| The Bath, 1892 |  | Mary Cassatt |
| The Chess Game, 1907 |  | John Singer Sargent |
| Arrangement in Gray & Black No. 1: Portrait of the Artist's Mother, 1871 |  | James McNeill Whistler "To me it is interesting as a picture if my mother; but what can or ought the public to care about the identity of the portrait?" For Whistler, pure form, shape, and color--their arrangement-- was important. |
| Nocturne in Black and Gold: Falling Rocket, 1874 |  | James McNeill Whistler "A picture is a picture apart from any story it may be supposed to tell. As music is the poetry of sound, so is a painting the poetry of sight and the subject matter has nothing to do with harmony of sound or of color." At DIA.
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| Nocturne, 1878 |  | James McNeill Whistler |
| Gulf Stream, 1899 |  | Winslow Homer Viewer is made witness to a potential disaster: horror in paint. We are uncertain of the outcome. |
| Self-Portrait of the Artist, 1878 | _jpg.jpg) | Mary Cassatt |
| The Water Garden, 1909 |  | Childe Hassam |
| Cotopaxi, 1862 |  | Frederick Church Called America's best painter in the mid 1800s, he used extreme light & detailed realism to add drama and grandeur. Nature over man. A parable for Civil War? Will the sun penetrate the smoke? Is that a cross in the water? At DIA. |
| Expulsion Moon and Firelight, 1848 |  | Thomas Cole "If the imagination is shackled, and nothing is described but what we see, seldom will anything truly great be produced in painting. . . . But a departure from nature is not a necessary consequence. . . ." |
| American Lake Scene, 1844 |  | Thomas Cole For Cole, painting portraits and figures only revealed corruption of civilizations; the future belonged to those who found true, pure, and unspoiled nature. The spiritual in the actual. "The earth before God breathed on it." At DIA. |
| Improvisation, 1899 |  | Childe Hassam |
| Adirondack Lake, c. 1890 |  | Winslow Homer Illustrator for Harper's, Homer's editors sent him to join the Army of the Potomac in the Civil War, expecting him to paint scenes of battle. He had other ideas and began painting quiet days of soldiers and outdoor moments. |
| Defiance: Inviting a Shot Before Petersburg, 1864 |  | Winslow Homer A young Union soldier, bored with the nine month trench warfare siege at Richmond, taunts the enemy by standing defiantly before the Confederates. Home was a war correspondent for Harper's. At DIA. |
| Poppy Garden, 1905 |  | Willard Metcalf |
| Mosquito Net, 1912 |  | John Singer Sargent A family invention to ward off mosquitoes. Intimate and close, painted at an angle, almost like a snapshot. Informal approach creates intimacy.
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| The Calenders, 1889 |  | Henry Siddons Mowbray Based on an Arabian story from "1001 Nights," three princes disguised as Calenders (Sufi beggars) entertain ladies from Baghdad. At DIA. |
| Domestic Happiness, 1849 |  | Lily Martin Spencer |
| White Veil, 1909 |  | Willard Metcalf Pointillism used here. How does such a cold scene feel warm? Note the blues and dotted reds. New Hampshire scene. At DIA. |
| My Daughter Elizabeth, 1915 |  | Frank Benson Benson's painting explores young womanhood and outdoor light. Benson would first photograph the image and work from it, but clearly idealized his daughters. At DIA. |
| Fur Traders Descending the Missouri, 1845 |  | George Caleb Bingham "The ideal in art is but the impressions made upon the mind of the artist by the beautiful in nature." Note how Bingham creates a slow laziness here: paddle, cat, direction of boat. . . . A version at DIA. |
| Madame Paul Poirson, 1885 |  | John Singer Sargent A European, Sargent spent his life traveling back and forth between the US and Europe painting famous people. Fame, though, came from the "life" of his paintings, capturing flashes of movement or fresh poses. At DIA. |
| Buffalo Hunter Spitting a Bullet Into a Gun, 1892 |  | Frederic Remington When we think of the West, we think of Remington. A participant in expeditions and work parties out West (he fled Yale after two years to become a cowboy), he brought a sense of adventure to the country through his portrayals. |
| Plums, 1870 |  | John William Hill |
| Whooping Crane, c. 1850 |  | John James Audubon |