonian American Art Museum Washington, D.C. | Trott, Benjamin | |
 | Jane Stone by Benjamin Trott ca. 1805 Smithsonian American Art Museum Washington, D.C. | Trott, Benjamin | |
 | John Cleves Short by Benjamin Trott 19th century Smithsonian American Art Museum Washington, D.C. | Trott, Benjamin | John Cleves Short, who built a career as a lawyer and judge in Ohio, was married in 1814 to Elizabeth Bassett Harrison, daughter of the ninth president of the United States, William Henry Harrison. In this miniature, Shorts hair is brushed forward in a fashion of the time that was brought to America from England. The reverse of this piece contains a... |
 | Miriam Etting Myers by Benjamin Trott ca. 1805 Smithsonian American Art Museum Washington, D.C. | Trott, Benjamin | Miriam Etting Meyers (Mrs. Jacob Meyers) was born in 1787 and died in 1808. Her father, Solomon Etting, whose portrait was also painted by Benjamin Trott, led the movement in Marylands statehouse for the Jew Bill, which permitted Jews in Maryland to hold public office without having to first renounce their faith. This miniature was first attributed... |
 | Portrait Of A Gentleman With Initials J. B. by Benjamin Trott ca. 1795 Smithsonian American Art Museum Washington, D.C. | Trott, Benjamin | On the back of this miniature the initials JB are monogrammed in gold over hairwork, offering the only clue we have to the identity of the sitter. This piece was originally attributed to Raphaelle Peale, of the Philadelphia family of painters, but was later determined to have been the work of Benjamin Trott. |
 | The Misses Mary And Hannah Murray by John Trumbull 1806 Smithsonian American Art Museum Washington, D.C. | Trumbull, John | |
 | Midsummer Moonrise by Dwight W. Tryon 1892 Smithsonian American Art Museum Washington, D.C. | Tryon, Dwight W. | |
 | November by Dwight W. Tryon 1904-1905 Smithsonian American Art Museum Washington, D.C. | Tryon, Dwight W. | |
 | Bagdad by Allen Tucker 1923 Smithsonian American Art Museum Washington, D.C. | Tucker, Allen | |
 | Cloudburst At Black Mesa, New Mexico by Allen Tucker 1925 Smithsonian American Art Museum Washington, D.C. | Tucker, Allen | Allen Tucker was one of the big city artists who came to New Mexico in the 1920s, forsaking the hustle and clamor of the city for the vast spaces of the high desert. Artists from New York and Chicago often focused on the unusual colors and shapes they found in the southwestern landscape or on the startling and theatrical effects of the weather. Here,... |
 | Surf Breaking, Cranberry Island by Allen Tucker 1913 Smithsonian American Art Museum Washington, D.C. | Tucker, Allen | |
 | The Pearl by Allen Tucker 1923 Smithsonian American Art Museum Washington, D.C. | Tucker, Allen | |
 | Chestnuts by John Henry Twachtman after 1889 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | End of Winter by John Henry Twachtman after 1889 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | Twachtman drew inspiration from his seventeen acres of land in Greenwich, Connecticut, and his paintings of the property express the emotional and spiritual comfort he found there. This image describes the beginning of the seasonal transition from winter to spring. Twachtman depicted bare trees and an icy, swollen brook, but allowed the brown primed... |
 | Figure in Sunlight (Artist's Wife) by John Henry Twachtman ca. 1890-1900 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | ly. The blurred outlines and rich yellows and greens of the background evoke the warm, hazy atmosphere of a summer day. |
 | Fishing Boats at Gloucester by John Henry Twachtman 1901 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | Flowers by John Henry Twachtman ca. 1900 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | Haystacks at Edge of Woods by John Henry Twachtman ca. 1895 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | Hemlock Pool by John Henry Twachtman ca. 1890-1900 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | John Twachtman painted this scene in all different seasons. He drew inspiration from his seventeen acres of land in Greenwich, Connecticut, and his paintings of the property express the emotional and spiritual comfort he found there. This image, likely made in autumn, shows a pond located behind his house at the bottom of a steep incline along the... |
 | Misty May Morn by John Henry Twachtman 1899 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | Niagara Falls by John Henry Twachtman ca. 1894 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | On the Terrace by John Henry Twachtman ca. 1890-1900 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | he crisp white dresses echo the white flowers along the pathway and create an aura of innocence and purity around the young children and their mother. |
 | The Brook, Greenwich, Connecticut by John Henry Twachtman ca. 1890-1900 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | The Torrent by John Henry Twachtman ca. 1900 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | Tiger Lilies by John Henry Twachtman ca. 1900 Smithsonian American Art Museum Washington, D.C. | Twachtman, John Henry | |
 | After Them by Walter Ufer 1928 Smithsonian American Art Museum Washington, D.C. | Ufer, Walter | |
 | Callers by Walter Ufer ca. 1926 Smithsonian American Art Museum Washington, D.C. | Ufer, Walter | This painting captures an everyday, yet deeply poetic moment among New Mexico's Pueblo Indians. Ufer was a German emigre who brought to America an intense sympathy for ordinary people instilled in him by his socialist family. He did not romanticize his sitters, because he understood that the Indian "resents being regarded as a curiosityas a... |
 | A Breton Sunday by Eugene Lawrence Vail ca. 1890 Smithsonian American Art Museum Washington, D.C. | Vail, Eugene Lawrence | |
 | Along the Riva by Eugene Lawrence Vail oil on canvas Smithsonian American Art Museum Washington, D.C. | Vail, Eugene Lawrence | Eugene Vail made several trips to Venice and was fascinated by its rich colors, unique architecture, and exotic citizens. Along the Riva shows two women strolling along the canal, with gondolas in the background. Their elegant clothing and serene expressions evoke the relaxed, luxurious lifestyle of American tourists in Europe. |
 | The Sun God by Elihu Vedder modeled 1882 Smithsonian American Art Museum Washington, D.C. | Vedder, Elihu | |
 | Lloyd George by Douglas Volk 1919-1920 Smithsonian American Art Museum Washington, D.C. | Volk, Douglas | |
 | The Boy with Arrow (Leo Volk) by Douglas Volk 1903 Smithsonian American Art Museum Washington, D.C. | Volk, Douglas | |
 | Alice Barney in White Satin by Hubert Vos 1894 Smithsonian American Art Museum Washington, D.C. | Vos, Hubert | |
 | California Spring Landscape by Elmer Wachtel ca. 1920 Smithsonian American Art Museum Washington, D.C. | Wachtel, Elmer | |
 | Mrs. William T. Evans and Her Son by Henry Oliver Walker 1895 Smithsonian American Art Museum Washington, D.C. | Walker, Henry Oliver | This painting shows the wife and son of William Thomas Evans, a businessman and art collector who donated a large number of paintings to this museum in 1915. Henry Oliver Walker chose to portray Mrs. Evans reading a book to her son, emphasizing that she was raising the child with a classical education in literature. Light bounces off the ornate... |
 | The Blockmaker by Edgar Melville Ward oil on canvas Smithsonian American Art Museum Washington, D.C. | Ward, Edgar Melville | This painting of a craftsman in his studio was one of many images of elderly, independent artisans at work that flourished on the American art market in the last decades of the nineteenth century. Blockmakers specialized in making pulley blocks for ships, and several oval-shaped wooden blocks appear on the worktable. As factory work grew in the... |
 | Southwesterly Gale, St. Ives by Frederick Judd Waugh 1907 Smithsonian American Art Museum Washington, D.C. | Waugh, Frederick Judd | |
 | The Knight Of The Holy Grail by Frederick Judd Waugh ca. 1912 Smithsonian American Art Museum Washington, D.C. | Waugh, Frederick Judd | |
 | The Wealth Of Autumn by Andrew John Way 1826 Smithsonian American Art Museum Washington, D.C. | Way, Andrew John | Andrew John Henry Way created a dramatic setting for this still life. Cupids dance on the pedestal below the arrangement of fruit, and above the still life is an urn surrounded by dense foliage and trees. The succulent peaches and glistening grapes announce the abundance of the season, and the idyllic landscape to the left is a reminder of the... |
 | Street Scene In India by Edwin Lord Weeks ca. 1884-1888 Smithsonian American Art Museum Washington, D.C. | Weeks, Edwin Lord | |
 | Andrew Talcott by Carl Weinedel 1822 Smithsonian American Art Museum Washington, D.C. | Weinedel, Carl | Andrew Talcott is shown at the age of twenty-five, not long after he graduated second in his class from West Point. He was known for devising procedures and instruments for surveying. Talcott became a captain in the Army Corps of Engineers and developed many early railroad routes before leaving the Corps in 1836 to work as a civil engineer. |
 | Charles William Mcginnes by Carl Weinedel 1833 Smithsonian American Art Museum Washington, D.C. | Weinedel, Carl | Beyond his name, we know nothing about Charles William McGinnes. According to an inscription on the back of this miniature, it was painted in Richmond in 1833. The engraving also includes the date March 18th 1823, which may commemorate the date of a wedding or other significant occasion. |
 | Kalorama by John Ferguson Weir 1860 Smithsonian American Art Museum Washington, D.C. | Weir, John Ferguson | |
 | Kalorama (1) by John Ferguson Weir 1860 Smithsonian American Art Museum Washington, D.C. | Weir, John Ferguson | |
 | Kalorama Cottage by John Ferguson Weir ca. 1860 Smithsonian American Art Museum Washington, D.C. | Weir, John Ferguson | |
 | Roses by John Ferguson Weir 1898 Smithsonian American Art Museum Washington, D.C. | Weir, John Ferguson | |
 | Landscape by Julian Alden Weir after 1900 Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | identified with her. (Cummings, "Home Is the Starting Place: J. Alden Weir and the Spirit of Place," J. Alden Weir: A Place of His Own, 1991). Perhaps the ghostly figure in the foreground is meant to suggest his wife's spirit dwelling under the trees. |
 | A Gentlewoman by Julian Alden Weir 1906 Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | h feelings, artists created images like these of quiet interior scenes, a visually soothing antidote to an unquiet age. |
 | At the Water Trough by Julian Alden Weir 1876-1877 Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | |
 | Children Burying a Bird by Julian Alden Weir 1878 Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | |
 | Hunter and Dogs by Julian Alden Weir oil on canvas Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | |
 | Portrait of a Lady with a Dog (Anna Baker Weir) by Julian Alden Weir ca. 1890 Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | |
 | Portrait of Wyatt Eaton by Julian Alden Weir ca. 1878 Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | |
 | The Open Book by Julian Alden Weir 1891 Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | |
 | Upland Pasture by Julian Alden Weir ca. 1905 Smithsonian American Art Museum Washington, D.C. | Weir, Julian Alden | |
 | Moses Viewing The Promised Land by Robert W. Weir ca. 1860-1865 Smithsonian American Art Museum Washington, D.C. | Weir, Robert W. | |
 | The Merry Wives Of Windsor: Dr. Caius, Simple And Dame Quickly by Robert W. Weir 1830 Smithsonian American Art Museum Washington, D.C. | Weir, Robert W. | American artists, actors, and writers during the nineteenth century were still heavily influenced by English literature, and Shakespeare’s plays enjoyed many revivals. In this painting, Robert W. Weir illustrated a moment in The Merry Wives of Windsor when a character finds his rival’s servant in his closet. Weir gave the two men comical... |
 | Head of a Young Woman by James McNeill Whistler ca. 1890 Smithsonian American Art Museum Washington, D.C. | Whistler, James McNeill | |
 | Valparaiso Harbor by James McNeill Whistler 1866 Smithsonian American Art Museum Washington, D.C. | Whistler, James McNeill | |
 | Interior Of A Westphalian Cottage by Worthington Whittredge 1852 Smithsonian American Art Museum Washington, D.C. | Whittredge, Worthington | |
 | Noon In The Orchard by Worthington Whittredge 1900 Smithsonian American Art Museum Washington, D.C. | Whittredge, Worthington | |
 | Seconnet Point, Rhode Island by Worthington Whittredge ca. 1880 Smithsonian American Art Museum Washington, D.C. | Whittredge, Worthington | Worthington Whittredge traveled to Newport, Rhode Island, in the fall of 1877. He was inspired by the French painter Charles-Francois Daubigny. One of the forerunners of impressionism, Daubigny emphasized the effects of light and color on the landscape (Janson, Worthington Whittredge, 1989). In this painting, Whittredge used bright, clean colors and... |
 | The Amphitheatre Of Tusculum And Albano Mountains, Rome by Worthington Whittredge 1860 Smithsonian American Art Museum Washington, D.C. | Whittredge, Worthington | Worthington Whittredge was among many American artists who traveled to Europe in the nineteenth century. The ancient culture of Italy offered a poignant tale of faded glory that contrasted sharply with America's rise to economic and political power. Whittredge showed the ruins of the amphitheatre at Tusculum in the harsh light of day. Indolent... |
 | The Birches Of The Catskills by Worthington Whittredge ca. 1875 Smithsonian American Art Museum Washington, D.C. | Whittredge, Worthington | Worthington Whittredge found it difficult to adjust to painting the New England landscape after almost ten years abroad. He described the forests as “a mass of decaying logs and tangled brush wood” that were completely different from the “well-ordered” European views he was used to. (The Autobiography of Worthington Whittredge, 1942,... |
 | Brown Kimono (Portrait of Kathryn Beta la Forque) by Irving R. Wiles 1908 Smithsonian American Art Museum Washington, D.C. | Wiles, Irving R. | |
 | Her Leisure Hour by Irving R. Wiles ca. 1925 Smithsonian American Art Museum Washington, D.C. | Wiles, Irving R. | Irving Wiles painted many portraits of society women that emphasized their elaborate costumes and jewelry. One writer for Scribner's Magazine commented that Wiles painted women's ribbons, veils, and laces with "as much character as he puts in the expression of their faces." But in Her Leisure Hour, the girl's unhappy expression is at odds with her... |
 | John Gellatly by Irving R. Wiles 1930-1932 Smithsonian American Art Museum Washington, D.C. | Wiles, Irving R. | |
 | Russian Tea by Irving R. Wiles ca. 1896 Smithsonian American Art Museum Washington, D.C. | Wiles, Irving R. | |
 | Mr. Bennett, Of Revere Street, Boston by Henry Williams ca. 1820 Smithsonian American Art Museum Washington, D.C. | Williams, Henry | Nothing is known about this young gentleman, other than his last name and address. Henry Williams had trouble rendering the ears of his sitters, and this is obvious in the awkward size, shape, and placement of Mr. Bennett’s ears. The rest of the portrait, however, appears lifelike, and the artist has taken special care in showing the sparkle in the... |
 | The Wiley Family by William Williams 1771 Smithsonian American Art Museum Washington, D.C. | Williams, William | Description: Four members of the Wiley family seen in an outdoor setting with distant river view of lower Manhattan. |
 | George Washington by William Winstanley 1803 Smithsonian American Art Museum Washington, D.C. | Winstanley, William | |
 | Portrait of Lucy Parry, Wife of Admiral Parry by John Wollaston 1745-1749 Smithsonian American Art Museum Washington, D.C. | Wollaston, John | |
 | Sunday Morning by Thomas Waterman Wood ca. 1877 Smithsonian American Art Museum Washington, D.C. | Wood, Thomas Waterman | |
 | The Chinese Fishmonger by Theodore Wores 1881 Smithsonian American Art Museum Washington, D.C. | Wores, Theodore | ied him to translate his requests. In this image, Wores captured the glistening, slimy scales of the fish as they slid from the basket onto the tabletop, so that we can imagine the exotic smells and hubbub of Chinatown's street markets. |
 | Autumn at Arkville by Alexander Helwig Wyant oil on canvas Smithsonian American Art Museum Washington, D.C. | Wyant, Alexander Helwig | |
 | Housatonic Valley by Alexander Helwig Wyant ca. 1880-1890 Smithsonian American Art Museum Washington, D.C. | Wyant, Alexander Helwig | |
 | Spring by Alexander Helwig Wyant oil on canvas Smithsonian American Art Museum Washington, D.C. | Wyant, Alexander Helwig | |
 | The Flume, Opalescent River, Adirondacks by Alexander Helwig Wyant ca. 1875 Smithsonian American Art Museum Washington, D.C. | Wyant, Alexander Helwig |
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