Social Sharing

The Ironworkers' Noontime

1880

Born in Kentucky, Thomas Pollock Anshutz moved with his family in 1863 to Wheeling, West Virginia, where he spent his teenage years growing up amid the region’s urban factories that dominated the banks of the Ohio River. He went on to become one of the most important art teachers in the United States, teaching for nearly three decades at the Pennsylvania Academy of the Fine Arts in Philadelphia, where he influenced the next generation of American realist painters.

The Ironworkers’ Noontime portrays a group of workers at a nail factory in Wheeling, West Virginia. The workers are displayed across a shallow foreground, while the colossal foundry stretches as far as the eye can see. Anshutz began the preparatory drawings for this picture during one of his yearly visits to see family who lived in Wheeling. The labor he depicts was then being impacted by increasing mechanization, which posed a threat to skilled American workers.

Artist: Thomas Pollock Anshutz (American, 1851-1912)
Title: The Ironworkers' Noontime
Date: 1880
Object Type: Painting
Medium: Oil on canvas
Dimensions: Overall: 17 1/8 x 24 1/8 in. (43.498 x 61.278 cm) Framed: 23 x 29 7/8 in. (58.42 x 75.883 cm)
Credit Line: Gift of Mr. and Mrs. John D. Rockefeller 3rd
Accession Number: 1979.7.4

Thomas B. Clarke (1849–1931), New York, 1883–1899;[Auction sale, American Art Association, New York, February 14–17 1899, lot no. 56]Alfred Steckler (1856–1929), New York, 1899–1929;[Mary McShane, New York and Brooklyn, ca. 1930–1939];[Macbeth Galleries, New York, 1939];Stephen Carlton Clark (1882–1960), New York, 1939–1944;[Macbeth Galleries, New York, 1944];[John Levy Galleries, New York, 1944];Joseph A. Katz (1888–1958), Baltimore, 1944–after 1947;[Victor Spark, New York, by 1950];Walter Steumpfig (1914–1970), Sherman, Conn., after 1950–before 1953;Lawrence A. Fleischman (1925–1997) and Barbara Greenberg Fleischman (b.1924), Detroit, by 1953–ca. 1965;Dr. Irving F. Burton (1918–2011) and Doris Hyman Burton (1923–1995), Huntington Woods, Michigan, ca. 1965—1972;[Auction sale, Sotheby Parke Bernet, New York, October 18, 1972, lot no. 14];Mr. and Mrs. Howard N. Garfinkle, New York, 1972–1973;[Kennedy Galleries, New York, 1973];John D. Rockefeller 3rd (1906–1978) and Blanchette Hooker Rockefeller (1909–1992), New York, 1973–1979;Bequest to the Fine Arts Museums of San Francisco, 1979.
Philadelphia, Pennsylvania, Philadelphia Sketch Club, January 6, 1881, Annual "Best Finished Sketch" Competition (1st prize winner).

Philadelphia, Pennsylvania, Philadelphia Society of Artists, late 1881, "Third Annual Exhibition."

New York, American Art Gallery, December 28, 1883–January 12 1884, "The Private Collection of Thomas B. Clarke of New York," Cat. no. 3, as Ironworkers' Noontime.

Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, October 15–November 28 1891, "Catalogue of the Thomas B. Clarke Collection of American Pictures," Cat. no. 3, pp. 7–8, not repr., as The Ironworkers' Noontime.

Washington, D.C., Smithsonian Institution, May 18–27, 1892, "First Loan Exhibition of the National Art Association," Cat. no. 1, as Iron Workers, lent by Thomas B. Clarke.

New York, Fifth Avenue Art Galleries under the Management of the Art House, Summer 1894, "Second Annual Summer Exhibition of American Paintings and Antique Art Objects from China and Greece," Cat. no. 2, as Ironworkers.

New York, Metropolitan Museum of Art, April 24–October 29, 1939, "Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair," Cat. no. 271, repr., p. 20, as Steelworkers—Noontime, ca. 1890, lent anonymously.

Baltimore, Maryland, The Baltimore Museum of Art, April 22 1944–1947, extended loan, As Iron Workers, Noon-time, lent by Joseph Katz.

Washington, D.C., Corcoran Gallery of Art, July 8–December 17, 1950, "American Processional, 1492–1900: The Story of Our Country," Cat. text by Elizabeth McCausland, Cat. no. 295, pp. 219, 250–251, repr., p. 219, as Steel Workers: Noontime, ca. 1890, lent by Victor Spark.

Denver, Colorado, Denver Museum of Art, March 2–April 27, 1952, "Man at Work," Cat. pub. in Denver Art Museum Spring Quarterly, No cat. nos., as Steelworkers—Noon Time, ca. 1890, lent by Victor Sparks [sic].

Ann Arbor, Michigan, 1953, University of Michigan Museum of Art, "Mr. and Mrs. Lawrence A. Fleischman Collection," Repr., p. 4.

Philadelphia, Pennsylvania Academy of the Fine Arts, January 15–March 13 1955, "The One Hundred and Fiftieth Anniversary Exhibition," Cat. entry by Helen W. Henderson, Cat. no. 170, pp. 106, 208 repr. p. 106.

Madrid, Spain, Pennsylvania Academy of the Fine Arts 150th Anniversary Exhibition Tour of Europe, 1955. Cat. no. 58.

U.S.I.A., 1957–1958, Tour of South America, Cat. no. 19, repr.

U.S.I.A., 1958, Tour of Greece and Israel, Cat. no. 20.

Greensburg, Pennsylvania, The Westmoreland County Museum of Art, 1959, "Two Hundred and Fifty Years of Art in Pennsylvania," Cat. compiled and edited by Paul A. Chew. Cat. no. 5, repr., pl. no. 86, as Steelworkers' Noontime, lent by Mr. and Mrs. Lawrence A. Fleischman.

Milwaukee, Wisconsin, Milwaukee Art Center, March 3–April 3, 1960, "American Painting 1760–1960: A Selection of 125 Paintings from the Collection of Mr. and Mrs. Lawrence A. Fleischman," No cat. nos., repr, p. 66.

Toronto, Canada, Art Gallery of Toronto, January 6–February 5 1961; Winnipeg, Canada, Winnipeg Art Gallery Association, Feb 17–March 12 1961; Vancouver, Canada, Vancouver Art Gallery, March 29–April 23 1961; New York, Whitney Museum of American Art, May 17–June 16 1961. "American Painting, 1865–1905," Cat. no. 2., pp. 15, 51, as Steelworkers—Noontime, lent by Mr. and Mrs. Lawrence A. Fleischman.

Tucson, Arizona, University of Arizona Art Gallery, February 1–March 29, 1964 "American Painting, 1765–1963: Selections from the Lawrence A. and Barbara Fleischman Collection of American Art," Cat. intro. by Lloyd Goodrich. Cat. no. 3, pp. 23, 25, 57, repr. p. 25, as Steelworkers—Noontime.

Philadelphia, Pennsylvania Academy of the Fine Arts, November 24–December 3, 1964, "Small Paintings of Large Import from the Collection of Lawrence A. and Barbara Fleischman of Detroit, Michigan," Cat. foreword by E. P. Richardson. Cat. no. 2., not disc. in text, as Steel Workers—Noontime.

New York, Metropolitan Museum of Art, April 16–September 7, 1970, "19th Century America: Paintings and Sculpture: An Exhibition in Celebration of the Hundredth Anniversary of The Metropolitan Museum of Art," Cat. no. 179, repr., as Steelworkers Noontime, lent by Dr. and Mrs. Irving F. Burton.

Philadelphia, The Pennsylvania Academy of the Fine Arts, January 17–Februrary 18, 1973, "Thomas P. Anshutz (1851–1912)," Cat. text by Sandra Denney Heard. Cat. no. 8, pp. 3, 7–8, 22, 25, repr. fig. 1/cover (color).

Allentown, Pennsylvania, Allentown Art Museum, January 20–March 4, 1973, "The City in American Painting," Cat. intro by Richard N. Gregg. No cat. nos., disc. pp. 3, 36, repr. p. 35, as Steelworkers—Noontime, lent by Mr. and Mrs. Howard N. Garfinkle. (N.B. Anshutz's painting shown from 20 Feb.–4 Mar.)

San Francisco, The Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, April 17–July 31 1976; New York, Whitney Museum of American Art, September 16–November 7 1976. "American Art: An Exhibition from the Collection of Mr. and Mrs. John D. Rockefeller 3rd," Cat. by E. P. Richardson. Cat. no. 55, pp. 138–139, repr. p. 139.

Washington, D.C., National Gallery of Art, May 25–September 1, 1980, "Post-Impressionism: Cross-Currents in European and American Painting, 1880-1906," Cat. text by Alan Bowness, et al. Cat. no. 263, p. 232, repr., as Ironworkers—Noontime.

Tokyo, The National Museum of Western Art, July 27–September 19, 1982, "American Painting 1730–1960: A Selection from the Collection of Mr. and Mrs. John D. Rockefeller 3rd, Exhibition organized by The National Museum of Western Art, Japan Society, Inc., and The Fine Arts Museums of San Francisco. Cat. text by Margaretta Lovell. Cat. no. 55, disc. in text, repr., as Ironworkers, Noontime.

San Francisco, The Fine Arts Museums of San Francisco (M. H. de Young Memorial Museum), March 7–September 13, 1987, "The Director's Choice: 20 Years of Collecting," No cat.

San Francisco, The Fine Arts Museums of San Francisco (M. H. de Young Memorial Museum), October 19, 1988–January 7, 1989, "The Studied Figure: Tradition and Innovation in American Art Academies, 1865–1915," Not mentioned in text, recorded in checklist.

San Francisco, The Fine Arts Museums of San Francisco (M. H. de Young Memorial Museum), June 25–November 13, 1994, "The Rockefeller Collection of American Art at The Fine Arts Museums of San Francisco," Cat. by Marc Simpson with the assistance of Patricia Junker. Cat. no. 83, pp. 201–203, repr. p. 203 (color).

Huntington, New York, The Heckscher Museum, September 3–November 20, 1994, "Thomas Anshutz: Artist and Teacher," Cat. by Randall C. Griffin with a preface by William Innes Homer. Plate no. 1, pp. 8, 23, 24, 36, 37, 39, 42¬–47, 49–52, 82, 95, 96, 119 n.83, repr. pp. 3, plate 1 (color), 44, fig. 13 (detail).

Mobile, Alabama, Gulf Coast Exploreum, July 2, 2002–January 5, 2003; Wilmington, Delaware, Winterthur Museum Garden and Library, October 11, 2003–February 1, 2004; Charleston, West Virginia, Charles M. Avampato Museum, February 28–May 30, 2004; Museo Amparo, Puebla, Mexico, September 2004–February 2005. "American Accents: Visual Culture as History," Text by Daniell Cornell. Cat. no. 41, pp. 43–47, 57, 102, 107n64, 108n66, 121, 132, repr. frontispiece (color) and p. [44] (color). [1]

Williamstown, Massachusetts, Sterling and Francine Clark Art Institute, June 4–September 4, 2006 (New York, Metropolitan Museum of Art, May 22–August 19, 2007. "The Clark Brothers Collect Impressionist and Early Modern Paintings," Text by Michael Conforti, et al. No cat. nos., pp. 162, 318, repr. p. 163, fig. 134 (color).

Washington, D.C., Phillips Collection, February 17–May 20, 2007, "Williams College Museum of Art, Moving Pictures: American Art and Early Film 1880-1910," text by Nancy Mowll Mathews with Charles Musser, contributions by Marta Braun,et al. No cat. nos., pp. 76–77, repr. p. 77, fig. 100 (color). [2]
New York, The Metropolitan Museum of Art, October 12, 2009–January 24, 2010; Los Angeles County Museum of Art, February 28–May 23, 2010. "American Stories: Paintings of Everyday Life 1765-1915," Cat. ed. by H. Barbara Weinberg and Carrie Rebora Barratt. No cat. nos., p. 13, 154–156, 181 n.115, 208, repr. p. 155, fig. 156 (color).

Amsterdam, Netherlands, Van Gogh Museum, October 8, 2010–January 16, 2011; Helsinki, Finland, Ateneum Art Museum, Finnish National Gallery, February 18–May 15, 2011. "Illusions of Reality: Naturalist Painting, Photography, and Cinema, 1875–1918," Cat. by Gabriel P. Weisberg with contr. by Edwin Becker, et al. No cat. nos., pp. 46, 48, 49 n.14, 216, repr. cover (color), p. 47 (color detail), p. 194 (color).

Princeton, New Jersey, Princeton University Art Museum, October 13, 2018–January 6, 2019; Salem, Massachusetts, Peabody Essex Museum, February 2–May 5, 2019; Bentonville, Arkansas, Crystal Bridges Museum, May 25–September 9, 2019. "Nature’s Nation: American Art and Environment" Cat. by Karl Kusserow and Alan C. Braddock with contr. By Miranda Belarde-Lewis, et al.Chicago, Illinois, Wrightwood 659, May 2–July 26, 2025, "The First Homosexuals: The Birth of a New Identity 1869–1939," Cat. by Jonathan D. Katz and Johnny Willis, no cat. no., repr. color, p.133.[1] This exhibition was organized by the Fine Arts Museums of San Francisco, and the accompanying catalogue was published by FAMSF, but FAMSF was not a stop on the tour.
[2] Exhibition organized by Williams College Museum of Art and circulated to the Reynolda House Museum of American Art, Winston-Salem, N.C., the Grey Art Gallery of New York University, and the Phillips Collection, Washington, D.C.; however, The Ironworkers Noontime was only shown at the Phillips.]
"Clubs and Societies," The American Art Review 2, no. 4 (February 1881), p. 168.
Van Rensselaer, Marianna Griswold, American Architect and Building News 10, no. 314 (December 31, 1881), p. 312, as Dinner-Time at a Foundry.
Strahan, Edward, "The Art Gallery: The Philadelphia Society of Artists. Third Annual Exhibition," The Art Amateur 6, no. 2 (January 1882), p. 26.
"For American Art: Exhibition of the Clarke Collection of Works by Native Painters," New York Herald, December 28, 1883.
"Unique Exhibition. . . ." Boston Herald, December 28, 1883.
Philadelphia Evening Telegraph, review of T. B. Clarke Collection, 1883–84.
Mail and Express, April 29, 1884.
"The Iron-worker's Noon-time," Harper's Weekly 28, no. 1445 (August 20, 1884): p. 570, repr.
News, 31 Aug. 1884.
Downes, William Howe and Frank Torrey Robinson, "Later American Masters." The New England Magazine 14, no. 2 (April 1896), p. 131.
The Art Collector (1899), p. 140.
Ziegler, Francis J., "An Unassuming Painter—Thomas P. Anshutz." Brush and Pencil 4, no. 6 (Sept. 1899), pp. 279–283.
Levy, Florence N., ed.,  American Art Annual: 1899, (New York: The Art Interchange Co., 1899), p. 56.
von Mach, Edmund, "Anshutz, Thomas (Polloch) [sic]," in Allgemeines Lexicon der Bildenden Künstler von der Antike bis zur Gegenwart, Ulrich Thieme and Felix Becker, eds. (Leipzig: Verlag von Wilhelm Engelmann, 1907), 1, p. 543.
Mellquist, Jerome,  The Emergence of an American Art, (New York: Charles Scribner's Sons, 1942), p. 80.
Larkin, Oliver W.,  Art and Life in America. (New York: Holt, Rinehart, and Winston, 1949), p. 279.
Goodrich, Lloyd, "The Painting of American History, 1775–1900," The Corcoran Gallery of Art Bulletin 5, no. 2 (Feb. 1952).
"Man at Work," based on material by Cile M. Bach, Design 53, no. 8 (May 1952), repr. p. 195.
"Pictorial Magazine." Detroit News, June 24, 1956.
Richardson, Edgar Preston,  Painting in America, from 1502 to the Present. New York: Thomas Y. Crowell Co., 1965, pp. 239, 320, repr. fig. 133.
Katz, Leslie, "The Breakthrough of Anshutz." Arts Magazine 37, no. 6 (March 1963), pp. 26–27.
Steadman, William E., Jr., "The Fleischman Collection." Artforum 2, no. 9 (March 1964), p. 38, repr.
Denney, Sandra Lee, "Thomas Anshutz: His Life, Art, and Teaching," (Masters thesis, Univ. of Delaware, 1969), pp. 24–27, 42–43, 106, 119, repr. fig. 4.
Homer, William Inness,  Robert Henri and His Circle, (Ithaca and London: Cornell Univ. Press, 1969), p. 24–27, repr. fig. 5.
Flexner, James, Nineteenth Century American Painting, (New York: G. P. Putnam's Sons, 1970), pp. 235, 237, repr. 235.
Lynes, Russell, The Art-Makers, (New York: Dover Publications, Inc., 1970), p. 371, repr. 372.
Haber, Francine, "American Mythologies in Painting. Part III: Discovering the New Landscape of Technology," Arts Magazine 46, no. 4 (February 1972), pp. 33–34, repr. 33.
Knox, Sanka, "Anshutz Painting Sets American Auction Record," New York Times, October 9, 1972, repr.
"Record pour un tableau américain." Connaissance des Arts 250, (Dec. 1972), p. 29, repr.
Cooke, Alistair,  Alistair Cooke's America, (New York: Alfred A. Knopf, 1973) pp. 259–261 repr. (color).
Williams, Hermann Warner, Jr.,  Mirror to the American Past, (Greenwich, Connecticut: New York Graphic Society, 1973) p. 218–220, repr. fig. 213.
Art at Auction: The Year at Sotheby Parke Bernet, 1972–73 . . . ., (New York: The Viking Press, 1973), pp. 104–105, repr. (color).
Hillier, Bevis, "International Saleroom," The Connoisseur 182, no. 731, (Jan. 1973), pp. 68, 70, repr. fig. 1.
Schwartz, Sanford, "New York Letter," Art International 17, no. 3 (Mar. 1973): 103.
"Art Across the U.S.A: A File in Acid," Apollo 97 (June 1973), pp. 616–617, repr. fig. 4.
Bowman, Ruth. "Nature, The Photograph and Thomas Anshutz." Art Journal 33, no. 1 (Fall 1973): 32–40, repr. fig. 1.
_____, "The Artist as Model: a Portrait of David Wilson Jordan by Thomas Anshutz," The Register of The Univ. of Kansas Museum of Art 4, no. 10, (Fall 1973), pp. 19, repr. fig. 18, 21, 23.
Goodyear, Frank H., Jr., "Ironworkers: Noontime." American Art Review 1, no. 2 (Jan.–Feb. 1974), pp. 39–46, repr. 41 (color).
Hills, Patricia, The Painters' America: Rural and Urban Life, 1810–1910, (New York: Praeger, 1974), pp. 115, 118, fig. 142.
Neugass, Fritz. "Kunsthandel: U.S.A." Pantheon 32, no. 2 (Apr.–June 1974), p. 215, repr.
Wilmerding, John, American Art, (Baltimore, Maryland.: Penguin Books, Inc., 1976), pp. 254–255, n. 8.
Weinberg, H. Barbara, "Thomas B. Clarke: Foremost Patron of American Art from 1872–1899," American Art Journal 8 (May 1976), p. 71, repr. 72.
Young, Mahonri Sharp, "A Rockefeller Collection of American Art," Apollo 103, no. 172, (June 1976), pp. 508, 511, repr. fig. 3.
Newman, Amy, "Striving for the equipoise between man and nature," Art News 75, no. 9 (Nov. 1976), p. 78.
Gerdts, Abigail Booth and Patricia Hills, The Working American, Exh. cat., (National Union of Hospital and Health Care Employees, 1979), pp. 8–10, 18, repr. fig. 7.
Baigell, Matthew, "Thomas Pollock Anshutz," Dictionary of American Art, (London: John Murray Pub., Ltd., 1979), p. 14.
Brown, Milton, et al., American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography, (New York: Harry N. Abrams, Inc., 1979), p. 284, repr.
Perlman, Bennard B., The Immortal Eight: American Painting from Eakins to the Armory Show, 1870–1913, (Cincinnati, Ohio: North Light Pub., 1979), pp. 26–27, repr. 27.
Dinnerstein, Lois, "The Iron Worker and King Solomon: Some Images of Labor in American Art," Arts Magazine 54, no. 1 (Sept. 1979), pp. 116–117, repr. fig. 7.
Leff, Sandra, Thomas Anshutz: Paintings, Watercolors and Pastels, Exh. cat., (New York: Graham Gallery, 1979;), p. 3.
Burke, Doreen Bolger, American Paintings in the Metropolitan Museum of Art, (New York: Metropolitan Museum of Art in Association with Princeton Univ. Press, 1980), pp. 3, 115.
Doezema, Marianne, American Realism and the Industrial Age. Exh. cat., (Cleveland: The Cleveland Museum of Art; distributed by Indiana Univ. Press, 1980), pp. 27, 30, repr. 27, fig. 4. [not in exhibition]
Tatransky, Valentin, "Thomas Anshutz." Arts Magazine 54, no. 6, (February 1980), p. 37.
Wilson, William, Los Angeles Times Book of California Museums, (New York: Harry N. Abrams, Inc., 1984), pp. 65–67, repr. 66.
Lynes, Russell, The Lively Audience: A Social History of the Visual and Performing Arts in America, 1890-1950, (New York: Harper & Row, 1985), pp. 78–79, repr. 78.Hills, Patricia, "The Fine Arts in America: Images of Labor from 1800 to 1950" in Weible, Robert, ed., Essay from the Lowell Conference on Industrial History, 1982 and 1983, (North Andover, Massachusetts: Museum of American Textile History, 1985), p. 136, repr. 137, fig. 10.
Banks, Marissa, Lorraine Glennon, and Jeffrey Shaire, "The 25 Most Undervalued American Artists," Art & Antiques 68, (Oct. 1986), p.68.
Edwards, Lee M., Domestic Bliss: Family Life in American Painting, 1840–1910, Exh. cat., (Yonkers, N.Y.: The Hudson River Museum, 1986), p. 135.
Zellman, Michael David, comp. "Thomas P. Anshutz," American Art Analog: 1842–74. (New York: Chelsea House Pub. in Association with American Art Analog, 1986) 2: p. 473.
Fowler, Carol, "Every Painting Has a Story," Contra Costa Times, March 10,1987, repr.
"An Anshutz Classic by Director's Choice," San Francisco Chronicle, March 15, 1987, "Datebook" section, repr.
Lufkin, Liz, "Now He'll Be Making the Paintings," San Francisco Chronicle, April 15 1987.
Burkhart, Dorothy, "Critic's Choice: Art," San Jose Mercury News, March 29 1987.
The Fine Arts Museums of San Francisco, Selected Works, (San Francisco: The Fine Arts Museums of San Francisco, 1987). p. 119, repr. (color).
Blau, Douglas, Fictions: A Selection of Pictures from the 18th, 19th & 20th Centuries, (New York: Kent Fine Art, 1987), listed in table of images, repr. fig. 88.
Henretta, James A., et al., America's History Since 1865, (Chicago: The Dorsey Press, 1987), p. 581, pl. 2 (color).
Beechert, Edward, "The Nineteenth Century American Work Force," in Working in America and in Hawaii: A Humanities Guide, (Honolulu: Hawaii Committee for the Humanities, 1988), repr. 3.
Sullivan, Charles, ed., America in Poetry, (New York: Harry N. Abrams, Inc., 1988), repr. 71.
Pauly, Thomas H., "American Art and Labor: The Case of Anshutz's The Ironworkers' Noontime," American Quarterly 40, no. 3 (Sept. 1988), pp. 333–358, repr. 334.
Kay, Alfred, "The Human Form: Exhibit Showcases European Academies," The Sacramento Bee, December 4th, 1988.
Simpson, Marc, Sally Mills, and Jennifer Saville, The American Canvas: Paintings from the Collection of The Fine Arts Museums of San Francisco, (New York: Hudson Hills Press, in association with The Fine Arts Museums of San Francisco, 1989), pp. 13, 160–161, 241, repr. cover, 161 (both color).
Griffin, Randall C., "Thomas Anshutz's The Ironworker's Noontime: Remythologizing the Industrial Worker," Smithsonian Studies in American Art 4, nos. 3 and 4 (Summer/Fall 1990), pp. 129–143, repr. 130–131, cover (detail) (both color).
_____, "A Contextual Study of the Art and Teaching of Thomas Anshutz," in Center 11: Research Reports & Records of Activities, (Washington, D.C.: National Gallery of Art, 1991) pp. 55–57, repr. 56.
Schomer, Judith Ayre, "New Workers in a New World: Painting American Labor, 1830–1913," Labor's Heritage 3, no. 1, (January 1991)pp. 46–47, repr. (color).
McKean, Marcia, "American Arts Study Center to Benefit from USART," Antiques West 12, no. 2, (February 1992), repr. cover (detail).
Gladstone, John, "Social Realism in American Art: The Generation of 1876," The Journal of Decorative and Propaganda Arts 20, (1994), p. 125, 129, repr. fig. 11.
Craven, Wayne, "Painting: The Naturalistic Tradition and Cosmopolitanism, 1870–1900," In American Art: History and Culture, (Madison, Wis.: Brown & Benchmark, 1994) pp. 341, 342, repr. fig. 23, 16.
Griffin, Randall C., Thomas Anshutz: Artist and Teacher, (Seattle, Wash.: The Heckscher Museum in Association with the University of Washington Press 1994), pp. 44–47, repr. 3, pl. 1 (color), 44, fig. 13 (detail).
McCoy, Garnett, "Ironworkers' Noontime," in "Reading Records: A Researcher's Guide to the Archives of American Art," Archives of American Art Journal 35, no. 1–4 (1995), pp. 83-86, repr. 84.
Dabakis, Melissa, "Douglas Tilden's Mechanics Fountain: Labor and the 'Crisis of Masculinity' in the 1890s," American Quarterly 47, no. 2 (June 1995), pp. 214, 215, repr. fig. 4.
Griffin, Randall C, "Thomas Eakins' Construction of the Male Body, or 'Men Get to Know Each Other Across the Space of Time'," The Oxford Art Journal 18, no. 2 (1995), pp. 75–76, repr. 76, fig. 6.
Hughes, Robert. American Visions: The Epic History of Art in America. New York: Alfred A. Knopf, 1997; 300, 301, repr. 301, fig. 182 (color).
_____,"American Visions." Time (Special Issue) (Spring 1997), repr. p. 60 (color).
"Lookmark," DoubleTake 4, no. 1, (Winter 1998), repr. p. 78 (color).
The American Art Book, (London: Phaidon, 1999) repr. 12 (color).Groseclose, Barbara S., Nineteenth-century American Art, (Oxford: Oxford University Press, 2000), pp. 98, repr. (color) 99, illus. front cover [detail].Turner, Jane, ed., Encyclopedia of American Art Before 1914, (Oxford: Grove's Dictionaries, 2000), pp. 12–13, repr. 14.Marchetti, Francesca Castria, ed., American Painting, (New York: Watston Guptill, 2003), repr. (color), p. 94.
Harrison, Thomas B., “American vision: Exploreum opens ‘American Accents’ art exhibition for Mobile tricentennial,” [Arts & Leisure] Mobile Register (June 30, 2002): repr. (color).
Türk, Klaus, Man at Work: 400 Years in Paintings and Bronzes, Labor and the Evolution of Industry in Art, Exh. cat. (Milwaukee: Milwaukee School of Engineering, 2003) pp. 23, repr. 22, fig. 24 (color).
Griffin, Randall C. Homer, Eakins, & Anshutz: The Search for American Identity in the Gilded Age. (University Park: The Pennsylvania State University Press, 2004), pp. 45, 57, 59–69, 80, repr. pl. 2 (color).
Bjelajac, David, American Art: A Cultural History, 2nd ed., (Upper Saddle River, NJ: Prentice Hall, 2005), pp. 266, repr. 268, fig. 6, 40.Matthews, Nancy Mowll, Charles Musser, and Marta Braun, Moving Pictures: American Art and Early Film, 1880–1910, exh. cat., (Easthampton, Massachusetts, Hudson Hills Press, 2005), repr. color, 77,
Larkin, Susan G., American Impressionism: The Beauty of Work, Exh. cat., (Greenwich, Connecticut: Bruce Museum of Arts and Science, 2005), pp. 29, repr. 29, fig. 17. [not in exh.]
Burgard, Timothy Anglin, Daniell Cornell, Isabel Breskin, et al., Masterworks of American Painting at the de Young, (San Francisco: Fine Arts Museums of San Francisco, 2005), Cat. no. 51, pp. 197–200, 507–508, repr.198, pl. 51 (color).
Zukowski, Karen, Creating the Artful Home: The Aesthetic Movement, (Salt Lake City: Gibbs Smith; 2006), pp. 18, repr. 19 (color).Trachtenberg, Alan, The Incorporation of America, (New York: Farrar, Strauss and Giroux, 2007), p. 183.
Belasco, Susan and Linck Johnson, The Bedford Anthology of American Literature: Volume Two, 1856 to the Present, (Boston: Bedford / St. Martin’s, 2008), repr. 32.
Fetherling, George, Wheeling: A Brief History, (Wheeling, West Virginia.: Polyhedron Learning Media, 2008), repr. cover (color).
Weinberg, H. Barbara and Carrie Rebora Barratt, “American Stories: Paintings of Everyday Life,” American Art Review 21, no. 5, (September–October 2009), pp. 78, repr. 76 (color).Braddock, Alan C., Thomas Eakins and the Cultures of Modernity, (Berkley, California: University of California Press, 2009), pp. 114, repr. 115, 140.
Illusions of Reality: Naturalist Painting, Photography, and Cinema, 1875-1918, Exh. cat. (Amsterdam: Van Gogh Museum, 2010), pp. 29, 29n3, 42, 43, 43n36, 46, 48, 48n8-12-13, 49n14, 194, repr. cover, 46, 194 (color).
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de Young

Legion of Honor

de Young

Legion of Honor

The Ironworkers' Noontime

Currently on view

Lux Aeterna, 1914

The Road Near the Farm, 1871

The Holy Family with the Infant Saint John the Baptist, 1626

New acquisitions

Untitled (Pei Kené 1), 2022

While the Night hides and the Shadow seeks, 2024

de Young

Legion of Honor

de Young

Legion of Honor

Social Sharing

Provenance

Exhibition History

Bibliography

Lux Aeterna, 1914

The Road Near the Farm, 1871

The Holy Family with the Infant Saint John the Baptist, 1626

Untitled (Pei Kené 1), 2022

While the Night hides and the Shadow seeks, 2024