 | The House of The Seven Gables, Salem, MA, 1668 Copyright holder unknown. The Panorama Color Slide Co. |
 | John Collet, "The Courtship," London, c. 1764, oil on canvas; 27 3/4 x 35 1/2 in. Courtesy of The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. 1969-48,1. All rights reserved. Our thanks to the Foundation. |
 | Scarlet Oaks Cottage, a vine-embowered cottage with a view, 1850 Western Horticultural Review, Dec. 1850, frontispiece. In John R. Stilgoe, "Borderland: Origins of The American Suburb, 1820-1939," 1988, p. 101 |
 | Adelaide Ristori as Medea, with children, c. 1858, carte de visite
Photo by A.A.E. Disdéri. Harvard Theatre Collection, Houghton Library, Harvard University, Cambridge, MA 02138 |
 | Aaron Willard, shelf clock showing a mother and child, 1817 Location unknown |
 | Jonathan Adams Bartlett, "Self-Portrait," South Rumford, ME, probably 1841, oil on canvas; unframed: 33 x 27 in.
Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. 1976.100.2. All rights reserved. Our thanks to the Museum. |
 | Walt Whitman, 1862 Mathew Brady photo. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-DIG-cwpbh-00752. |
 | John Audubon, "American Flamingo," 1838 The New-York Historical Society, 170 Central Park West, New York, NY 10024. http://www.nyhistory.org |
 | Emmanuel Gottlieb Leutze, "The Amazon and Her Children," 1851, oil on canvas, 40-1/2 x 62-1/4". In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 69.20. Gift of William Wilson Corcoran. All rights reserved. Our thanks to The Corcoran. |
 | Martin Johnson Heade, "Sudden Shower, Newbury Marshes," c. 1865-75, oil on canvas, 13 1/8 x 26 1/4 in. (cm. 33.3 x 66.7) Yale University Art Gallery, PO Box 208271, New Haven, CT 06520-8271. Gift of Theodore E. Stebbins, Jr, BA 1960, in memory of H John Heinz, III, BA 1960 and Collection of Mary and James W Fosburgh, BA 1933, MA 1935, by exchange. |
 | Washington Allston, "Moonlight," 1819, oil on canvas, 63.82 x 90.8 cm (25 1/8 x 35 3/4 in.) Museum of Fine Arts, 465 Huntington Ave, Boston, MA 02115-5523. William Sturgis Bigelow Collection, 1921. Accession number: 21.1429. |
 | John Frederick Kensett, "Autumn Afternoon on Lake George," 1864, oil on canvas, 48-3/4 x 72-1/2". In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 77.11. Museum Purchase, Gallery Fund. All rights reserved. Our thanks to The Corcoran. |
 | Charles Osgood, "Nathaniel Hawthorne," 1840, postcard The Peabody Essex Museum, East India Square, Salem, MA 01970 |
 | Thomas Cole, "The Return," 1837, oil on canvas, 39-3/4 x 63 in. In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 69.3. Gift of William Wilson Corcoran. All rights reserved. Our thanks to The Corcoran. |
 | Frederic Church, "Vale of St. Thomas, Jamaica," 1867, oil on canvas, 48 3/8 x 84 5/8 in. Collection of the Wadsworth Atheneum Museum of Art, 600 Main St, Hartford, CT 06103. Bequest of Elizabeth Hart Jarvis Colt, 1905.21. |
 | Frederic Church, "Heart of the Andes," 1859, oil on canvas; 66 1/8 x 119 1/4 in. (168 x 302.9 cm)
Copyright Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. Bequest of Margaret E. Dows, 1909 (09.95). All rights reserved. http://metmus.org. |
 | Frederic Church, "The Parthenon," 1871, oil on canvas; 44 1/2 x 72 5/8 in. (113 x 184.5 cm)
Copyright Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. Bequest of Maria DeWitt Jesup, from the collection of her husband, Morris K. Jesup, 1914 (15.30.67). All rights reserved. http://metmus.org |
 | Thomas Cole, "The Departure," 1837, oil on canvas, 39-1/2 x 63 in. In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 69.2. Gift of William Wilson Corcoran. All rights reserved. Our thanks to The Corcoran. |
 | Thomas Cole, "A View Near Tivoli (Morning)," 1832, oil on canvas, 14 3/4 x 23 1/8 in. (37.5 x 58.7 cm)
Copyright Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. Rogers Fund, 1903 (03.27). All rights reserved. http://metmus.org |
 | Thomas Cole, "The Course of Empire: The Savage State," (first of a series), 1833-36, ; oil on canvas (relined). Overall: 39 1/4 x 63 1/4 in. ( 99.7 x 160.7 cm ) crate: 60 x 90 x 18 in. ( 152.4 x 228.6 x 45.7 cm ) frame: 53 x 76 1/2 x 5 3/4 in. ( 134.6 x 194.3 x 14.6 cm )
Copyright The New-York Historical Society, 170 Central Park West, New York, NY 10024. Gift of The New-York Gallery of the Fine Arts. Inventory Number: 1858.1. All rights reserved. |
 | Winslow Homer, "Breezing Up (A Fair Wind)," 1876, oil on canvas, 61.5 x 97 cm (24 3/16 x 38 3/16 in.)
Copyright National Gallery of Art, 2000B South Club Dr, Landover, MD 20785. Gift of the W. L. and May T. Mellon Foundation. 1943.13.1. All rights reserved. www.nga.gov |
 | Eastman Johnson, "The Girl I Left Behind Me," 1870-75, oil, 42 x 34 7/8 in.
Copyright Smithsonian American Art Museum, MRC 970, PO Box 37012, Washington, DC 20013-7012. Museum purchase made possible in part by Mrs. Alexander Hamilton Rice in memory of her husband and by Ralph Cross Johnson. 1986.79. All rights reserved. www.si.edu. |
 | Thomas Cole, "Landscape with Tower in Ruin," 1839, oil on canvas, 22 1/2 in. x 18 5/8 in. (57.15 cm x 47.31 cm) Courtesy of The Currier Museum of Art, 201 Myrtle Way, Manchester, NH 03104. Museum Purchase: Gift of the Friends, 1980.7. All rights reserved. Our thanks to The Currier. |
 | Winslow Homer, "Coast in Winter (Prout's Neck)," 1892, oil on canvas, 23 3/8 x 48 3/8 in. (59.4 x 122.9 cm.). Courtesy of The Worcester Art Museum, 55 Salisbury St, Worcester, MA 01609. All rights reserved. Theodore T. and Mary G. Ellis Collection. (1940.60). Our thanks to the Museum. |
 | Winslow Homer, "Eastern Point," 1900, oil on canvas, 76.8 x 123.2 cm Courtesy of The Sterling and Francine Clark Art Institute, 225 South St, Williamstown, MA 01267. 1955.6. All rights reserved. Our thanks to The Institute. |
 | Eastman Johnson, "The Barefoot Boy," 1860
Copyright holder unknown. Collections of Katherine Smith Miller and Lance Smith Miller. Photograph by Sotheby's, 1334 York Ave, New York, NY 10021 |
 | Eastman Johnson, "The Confab," 1877, oil on board, 55.9 x 31 in. Copyright holder unknown. Sold in 1991. |
 | Lilly Martin Spencer, "Reading the Legend," 1852; romantic period, couple below castle ruins Courtesy of the Smith College Museum of Art, Northampton, MA 01063. All rights reserved. Our thanks to Smith College. |
 | Eastman Johnson, "The Toilet," 1873, oil on academy board, 26" x 22." In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 57.21. Gift of Captain A.S. Hickey, USN (Ret.), in Memory of his Wife, Caryl Crawford Hickey. All rights reserved. Our thanks to The Corcoran. |
 | Thomas Cole, "The Course of Empire: Destruction" (fourth of a series), 1836, oil on canvas (relined). Overall: 39 1/4 x 63 1/2 in. ( 99.7 x 161.3 cm ) crate: 60 x 90 x 18 in. ( 152.4 x 228.6 x 45.7 cm ) frame: 53 x 76 1/2 x 5 3/4 in. ( 134.6 x 194.3 x 14.6 cm )
Copyright The New-York Historical Society, 170 Central Park West, New York, NY 10024. Gift of The New-York Gallery of the Fine Arts. Inventory Number: 1858.4. All rights reserved. |
 | Thomas Cole, "The Course of Empire: The Arcadian or Pastoral State" (second of a series), 1833-36, oil on canvas. Overall: 39 1/4 x 63 1/4 in. ( 99.7 x 160.7 cm ) crate: 60 x 90 x 18 in. ( 152.4 x 228.6 x 45.7 cm ) framed: 53 x 76 1/2 x 5 3/4 in. ( 134.6 x 194.3 x 14.6 cm )
Copyright The New-York Historical Society, 170 Central Park West, New York, NY 10024. Gift of The New-York Gallery of the Fine Arts. Inventory Number: 1858.2. All rights reserved. |
 | Winslow Homer, "Spring Blossoms," 1870, wood engraving on paper, 22.9 x 35.6 cm Harper's Weekly, May 21, 1870. Columbia Museum of Art, 1515 Main St, Columbia, SC 29201 |
 | Winslow Homer, "Maine Cliffs," 1883, watercolor over charcoal, 13 3/8 x 19 1/8 in. (34 x 48.6 cm) Collection of The Brooklyn Museum, 200 Eastern Pkwy, Brooklyn, NY 11238. All rights reserved. Our thanks to the Museum. |
 | Winslow Homer, "Hound and Hunter," 1892, oil on canvas, 71.8 x 122.3 cm (28 1/4 x 48 1/8 in.)
Copyright National Gallery of Art, 2000B South Club Dr, Landover, MD 20785. Gift of Stephen C. Clark. 1947.11.1. All rights reserved. www.nga.gov |
 | Winslow Homer, "Palm Tree, Nassau," 1898, watercolor and graphite on off-white wove paper, 21 3/8 x 14 7/8 in. (54.5 x 38 cm)
Copyright Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. Amelia B. Lazarus Fund, 1910 (10.228.6). All rights reserved. http://metmus.org |
 | Winslow Homer, "The Fog Warning," 1885, oil on canvas, 76.83 x 123.19 cm (30 1/4 x 48 1/2 in.) Copyright Museum of Fine Arts, 465 Huntington Ave, Boston, MA 02115-5523. Otis Norcross Fund, 1894. Accession number: 94.72. All rights reserved. |
 | Winslow Homer, "A Light on the Sea," 1897, oil on canvas, 28-1/4 x 48-1/4". In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 07.3. Museum Purchase, Gallery Fund. All rights reserved. Our thanks to The Corcoran. |
 | Winslow Homer, "Boys in a Pasture," 1874, oil on canvas, 40.32 x 58.1 cm (15 7/8 x 22 7/8 in.) Copyright Museum of Fine Arts, 465 Huntington Ave, Boston, MA 02115-5523. The Hayden Collection—Charles Henry Hayden Fund, 1953. Accession number: 53.2552. All rights reserved. |
 | Frederic Edwin Church, "Niagara," 1857, oil on canvas, 42-1/2" x 90-1/2". In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 76.15. Museum Purchase, Gallery Fund. All rights reserved. Our thanks to The Corcoran. |
 | Thomas Cole, "Interior of the Colosseum, Rome," 1832, oil on canvas Copyright Albany Institute of History and Art, 125 Washington Ave, Albany, NY 12210. All rights reserved. |
 | Thomas Cole, "The Course of Empire: The Consummation of Empire" (third of a series), 1836, oil on canvas (relined). Overall: 51 1/4 x 76 in. ( 130.2 x 193 cm ) crate: 80 x 103 x 18 in. ( 203.2 x 261.6 x 45.7 cm ) frame: 65 x 89 1/4 x 5 3/4 in. ( 165.1 x 226.7 x 14.6 cm )
Copyright The New-York Historical Society, 170 Central Park West, New York, NY 10024. Gift of The New-York Gallery of the Fine Arts. Inventory Number: 1858.3. All rights reserved. |
 | Thomas Cole, "Aqueduct near Rome," 1832, oil on canvas, 44 1/2 x 67 5/16 in.
Copyright Washington University Gallery of Art, 1 Brookings Dr, St. Louis, MO 63130. University purchase, Bixby Fund, by exchange, 1987. WU 1987.4. All rights reserved. |
 | "A View Near Conway, N. Hampshire," log cabin, 1831, engraving based on a painting by Thomas Cole
Collection of the New Hampshire Historical Society, 30 Park St, Concord, NH 03301-6384. 1969.506 |
 | Thomas Cole, "The Notch of the White Mountains," full title: "A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch)," 1839, oil on canvas, 102 x 155.8 cm (40 3/16 x 61 5/16 in.)
Copyright National Gallery of Art, 2000B South Club Dr, Landover, MD 20785. Andrew W. Mellon Fund. 1967.8.1. All rights reserved. www.nga.gov |
 | Broadside for "The Splendid Panorama of Jerusalem," c. 1838, Frederick Catherwood Copyright holder unknown. Private collection. In John Davis, "The Landscape of Belief," 1996, p. 61 |
 | Miner Kellogg, "The Sphinx," 1858, with two pyramids and men with camels Courtesy of The Hermann-Grima/Gallier Historic Houses, 820 St. Louis St, New Orleans, LA 70112. Our thanks to The Museum. All rights reserved. |
 | "Winter Sunday in Olden Times," F. Gleason. After an oil painting by George Durrie, 1874. Chromolithograph. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-7153. In Peter Marzio, The Democratic Art, 1979, Plate 94a. 8.6.7 |
 | Hiram Powers, "The Greek Slave," marble, 1843. Her head is turned down and away in the classic pose of modesty and shame. Her face and form are idealized but her clothing, manacles and cross are realistically wrought down to the smallest detail. An image of domination of woman by man. Photographer unknown. The Corcoran Museum of Art, 500 17th St., NW, Washington DC 20006. In Richard P. Wunder, Hiram Powers, Vermont Sculptor, Vol. II, 1991, Plate 188, pp. 160. Our thanks to The Corcoran. 8.1.3, 8.6.7 |
 | Hiram Powers, "The Greek Slave," marble, 1843. On tour of American cities in 1847. In the explanation that accompanied her, her nudity represented the oppression of Greece by Turkey. This figure was so popular that Powers eventually made six versions of her. Copyright Newark Museum, 49 Washington St, Newark, NJ 07102. All rights reserved. In American Heritage, Aug. 1976, p. 62. 8.1.3, 8.6.7 |
 | "American Eden." Copyright holder unknown. Possibly Birmingham Museum & Art Gallery, Chamberlain Square, Birmingham B3 3DH England, UK. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, p. 16. 8.6.7, 8.12.2 |
 | Edward Hicks, "The Peaceable Kingdom of the Branch," oil on wood panel, c. 1825. Yale University Art Gallery, P.O. Box 208271, New Haven, CT 06520-8271. In Mary Black and Jean Lipman, American Folk Painting, 1966, p. 187 (top). 8.6.7 |
 | Edward Hicks, "Peaceable Kingdom," c. 1833. Worcester Art Museum, 55 Salisbury St., Worcester, MA 01609. Museum Purchase. (1934.65) In "101 Masterpieces of American Primitive Painting," Metropolitan Museum of Art, 1961, Plate 53. Our thanks to the Worcester Art Museum. 8.6.7 |
 | William Hallowell, "Peaceable Kingdom," pen and ink, c. 1865. New York State Historical Association, PO Box 800, Cooperstown, NY 13326. In Mary Black and Jean Lipman, "American Folk Painting," 1966, p. 189. Our thanks to the NYSHA. 8.6.7 |
 | Thomas Cole, "The Consummation of Empire," 1836. Series of six paintings, "The Course of Europe." New-York Historical Society, 170 Central Park West, New York, NY 10024. In American Heritage, Oct. 1957, pp. 54-5. 8.6.7 |
 | Thomas Cole, "The Destruction of Empire," 1836. Fifth in a series of six paintings, "The Course of Europe." New-York Historical Society, 170 Central Park West, New York, NY 10024. In American Heritage, Oct. 1957, pp. 58-9. 8.6.7 |
 | Thomas Cole, "The Ruins of Empire, or Desolation" 1836. Series of six paintings, "The Course of Europe." New-York Historical Society, 170 Central Park West, New York, NY 10024. In American Heritage, Oct. 1957, p. 60. 8.6.7 |
 | Frederic E. Church, "Twilight in the Wilderness," 1860. "His final solution to the heroic representation of the New World's classic image. An American subject at the level of history-painting in the Great Tradition - An Adamic Poussin. The trees act like figures in the Old Masters, yet perfectly natural. The new world man is 'Nature's favorite'...the meaning of nature self-evident. Problem: the pictorial reproduction of real and transcendent experience of nature. The ultimate wilderness landscape - a fallen trunk, barrier to a pathless wild, assures the spectator that this is untouched nature. It was as American as the Second Beginning. Nash...American wilderness receives triumphant portrayal...all traces of the pastoral have vanished...This scene is suffused with the light of a brilliant sunset suggestive of the apocalyptic expectations of a virgin continent aroused." See also UR-L-33. The Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106. In David C. Huntington, "The Landscapes of Frederic Edwin Church," 1966. 8.6.7 |
 | Thomas Cole, "The Oxbow," 1846. An oxbow bend of the Connecticut River. Here Cole concentrates on unusual aspects of nature, contrasting its stormy and serene elements. The Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. In Norman A. Graebner, "A History of the American People," 1970, p. 189. 8.6.7 |
 | Thomas Cole, "The Voyage of Life: Childhood," 1842. The National Gallery of Art, 2000B South Club Drive, Landover, MD 20785. 8.6.7 |
 | Thomas Cole, "The Voyage of Life: Youth," 1842. The National Gallery of Art, 2000B South Club Drive, Landover, MD 20785. 8.6.7 |
 | Thomas Cole, "The Voyage of Life: Manhood," 1842. The National Gallery of Art, 2000B South Club Drive, Landover, MD 20785. 8.6.7 |
 | Thomas Cole, "The Voyage of Life: Old Age," 1842. The National Gallery of Art, 2000B South Club Drive, Landover, MD 20785. 8.6.7 |
 | I.M. Enzing-Miller, "Historical Monument of Our Country," engraving and painting, 1858. An American effort at identity. Industry and transportation are symbolized in only a tiny building and a puffing train in the far distance at left. This work seeks identity in the past: from left are Columbus, the conquistadors, missionaries and a slave; in the center, a colonial proprietor gestures to his husbandmen. The British lion is pounced upon by the fierce American eagle. Washington stands at the top of the pyramid. Library of Congress Prints and Photographs Division, Washington, DC 20540. Card # 2003666898. In Carl Bode, "Midcentury America", 1972, p. 23. 8.6.7 |
 | Slavery_to_180050.
African-American drum, Virginia, before 1730, wood and deerskin, height 15.8 in. This drum is held by the British Museum, whose website identifies it as an "Asante-style drum," made from wood "native to Africa" and probably brought to Virginia by a British sailor on a slaving voyage from Africa. Photo taken from John M . Vlach, "The Afro-American Tradition in Decorative Arts," (Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106) 1978, fig.5, p. 20; see Comments. Image Reference NW0160. In Jerome S. Handler and Michael L. Tuite, Jr., "The Atlantic Slave Trade and Slave Life in the Americas: A Visual Record," a project of The Virginia Foundation for the Humanities and The Digital Media Lab at the University of Virginia Library, PO Box 400113, Charlottesville, VA 22904-4113. And see The British Museum website, "Compass Collections Online," British Museum, Great Russell St, London, England WC1B 3DG UNITED KINGDOM. |
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