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have been executed. Then, suddenly, he sees something that will help it along. I remember hearing him say one day, in his studio: "I thought that picture was done half a dozen times. It certainly might have been called finished six months ago. I was working at it all day yesterday." But one limitation should be noted here. Mr. Gifford does not experiment with his paintings. He does not make a change in one of them unless he knows precisely what he wishes to do. When Mr. Gifford is done, he stops. And he knows when he is done. Yet, on the other hand, he would rather take the risk of destroying a picture than to feel the slightest doubt respecting any part of it. The moment of his keenest pleasure is not when his work is satisfactorily completed, but when, long beforehand, he feels that he is going to be successful with it.
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picture fixed as firmly if not as fully as the completed work itself. While traveling, he can in this way lay up a good stock of material for future use. The next step is to make a larger sketch, this time in oil, where what has already been done in black-and-white is repeated in color. To this sketch, which is about twelve inches by eight, he devotes an hour or two. It serves the purpose of defining to him just what he wants to do. He experiments with it; puts in or leaves out, according as he finds that he can increase or perfect his idea. When satisfactorily finished, it is a model of what he proposes to do.
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1806:, by Sanford R. Gifford. It is a lake-scene in the forest, just as the shadows of approaching night begin to creep over the landscape. The sky glows with reflected light, and this brilliant after-glow is repeated in the quiet water. In the deep shadows of the forest on the bank of the lake in the middle ground, there glows the firelight of a hunter's camp, but otherwise there is nothing in the landscape to disturb the impressive quiet of the scene."
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1762:, No. 340. It represents the well-known valley, with a pile of buildings on the left, and a small stream running down the center. The valley is bathed in a glow of golden sunlight. The picture is specially noticeable for its fine tone, the wonderful atmospheric effects which have been introduced, and its admirable perspective. Quite in a different style to this is No. 376,
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492:, are as strong and pronounced in color as the former works are delicate and suggestive. The artist is varied in his powers, and sustained, free, and finished in his methods. His pictures always manifest great elevation of thought and feeling. They are the interpretation of the profound sentiments of Nature rather than of her superficial aspects.
598:." News of the sale was broken by arts blogger Lee Rosenbaum. As punishment for these actions, AAMD asked its other member museums to "cease lending artworks to the Academy and collaborating with it on exhibitions." The Academy had contemplated selling additional paintings, but those plans were abandoned after being reported by Rosenbaum.
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The preview for the second session, on the evening of April 21, was advertised as a benefit for New York City's
Hahnemann Hospital. The crowd was larger than anticipated, and with some 800 people packed into the building, the floor of the ballroom collapsed, in what became known as the Madison Square
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The
Gifford collection comprises nearly 70 pictures, and enough studies for pictures to bring the total up to 160 numbers. It occupies the entire west gallery. While the limited time allowed for the formation of the collection and the inconvenient season for securing loans prevented that completeness
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He is now ready to paint the picture itself. When the day comes, he begins work just after sunrise, and continues until just before sunset. Ten, eleven, twelve consecutive hours, according to the season of the year, are occupied in the first great effort to put the scene on canvas. He feels fresh and
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The same lesson is also enforced by the sale of the pictures and sketches of the late
Sanford R. Gifford, the most important sale, so far as American art in concerned, held in a long while. The collection consisted of 294 sketches and finished works, which were sold in two divisions, on the evenings
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Thirty-six Venice paintings, based on his 1869 drawings and studies of the city, were listed in the 1881 memorial catalogue of
Gifford's works. He painted additional Venetian works, according to biographer Ila Weiss. In 1875, he wrote to a friend: "I have painted so many Venetian pictures during the
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When the long day is finished and the picture is produced, the work of criticism, of correction, of completion, is in place. Mr. Gifford does this work slowly. He likes to keep his picture in his studio as long as possible. Sometimes he does not touch the canvas for months after his first criticisms
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Although trained as a portrait painter, the first work
Gifford exhibited at the National Academy was a landscape, in 1847. Thereafter, Gifford devoted himself primarily to landscape painting, becoming one of the finest artists of the Hudson River School. He was elected an Associate of the National
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Mr. Gifford's method is this: When he sees anything which vividly impresses him, and which therefore he wishes to reproduce, he makes a little sketch of it in pencil on a card about as large as an ordinary visiting-card. It takes him, say, half a minute to make it; there is the idea of the future
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Gifford enclosed "A List of Some of My Chief
Pictures" in a November 6, 1874 letter to Octavius Brooks Frothingham. He updated that list in 1880. Many of these works were characterized by a hazy atmosphere with soft, suffused sunlight. He often painted a large body of water in the foreground or
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Like most Hudson River School artists, Gifford traveled extensively to find scenic landscapes to sketch and paint. In addition to exploring New
England, upstate New York and New Jersey, Gifford made extensive trips abroad. He first traveled to Europe from 1855 to 1857, to study European art and
521:. In 2007, these papers were digitally scanned in their entirety and made available to researchers as the Sanford Robinson Gifford Papers Online. Twenty-four of Gifford's sketchbooks survive, and are in the collections of Yale University, the Brooklyn Museum, Vassar College, and elsewhere.
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and his wife, took him across Europe in 1868. Leaving the McEntees behind, Gifford traveled to the Middle East, including Egypt in 1869. Then in the summer of 1870 Gifford ventured to the Rocky
Mountains in the western United States, this time with Worthington Whittredge and
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last five years that I have lately declined to paint them when they have been asked for. One can't stay in Venice forever any more than one can eat partridge every day." In the same letter, he wrote about his commission fees: "The price of such a picture the size of the
1775:"His painting of the Matterhorn towering into the blue, smitten by the glow of the setting sun, is, it not too much to say, one of the noblest attempts at mountain painting ever undertaken by an American artist. We know not which most to admire, the firmness of the
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of representation which was desired, yet enough has been gathered to exhibit successfully the extent, the beauty, and the real power of Mr. Gifford's work, as well as its defects and limitations. Among the more important pictures that are displayed may be noted
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878:(1879), 40" x 28", private collection. Purchased by George C. Clark for $ 950 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings. Photos and sketches of SRG's visit to the Matterhorn are available via the Smithsonian Web site.
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583:(1848) in 1994. According to its former curator, David Dearinger: "When the Academy later applied to the museum association for accreditation, Mr. Dearinger recalled, it was asked about the Woodville sale and promised not to repeat such a move."
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565:, whose policy stated that member museums could not sell works of art to cover operating expenses, only to purchase superior works or to weed out inferior or redundant ones. Prior to joining AAMD, the Academy had sold two
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594:(1859) to a private collector for US$ 13.5 million. The former was the Academy's only painting by Church; the latter was its only painting by Gifford. Both had been "donated to the Academy in 1865 by another painter,
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1673:(1862), Seventh Regiment Armory, New York City. Sold for $ 325 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings. Reportedly, damaged in the April 21, 1881 Madison Square Garden disaster.
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On August 29, 1880, Gifford died in New York City, after having been diagnosed with malarial fever. That autumn, the
Metropolitan Museum of Art organized a memorial exhibition of 160 of his works.
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in 1842. He left college after his sophomore year, and moved to New York City in 1845 to study art. He studied drawing, perspective and anatomy under the
British watercolorist and drawing-master,
1382:(1866), Terra Foundation, Chicago. Exhibited at the 1867 Exposition Universelle in Paris. This painting helped to inspire the creation of the Catskill and Adirondack Forest Preserves.
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890:, Washington, D.C. Purchased for the Corcoran Gallery of Art for $ 5,100 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings, an auction record for the artist.
779:(1870), Metropolitan Museum of Art. Commissioned by Robert Gordon. Exhibited at the National Academy of Design in 1870. Exhibited at the 1876 Centennial Exposition, Philadelphia.
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Two-hundred-ninety-four of Gifford's paintings were to be auctioned at Madison Square Garden in two sessions. Part 1 went off without a hitch, but Part 2 had a tragic end.
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The following year, MMA published a catalog of his works, which listed 734 paintings and featured an appraisal of his work by his friend, John F. Weir of Yale University:
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1457:(1867), unlocated. Exhibited at the 1876 Centennial Exposition, Philadelphia. Sold for $ 305 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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303:, one noted canvas from the period, is a dramatic scene depicting a series of telegraph poles extending into an atmospheric distance underneath ominous storm clouds.
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1649:(1861). Purchased by William Schaus for $ 630 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings. Reportedly, damaged in the April 21, 1881
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1779:, the purity of the atmospheric tints, or the superb manner in which the outlines of the stupendous obelisk of th Alps have been chiselled against the heavens.
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1863), unlocated. Exhibited at the National Academy of Design, 1864. Sold for $ 300 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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1537:(1872), Loeb Art Center, Vassar College, Poughkeepsie, New York. Sold for $ 275 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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Gifford would often revisit an image later, sometimes years later, painting a variation based on his sketches and own inspiration, or a patron's wishes.
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1877), 18" x 34", private collection. Purchased by George C. Clark for $ 1,025 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
472:, of which it may be said that the sea and its solitude has seldom inspired a more profound motive, or one more adequately rendered, than this picture.
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during the Civil War, guarding Washington, D.C., and Baltimore, 1861-1863. A few of his canvases belonging to New York City's Seventh Regiment and the
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252:, Vermont's tallest mountain, with his friend and fellow painter Jerome Thompson. Sketches made during their visit were published in the magazine
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1766:, by the same artist. It is painted with all Mr. Gifford's usual careful attention to detail. The mountain in the distance is particularly fine.
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1866), Adirondack Museum, Blue Mountain Lake, New York. Sold for $ 215 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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1336:(1865), Thyssen-Bornemisza Collection, Madrid, Spain. Sold for $ 205 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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1208:(1862). Exhibited at 1876 Centennial, Philadelphia. Sold for $ 310 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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3362:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Gifford (see index)
3354:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Gifford (see index)
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1202:(1862), private collection. Purchased by E. H. Gordon for $ 505 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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1354:(1866), Farnsworth Art Museum, Rockland, Maine. Sold for $ 230 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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has a full-blooded sense of light, modified by tone that is in every respect masterly in treatment. Two pictures by the same artist,
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of April 11th and 12th, and 28th and 29th, and realized an aggregate $ 42,200. The highest price was paid for the finished picture,
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1423:(1866), Yale University Art Gallery. Sold for $ 300 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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152:, the fourth of the eleven children of Quaker ironmaker Elihu Gifford and Eliza Robinson Starbuck. He spent his childhood in
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In June 1877, at age 53, Gifford married Mary Cecilia Canfield (1824-1887), the widow of a friend. They had no children.
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760:(circa 1869), unlocated. Exhibited at the 1876 Centennial Exposition, Philadelphia. Exhibited at the 1878 Paris Salon.
262:(1858) was his primary work, exhibited at the National Academy of Design in 1859. Thompson also exhibited a painting of
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132:(July 10, 1823 – August 29, 1880) was an American landscape painter and a leading member of the second generation of
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2146:"Record Sanford Robinson Gifford papers, 1840s-1900 | Collections Search Center, Smithsonian Institution"
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During the summer of 1867, Gifford spent most of his time painting on the New Jersey coast, specifically at
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Reports close connection between the two artists, also both National Academy and 7th Regiment members.
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sketch subjects for future paintings. During this trip Gifford also met and traveled extensively with
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2262:'Auction House Privately Handled the National Academy Sales; Two More Possible Disposals Identified'
1525:(1870), private collection. Exhibited at the National Academy of Design in 1870. (See Note A, below)
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841:(1875), Rhode Island School of Design. Exhibited at the 1876 Centennial Exposition, Philadelphia.
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1289:(1873). Sold for $ 215 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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727:(1873), unlocated. Painted for John Jacob Astor. Exhibited at National Academy of Design, 1874.
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Between 1955 and 1973, Gifford's heirs donated the artist's letters and personal papers to the
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944:(1871), Detroit Institute of Arts. Exhibited at the 1876 Centennial Exposition, Philadelphia.
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1988:
S. R. Gifford to John F. Weir, May 6, 1875, Yale University Library, quoted in Weiss, p. 144.
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975:(1874), National Gallery of Art Exhibited at the 1876 Centennial Exposition, Philadelphia.
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2131:"Fall of the Madison Square Garden Building in N. Y., killing 5 persons and injuring 22."
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1496:(1868), private collection. Exhibited at the 1876 Centennial Exposition, Philadelphia.
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critic George Arnold's praise for the painting is quoted in Avery et al., pp. 167-168.
1299:(1864), private collection. Exhibited at the 1876 Centennial Exposition, Philadelphia.
752:(1869), private collection. Exhibited at the 1876 Centennial Exposition, Philadelphia.
710:(1868), private collection. Exhibited at the 1876 Centennial Exposition, Philadelphia.
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2171:"Now at the Met: Crystal Bridges-owned Painting Sold in 1994 by the National Academy"
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for $ 255 at the posthumous April 11 & 12, 1881 auction of Gifford's paintings.
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2483:"Opening of the Forty-fifth Annual Exhibition of the National Academy of Design,"
2216:"National Academy Sells Two Hudson River School Paintings to Bolster Its Finances"
184:
17:
2055:
John F. Weir, "Sanford R. Gifford. His Life and Character as Artist and Man." in
1086:(1854), oval canvas, 41" x 36", Westervelt-Warner collection, Tuscaloosa, Alabama
1080:(1854), oval canvas, 41" x 36", Westervelt-Warner collection, Tuscaloosa, Alabama
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718:(1869), March-Billings-Rockefeller National Historical Park, Woodstock, Vermont
315:. At least part of the 1870 travels were as part of a Hayden Expedition, led by
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505:, which was bought for the Corcoran Gallery of Art, at Washington, for $ 5,100.
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1109:(1859), private collection. Deaccessioned by National Academy of Design, 2008
140:, his work was noted for its emphasis on light and soft atmospheric effects.
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2122:(Boston: Dana Estes and Charles E. Lauriat, 1881), div. 2 (May 1881), p. 42.
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Sanford Robinson Gifford papers at the Smithsonian Archives of American Art
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1999:
Hudson River School: Masterworks from the Wadsworth Athenaeum Museum of Art
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Mont Cervin (Matterhorn), circa 1856-circa 1868. (Box 2 (pam), Folder 16).
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The Catskills: Painters, Writers, and Tourists in the Mountains, 1820-1895
1364:, Cleveland, Ohio. Exhibited at the 1867 Exposition Universelle in Paris.
258:. Gifford painted some 20 paintings from the Vermont sketches. Of these,
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Garden disaster. Five people were killed and twenty-two were injured.
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eager. His studio-door is locked. Nothing is allowed to interrupt him.
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Indian Summer in the White Mountains (Mount Washington from the Saco)
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Camp of the Seventh Regiment, near Frederick, Maryland, in July 1863
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Camp of the Seventh Regiment, near Frederick, Maryland, in July 1863
1094:(1858), Manoogian collection (on loan to Detroit Institute of Arts)
1609:(1877), Williams College Museum of Art, Williamstown, Massachusetts
913:(1873). Exhibited at the 1876 Centennial Exposition, Philadelphia.
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by the National Academy of Design. The Academy was a member of the
2239:'"Lee Rosenbaum" (not alter ego, "CultureGrrl") in NY Times Today'
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907:(1880), unlocated. Exhibited at the Brooklyn Art Association, 1880
819:(1871). Exhibited at the 1876 Centennial Exposition, Philadelphia.
744:(1869). Exhibited at the 1876 Centennial Exposition, Philadelphia.
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is $ 1600 without the frame. That is the price I received for the
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3253:
Hudson River School Visions: The Landscapes of Sanford R. Gifford
2351:
Hudson River School Visions: The Landscapes of Sanford R. Gifford
2186:"Branded a pariah, the National Academy is struggling to survive"
2057:
A Memorial Catalogue of the Paintings of Sanford Robinson Gifford
586:
In a 2008 sale, the Academy quietly sold Frederic Edwin Church‘s
767:(1870), Loeb Art Center, Vassar College, Poughkeepsie, New York.
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2649:(Boston: Dana Estes and Charles E. Lauriat, 1881), pp. 351-352.
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The Annual Exhibition of the National Academy 1870 p. 705. jpg.
1545:(1875), Seattle Art Museum. Exhibited at the 1878 Paris Salon.
951:(1868), Loeb Art Center, Vassar College, Poughkeepsie, New York
857:(1878), Munson-Williams-Proctor Art Institute, Utica, New York
804:(1854), Loeb Art Center, Vassar College, Poughkeepsie, New York
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are no less admirable, but with a very distinct sentiment, and
3287:
Poetic Landscape: The Art and Experience of Sanford R. Gifford
2012:
Poetic Landscape: The Art and Experience of Sanford R. Gifford
1647:
Bivouac of the Seventh Regiment at Arlington Heights, Virginia
1214:(1863, retouched by Gifford 1880), Philadelphia Museum of Art
924:(1880), Munson-Williams-Proctor Art Institute, Utica, New York
864:(dated Aug. 6, 1868), Thyssen-Bornemisza Museum, Madrid, Spain
361:
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Clipping dated April 21, 1881, identified only as "New York."
168:. He also studied the human figure in anatomy classes at the
1963:
Picture 1. Archive of American Art. Smithsonian Institution.
2585:"A visit to the studio of Mr. Sanford R. Gifford" by J.F.W.
232:(1867), Palmer Museum of Art, Pennsylvania State University
2229:, December 6, 2008, p. C1, NY edition. Retrieved 1/13/09.
2026:(Boston: Dana Estes and Charles E. Lauriat, 1881), p. 36.
2014:(Associated University Presses, Inc., 1987), pp. 327-329.
1976:(New York: D. Appleton and Company, 1879), pp. 16, 17-18.
1758:"On the north side of the room hangs Mr. S. R. Gifford's
1471:(1867), Palmer Museum of Art, State College, Pennsylvania
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Preaching to the Troops - Sunday Morning at Camp Cameron
3359:
American Paradise: The World of the Hudson River School
2059:(New York: Metropolitan Museum of Art, 1881), pp. 7-11.
2046:(New York: James T. White & Company, 1921), p. 443.
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The National Cyclopedia of American Biography, Volume 2
1280:
Study for The View from South Mountain in the Catskills
1259:
The View from South Mountain in the Catskills, A Sketch
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from New-York Historical Society Museum & Library.
1678:
The Basin of the Patapsco from Federal Hill, Baltimore
734:(1873), Washington University Museum of Art, St. Louis
641:(1873), Washington University Museum of Art, St. Louis
2001:(New Haven, CT: Yale University Press, 2003), p. 160.
1129:(1862), Mint Museum of Art, Charlotte, North Carolina
1115:(1860), Washington University Art Gallery, St. Louis
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On the Lake of Geneva, near Villeneuve, with the Alps
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White Mountain paintings by Sanford Robinson Gifford
3025:"Hunter Mountain Paintings Spurred Recovery of Land"
2135:(New York: Gaylord Watson, Publisher, 1881), p. 169.
1635:(1861), Union League Club of New York. Painted from
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The White Mountains (Mount Washington from the Saco)
825:(1872), Washington University Art Museum, St. Louis.
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Gifford in uniform (1861), Archives of American Art
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3289:. Newark, DE: Associated University Presses, Inc.
2953:American Archives of Art, Smithsonian Institution.
2941:American Archives of Art, Smithsonian Institution.
2527:American Archives of Art, Smithsonian Institution.
2515:American Archives of Art, Smithsonian Institution.
2499:American Archives of Art, Smithsonian Institution.
2450:American Archives of Art, Smithsonian Institution.
1833:American Archives of Art, Smithsonian Institution.
1602:(1876), Wadsworth Athenaeum, Hartford, Connecticut
1576:(1878), Everson Museum of Art, Syracuse, New York
2659:American Archives of Art, Smithsonian Institution
2590:(N.Y.) March 18, 1875. "JFW" is almost certainly
1764:Mount Hood and the Dalles, Columbia River, Oregon
1523:Mount Hood and the Dalles, Columbia River, Oregon
897:(1869), Middlebury College Museum of Art, Vermont
2405:(Philadelphia: John R. Nagle and Company, 1876).
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1643:, about two miles northwest of the U.S. Capitol.
1230:A Coming Shower over Black Mountain, Lake George
2889:(New York: D. Appleton & Co., 1876), p. 21.
2109:. New York: Patterson & Neilson: 160. 1881.
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3187:by Bob Zeller (Praeger Publishers 2005) p. 50.
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1694:(1864), Seventh Regiment Armory, New York City
1627:(1864), Seventh Regiment Armory, New York City
1560:(1876), Cleveland Museum of Art. Purchased by
1510:(1870), Amon Carter Museum, Fort Worth, Texas
553:In December 2008, one of Gifford's paintings,
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3312:. Princeton: The Princeton University Press.
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2309:
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2305:
2303:
2301:
2299:
2297:
2295:
2293:
1493:Sunset over the Mouth of the Shrewsbury River
1266:The View from South Mountain in the Catskills
829:Fishing Boats Entering the Harbor at Brindisi
704:(1865), Pennsylvania Academy of the Fine Arts
404:(1878), Munson-Williams-Proctor Art Institute
176:Academy in 1851, and an Academician in 1854.
8:
3351:Art and the Empire City: New York, 1825-1861
3304:Wilton, Andrew & Barringer, Tim (2002).
3276:: CS1 maint: multiple names: authors list (
3256:. New York: The Metropolitan Museum of Art.
3250:Avery, Kevin J., & Kelly, Frank (2003).
1352:Rocks at Porcupine Island, near Mount Desert
1177:A Gorge in the Mountains (Kauterskill Falls)
1009:A Gorge In The Mountains - Kauterskill Falls
652:(1875), Rhode Island School of Design Museum
3960:A Storm in the Rocky Mountains, Mt. Rosalie
3113:pp.315-16 March 4, 1876. Retrieved 1-13-09.
2353:. New York: The Metropolitan Museum of Art.
1885:
1883:
1881:
1568:An Indian Summer Day on the Claverack Creek
1303:The Artist Sketching at Mount Desert, Maine
1275:(1871), The Parthenon, Nashville, Tennessee
1248:A View from South Mountain in the Catskills
1055:An Indian Summer Day on the Claverack Creek
525:2008 National Academy of Design controversy
219:The Artist Sketching at Mount Desert, Maine
136:artists. A highly-regarded practitioner of
3388:
3374:
3366:
2349:Kevin J. Avery & Frank Kelly, (2003).
1984:
1982:
1508:Valley of the Chugwater, Wyoming Territory
1136:(1871), New Britain Museum of American Art
1101:(1858), Springfield Museums, Massachusetts
1043:Mount Rainier, Bay of Tacoma – Puget Sound
557:(1859), became part of a controversy over
468:Mr. S. R. Gifford was represented by his
29:
2103:"Picture Sales of the Month (April 1881)"
2038:
2036:
2034:
1268:(1871), St. Johnsbury Athenaeum, Vermont.
569:works (including his "diploma painting,"
2781:from New Britain Museum of American Art.
2199:, December 23, 2008, p. C1, NY edition.
2133:Handbook of the United States of America
1802:"One of the most important pictures was
1619:
1187:(1880), Los Angeles County Museum of Art
1060:
1049:
1036:
1025:
1014:
666:
655:
644:
633:
396:
224:
213:
202:
191:
3310:Painting in the United States 1820-1880
2211:
2209:
1961:SRG pictured on horseback, with caption
1818:
1751:
1593:Sunset over the Palisades on the Hudson
1421:Hook Mountain, near Nyack on the Hudson
1311:(1865), upright composition, unlocated
1164:(1861), Addison Gallery of American Art
1022:(1863/1880), Philadelphia Museum of Art
992:(1876), Fogg Museum, Harvard University
872:(1879), Smithsonian American Art Museum
674:(1876), Fogg Museum, Harvard University
274:. (See "2008 NAD controversy," below.)
3269:
2525:Contemporary review 1872 (date?). jpg.
1903:, January 11, 2009. Retrieved 1/13/09.
1387:A Study of Hunter Mountain at Twilight
1371:(undated), Yale University Art Gallery
1330:(1865), Whitney Museum of American Art
374:middle distance, in which the distant
270:. Thompson's work is now owned by the
3346:150 works by Sanford Robinson Gifford
2851:Kauterskill Clove, Catskill Mountains
2805:from Addison Gallery of American Art.
2448:Contemporary review of painting. jpg.
2401:United States Centennial Commission,
1868:
1866:
1399:Morning in the Hudson, Haverstraw Bay
1287:The Hudson Valley from South Mountain
1192:Kauterskill Clove, Catskill Mountains
917:was a ship in Constantinople harbor.
285:are testament to this troubled time.
7:
3184:The Blue and Gray in Black and White
2925:from Whitney Museum of American Art.
2767:Early October in the White Mountains
2745:from Harvard University Art Museums.
2609:(University of Delaware Press 1997)
2605:John Ferguson Weir: The Labor of Art
2042:"Sanford Robinson Gifford, artist,"
1997:Elizabeth Mankin Kornhauser et al.,
1305:(1864-1865), National Gallery of Art
1120:Mount Washington from the Saco River
1113:Early October in the White Mountains
296:, according to an auction Web site.
279:7th Regiment of the New York Militia
277:Gifford served as a corporal in the
221:(1864-1865), National Gallery of Art
2683:Constantinople from The Golden Horn
1735:List of Hudson River School artists
1550:Mount Rainier, Washington Territory
1320:(1871), Museum of Fine Arts, Boston
1180:(1862), Metropolitan Museum of Art
1172:(1861), Yale University Art Gallery
1122:(1858), High Museum of Art, Atlanta
922:Constantinople from The Golden Horn
854:Galleries of the Stelvio, Lake Como
811:(1858), New-York Historical Society
797:(1871), Metropolitan Museum of Art
563:Association of Art Museum Directors
402:Galleries of the Stelvio, Lake Como
268:Belated Party on Mansfield Mountain
210:(1861), Yale University Art Gallery
4039:19th-century American male artists
3953:The Rocky Mountains, Lander's Peak
3875:Thomas Cole National Historic Site
1570:(1877), Metropolitan Museum of Art
1401:(1866), Terra Foundation, Chicago
1341:A Passing Storm in the Adirondacks
1057:(1877), Metropolitan Museum of Art
1011:(1862), Metropolitan Museum of Art
164:, and took drawing classes at the
25:
3092:from Yale University Art Gallery.
3001:from Yale University Art Gallery.
2817:from Yale University Art Gallery.
2647:The American Art Review, Volume 1
2120:The American Art Review, Volume 2
1924:Heilbrunn Timeline of Art History
1667:Baltimore in 1862: A Sunset from
1531:(1871), Detroit Institute of Arts
1428:Hook Mountain on the Hudson River
1194:(1880), Art Institute of Chicago
1084:Sunset in the Shawagunk Mountains
963:On the Nile, Gebel Shekh Hereedee
630:(1856-1857), Toledo Museum of Art
609:: Gifford's "Chief Pictures" are
4034:People from Greenfield, New York
2865:from Philadelphia Museum of Art.
2803:Lake Scene - Mountain Background
2509:Contemporary review in New York
1719:
1705:
1462:Sunrise, Long Branch, New Jersey
1162:Lake Scene - Mountain Background
989:Leander's Tower on the Bosphorus
817:Santa Maria della Salute, Venice
672:Leander's Tower on the Bosphorus
393:(1878), Art Institute of Chicago
391:Portrait of Mary Cecilia Gifford
306:Another journey, this time with
40:
3197:Bivouac of the Seventh Infantry
3137:from Detroit Institute of Arts.
2403:International Exhibition, 1876.
2363:Saint Peter's from Pincian Hill
2152:from the original on 2008-03-04
1943:from the original on 2012-02-29
1658:Bivouac of the Seventh Infantry
1415:(1879-1880), private collection
1408:(1868), Cleveland Museum of Art
1334:Manchester Beach, Massachusetts
1033:(1866), Cleveland Museum of Art
702:Saint Peter's from Pincian Hill
663:(1880), National Gallery of Art
3989:19th-century American painters
3344:www.SanfordRobinsonGifford.org
3023:Johnson, Kirk (June 7, 2001).
2853:from Art Institute of Chicago.
1558:Autumn - A Catskills Wood Path
1:
4024:American Orientalist painters
4019:Luminism (American art style)
3068:from Cleveland Museum of Art.
2989:from Cleveland Museum of Art.
2877:from St. Johnsbury Athenaeum.
2513:, Monday, June 27, 1870. jpg.
1804:A Twilight in the Adirondacks
1681:
1584:
1515:Red Buttes, Wyoming Territory
1484:Edison National Historic Site
1479:
1464:, (1864), private collection.
1446:
1390:
1296:A Twilight in the Adirondacks
1251:
1233:
1222:
1219:A Coming Storm on Lake George
1069:
980:Siout, Capital of Upper Egypt
832:
741:Fishing Boats of the Adriatic
686:1856), Brooklyn Museum of Art
683:
590:(1854) and Sanford Gifford's
486:Fishing-Boats of the Adriatic
283:Union League Club of New York
50:
4014:Hudson River School painters
3784:Newington-Cropsey Foundation
3147:Mount Rainier, Bay of Tacoma
2875:The View from South Mountain
2537:Isola Bella in Lago Maggiore
2460:Venice, San Giorgio Maggiore
2275:blogpost. Retrieved 1/13/09.
2252:blogpost. Retrieved 1/13/09.
1641:Georgetown, Washington, D.C.
1542:Mount Rainier, Bay of Tacoma
1500:Shrewsbury River, Sandy Hook
862:Sketch of Stelvio Road, Como
795:Isola Bella in Lago Maggiore
765:Venice, San Giorgio Maggiore
199:(1860), Toledo Museum of Art
27:American painter (1823–1880)
4009:American landscape painters
3774:New-York Historical Society
3161:from Everson Museum of Art.
2977:from Farnsworth Art Museum.
2561:Lake Maggiore, Italy (1858)
2176:blogpost, October 12, 2009.
1974:American Painters, Volume 1
1914:"Sanford Robinson Gifford,"
1740:List of Orientalist artists
1595:(1879), private collection
1242:(1877), private collection.
1240:A Sudden Storm, Lake George
1200:The Catskill Mountain House
708:Monte Ferro - Lago Maggiore
430:The Mouth of the Shrewsbury
378:would be gently reflected.
4055:
3967:Twilight in the Wilderness
3759:Metropolitan Museum of Art
2793:from Toledo Museum of Art.
2707:Gebel Haridid, on the Nile
2287:from Toledo Museum of Art.
1552:(1874), private collection
1430:(1867), private collection
1282:(1873), private collection
1261:(1865), private collection
1157:(1861), private collection
1099:Sketch for Mount Mansfield
1078:Morning in the Adirondacks
1046:(1875), Seattle Art Museum
982:(1869), private collection
965:(1872), private collection
958:(1869), private collection
849:(1878), private collection
789:(1872), private collection
549:(1859), private collection
545:Sanford Robinson Gifford,
537:(1854), private collection
503:The Ruins of the Parthenon
418:Twilight in the Wilderness
317:Ferdinand Vandeveer Hayden
272:Metropolitan Museum of Art
166:National Academy of Design
144:Childhood and early career
3703:William Louis Sonntag Sr.
3603:Ransome Gillett Holdridge
3583:William Stanley Haseltine
3493:Johann Hermann Carmiencke
3090:Hook Mountain, near Nyack
3080:from Christie's Auctions.
3011:Hunter Mountain, Twilight
2975:Rocks at Porcupine Island
2965:from Wadsworth Athenaeum.
2939:review Ap. 23, 1868. jpg.
2815:Twilight in the Catskills
2757:from Springfield Museums.
1873:Sandford Robinson Gifford
1835:Biographical information.
1684:1862), private collection
1587:1878), private collection
1574:A Sunset, Bay of New York
1486:, West Orange, New Jersey
1393:1865), private collection
1225:1863), private collection
1170:Twilight in the Catskills
1072:1878), private collection
949:Gebel Haridi, on the Nile
876:The Matterhorn at Sunrise
450:The Matterhorn at Sunrise
208:Twilight in the Catskills
47:Study for a Self-Portrait
39:
3789:Tuscaloosa Museum of Art
3693:Thomas Prichard Rossiter
3553:Sanford Robinson Gifford
3149:from Seattle Art Museum.
3125:from Amon Carter Museum.
2987:A Home in the Wilderness
2887:The Art Journal for 1876
2839:October in the Catskills
2827:A Gorge in the Mountains
2622:Galleries of the Stelvio
1972:George William Sheldon,
1581:Sunset over New York Bay
1454:Sunrise on the Sea-Shore
1358:A Home in the Wilderness
1185:October in the Catskills
1107:Mount Mansfield, Vermont
1066:Sunset over New York Bay
592:Mount Mansfield, Vermont
555:Mount Mansfield, Vermont
547:Mount Mansfield, Vermont
515:Archives of American Art
470:Sunrise on the Sea-Shore
248:In 1858, he traveled to
130:Sanford Robinson Gifford
34:Sanford Robinson Gifford
3897:Among the Sierra Nevada
3810:Catskill Mountain House
3769:National Gallery of Art
3483:Alfred Thompson Bricher
3171:Preaching to the Troops
3123:Valley of the Chugwater
2769:from Kemper Art Museum.
2575:from Kemper Art Museum.
2487:, April 17, 1870. p. 3.
2438:from Kemper Art Museum.
2201:With image of painting.
2024:The American Art Review
1849:. Hudson River Museum.
1845:Myers, Kenneth (1987).
1535:Outlet of Catskill Lake
1362:Cleveland Museum of Art
1348:, Hartford, Connecticut
1273:Autumn in the Catskills
888:National Gallery of Art
749:Pallanza, Lago Maggiore
732:Venetian Sails, A Study
639:Venetian Sails, A Study
577:Richard Caton Woodville
533:Frederic Edwin Church,
519:Smithsonian Institution
482:Pallanza, Lago Maggiore
434:Sta. Maria della Salute
179:
4029:Painting controversies
4004:American male painters
3918:The Heart of the Andes
3743:Alexander Helwig Wyant
3738:Worthington Whittredge
3723:Mary Josephine Walters
3698:Francis Augustus Silva
3683:William Trost Richards
3618:John Frederick Kensett
3593:Hermann Ottomar Herzog
3558:Régis François Gignoux
3518:Jasper Francis Cropsey
3478:James Renwick Brevoort
3244:American Orientalists,
3056:from Terra Foundation.
3013:from Terra Foundation.
2671:Ruins of the Parthenon
1890:Scandal over Mansfield
1628:
1073:
1058:
1047:
1034:
1023:
1012:
883:Ruins of the Parthenon
675:
664:
661:Ruins of the Parthenon
653:
642:
631:
588:Scene on the Magdalene
550:
538:
535:Scene on the Magdalena
507:
494:
462:
405:
394:
337:
313:John Frederick Kensett
243:Worthington Whittredge
233:
222:
211:
200:
189:
53:1848), Brooklyn Museum
3865:Rip Van Winkle Bridge
3840:Kaaterskill High Peak
3708:James Augustus Suydam
3658:Charles Herbert Moore
3563:Eliza Pratt Greatorex
3503:Frederic Edwin Church
3498:John William Casilear
3054:Morning in the Hudson
1651:Madison-Square Garden
1623:
1064:
1053:
1040:
1029:
1018:
1007:
715:The Lagoons of Venice
670:
659:
648:
637:
626:
596:James Augustus Suydam
544:
532:
498:
466:
413:
400:
389:
326:
228:
217:
206:
195:
187:
3911:The Course of Empire
3673:William Sidney Mount
3623:Robert G. L. Leonori
3588:Martin Johnson Heade
3568:Daniel Charles Grose
3468:Albert Fitch Bellows
3411:Age of Enlightenment
2911:An October Afternoon
2899:The Artist Sketching
2709:from Vassar College.
2551:from Vassar College.
1727:Hudson Valley portal
1600:Sunset on the Hudson
1317:An October Afternoon
1309:An October Afternoon
1148:Toledo Museum of Art
956:A Sketch of the Nile
809:Lake Maggiore, Italy
696:Toledo Museum of Art
581:War News from Mexico
575:) in the 1970s, and
266:in same exhibition,
150:Greenfield, New York
73:Greenfield, New York
3870:Storm King Mountain
3573:James McDougal Hart
3538:Robert S. Duncanson
3523:William Moore Davis
3488:William Mason Brown
3453:John Dodgson Barrow
3448:William Bliss Baker
3397:Hudson River School
3285:Weiss, Ila (1987).
3246:ACR, 1994, pp 84–90
3159:A Sunset, Bay of NY
2779:The White Mountains
2645:S. G. W. Benjamin,
2195:by Robin Pogrebin,
1789:The New York Leader
846:A Venetian Twilight
757:San Giorgio, Venice
490:San Giorgio, Venice
446:A Venetian Twilight
134:Hudson River School
3764:Wadsworth Atheneum
3733:Robert Walter Weir
3688:Ferdinand Richardt
3678:Harriet Cany Peale
3633:Homer Dodge Martin
3628:Edmund Darch Lewis
3543:Asher Brown Durand
3528:Lockwood de Forest
3306:American Sublime:
3212:The New York Times
3109:2011-05-21 at the
3103:Appletons' Journal
3029:The New York Times
2999:Mountain Landscape
2592:John Ferguson Weir
2485:The New York Times
2422:2019-07-13 at the
2271:December 5, 2008
2267:2009-03-30 at the
2244:2009-03-31 at the
2227:The New York Times
2225:by Randy Kennedy,
2221:2015-04-10 at the
2203:Retrieved 1/13/09.
2197:The New York Times
2191:2016-08-12 at the
1919:2021-10-22 at the
1899:by Mark Bushnell,
1895:2009-02-10 at the
1713:Visual arts portal
1629:
1616:American Civil War
1502:(1868), unlocated.
1369:Mountain Landscape
1346:Wadsworth Atheneum
1206:On the Bronx River
1074:
1059:
1048:
1035:
1024:
1013:
823:Schloss Rheinstein
676:
665:
654:
643:
632:
551:
539:
426:Mansfield Mountain
406:
395:
234:
223:
212:
201:
190:
18:Sanford R. Gifford
3976:
3975:
3835:Kaaterskill Falls
3830:Kaaterskill Clove
3820:Croton Point Park
3653:Louis Rémy Mignot
3648:Mary Blood Mellen
3135:Kaaterskill Falls
3035:on March 25, 2014
2634:Villa Malta, Rome
2248:December 6, 2008
1856:978-0-943651-05-7
1529:Kauterskill Falls
1517:(1870), unlocated
1469:Long Branch Beach
1443:, White Mountains
870:Villa Malta, Rome
422:Kauterskill Clove
298:The Mouth of the
230:Long Branch Beach
180:Gifford's travels
172:Medical College.
162:John Rubens Smith
127:
126:
90:New York City, NY
16:(Redirected from
4046:
3850:North–South Lake
3718:William Guy Wall
3548:Hermann Fuechsel
3473:Albert Bierstadt
3463:Julie Hart Beers
3458:Susie M. Barstow
3390:
3383:
3376:
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3275:
3267:
3242:Ackerman, G.M.,
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2607:by Betsy Fahlman
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382:Death and legacy
369:"Chief pictures"
300:Shrewsbury River
239:Albert Bierstadt
158:Brown University
154:Hudson, New York
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3794:Brooklyn Museum
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3237:Further reading
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3214:April 23, 1880"
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2169:Lee Rosenbaum,
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2114:
2107:The Art Journal
2101:
2100:
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2018:
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1987:
1980:
1971:
1967:
1959:
1955:
1946:
1944:
1939:. Artfact.com.
1935:
1934:
1930:
1921:Wayback Machine
1911:
1907:
1901:Rutland Herald
1897:Wayback Machine
1888:
1879:
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1774:
1770:
1757:
1753:
1748:
1725:
1718:
1711:
1704:
1701:
1618:
1441:Franconia Notch
1378:Hunter Mountain
1150:, Toledo, Ohio
1091:Mount Mansfield
1002:
996:
936:
930:
915:The Golden Horn
911:The Golden Horn
621:
604:
527:
384:
371:
333:
330:
325:
264:Mount Mansfield
260:Mount Mansfield
250:Mount Mansfield
182:
148:He was born in
146:
91:
88:
84:
83:August 29, 1880
75:
70:
64:
62:
54:
35:
28:
23:
22:
15:
12:
11:
5:
4052:
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4016:
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3867:
3862:
3857:
3852:
3847:
3842:
3837:
3832:
3827:
3822:
3817:
3815:Crawford Notch
3812:
3806:
3804:
3800:
3799:
3797:
3796:
3791:
3786:
3781:
3776:
3771:
3766:
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3670:
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3660:
3655:
3650:
3645:
3643:Jervis McEntee
3640:
3635:
3630:
3625:
3620:
3615:
3610:
3605:
3600:
3595:
3590:
3585:
3580:
3575:
3570:
3565:
3560:
3555:
3550:
3545:
3540:
3535:
3533:Thomas Doughty
3530:
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3329:
3328:External links
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3221:New York Times
3201:
3189:
3175:
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3139:
3127:
3115:
3094:
3082:
3070:
3066:Haverstraw Bay
3058:
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3015:
3003:
2991:
2979:
2967:
2955:
2943:
2927:
2915:
2903:
2891:
2879:
2867:
2863:A Coming Storm
2855:
2843:
2831:
2819:
2807:
2795:
2791:The Wilderness
2783:
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2759:
2747:
2735:
2723:
2711:
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2577:
2565:
2553:
2541:
2529:
2517:
2501:
2489:
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2452:
2440:
2436:Venetian Sails
2428:
2409:
2367:
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2137:
2124:
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2016:
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1472:
1465:
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1418:
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1409:
1406:Haverstraw Bay
1396:
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1374:
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1372:
1355:
1349:
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1331:
1323:
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1212:A Coming Storm
1209:
1203:
1197:
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1195:
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1173:
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1155:The Wilderness
1143:The Wilderness
1139:
1138:
1137:
1130:
1123:
1110:
1104:
1103:
1102:
1087:
1081:
1031:Haverstraw Bay
1020:A Coming Storm
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728:
724:Venetian Sails
711:
705:
699:
698:, Toledo, Ohio
687:
620:
617:
612:listed in bold
603:
602:Selected works
600:
559:deaccessioning
526:
523:
383:
380:
370:
367:
324:
321:
308:Jervis McEntee
197:The Wilderness
181:
178:
156:, and entered
145:
142:
125:
124:
119:
115:
114:
105:
104:Known for
101:
100:
97:
93:
92:
89:
87:(aged 57)
81:
77:
76:
71:
60:
56:
55:
45:
37:
36:
33:
26:
24:
14:
13:
10:
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2:
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3905:
3904:The Catskills
3901:
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3808:
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3782:
3780:
3779:Cooper Hewitt
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3669:
3668:Evelina Mount
3666:
3664:
3661:
3659:
3656:
3654:
3651:
3649:
3646:
3644:
3641:
3639:
3638:George McCord
3636:
3634:
3631:
3629:
3626:
3624:
3621:
3619:
3616:
3614:
3613:David Johnson
3611:
3609:
3608:George Inness
3606:
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3513:Samuel Colman
3511:
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3444:
3443:Charles Baker
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3319:0-691-09670-8
3315:
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3309:
3302:
3298:
3296:0-87413-199-5
3292:
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3263:9780300101843
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2554:
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2549:Lago Maggiore
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1638:
1637:Meridian Hill
1634:
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1615:
1608:
1607:The Palisades
1604:
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1128:
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1021:
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1000:United States
999:
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986:
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964:
960:
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937:
933:
931:
923:
919:
918:
916:
912:
909:
906:
905:
901:
896:
895:The Parthenon
892:
891:
889:
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884:
880:
877:
874:
871:
868:
863:
859:
858:
856:
855:
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848:
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843:
840:
837:
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827:
824:
821:
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815:
810:
806:
803:
802:Lago Maggiore
799:
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781:
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766:
762:
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688:
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629:
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614:
613:
608:
601:
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584:
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568:
567:Thomas Eakins
564:
560:
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548:
543:
536:
531:
524:
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511:
506:
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454:The Parthenon
451:
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170:Crosby Street
167:
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116:
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109:
108:Landscape art
106:
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98:
94:
82:
78:
74:
69:July 10, 1823
61:
57:
48:
43:
38:
31:
19:
3965:
3958:
3951:
3944:
3937:
3930:
3925:The Icebergs
3923:
3916:
3909:
3902:
3895:
3860:Platte Clove
3713:Jesse Talbot
3663:Thomas Moran
3578:William Hart
3552:
3421:Victorianism
3358:
3350:
3305:
3286:
3252:
3243:
3224:. Retrieved
3220:
3211:
3204:
3192:
3183:
3178:
3166:
3154:
3142:
3130:
3118:
3102:
3097:
3085:
3073:
3061:
3049:
3037:. Retrieved
3033:the original
3028:
3018:
3006:
2994:
2982:
2970:
2958:
2946:
2936:
2930:
2918:
2906:
2894:
2886:
2882:
2870:
2858:
2846:
2834:
2822:
2810:
2798:
2786:
2774:
2762:
2750:
2738:
2731:Siout, Egypt
2726:
2714:
2702:
2690:
2678:
2666:
2654:
2646:
2641:
2629:
2617:
2610:
2604:
2599:
2588:Evening Post
2587:
2580:
2568:
2556:
2544:
2532:
2520:
2510:
2504:
2492:
2484:
2479:
2467:
2455:
2443:
2431:
2426:from MBRNHP.
2412:
2402:
2358:
2350:
2280:
2273:Culture Grrl
2272:
2257:
2250:Culture Grrl
2249:
2234:
2226:
2200:
2196:
2181:
2173:
2165:
2154:. Retrieved
2140:
2132:
2127:
2119:
2115:
2106:
2056:
2051:
2043:
2023:
2019:
2011:
2006:
1998:
1993:
1973:
1968:
1956:
1945:. Retrieved
1931:
1923:
1908:
1900:
1846:
1840:
1803:
1798:
1788:
1784:
1776:
1771:
1763:
1759:
1754:
1690:
1689:
1677:
1669:Federal Hill
1666:
1665:
1657:
1646:
1632:
1624:
1606:
1599:
1592:
1580:
1573:
1567:
1557:
1549:
1541:
1540:
1534:
1528:
1522:
1514:
1507:
1499:
1492:
1491:
1475:
1468:
1461:
1453:
1452:
1435:
1427:
1420:
1412:
1405:
1398:
1386:
1376:
1368:
1357:
1351:
1340:
1339:
1333:
1325:
1316:
1315:
1308:
1302:
1295:
1294:
1286:
1279:
1272:
1265:
1258:
1247:
1239:
1229:
1218:
1211:
1205:
1199:
1191:
1184:
1176:
1175:
1169:
1161:
1154:
1142:
1141:
1133:
1126:
1119:
1112:
1106:
1098:
1090:
1089:
1083:
1077:
1065:
1054:
1041:
1030:
1019:
1008:
995:
988:
987:
979:
972:Siout, Egypt
971:
970:
962:
955:
948:
940:
939:
929:
921:
914:
910:
903:
902:
894:
882:
881:
875:
869:
861:
853:
852:
845:
844:
838:
828:
822:
816:
808:
801:
794:
784:A View near
783:
773:
772:
764:
756:
755:
748:
747:
740:
739:
731:
723:
722:
714:
713:
707:
701:
690:
689:
680:Derwentwater
679:
671:
660:
649:
638:
627:
611:
610:
606:
605:
591:
587:
585:
580:
570:
554:
552:
546:
534:
512:
508:
502:
499:
495:
489:
485:
481:
477:
473:
469:
467:
463:
457:
456:(1880), and
453:
449:
445:
441:
437:
433:
429:
425:
421:
417:
414:
410:
407:
401:
390:
372:
360:
356:
352:
348:
344:
341:
338:
327:
305:
297:
287:
276:
267:
259:
255:Home Journal
253:
247:
235:
229:
218:
207:
196:
174:
147:
129:
128:
85:(1880-08-29)
46:
3999:1880 deaths
3994:1823 births
3845:Lake Mohonk
3598:Thomas Hill
3508:Thomas Cole
3416:Romanticism
3199:from SIRIS.
3173:from SIRIS.
2937:Independent
2841:from LACMA.
2721:from SIRIS.
2719:On the Nile
2695:On the Nile
2685:from MWPAI.
2624:from MWPAI.
2462:from SIRIS.
2174:CultureGrrl
2010:Ila Weiss,
1926:, from MMA.
1562:J. G. Brown
1476:Beach Scene
941:On the Nile
934:Middle East
694:(1856–57),
650:Lake Geneva
478:Lake Geneva
442:San Giorgio
294:Long Branch
96:Nationality
3983:Categories
3728:Paul Weber
3226:2012-04-25
3078:Tappan Zee
2923:Sandy Hook
2913:from MFAB.
2636:from SAAM.
2573:Rheinstein
2365:from PAFA.
2156:2007-10-17
1947:2012-04-25
1814:References
1653:disaster.
1413:Tappan Zee
1380:, Twilight
1327:Sandy Hook
359: [
290:Sandy Hook
65:1823-07-10
3946:The Oxbow
3880:Hyde Park
3825:Ever Rest
3803:Locations
3404:Movements
3308:Landscape
3272:cite book
2935:Noted in
2901:from NGA.
2829:from MMA.
2733:from NGA.
2697:from DIA.
2673:from NGA.
2539:from MMA.
2474:from MMA.
2285:Lake Nemi
1875:from NAD.
1777:technique
1676:related:
1656:related:
1605:related:
1598:related:
1579:related:
1548:related:
1474:related:
1467:related:
1460:related:
1437:Echo Lake
1426:related:
1411:related:
1404:related:
1385:related:
1367:related:
1314:related:
1285:related:
1278:related:
1271:related:
1264:related:
1257:related:
1228:related:
1217:related:
1190:related:
1183:related:
1160:related:
1153:related:
1132:related:
1125:related:
1118:related:
1097:related:
978:related:
961:related:
954:related:
947:related:
920:related:
893:related:
860:related:
807:related:
800:related:
782:related:
763:related:
730:related:
721:related:
691:Lake Nemi
628:Lake Nemi
572:Wrestlers
517:, at the
376:landscape
3107:Archived
2420:Archived
2265:Archived
2242:Archived
2219:Archived
2189:Archived
2150:Archived
1941:Archived
1917:Archived
1893:Archived
1699:See also
1513:related
1360:(1866),
1344:(1866),
1146:(1860),
886:(1880),
452:(1879),
448:(1878),
444:(1870),
440:(1870),
436:(1870),
432:(1868),
428:(1868),
424:(1863),
420:(1861),
365:] .
349:Brindisi
345:Brindisi
138:Luminism
122:Luminism
118:Movement
112:Painting
99:American
3939:Niagara
3752:Museums
3435:Artists
3425:Realism
3039:May 23,
1482:1870),
460:(1880).
355:, and
3316:
3293:
3260:
2511:Herald
2472:Tivoli
2417:Venice
1937:"2003"
1853:
1760:Tivoli
1660:(1861)
904:Venice
786:Tivoli
775:Tivoli
619:Europe
474:Tivoli
458:Venice
438:Tivoli
357:Renier
353:Geneva
323:Method
3889:Works
3855:Olana
3217:(PDF)
1746:Notes
835:1874)
3314:ISBN
3291:ISBN
3278:link
3258:ISBN
3041:2010
1851:ISBN
607:NOTE
488:and
476:and
292:and
241:and
80:Died
59:Born
579:'s
362:sic
351:,
3985::
3423:/
3274:}}
3270:{{
3219:.
3027:.
2370:^
2292:^
2208:^
2148:.
2105:.
2066:^
2033:^
1981:^
1880:^
1865:^
1821:^
1682:c.
1639:,
1585:c.
1480:c.
1447:c.
1439:,
1391:c.
1252:c.
1234:c.
1223:c.
1070:c.
833:c.
684:c.
615:.
319:.
245:.
110:,
51:c.
3389:e
3382:t
3375:v
3322:.
3299:.
3280:)
3266:.
3229:.
3210:"
3043:.
2594:.
2159:.
1950:.
1859:.
1680:(
1583:(
1478:(
1445:(
1389:(
1250:(
1232:(
1221:(
1068:(
831:(
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67:)
63:(
49:(
20:)
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