Art
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Name

Artist

Location

Catalog
#

Information

Admiral Huythuysen

Hals, Franz
(1580-1666)

Dutch

Vienna

Hall from room 219 to 221

48

Class of January, 1913

Zest for life is evident in the vigorous portraits by Hals.  He liked to paint "the things that are seen".  He lacked insight into the deeper emotions but delighted in catching the expression of the moment.

Adonis

Walker, Henry O.
(1843-1929)

American

Library / room 002

326

 Original in Library of Congress, Washington, DC

Adonis, a hunter, is loved by Venus.  Unmindful of the goddess, he leaves her and hunts the wild boar, which kills him.  Shakespeare used the Greek myth as the theme of a poem entitled, "Venus and Adonis".  By downward sloping lines and by the pallor of the youth, a noble form, Walker creates the tragic scene which awaits the sorrowing queen of love.

Age of Discovery

Eden, Denis

Hall between room 104 to 105

71

Class of January, 1915

Original hangs in the House of Parliament, London

This picture shows King Henry VII of England granting a charter in 1496 to John Cabot and his three sons, authorizing them to sail in search of new lands.

Age Of Innocence

Reynolds, Sir Joshua  (1723-1792)

English

Original in National Gallery, London

Hall from room 029 to 031

124

Aiming at effect rather than likeness, Reynolds felicitously interpreted childhood through harmony of line; through shade, soft and broad; and through color, rich and warm.  This picture conveys a sense of ease not found in his other portraits.  His claim to fame rests upon his portraits of children.

Alfred the Great Rebuilding the Walls of London

Salisbury, Frank O.
(1874-?)

English

Hall between room 104 to 105

66

Class of January, 1915

Original in Houses of Parliament, London

Kind Alfred is shown standing on two building stones, directing the repairing of the wall of London, which had been damaged by time and by the Danes.

The Apostles

Durer, Albrecht 
(1471-1528) 

German

room 229

35

Original at Munich, Germany

Durer, considered the greatest engraver of all time, is Germany's representative artist.  He brought the spiritual warmth of the Italian Renaissance to the art of the North.  "The Apostles", one of his most popular paintings, is a diptych or two-part altar piece, representing on one tablet the apostles John and Peter; on the other, Paul and Mark.

Audubon Society - Numernius Rutescens

Walter & Cohn, Imp.

Hall from room 115 to 113

-

Audubon Society - Pluvianus Aegyptius

Walter Imp

Hall from room 115 to 113

-

Autumn Landscape

Wisinger, Florion G.

room 146

38

Class of June, 1913

This picture is impressionistic to the extent that it is a study of a momentary effect in light and color.  It therefore lacks the emphasis on form for which many modern artist strive.

The Avenue of Trees

Hobbema, Meyndert
(1637-1709)

Dutch

Hall from room 311 to 313

76

Original in National Gallery, London

The artist, through the genius of his painting, has made a great picture from simple landscape material.  The painting is evidence that simplicity is synonymous with great art.

Beatrice of Cuznace

Van Dyck Sir Anthony
(1599-1614)

Flemish

Hall from room 343 to window

404

Chiefly accomplished in technical skill, Van Dyck gave consummate care and labor to the details of this portrait.  Contrast the emphasis on costume and his fondness for splendor with the lack of depth in his study of character.

The Border of the River

Waidman, Pierre

French

room 146 H

143

The etching's fine line helps to give this color reproduction a delicate quality. It is a tranquil scene, quiet waters in the foreground offset by the restless motion of clouds in the sky of evening.

This picture is especially worthy of attention for the vitality and character of the face, the grace of the figure, the easy naturalness of the pose, and the unaffected simplicity of the subject. Original in the possession of J. Pierpont Morgan

The Boy of Winander

Walker, Henry O.
(1843-1929)

American

Library / room 002

325

Original in Library of Congress, Washington, DC

The boy (from Wordsworth's poem "The Prelude") is in a listening mood. Through his hands "he blew mimic hootings to the owl, that they might answer him". The picture illustrates a pause when surprised at the "voice of the mountain torrent" and with his mind filled with images of the scene, he became aware of the spirit in nature. The low key of color adequately portrays the solemnity of the hour.

Bradbury's Millpond

Ranger, Henry Ward
(1858-1916)

American

Business Office

230

This color reproduction is painted so sympathetically that it is easy to believe that the artist was moved emotionally by the pond.

Bridge and Town

Blanke, Wihhelm

German

Hall from room 133 to 135

382

The artist has been sensitive to the fascination of a castle.  Here is an Old World scene where the castle dominates the town.  Impressive, enduring, though its feudal usefulness has ceased, it stands yet.  Durableness is expressed in the stone bridge, too, through repetition of the arches and by the massiveness of its pillars.  Strong contrasts in color complete the atmosphere of rugged strength.

Broadway

Cooper, C. C.
(1856-

American

room 146

237

Class of June, 1918

Cooper, "the poet of cities", finds inspiration in the streets of a modern metropolis.  For him there are beauty, grandeur, and sublimity in skyscrapers.  "He clothes the commonplace brick and mortar of the business block with warm, rich colors of their own".  This reproduction is representative and typical of his work.

Brunnehildes Erwachen (Brunnehilde's Awakening)

Hendrick, Hermann
(1856-1931)

Hall from room 334 to 338

60

Class of June,1913 

Unlike the story in the tradition where Siegfried awakens Brunehilde, the artist shows an ethereal figure emerging from mystic clouds.

In a golden light, this etching delicately expresses the vastness and richness of Burgos Cathedral in which the adornment of carvings, statues, and paintings reveal an interweaving of Christian and Moorish detail.  Among its many tombs are those of Don Fernando and the Cid, both famous heroes in Moorish wars.

The Cairn

Alexander, John W.
(1856-1915)

American

Library / room 002

248

Class of June, 1919

Original in Congressional Library, Washington, DC

This portrays prehistoric man, commemorating some notable event merely by erecting a heap of boulder on the seashore. The flowing lines convey the impression that he is in action and that he is earnest, intelligent, and full of zest from his ennobling ideas. His companions, receding into the background, by contrast express less response to the appeal of great deeds. The color and light emphasize the vitality of primitive man in relation to the vigor and mystery of nature when he is surrounded by stone, wind, sun, and sea.

Quiet shadows and cool reflections in light-values contribute to the repose felt by the artist and expressed in this etching where an old street presents buildings with decorative design.  

Captain Lewis Sighting Yellowstone

-

room 104D

-

-

Cardinal Wolsey at the Trial of Catherine of Aragon and Henry VIII at Blackfriars, AD, 1529

Salisbury, Frank O.
(1874-?)

English

Hall between room104 to  105

64

Class of January, 1915

Historical painting in Houses of Parliament, London

Aside from the historical significance, this series from 64 to 75 inclusive, is outstanding for brilliance of coloring and richness of decoration.  In this picture the artist shows a famous event, the divorce trial of King Henry VIII and Queen Catherine, daughter of Ferdinand of Aragon and Isabella of Castile.  Cardinal Wolsey, having been given jurisdiction by Pope Clement VII, presides upon the judge's throne.  Queen Catherine, having made many futile efforts to defeat Henry's purpose, is shown in court as she flings herself at the Cardinal's feet to beg for justice.  The rights of the woman, the church, and the state are in the balance.  The position of the kneeling queen intensifies the scene.

Castle of the Maidens

Abbey, Edwin A. (1852-1911)

American

Hall from room 229 around corner

219

Class of June, 1917

Original in Boston Public Library

In cool, ethereal colors, these maidens, representing the virtues, form a horizontal band.  This serves as background to the warm, dynamic red of Galahad's cloak.  He has come to rescue the maidens from imprisonment by the seven deadly sins.

Charles I. Demanding the Five Members of the Guild Hall

Solomon, Solomon J.
(1860-1927)

Hall between room 104 to 105

65

Class of January, 1915

Original in Houses of Parliament, London

On January 31, 1642, King Charles I entered the House of Commons and demanded that this legislative body turn over to him five leaders of the opposition.  These leaders, who included John Pym and John Hampden, had protested and acted against Charles's over assumption of authority.  They were not present.  The picture shows him demanding the persons of the so-called offenders.  King Charles is the central figure.

Children of the Shell

Murillo, Bartolme Estaba
(1618-1682)

Spanish

room 201

104

Class of January, 1913

Original in the Prado Gallery, Madrid, Spain

The triangular arrangement, the repetition of the diagonal lines, and the striking contrast between light and shade give balance and strength to this charming picture.  The innocence and artlessness of childhood are delightfully portrayed.  The prophetic lines of the reed cross, with the Latin inscription, Behold the Lamb of God, suggest but do not emphasize the religious symbolism.

Christ at Emmaus

Rembrandt, Van Rijn (1606-1669)

Dutch

Hall from room 323 to 325

112

Class of June, 1915

Original in the Louvre, Paris

After his resurrection Jesus appeared to two disciples.  Rembrandt depicted the moment at the meal when they realized that the man they had not recognized was Jesus.  No other artist has presented such a Christ as this Being, who has passed through death and lives again.  Rembrandt's power to extend his strenuous spiritual quest into the medium of paint and produce so inspiring a painting as this attests his genius

Close of Day

Ludwig, Karl
(1839-1901)

German

room 117

306

Among the modern paintings in our collection this is one of the most impressive because of atmosphere produced by light.  As the few cottages, rendered beautiful by snow, fade in the twilight, the mountains remain lighted by the setting sun.  Its rays are extended and alternated by shadows like an echo rolling from peak to crag.  Lines, shadows, and softness of light produce a startling effect.

Comus, The Enchanter

Walker, Henry O. (1843-1929)

American

Library / room 002

324

Original in Library of Congress, Washington

This portrays Milton's Comus, an enchanter, son of Circe, as her breaks off his riotous revels on hearing the Lady's song.  The warm, vibrant light enhances his youthfulness.  His pose of rapt attention foreshadows his awakening to the beauty of Virtue. 

The Concert  

Giorgione, da Castelfranco
(1478-1511)

Italian

Hall from room 219 to 221

369

With Giorgione began a new era in art. His pictures mark a departure from conventionalized forms for strictly religious purposes. for the first time, art became an expression of beauty as the artist conceived it.

Coronation of the Virgin 

Angelico, Fra Beato (1387-1455)

Italian

Hall from room 223 to 225

419

Original in the monastery of San Marco, Florence, Italy

Angelico painted this resplendent, religious scene with surpassing art.  The center of interest is Christ seated on a throne with marble steps of varied colors, each of which is symbolic.  He is about to place a crown of rich workmanship upon the head of his kneeling mother. Circles of angel-musicians and saints are repeated about the Virgin, their long trumpets filling the space above. In the lower part of the picture, faces lifted, are the hosts of the blessed in two groups.  Each saint is distinguished by an emblem or by his name on his nimbus or on his vestment.  Conspicuous in the lower-right corner are St. Agnes holding her little, white lamb in her arms, the lamb symbolizing purity; and St. Catherine leaning on her wheel as calmly as if it were a spinning wheel instead of an instrument of her execution.  These celestials, in their chaste draperies of white, rose, and blue, sown with stars and embroidered in gold, form a luminous and harmonious background for this famous masterpiece. 

Dance of the Nymphs

Corot, Jean Babtiste-Camille
(1796-1875)

French

room 107

22

Class of June, 1912

Original in the Louvre, Paris

This shows the lyric spirit that pervades Corot's work.  Aiming at the general effect of the impressionists, he painted landscapes that are full of mist and sunshine.  Strict contours are abolished and edges blurred as the indistinct mass of the foliage shows.

Daniel  

Michelangelo (1475-1564)

Italian

Hall from room 211 to 213

407

This picture reveals that the keynote of Daniel's prophecy was hope. Daniels writes in the heat of divine inspiration. Every movement is of great moment. His motions suggest enthusiasm and youthful energy.

Dante Weeping Over Beatrice

Rieder, M.
(1852-)

French

room 229

125

Class of January, 1913

On the marble bench in the garden, Dante mourns for the dead Beatrice.  He does not notice the ladies who sympathize with his grief and would comfort him.

Death of Nelson (October 21, 1805)

Maclise, Daniel (1806-1870)

Irish

room 201 / Balcony Entrance

238

Original in the House of Parliament, London

This picture portrays the death of perhaps the greatest English seaman in the naval battle of Trafalgar. The picture shows Nelson surrounded by some of the members of his crew. Maclise sought to represent the incident as it may have happened.

The Delphic Sibyl

Michelangelo
(1475-1554)

Italian