George Inness: Life, Art, Paintings & Legacy
George Inness (1825–1894) was one of the most influential American landscape painters of the nineteenth century. Over a career spanning more than four decades, he moved from the detailed landscape traditions of the Hudson River School toward increasingly atmospheric, expressive and psychologically charged paintings.
Inness was influenced by the Old Masters, the Hudson River School, the French Barbizon painters and the spiritual philosophy of Emanuel Swedenborg. His mature landscapes became increasingly concerned with mood, light, atmosphere and the relationship between the natural and spiritual worlds.
George Inness was an American landscape painter born in 1825 in Newburgh, New York, and died in 1894 in Bridge of Allan, Scotland. He began under the influence of the Hudson River School but developed a highly personal style shaped by Barbizon painting and Swedenborgian philosophy. His later landscapes are characterized by softened forms, atmospheric light, rich colour and emotional intensity, making him a major figure in the development of American Tonalism.
Why Is George Inness Famous?
George Inness is famous for transforming the American landscape from a subject of geographical description into a vehicle for emotion, atmosphere and spiritual reflection.
Early in his career, Inness worked within traditions that valued detailed observation and recognizable scenery. Over time, however, he increasingly rejected the idea that a landscape should simply reproduce a particular place. His mature paintings instead suggest an experience of nature through softened forms, atmospheric transitions, rich colours and carefully controlled light.
The Metropolitan Museum of Art describes Inness as a major figure in the transition from the literalism of Hudson River School landscape painting toward a more subjective style influenced by French painting.
His later paintings can appear dreamlike or almost abstract because recognizable objects are subordinated to the overall emotional effect of the scene. For Inness, landscape was not simply scenery. It could express ideas about nature, humanity and the spiritual order of the universe.
George Inness's Early Life
George Inness was born in Newburgh, New York, in 1825 and grew up on a farm in Newark, New Jersey. His family did not initially expect him to become a professional artist.
As a young man, Inness received limited formal artistic training. He studied drawing with the itinerant artist John Jesse Barker and later apprenticed with an engraving firm. His work with engravings gave him opportunities to study reproductions of European Old Master landscapes and helped him develop an understanding of composition.
He later spent a short period studying with the landscape painter Régis François Gignoux. Inness began exhibiting in New York in the 1840s and established himself within the city's artistic community.
The Smithsonian American Art Museum characterizes Inness as largely self-taught and notes the combination of Hudson River and Barbizon influences that became important to his artistic development.
George Inness and the Hudson River School
Inness came of age during the period when the Hudson River School dominated American landscape painting. Artists such as Thomas Cole and Asher B. Durand emphasized the grandeur of American nature, careful observation and the moral or spiritual significance of the landscape.
Inness admired both artists. He studied their work closely and recognized qualities he wanted to incorporate into his own paintings.
But Inness eventually moved beyond the Hudson River School's emphasis on precise topographical description. Instead of trying to show exactly what a place looked like, he increasingly sought to convey what a landscape felt like.
This distinction is essential to understanding his career. Inness did not simply abandon the Hudson River School; he transformed elements of its landscape tradition into a more subjective and expressive language.
Influence of the Old Masters
Before developing his mature American style, Inness studied reproductions of European Old Master landscapes, particularly works associated with Claude Lorrain and Salvator Rosa.
These artists helped him understand the organization of landscape into foreground, middle ground and distance, as well as the use of light to create atmospheric depth.
Inness later travelled to Europe and encountered the originals of works he had previously known primarily through reproductions. His first major European journey took place in 1851, when he visited Rome and Florence.
The Metropolitan Museum notes that his early European experience contributed to his assimilation of Claude's approach to landscape, while his encounter with William Page and the writings of Emanuel Swedenborg had a profound influence on his subsequent artistic philosophy.
George Inness and the Barbizon School
The Barbizon School became one of the most important influences on Inness's artistic development.
During a visit to Paris on his return from his first European trip, Inness encountered paintings by French Barbizon artists. Their looser brushwork, atmospheric effects and interest in ordinary rural scenery offered an alternative to the highly detailed landscape style practiced by many American artists.
Inness found particular inspiration in the work of Théodore Rousseau and other Barbizon painters. Their approach encouraged him to place greater emphasis on mood and painterly expression.
The influence became increasingly visible during the 1860s. Works such as Autumn Meadows demonstrate the transition from precise topographical landscape toward diffuse light, mist and atmospheric unity. The Met specifically identifies Barbizon influence in this painting.
What Was George Inness's Artistic Style?
George Inness's style changed significantly throughout his career, but several characteristics became increasingly important in his mature work.
Atmosphere
Inness often allowed mist, haze, clouds and diffused light to soften the boundaries between individual objects.
Mood
The emotional atmosphere of a landscape became more important than precise topographical description.
Softened Forms
Late paintings frequently reduce sharp outlines and allow trees, fields, skies and distant forms to merge into unified masses.
Rich Colour
His mature work often uses deep greens, browns, golds, blues and warm atmospheric tones to create emotional intensity.
Spiritual Meaning
Swedenborgian ideas encouraged Inness to see nature as connected with an underlying spiritual order.
Suggestive Reality
Instead of simply reproducing a place, Inness sought to suggest an experience of nature through colour, light and composition.
George Inness and Emanuel Swedenborg
The philosophy of Emanuel Swedenborg, an eighteenth-century Swedish scientist, theologian and mystic, became one of the most important intellectual influences on Inness.
Swedenborg believed in relationships between the material and spiritual worlds. Inness adapted these ideas to his understanding of landscape painting.
For Inness, nature could be more than physical scenery. A landscape could suggest an underlying spiritual reality that could not be represented literally.
In 1868, Inness and his wife Elizabeth Hart Inness were baptized in the New Church, the Swedenborgian denomination, in Brooklyn. His spiritual beliefs subsequently became increasingly important to his artistic philosophy.
For Inness, landscape was a means of suggestion rather than simple description. His mature paintings invite viewers to look beyond recognizable objects and experience the emotional and spiritual atmosphere created by the whole composition.
What Is Tonalism?
Tonalism is an American approach to landscape painting characterized by harmonious colour relationships, atmospheric effects, softened forms and an emphasis on overall mood.
George Inness is often regarded as one of the major figures in the development of American Tonalism. His mature landscapes demonstrate many of the qualities associated with the movement, particularly the use of unified tonal fields rather than sharply separated local colours.
However, Inness should not be reduced to a label. His work developed through several artistic phases, and his spiritual ideas distinguish him from some other American Tonalist painters.
The Metropolitan Museum describes his late body of work as distinct even among artists commonly categorized as Tonalists because of his continuing commitment to the relationship between the natural and spiritual realms.
George Inness and the Civil War
Inness was an ardent abolitionist and strongly supported the Union cause during the American Civil War.
He attempted to enlist in a Massachusetts regiment but failed the physical examination. Instead, he supported recruitment and fundraising efforts.
During the Civil War period, his landscape paintings could carry allegorical or patriotic meanings. One of the clearest examples is Peace and Plenty, painted in 1865.
Peace and Plenty
Peace and Plenty, painted in 1865, is one of George Inness's major Civil War-era landscapes.
The painting depicts fertile farmland rather than a dramatic historical battlefield. Its abundant harvest and peaceful landscape express optimism about the future of the United States following the conflict.
The Metropolitan Museum explains that Inness intended the large canvas as an alternative to the grandiose and highly literal landscape style associated with artists such as Frederic Edwin Church and Albert Bierstadt. Instead, he used enriched colour and softened brushwork to communicate expressive feeling.
The painting is therefore an important example of Inness's ability to combine landscape with broader cultural and political meaning without turning the work into a conventional historical painting.
The Lackawanna Valley
The Lackawanna Valley, painted around 1856, is one of George Inness's most famous early works and one of the most fascinating American landscapes of the nineteenth century.
Inness received a commission from the Delaware, Lackawanna, and Western Railroad to create a promotional landscape showing the railroad's development around Scranton, Pennsylvania.
The painting includes a steam locomotive, railroad tracks, a roundhouse, industrial structures, cleared land and distant mountains. At first glance it can appear to celebrate technological progress.
Yet the composition also contains tree stumps across the foreground, making the environmental cost of railroad expansion visible.
The National Gallery of Art explains that the painting was commissioned for advertising purposes and that Inness incorporated the railroad's roundhouse into the scene at the request of his patron.
Today, the painting is particularly interesting because it can be read in several ways. It records industrial progress, but it also depicts the transformation of the natural environment.
The Remarkable Story of The Lackawanna Valley
The Lackawanna Valley has an unusual history. In 1891, decades after painting it, Inness reportedly rediscovered the work in a shop in Mexico while travelling to California.
He recognized his own painting, purchased it and brought it back to his studio. It remained there for the rest of his life.
The work was eventually acquired by the National Gallery of Art in 1945 and became the first American landscape painting to enter its collection.
George Inness in Italy
In 1870, Inness travelled to Europe with his family and spent approximately four years abroad. Rome became an especially important centre of his activity.
He rented a studio on the Via Sistina that was traditionally associated with Claude Lorrain. During this period he experimented with two broad approaches: more structured compositions with clearly organized forms and more generalized landscapes characterized by gestural brushwork.
Works such as Across the Campagna and Olive Trees at Tivoli demonstrate the importance of this period.
The Met notes that Inness used watercolour during the Italian journey to experiment with compositions and ideas that subsequently informed his oil paintings.
Olive Trees at Tivoli
Olive Trees at Tivoli, dated 1873, illustrates Inness's developing interest in combining strong graphic structure with atmospheric colour.
The landscape near Tivoli contains the familiar elements of the Italian countryside—olive trees, distant land and sky—but Inness avoids turning the scene into a literal tourist view.
Instead, the composition emphasizes the relationship between earth, sky, distance and colour. A tiny architectural feature near the horizon establishes scale while leaving the landscape itself dominant.
This balance between recognizable geography and poetic interpretation would become increasingly important to Inness's later work.
Pine Grove of the Barberini Villa
Pine Grove of the Barberini Villa, painted in 1876, was produced after Inness's Italian journey and reflects his continuing engagement with the Italian landscape.
The composition is striking for its division between dark, substantial land and a comparatively light, open sky. A tall tree rises prominently through the composition, while the distant landscape appears through the grove.
The Met has connected the unusual balance between earth and sky with Inness's interest in Swedenborgian ideas about order and balance in nature.
Autumn Oaks
Autumn Oaks, created around 1878, represents another important stage in Inness's development.
By this point, his style had become more expressive. The sharply defined forms of some earlier landscapes were giving way to broader shapes, richer colour and a stronger sense of atmosphere.
The Metropolitan Museum identifies Autumn Oaks as evidence of Inness's movement away from his early crisp style toward a more expressive mode and notes the growing importance of Swedenborgian ideas during this period.
The Montclair Years
Montclair, New Jersey, became one of the most important places in Inness's later career.
In 1878 he rented the Dodge estate in Montclair. In 1884 he purchased the property and moved there permanently the following year, although he maintained his New York studio.
During these years, Inness developed what the Metropolitan Museum calls his "signature" or "synthetic" style.
Interestingly, many paintings carrying "Montclair" in their titles do not function as precise topographical records. Instead, they create spaces for contemplation and reflection.
This is an important distinction between Inness and painters whose primary goal was to document an identifiable place. The landscape could be inspired by reality without being a literal transcription of it.
George Inness's Late Style
Inness's late landscapes are among his most distinctive works.
Edges become softer. Individual objects can merge into broader masses. Colour becomes more unified. Atmospheric light can dominate the entire composition.
The result is sometimes close to abstraction, although the paintings remain rooted in recognizable landscapes.
The Smithsonian describes the rich colours and emotional intensity of his later work as connected to his study of Swedenborg's pantheistic philosophy.
The Met similarly emphasizes that his late works encourage viewers to move beyond identifying a specific location and instead contemplate a more imaginative or spiritual reality.
Spring Blossoms, Montclair, New Jersey
Spring Blossoms, Montclair, New Jersey, painted around 1891, is a particularly useful example of Inness's mature style.
The scene shows a spring landscape at dusk, but the painting is not primarily concerned with botanical description. Instead, subtle tonal changes create the feeling of blossoms and evening atmosphere.
The Met describes the work as an example of Inness's increasingly expressive and atmospheric approach and notes the importance of subtle tonal modulation in the painting.
George Inness in the American South
During the final decade of his life, Inness travelled extensively, including journeys through Virginia, Georgia and Florida.
Florida became particularly important. Beginning in 1884, he travelled increasingly frequently through the southern United States and eventually established a home and studio in Tarpon Springs.
Rather than concentrating on stereotypical tropical imagery, Inness was attracted to the pine trees, roads and less-travelled landscapes of the Gulf Coast.
His Florida paintings pushed his Tonalist approach toward increasingly unified effects of muted colour, soft light and atmospheric haze.
Tarpon Springs and the Late Paintings
Tarpon Springs offered Inness a different environment from New England and New Jersey, but his approach remained remarkably consistent.
He was not primarily interested in creating picturesque tourist images. Instead, he transformed southern landscapes into atmospheric spaces where pine trees, roads, sky and haze become components of a unified visual experience.
The late Florida paintings demonstrate how far Inness had moved from the detailed landscape conventions of his early career. The physical location matters, but the emotional and atmospheric character of the painting matters more.
Harvest Moon
Harvest Moon, painted in 1891, is another important example of Inness's mature landscape language.
The moon appears as a luminous presence within a subdued landscape. The scene relies on relationships between darkness, atmospheric colour and distant forms rather than sharp descriptive detail.
The National Gallery of Art includes Harvest Moon among its works by Inness and dates it to 1891.
Famous George Inness Paintings
| Painting | Date | Why It Matters |
|---|---|---|
| The Lackawanna Valley | c. 1856 | A major early landscape combining pastoral scenery with railroad technology and the environmental transformation of the American landscape. |
| Delaware Water Gap | 1861 | An important early landscape combining Hudson River School elements with dramatic weather and increasing Barbizon influence. |
| Peace and Plenty | 1865 | A Civil War-era landscape expressing optimism, agricultural abundance and confidence in national prosperity. |
| Autumn Meadows | 1869 | An atmospheric landscape demonstrating the influence of Barbizon painting and Inness's growing interest in diffuse light. |
| Across the Campagna | 1872 | An Italian landscape showing Inness's experimentation with structure, atmosphere and generalized forms. |
| Olive Trees at Tivoli | 1873 | A key Italian-period work balancing graphic composition with painterly colour and atmospheric distance. |
| Pine Grove of the Barberini Villa | 1876 | A major Italian landscape emphasizing the relationship between dark earth, open sky and ordered natural forms. |
| Autumn Oaks | c. 1878 | An important transitional work showing Inness moving toward a more expressive and atmospheric style. |
| Spring Blossoms, Montclair, New Jersey | c. 1891 | A mature Tonalist landscape using subtle tonal shifts and dusk atmosphere. |
| Harvest Moon | 1891 | A late landscape in which moonlight and atmospheric colour dominate the visual experience. |
| Tarpon Springs, Florida, the Artist's Home | c. 1892–93 | An example of Inness's late Florida work and his increasingly atmospheric Tonalist approach. |
Characteristics of George Inness's Paintings
Although Inness changed his style repeatedly, his mature paintings can be recognized through a number of recurring characteristics.
1. Atmospheric Effects
Mist, haze, clouds, twilight and diffused sunlight frequently soften the landscape and create a unified visual atmosphere.
2. Emotional Landscape
Inness wanted landscape to evoke feeling rather than merely provide geographical information. Mood is therefore central to many of his mature works.
3. Soft Edges
Late paintings often avoid hard outlines. Trees, fields, sky and distant structures can merge into one another.
4. Rich Tonal Harmony
Instead of using sharply contrasting local colours, Inness frequently organizes the painting around a limited range of related tones.
5. Spiritual Symbolism
His Swedenborgian beliefs encouraged him to see nature as an expression of a deeper spiritual reality.
6. Human Presence Without Narrative
Figures, buildings, roads and other signs of human activity may appear in his landscapes, but they often function as elements within a larger meditation on nature.
7. Suggestion Rather Than Description
Inness increasingly preferred to suggest the experience of reality rather than reproduce every visible detail.
George Inness and Nature
Nature occupies the centre of Inness's artistic world, but his idea of nature changed throughout his career.
In early paintings, nature is more clearly described. Mountains, rivers, forests, railroads and settlements are identifiable components of a landscape.
In later works, these elements become less individually important. A tree may become a dark vertical shape; a meadow may become a broad field of colour; a cloud may become an atmospheric mass.
The entire landscape begins to function almost like a musical composition, where individual notes matter less than the harmony they create together.
George Inness Compared With Hudson River School Painters
| George Inness | Earlier Hudson River School Tradition |
|---|---|
| Increasingly subjective and atmospheric. | Often more descriptive and topographical. |
| Softened forms and unified tonal effects. | Sharper definition of individual natural features. |
| Strong emphasis on mood and emotion. | Greater emphasis on grandeur, observation and picturesque scenery. |
| Nature interpreted through spiritual philosophy. | Nature frequently presented as evidence of divine grandeur and national landscape. |
| Late work approaches abstraction. | Generally maintains clearer descriptive structure. |
Inness should therefore be understood not simply as a successor to the Hudson River School, but as an artist who helped move American landscape painting toward modern subjective expression.
George Inness and J. M. W. Turner
Inness's atmospheric approach has sometimes been compared with the work of British painter J. M. W. Turner.
The comparison is particularly relevant because both artists were interested in light, atmosphere and the emotional possibilities of landscape.
The Metropolitan Museum has noted Turner's possible influence on Inness, particularly in the diffuse solar light and misty translucency visible in works such as Autumn Meadows.
However, Inness developed these qualities within a distinctly American landscape tradition and combined them with his own spiritual philosophy.
George Inness and American Tonalism
Inness became one of the central figures in the development of American Tonalism.
Tonalist painters often preferred subdued colour relationships, atmospheric unity, soft edges and quiet landscapes. The emphasis was not necessarily on identifying a particular location but on creating a coherent emotional experience.
Inness's work was especially important because he gave these qualities philosophical depth. His landscapes could function as meditations on the relationship between the physical and spiritual worlds.
His influence can therefore be seen not only in landscape painting but also in the broader movement toward increasingly subjective approaches to nature in American art.
George Inness's Artistic Development
George Inness is born in Newburgh, New York.
Inness studies drawing with John Jesse Barker and works in engraving while developing his interest in landscape painting.
He studies briefly with Régis François Gignoux and begins exhibiting at the National Academy of Design.
Inness travels to Rome and Florence and deepens his study of European landscape painting.
After encountering French Barbizon painting, Inness increasingly experiments with atmospheric effects and looser brushwork.
He creates one of his best-known early landscapes for the Delaware, Lackawanna, and Western Railroad.
Inness moves to Medfield and develops increasingly expressive pastoral landscapes.
He creates a major Civil War-era landscape expressing abundance and confidence in national prosperity.
Inness and his wife Elizabeth are baptized in the Swedenborgian New Church in Brooklyn.
Inness and his family spend four years in Europe, with Rome serving as a major base for his work.
Inness rents the Dodge estate in Montclair, New Jersey, beginning a major phase of his mature career.
He purchases the Montclair estate and moves there permanently while retaining his New York studio.
Inness develops increasingly atmospheric, expressive and spiritually oriented landscapes.
His late style is represented by increasingly unified tonal compositions and atmospheric effects.
Inness produces important late landscapes inspired by Florida's pine forests, roads and Gulf Coast atmosphere.
George Inness dies in Bridge of Allan, Scotland, at the age of 69.
George Inness's Final Years
Inness remained remarkably active during his final decade. He travelled extensively through the United States and Europe, continuing to search for new landscapes and new ways to express them.
His late years included journeys to the Adirondacks, Niagara Falls, Nantucket, Virginia, Georgia, Florida, California, Montreal and England.
His body of work ultimately comprised more than 1,150 paintings, watercolours and sketches, according to the Metropolitan Museum of Art.
In 1894, Inness travelled to Scotland. He died on August 3 at Bridge of Allan.
George Inness's Legacy
George Inness's importance extends beyond the individual paintings for which he is best known.
He helped change the direction of American landscape painting by demonstrating that a landscape could be emotionally and spiritually expressive without being geographically precise.
His work stands at an important transition point between nineteenth-century American landscape traditions and the more subjective approaches that became increasingly influential around the turn of the twentieth century.
His mature paintings also helped establish the artistic importance of atmosphere, tonal harmony and suggestive rather than literal representation.
Why George Inness Still Matters
Inness remains relevant because his paintings ask a question that extends beyond nineteenth-century American art: How can a landscape communicate an emotion without explicitly telling us what to feel?
His answer was through atmosphere, light, colour, composition and suggestion.
A field at dusk can become contemplative. A moonlit landscape can feel mysterious. A road can suggest distance or possibility. A grove of trees can become a meditation on nature rather than simply a depiction of trees.
This is why Inness's paintings continue to appeal to viewers interested in landscape, spirituality, atmosphere and the relationship between nature and human emotion.
George Inness's Place in American Art History
Inness occupies a distinctive position between several major traditions.
Hudson River School
His early work emerged from the American landscape tradition associated with detailed observation and sublime scenery.
Barbizon School
French Barbizon painters encouraged him to use looser brushwork, atmosphere and ordinary rural subjects.
Swedenborgianism
Spiritual philosophy gave his mature landscapes a deeper theory of the relationship between nature and the divine.
Tonalism
His mature paintings became central examples of atmospheric American landscape painting.
Modern Subjectivity
His rejection of strict topographical representation helped open the way for more subjective approaches to landscape.
American Landscape Legacy
His work influenced the development of later American landscape painting and the growing importance of mood and atmosphere.
Frequently Asked Questions About George Inness
Who was George Inness?
George Inness was an American landscape painter who lived from 1825 to 1894. He is particularly known for atmospheric and emotionally expressive landscapes and is regarded as an important figure in the development of American Tonalism.
What is George Inness best known for?
Inness is best known for landscape paintings characterized by atmosphere, mood, softened forms, rich colour and spiritual themes. Major works include The Lackawanna Valley, Peace and Plenty, Autumn Meadows, Autumn Oaks, Harvest Moon and his late Florida landscapes.
Was George Inness part of the Hudson River School?
Inness was strongly influenced by the Hudson River School and began his career within that broader American landscape tradition, but his mature work moved toward a more subjective and atmospheric style influenced by Barbizon painting and Swedenborgian philosophy.
Was George Inness a Tonalist?
George Inness is widely regarded as one of the major figures associated with American Tonalism. His mature landscapes emphasize tonal harmony, atmosphere, softened forms and emotional mood.
What influenced George Inness?
His major influences included European Old Masters such as Claude Lorrain, the Hudson River School, the French Barbizon School, J. M. W. Turner and the spiritual philosophy of Emanuel Swedenborg.
What is The Lackawanna Valley by George Inness about?
The Lackawanna Valley, painted around 1856, was commissioned by the Delaware, Lackawanna, and Western Railroad as a promotional landscape. It depicts a train, railroad infrastructure and the surrounding landscape, while also showing tree stumps created by the clearing of land.
Why is The Lackawanna Valley important?
The painting is important because it captures the relationship between American landscape and industrial expansion during the nineteenth century. It can be read both as an image of technological progress and as a record of environmental transformation.
What is George Inness's most famous painting?
The Lackawanna Valley is among his most recognizable paintings, while Peace and Plenty, Autumn Oaks, Harvest Moon and his later atmospheric landscapes are also highly regarded.
How did Swedenborg influence George Inness?
Emanuel Swedenborg's philosophy encouraged Inness to view nature as connected to a deeper spiritual reality. This contributed to the increasingly symbolic, atmospheric and emotionally expressive character of his mature landscapes.
Where did George Inness live?
Inness lived and worked in several locations during his career, including New York, Medfield in Massachusetts and Montclair, New Jersey. He also spent extended periods in Europe and later established a home and studio in Tarpon Springs, Florida.
Did George Inness travel to Europe?
Yes. He travelled to Europe several times. His extended stay from 1870 to 1874 was particularly important, with Rome serving as a major base and Italy providing subjects for numerous paintings and studies.
When did George Inness die?
George Inness died on August 3, 1894, in Bridge of Allan, Scotland, at the age of 69.
Where can George Inness's paintings be seen?
Important works by Inness are held by major American museums including the Metropolitan Museum of Art, the National Gallery of Art and the Smithsonian American Art Museum, among other public and private collections.
Explore George Inness Art
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Research & Further Reading
This guide has been researched using museum and institutional sources, with particular emphasis on the Metropolitan Museum of Art, National Gallery of Art and Smithsonian American Art Museum. These sources were used to verify Inness's biography, artistic development, influences, major works, European travels, spiritual philosophy and late career.
- Metropolitan Museum of Art — George Inness (1825–1894)
- National Gallery of Art — George Inness and The Lackawanna Valley
- Smithsonian American Art Museum — George Inness biography
- Metropolitan Museum of Art — Peace and Plenty
- Metropolitan Museum of Art — Spring Blossoms, Montclair, New Jersey
- Metropolitan Museum of Art — Across the Campagna
- Metropolitan Museum of Art — Olive Trees at Tivoli
- Metropolitan Museum of Art — Autumn Oaks