Julia Beck - Hay-Cocks by Moonlight, 1885 oil on canvas, 46 x 36 cm Nationalmuseum, Stockholm |
Elias Pieter van Bommel - A view of Amsterdam in the moonlight, 1884 oil on canvas, 40.5 cm (15.9 in) x 37 cm (14.5 in) Private collection |
Samuel Palmer (English, 1805-1881) - A Pastoral Scene, 1835 watercolor, 9,5 cm x 11,4 cm Yale Center for British Art |
Frances Flora Bond Palmer - A Midnight Race on the Mississippi, April 1860 color lithograph with hand-coloring on wove paper 46.04 x 71.12 cm (18 1/8 x 28 in.) National Gallery of Art |
William Payne - River Scene with Fishermen Hauling their Nets, Moonlight, c.1776–c.1830 Graphite and watercolour on paper, 200 × 302 mm Tate |
John Moore of Ipswich - Lindisfarne Castle and Abbey, Holy Island, by Moonlight, 1877 oil on canvas, 101.6 cm (40 in) x 127 cm (50 in) National Trust |
John Moore of Ipswich - Moonlit River Landscape, c.1850–c.1902 oil on canvas, 25 x 38 cm Colchester and Ipswich Museums Service: Ipswich Borough Council Collection |
John Moore of Ipswich - Moonlit Landscape, c.1850–c.1902 oil on panel, 34 x 25 cm Colchester and Ipswich Museums Service: Ipswich Borough Council Collection |
Ralph Albert Blakelock - Moonlight, ca. 1885-1889 oil on canvas, 27 1/16 x 32 in. (68.7 x 81.3 cm) Brooklyn Museum |
Ralph Albert Blakelock’s wide-ranging tours of the American West in 1869 and 1871 inspired him to paint Native subjects for many years. He was among the first painters to depart from a “documentary” treatment of Native Americans, choosing instead to describe them in vaguely readable groups set in dark and moody moonlit settings. This approach immediately marked his landscape settings as American but left the story line up to the active imaginations of his late nineteenth-century American audience.