Steaming Streets 
George Bellows [1882 - 1925]
James Abbott McNeill Whistler, Caprice in Purple and Gold: The Golden Screen, 1864. Oil on wood panel. Freer Gallery of Art (United States), Gift of Charles Lang Freer (F1904.75a).
Japanese prints remained virtually unknown in London in 1865, when this painting was first exhibited: one reviewer could only describe the subject as a Japanese lady contemplating “a picture, drawing, fan, or whatever it may be, which is in her hand.” The model, in fact, examines several prints from Whistler’s collection, paraphrased from the series Sixty-odd Famous Places of Japan by Hiroshige, the Japanese artist whose work exerted the strongest influence on Whistler’s style…The composition is even more radical than the pose, considering the prevailing pictorial style: to Western eyes, the picture appears full of spatial puzzles, with a lacquer box that looks out of perspective and a folding screen that seems to float above a tilted floor. Whistler’s concern was not to create a convincing illusion of space but to arrange shapes and colors like the patterns painted on the golden screen.
Dancer in a Yellow Shawl - Robert Henri
Everett Shinn - The White Ballet, 1904
Louise Cox, May Flowers, 1911, oil on canvas, Smithsonian American Art Museum, Gift of William T. Evans
“Lone Tenement,” by George Bellows, 1909. George Bellows was one of the Ashcan School painters from the Art Students League. His paintings of New York found a kind of beauty in the grittiest terrain.
“I believe in God, only I spell it Nature.” -Frank Lloyd Wright
If I could say it in words there would be no reason to paint.
—Edward Hopper (via elisemerand)
May Night - Willard Metcalf
Thomas Moran (1837 - 1926), American artist, part of the Hudson River School.
1902 “Moonlight Seascape”
Lily and the Sparrows (1939). Phillip Evergood.
Roger Brown, Natural Bridge, 1971, oil on canvas, Smithsonian American Art Museum, Gift of the S.W. and B.M. Koffler Foundation
Sarah Miriam Peale, A Slice of Watermelon, 1825