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MFA Images: Boston

  • MFA Images: Boston - Slide

  • New Boston and Charles River Basin, 1874

    J. H. Bufford Sons, American, 19th century American

    Description
    Details

    Medium

    Chromo-lithograph

    Classification

    Prints

    Accession Number

    M19257

    Collections

    Americas , Prints and Drawings

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  • Boston Common at Twilight

    1885–86

    Childe Hassam, American, 1859–1935

    Description

    Childe Hassam, the son of a Dorchester hardware merchant, had made only one trip to Europe before painting Boston Common at Twilight. He studied French art in Boston collections, and he was familiar with the popular work of painters active in Paris, like Jean Béraud and Giuseppe de Nittis, who took modern life as their main subject and frequently depicted fashionable young women in urban settings. Hassam adapted their French aesthetic to his native city and began a series of large canvases representing several of Boston’s developing neighborhoods: Back Bay, the South End, and Park Square.
    Originally an open field for cattle grazing and military parades, the Boston Common had been transformed into an oasis of elm trees and graceful promenades by the time Hassam painted it in the mid-1880s. He chose a view of the Tremont Street Mall, one of five broad tree-lined walkways that provided Boston pedestrians with an elegant alternative to the city’s noisy thoroughfares. The artist doubtless enjoyed it himself, for his studio was just across the street.

    Despite the old-fashioned charm Boston Common at Twilight presents to viewers today, in Hassam’s time this scene was distinctly modern. Once an area of elegant residential row houses, many of the streets around the Boston Common recently had been transformed into a lively business district. The red brick buildings visible at left were mostly new; the traffic of trolley cars and carriages on the road marks the bustling commerce of late afternoon; and artificial light glows from streetlights and storefronts. Hassam enhanced his impression of the fast pace of city life by using a perspective scheme in which the vertical lines of the fence, the lampposts, and the trees recede rapidly into the distance, coming closer and closer together.

    Hassam contrasted the hurried movement at left with the calm quiet of the snowy park. A stylishly dressed young mother and her child pause to feed the birds while other figures stroll through the rosy dusk. Hassam used a variety of reds to unify his composition, bringing the rusty brick buildings, the glow of the lamps, and even the brilliant end of a lit cigarette in the hand of a passerby into harmony with the sunset sky and the pinkish snow. The artist’s interest in contemporary subjects and in different kinds of light allies this painting with Impressionism, but in Hassam’s gentle vision of the city, nature humanizes the modern world.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Details

    Dimensions

    106.68 x 152.4 cm (42 x 60 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    31.952

    Collections

    Americas

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  • Carnival, Franklin Park, Boston

    1897

    Maurice Brazil Prendergast, American (born in Canada),...

    Description
    Details

    Dimensions

    Sheet: 34 x 37.5 cm (13 3/8 x 14 3/4 in.) Framed: 54 x 59.7 cm (21 1/4 x 23 1/2 in.)

    Medium

    Watercolor over graphite pencil on paper

    Classification

    Watercolors

    Accession Number

    35.1689

    Collections

    Americas , Prints and Drawings

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  • The National Lancers with the Reviewing Officers on Boston Common

    1837

    Fitz Henry Lane, American, 1804–1865

    Description
    Details

    Dimensions

    Image: 37 x 52 cm (14 9/16 x 20 1/2 in.) Sheet: 48.2 x 58.5 cm (19 x 23 1/16 in.)

    Medium

    Lithograph, hand-colored

    Classification

    Prints

    Accession Number

    39.257

    Collections

    Americas , Prints and Drawings

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  • Boston Harbor

    1835

    John S. Blunt, American, 1798–1835 American

    Description

    Blunt captured a rare event-the partial freezing of Boston Harbor. Ice was a serious hazard to shipping; in the distance a line of men pull a ship across the frozen water to get it to its destination. An inscription on the back of the painting locates the scene one mile below Boston's Castle Island, facing east.

    Details

    Dimensions

    52.07 x 71.44 cm (20 1/2 x 28 1/8 in.)

    Medium

    Oil on panel

    Classification

    Paintings

    Accession Number

    47.1240

    Collections

    Americas

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  • Brig "Antelope" in Boston Harbor

    1863

    Fitz Henry Lane, American, 1804–1865

    Description

    Wealthy owners of sailing vessels commissioned images of their ships, just as landowners hired artists to paint pictures of their houses. Much of Lane's income came from executing such works. Here, the artist painted "Antelope" (identifiable through her signal flags), as she appeared on her 1843 maiden voyage from East Boston to Asia. "Antelope" was one of the fastest ships trading between Boston, India, and China, a route that required extraordinary speed due to unpredictable weather and frequent pirate activity. Asian trade-in tea, fabric, and opium-established significant fortunes for many New England merchants.

    Details

    Dimensions

    61.59 x 91.44 cm (24 1/4 x 36 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.449

    Collections

    Americas

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  • Rainsford's Island, Boston Harbor

    about 1840

    Robert Salmon, English, 1775–1845 or after (active in the...

    Description
    Details

    Dimensions

    41.91 x 61.59 cm (16 1/2 x 24 1/4 in.)

    Medium

    Oil on panel

    Classification

    Paintings

    Accession Number

    48.474

    Collections

    Americas , Europe

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  • Railroad Jubilee on Boston Common

    1851

    William Sharp, English, 1749–1824

    Description
    Details

    Dimensions

    99.69 x 147.64 cm (39 1/4 x 58 1/8 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.475

    Collections

    Americas

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  • Copley Square, Boston

    about 1908

    Arthur Clifton Goodwin, American, 1864–1929

    Description
    Details

    Dimensions

    76.83 x 91.76 cm (30 1/4 x 36 1/8 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.550

    Collections

    Americas

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  • Park Street, Boston

    about 1908

    Arthur Clifton Goodwin, American, 1864–1929

    Description
    Details

    Dimensions

    48.58 x 66.04 cm (19 1/8 x 26 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.551

    Collections

    Americas

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  • Custom House Tower from the Public Garden, Boston

    about 1914

    Arthur Clifton Goodwin, American, 1864–1929

    Description
    Details

    Dimensions

    42.86 x 53.02 cm (16 7/8 x 20 7/8 in.)

    Medium

    Pastel on paperboard

    Classification

    Paintings

    Accession Number

    48.556

    Collections

    Americas

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  • The Lawrence Room, Museum of Fine Arts, Boston

    1879

    Enrico Meneghelli, American (born in Italy), 1853–after 1912...

    Description

    This is one of five paintings featuring the MFA’s collection executed by Enrico Meneghelli, an Italian-born artist who worked in Boston and New York. Little is known about Meneghelli; even his death date remains uncertain. His known oeuvre includes a small number of landscapes, several street scenes, and at least one still life, but his specialty was the depiction of museum interiors. Paintings documenting collections, both real and imagined [1975.805], first became popular in Europe in the seventeenth century; among the earliest American examples are Samuel F. B. Morse’s Gallery of the Louvre (1831–33, Terra Foundation for American Art, Chicago), which shows an imaginative display of works selected from the Louvre’s collection, and Amasa Hewins’s The Tribuna of the Uffizi [2011.2102, a view of one of the most admired museum galleries of the day. Meneghelli’s pictures feature the actual installations of well-known art galleries, among them the Boston Athenaeum and the Louvre. The largest group shows spaces in the original Museum of Fine Arts building in Copley Square.
    Founded in 1870, the Museum opened to the public on July 4, 1876. [1]John Sturgis and Charles Brigham designed its Italian Gothic revival building, inspired by London’s then new and innovative South Kensington Museum (now the Victoria and Albert Museum). Their original plans also encompassed two projected expansions: one completed in 1879 and one in 1890. While the first item to enter the MFA’s collection was Elijah in the Desert [70.1] by the American painter Washington Allston, the Museum collected and displayed a wide range of material, including Greek vases and Egyptian mummies, European decorative arts and paintings, Japanese arms, and plaster casts of the great sculpture of antiquity and the Renaissance. As was common practice, the galleries were crowded with objects and paintings were hung salon style, one over the other.

    The Lawrence Room, Museum of Fine Arts, Boston records the second-floor gallery named in honor of benefactor Timothy Bigelow Lawrence. His original bequest of armor to the Boston Athenaeum in 1869 was the catalyst for prominent Bostonians to found a separate, new museum for fine arts the following year: the Athenaeum did not have enough space to house the armor, nor enough room to expand to build the new gallery that Lawrence’s wife offered to help finance. Mrs. Lawrence gave $25,000 toward the new museum—the Museum of Fine Arts. Lawrence’s armor, stored in a warehouse that burned in the Great Fire of Boston in 1872, was lost before construction began. Nevertheless, planning for the MFA continued, and the insurance money collected for the loss of the armor helped the Athenaeum trustees to purchase Renaissance textiles, metalwork, and woodwork for the new institution. The walls of the MFA’s Lawrence Room are shown lined with the sixteenth-century English oak paneling that had originally been purchased by Elizabeth Chapman Lawrence, widow of the donor, as the setting for the armor collection. Royal portraits are set into the walls and the room is filled with decorative arts and furniture, including a sled [73.5a-c] from Friesland, a Dutch province, which is partially visible at the right. Beyond the Lawrence Room, the Loan Room is visible, containing between the windows two of the panels by Claude-Nicolas Ledoux originally from the Hotel de Montmorency in Paris [http://www.mfa.org/search/collections?keyword=Hotel+de+Montmorency].

    Notes
    1. “About the MFA,” Museum of Fine Arts, Boston, http://www.mfa.org/about/ [http://www.mfa.org/about/]; for more on the MFA’s history, see Maureen Melton, An Invitation to Art: A History of the Museum of Fine Arts, Boston [http://www.mfashop.com/780878467457.html] (Boston: MFA Publications, 2009).

    Karen E. Quinn

    Details

    Dimensions

    40.96 x 50.8 cm (16 1/8 x 20 in.)

    Medium

    Oil on canvas mounted on Masonite

    Classification

    Paintings

    Accession Number

    57.675

    Collections

    Americas

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  • West Church, Boston

    1900–01

    Maurice Brazil Prendergast, American (born in Canada),...

    Description
    Details

    Dimensions

    Sheet: 27.8 x 39.1cm (10 15/16 x 15 3/8in.) Framed: 39.4 x 51.8 cm (15 1/2 x 20 3/8 in.)

    Medium

    Transparent and opaque watercolor over graphite pencil on paper

    Classification

    Watercolors

    Accession Number

    58.1199

    Collections

    Americas , Prints and Drawings

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  • Noontime, St. Botolph Street, Boston

    about 1923

    George Benjamin Luks, American, 1866–1933

    Description

    George Luks, a realist painter associated with Robert Henri and the Ashcan school, chose the crowded streets of New York City, and the urban and rural poor as his subjects. He is noted for his broadly-brushed paintings of miners, elderly women, immigrant children, and wrestlers (see 45.9). In a lesser-known chapter of his life, Luks painted more than a dozen oils and watercolors during an extended visit to Boston in 1922 and 1923. He was the guest of a former student, Margarett Sargent McKean, a cousin of John Singer Sargent and an aspiring artist. Margarett Sargent had been an apprentice of sculptor Gutzon Borglum in 1917, when she met Luks and began to study painting with him. By the late 1920s, she was painting strikingly modernist oils and began to exhibit her work at Kraushaar Galleries in New York.

    In 1922 Luks, fresh from a sanitarium where he was recovering from a bout with alcohol and recently divorced from his second wife, visited Sargent. By this time she was married to Quincy Adams Shaw McKean, a private banker in Boston. She later recalled that Luks had come to visit her for a weekend, but had stayed for almost a year. Not only did McKean provide living quarters for Luks, she also allowed him the use of her studio at 30 St. Botolph Street and organized an exhibition of his work in her summer home in Beverly, Massachusetts.

    McKean remembered that Luks disdained the Boston painters who remained in their prim studios painting hired nude models. He exclaimed, "Why didn't they look at Beacon Hill, Commonwealth Avenue, the Swan Boats, fruit vendors on Charles Street, the squalor of St. Botolph Street and the vigorous L. Street Brownies?" (Margarett Sargent McKean, "George Luks," Boston: Joan Peterson Gallery, 1966, brochure in MFA American paintings files). Luks threw himself into painting these subjects in Boston (see 60.538 and 1979.263). In "Noontime, St. Botolph Street, Boston," he depicted the scene outside Margarett's studio at midday when the shadows cast by the awnings were very pronounced against the old-fashioned bow-front facades of the buildings. These elliptical bays protruding from the structures on St. Botolph Street and elsewhere in the Back Bay and the South End were constructed beginning in the 1840s. They were peculiar to Boston and almost unknown in Luks's New York City. St. Botolph Street is situated between the Back Bay and South End sections of Boston. Laid out in the early 1880s, St. Botolph Street initially attracted middleclass residents. By the early 1920s when Luks was painting in the area, most of the middleclass families had moved to the suburbs, the neighborhood had become more Bohemian, and many of the townhouses had been turned into lodging houses.

    In addition to painting the striped awnings against the yellow- and red-brick facades on St. Botolph Street, Luks also included an iceman carrying a block of ice with tongs. To the left is probably a part of the ice wagon's wheel. Before refrigerators were introduced into most homes in the 1930s, food was stored in iceboxes, and blocks of ice were delivered door to door by an iceman. Luks's inclusion of this unglamorous figure was typical of the Ashcan school artists, who made working people, from longshoremen to scrubwomen, the subjects of their pictures. Luks painted a related work entitled "St. Botolph Street," depicting women sitting on their stoops socializing on a summer's evening ("Skinner: American and European Paintings," May 8, 1998, lot 220).

    Margarett Sargent McKean and her husband acquired many of Luks's Boston paintings, including "Noontime, St. Botolph Street, Boston." In 1960 the Museum purchased two of Luks's Boston pictures, the present painting and "View of Beacon Street from Boston Common" (60.538).

    Janet Comey

    Details

    Dimensions

    76.83 x 64.13 cm (30 1/4 x 25 1/4 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    60.537

    Collections

    Americas

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  • View of Beacon Street from Boston Common

    about 1923

    George Benjamin Luks, American, 1866–1933

    Description

    By the late nineteenth century, concern arose that city children had insufficient access to the outdoors. The Playground Association of America, founded in 1906, was dedicated to promoting parks and recreation for urban children. George Luks's "View of Beacon Street from Boston Common" illustrates this goal: two beautifully dressed young girls, accompanied by their governess, walk their dog in Boston Common, a large park in the center of the city. Although the common had been established in the seventeenth century for the communal pasturing of cows, by the nineteenth century it was an oasis of nature in the midst of the city.
    Best known for his gritty images of street life in New York's poorer districts, Luks painted more prosperous people and neighborhoods when he visited Boston from 1922 to 1923. He was a guest of Margarett Sargent, a cousin of the artist John Singer Sargent. Wealthy and socially prominent, Margarett Sargent had studied drawing and painting with Luks in New York. Because she was his guide to Boston, Luks became familiar with the more affluent areas of the city, such as Beacon Street and the adjacent Boston Common. Behind the girls who are enjoying fresh air and exercise in the park, Luks painted the graceful bow fronts of the early nineteenth-century townhouses on Beacon Street, architectural features popular in Boston and almost unknown in New York.

    This text was adapted from Carol Troyen and Janet Comey, "Children in American Art" (Nagoya/Boston Museum of Fine Arts, 2007, in Japanese).

    Details

    Dimensions

    92.07 x 77.15 cm (36 1/4 x 30 3/8 in.)

    Medium

    Oil on canvas

    Classification

    Object accessories , Pedestals

    Accession Number

    60.538

    Collections

    Americas

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  • South Boston Pier, Sunset

    1895–97

    Maurice Brazil Prendergast, American (born in Canada),...

    Description
    Details

    Dimensions

    Sheet: 53 x 67 cm (20 7/8 x 26 3/8 in.)

    Medium

    Pastel on paper

    Classification

    Pastels

    Accession Number

    63.281

    Collections

    Americas , Prints and Drawings

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  • Old Warehouse, Dock Square, Boston

    1858–60

    Alfred K. Kipps, English, 1860s English

    Description
    Details

    Medium

    Chromolithograph on paper

    Classification

    Prints

    Accession Number

    62.93

    Collections

    Europe , Prints and Drawings

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  • Boston Harbor

    about 1850–55

    Fitz Henry Lane, American, 1804–1865

    Description

    Gloucester, Massachusetts, native Fitz Henry Lane was at the height of his career by 1850, when he executed this grand and tranquil scene of the bustling port of Boston. From the vantage of a hill in East Boston, a perspective popularized in printed views of the city, Lane suggests topographical accuracy in his carefully constructed scene of vessels dispersed before the horizon. Prominent features of the city such as the Massachusetts State House and the Old South Church are clearly visible, but Lane lowered the horizon line to convey a sense of the expansive harbor. Like Thomas Cole [47.1201]and Frederic Edwin Church [1982.419], Lane was capable of achieving an extraordinary balance between reality and the ideal. Here he delicately combines the topography of the port with his idealized version of the scene; his romantic seascape is suffused with a sense of calm and quietude.
    Lane was largely self-taught, although he was a quick study of those resources available to him. As an apprentice in the Boston lithography shop of William S. Pendleton, he was known for his careful draftsmanship that enabled him to render all the details of different sailing vessels. While he honed his drawing skills producing popular prints, Lane also absorbed the lessons of British-born painter Robert Salmon, who settled in Boston in 1828 and flourished as a marine painter [27.356]. Lane’s Boston Harbor recalls Salmon’s handling of topographical details and his use of familiar devices, such as the small boat being rowed toward the horizon that provides a sense of scale.

    Lane portrays the calm waters with his characteristic luminosity. The elegiac quality of the scene is also typical of Lane; his paintings often depict the end of the day and evoke the end of an era. At the time Lane was painting his ambitious scenes of the major Massachusetts ports of Boston, Salem, and Gloucester, which likely appealed to patrons engaged in the shipping industry, the Erie Canal had diverted much of the traffic that would have passed through those destinations to New York. The encroaching world of steam power, which dominated the Hudson River corridor from Albany to New York City, is indicated here by the appearance of a white steam ship entering the harbor at the far right.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Details

    Dimensions

    66.04 x 106.68 cm (26 x 42 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    66.339

    Collections

    Americas

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  • The Boston Massacre

    1770

    Paul Revere, Jr., American, 1734–1818

    Description
    Details

    Dimensions

    Framed: 36.8 x 33 x 2.9 cm (14 1/2 x 13 x 1 1/8 in.) Overall: 36.2 x 33cm (14 1/4 x 13in.) Other (Sight; Sight measurement of print): 26 x 21.9cm (10 1/4 x 8 5/8in.)

    Medium

    Engraving, hand-colored with watercolor and gold pigment by Christian Remick

    Classification

    Prints

    Accession Number

    67.1165

    Collections

    Americas , Prints and Drawings

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  • King's Chapel, Boston

    about 1923

    George Benjamin Luks, American, 1866–1933

    Description
    Details

    Dimensions

    92.39 x 76.52 cm (36 3/8 x 30 1/8 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    1979.263

    Collections

    Americas

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  • The "Niagara" in the Atlantic Dock, East Boston

    about 1855

    Southworth and Hawes, American, 1843–62 American

    Description
    Details

    Dimensions

    Plate: 16.7 x 21.7 cm (6 9/16 x 8 9/16 in.)

    Medium

    Photograph, daguerreotype

    Classification

    Photographs

    Accession Number

    1994.121

    Collections

    Americas , Photography

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  • Boston Public Garden

    1910–15

    Unidentifed artist, American, 19th century, American

    Description
    Details

    Dimensions

    Sheet: 22.86 x 29.21 cm (9 x 11 1/2 in.)

    Medium

    Watercolor on paper

    Classification

    Watercolors

    Accession Number

    1995.164

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    Americas , Prints and Drawings

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  • View of Boston Common

    about 1750

    Hannah Otis, 1732–1801

    Description

    Rectangular canvas-work picture depicting a Georgian-style house with horse paddock; a church steeple and beacon in foreground; a figure on horseback and black servant in foreground; a male and female figure at left looking over a wall at a body of water; military-style building in background; trees, flowers, birds and animals throughout; original pine frame with gilt border and original glass.

    Details

    Dimensions

    61.59 x 133.98 cm (24 1/4 x 52 3/4 in.)

    Medium

    Wool, silk, metallic threads, and beads on linen ground; predominately tent stitch; original frame and glass

    Classification

    Textiles

    Accession Number

    1996.26

    Collections

    Americas , Textiles and Fashion Arts

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  • The Britannia Entering Boston Harbor

    1848

    Artist Fitz Henry Lane, American, 1804–1865

    Description

    The arrival of British steamship "Britannia" in Boston harbor in 1840 established a strong commercial link with Great Britain and made Boston the major American port for the transmission of mail and cargo to and from Europe. Steamships were familiar sights to Bostonians by this time, but it was a noteworthy event to see such an important vessel. Lane painted the steamship at least twice. In 1842 he depicted the ship foundering in rough seas (Peabody-Essex Museum, Salem, Massachusetts). This view, however, probably was based on a small pencil sketch he made on the spot some years earlier (Cape Ann Museum, Gloucester, Massachusetts). "Britannia" moves through Boston Harbor with a procession of sailing vessels and an American steamer behind; two rowboats filled with men salute the arriving ship.

    Details

    Dimensions

    14 3/4 x 19 3/4 in. (37.5 x 50.2 cm)

    Medium

    Oil on panel

    Classification

    Paintings

    Accession Number

    2000.825

    Collections

    Americas

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  • Arlington Street Church, Boston

    about 1862

    Josiah Johnson Hawes, American, 1808–1901 American

    Description
    Details

    Dimensions

    Image/mount: 55.9 x 43.2 cm (22 x 17 in.) Mount: 64.5 x 47.9 cm (25 3/8 x 18 7/8 in.)

    Medium

    Photograph, albumen print mounted on board

    Classification

    Photographs

    Accession Number

    2004.124

    Collections

    Americas , Photography

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  • Snow Scene on the Northeast Corner of the Boston Common

    about 1875

    Josiah Johnson Hawes, American, 1808–1901 American

    Description
    Details

    Dimensions

    Image/mount: 35.2 x 28 cm (13 7/8 x 11 in.)

    Medium

    Photograph, albumen print mounted on board

    Classification

    Photographs

    Accession Number

    2004.126

    Collections

    Americas , Photography

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  • Boston from the Ship House, Navy Yard

    William James Bennett, American (born in England), 1787–1844...

    Description
    Details

    Medium

    Etching and engraving

    Classification

    Prints

    Accession Number

    M15769

    Collections

    Americas , Prints and Drawings

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  • Charles River and Beacon Hill

    about 1892

    Childe Hassam, American, 1859–1935

    Description

    In Charles River and Beacon Hill Hassam employed the radical compositional effects that he had seen in French painting to portray changing aspects of Boston. Like GustaveCaillebotte [2011.231] and other French Impressionists, Hassam used dramatically plunging recession and a broad expanse of empty foreground to draw the viewer into his cityscape, which includes three of Boston’s important topographical features. On the left is the Charles River, which divides the city from Cambridge; in the center is Beacon Hill, settled in the eighteenth century and the site of the gold-domed Massachusetts State House; and on the right is the Back Bay, a fashionable residential area that had recently been created after a forty-year landfill project. As Hassam was no doubt aware, there had been much discussion in Boston as to how to take best advantage of the Charles River. Hassam showed the dirt road and narrow walkway along the embankment, and he drew attention to the river via the boat landing and the blue-coated man at the railing smoking his pipe. Shortly thereafter, the scene was altered when a 100-foot-wide (30.5-meter-wide) concrete promenade was constructed beyond the sea wall. Here Hassam captured the city of his youth as it was transforming itself into a sophisticated urban center.

    This text was adapted from Janet L. Comey’s entry in Impressionism Abroad: Boston and French Painting, by Erica E. Hirshler et al., exh. cat. (London: Royal Academy of Arts, 2005).

    Details

    Dimensions

    40.96 x 45.72 cm (16 1/8 x 18 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    1978.178

    Collections

    Americas

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  • Mount Vernon Street, Beacon Hill

    about 1900

    Artist Baldwin Coolidge, American, 1845–1928 American

    Description
    Details

    Dimensions

    Image/Sheet: 19.1 x 25.4 cm (7 1/2 x 10 in.) Mount: 24.2 x 30.5 cm (9 1/2 x 12 in.)

    Medium

    Photograph, albumen print

    Classification

    Photographs

    Accession Number

    2001.301

    Collections

    Americas , Photography

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  • Dartmouth Street from Copley Square

    about 1910–20

    Arthur Clifton Goodwin, American, 1864–1929

    Description
    Details

    Dimensions

    33.02 x 48.26 cm (13 x 19 in.)

    Medium

    Pastel on paper mounted on paperboard

    Classification

    Paintings

    Accession Number

    1984.915

    Collections

    Americas

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  • Tremont Street, Boston

    about 1843

    Philip Harry, American (born in England), 1843–1860 American

    Description
    Details

    Dimensions

    34.92 x 40.96 cm (13 3/4 x 16 1/8 in.)

    Medium

    Oil on panel

    Classification

    Paintings

    Accession Number

    47.1150

    Collections

    Americas

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  • The Barnstormer, Old South Theater, Boston

    1918

    Arthur Clifton Goodwin, American, 1864–1929

    Description
    Details

    Dimensions

    31.75 x 38.1 cm (12 1/2 x 15 in.)

    Medium

    Oil on paperboard

    Classification

    Paintings

    Accession Number

    48.554

    Collections

    Americas

    Not On View
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  • View of Roxbury

    1854

    J. W. A. Scott, American, 1815–1907 American

    Description
    Details

    Dimensions

    Height x width: 28 1/4 x 35 in. (71.8 x 88.9 cm) Framed: 36 x 43 in. (91.4 x 109.2 cm)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    1999.535

    Collections

    Americas

    Not On View
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  • Boston's Beacon Street

    1967 (Shôwa 42)

    Artist Matsubara Naoko, Japanese, born in 1937 Japanese

    Description

    Edition: 39/50.

    Details

    Dimensions

    46.5 x 58.5 cm (18 5/16 x 23 1/16 in.)

    Medium

    Woodblock print; color on paper

    Classification

    Prints

    Accession Number

    69.981

    Collections

    Asia , Contemporary Art , Prints and Drawings

    Not On View
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  • Boston Public Library

    1960s

    Artist Matsubara Naoko, Japanese, born in 1937 Japanese

    Description

    Edition: 37/100.

    Details

    Dimensions

    45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)

    Medium

    Woodblock print; ink on paper

    Classification

    Prints

    Accession Number

    69.980

    Collections

    Asia , Contemporary Art , Prints and Drawings

    Not On View
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  • Old North Church in Boston

    1967 (Shôwa 42)

    Artist Matsubara Naoko, Japanese, born in 1937 Japanese

    Description

    Edition: 7/50.

    Details

    Dimensions

    46.8 x 58.5 cm (18 7/16 x 23 1/16 in.)

    Medium

    Woodblock print; color on paper

    Classification

    Prints

    Accession Number

    69.979

    Collections

    Asia , Contemporary Art , Prints and Drawings

    Not On View
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  • South Station - Rush Hour

    about 1949

    John Whorf, American, 1903–1959 American

    Description
    Details

    Dimensions

    Sight: 55.9 x 75.6 cm (22 x 29 3/4 in.)

    Medium

    Watercolor

    Classification

    Watercolors

    Accession Number

    62.1108

    Collections

    Americas , Contemporary Art , Prints and Drawings

    Not On View
    More Info
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  • Winter, North End, Boston

    1936

    John Whorf, American, 1903–1959 American

    Description
    Details

    Dimensions

    Sheet: 39.5 x 56 cm (15 9/16 x 22 1/16 in.)

    Medium

    Watercolor on paper

    Classification

    Watercolors

    Accession Number

    37.60

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
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  • Winter, East Boston

    1933

    John Whorf, American, 1903–1959 American

    Description
    Details

    Dimensions

    36.8 x 55.9 cm (14 1/2 x 22 in.)

    Medium

    Watercolor

    Classification

    Watercolors

    Accession Number

    63.177

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
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Contents