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19th-century Britain

Works made in Britain in the 19th century.

40 works · hang 4115 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. A work made of watercolor and gouache, with touches of brush and black ink, heightened with white gouache, over graphite on cream wove paper.
    Room Leading to the Chapel, Knowle, KentJoseph Nash, 1869Courtesy of the Art Institute of Chicago
  2. Whalers, by Joseph Mallord William Turner, ca. 1845
    WhalersJoseph Mallord William Turner, ca. 1845Courtesy of The Metropolitan Museum of Art
  3. Painting of a dark-skinned man seated and wearing a red open-necked tunic. He looks up to the right. His wrists are shackled and a large chain rests at his right, running down the bench he sits upon.
    The Captive Slave (Ira Aldridge)John Philip Simpson, 1827Courtesy of the Art Institute of Chicago

First room, south wall

  1. Noah: The Eve of the Deluge, by John Linnell, 1848
    Noah: The Eve of the DelugeJohn Linnell, 1848Courtesy of the Cleveland Museum of Art
  2. The Lake of Zug, by Joseph Mallord William Turner, 1843
    The Lake of ZugJoseph Mallord William Turner, 1843Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. This painting shows a serene pastoral scene with trees, a wooden gate, and foliage extending towards the horizon. Closest to us, there is a low riverbank with some tree branches in the water. Up a grassy dirt hill, two donkeys are visible off to the right, partially hidden by vegetation. On the left, a dirt path leads to the wooden gate. To the left of the gate, two people sit on the grass with a wicker basket between them. The tall trees that rise in the background have leaves in shades of green, yellow, and dark orange. The sky above the scene is yellow with some hints of light blue, and golden light shines down on the landscape.
    Landscape with Picnickers and Donkeys by a GateJoseph Paul, c. 1830-1880Courtesy National Gallery of Art, Washington
  2. A work made of oil on paperboard.
    Lane Scene at NightJohn Atkinson Grimshaw, 1872Courtesy of the Art Institute of Chicago
  3. Descent into the Plain of Granada, by David Roberts, 1834
    Descent into the Plain of GranadaDavid Roberts, 1834Courtesy of the Cleveland Museum of Art

Second room, north wall

  1. The image displays a man in a portrait from the waist up, in a three-quarter view. He is facing slightly to the right and looking into the distance with a calm expression. The man has fair skin, light reddish-brown hair, sideburns, a defined nose, and a slightly upturned chin. He is wearing a black double-breasted coat with a high collar, a dark waistcoat, a white shirt, and a medal on his chest with an insignia and ribbon. The background is plain and deep brown.
    Francis Charles Seymour-Conway, 3rd Marquess of HertfordThomas Lawrence, c. 1822/1823Courtesy National Gallery of Art, Washington
  2. Armies of men march and battle along a rocky outcropping set among huge rock formations and massive buildings under a stormy sky in this horizontal landscape painting. The people we can see all have pale skin. Sheets of rain fall from flint-gray clouds on our left into a valley, though hints of peach brighten the clouds along the mountainous horizon there. In the right half of the sky, light pours down from a brilliant white sun that breaks through white clouds to reveal topaz-blue patches of sky. The horizon comes about halfway up the composition and is lined with rugged white, pale pink, and olive-green mountains on our left and silvery-white buildings along the right half. These structures include two domed buildings and a colosseum among many others. The buildings are all enclosed within city walls buttressed with towers. The land dips precipitously from the rocky cliffs supporting the buildings, to sweep down toward us. A huge outcropping angles up like a ramp between us and the buildings in the distance. A road runs from the walled town toward us, down along the ridge and in front of the outcropping. Countless warriors march in rows of four or five across on the road past a man wearing a feathered helmet and armored breastplate. This man, Joshua, stands on a rocky precipice facing away from us with his right hand raised. He wears a scarlet-red toga under his breastplate, and a royal-blue cape flutters at his left side. He holds a round, copper-colored shield and a spear in his other hand. Two men with gray beards stand near Joshua with their backs to us. Both gesture up to the sky. One holds a slender staff and the other a curling horn. They and another pair of men, who stoop to hold poles used to carry a chest, all wear long, ivory-white robes, cherry-red drapery, and white turbans. The column of soldiers on foot and horseback pass in front of Joshua to a massive battlefield to our left. The fight takes place in a valley that leads back to a river. A bolt of lightning zigzags from the storm clouds and strikes a city in the deep distance. The artist signed the painting in the lower right, “J. Martin.”
    Joshua Commanding the Sun to Stand Still upon GibeonJohn Martin, 1816Courtesy National Gallery of Art, Washington

Third room, north wall

  1. The image shows a landscape with a rolling hill in the foreground sloping downward. The horizon is high, providing a view over fields and sky. Sheep graze on the hill, tended by a person. A large, dark tree is on the right. Brushstrokes vary in the sky and land, with broad strokes for clouds and finer ones for grass and foliage. The color palette is mainly black, white, and shades of grey, highlighting light and shadow.
    NoonDavid Lucas, 1830Courtesy National Gallery of Art, Washington
  2. The image shows a landscape scene with a frontal view of a dense forest. A wooden bridge spans across a narrow ravine or creek. The painting features vigorous and textural brushstrokes with dark tones creating a shadowy effect. The color palette includes deep blacks, dark browns, and occasional highlights of light filtering through the canopy. In the distance, lighter areas suggest a path leading further into the woods, surrounded by trees and undergrowth.
    A Dell at Helmingham Park, SuffolkDavid Lucas, 1830Courtesy National Gallery of Art, Washington
  3. GEORGE JAMES DRUMMOND'S ROOM AT OXFORD, 1853
    George James Drummond's Room at Oxford, 1853George Pyne, 1853Courtesy of Cooper Hewitt, Smithsonian Design Museum

Third room, south wall

  1. The painting depicts an equestrian scene with people and horses in a green landscape. There are several people on horseback, and others standing by horses. Some people are also sitting in horse-drawn carriages. The horses are in a variety of colors, and the people wear formal clothing like suit jackets, top hats, vests, or colorful dresses. People fill the middle of the scene and the green hills that rise to the left, while a wide path is marked off on the right, bordered by fences. There are some tall trees around the area, with people gathering below them. In the distance, a large white building with columns and blue roofs can be seen. There is also a white tent partially behind a hill on the left. The sky above is blue and filled with white and gray clouds.
    Heaton Park RacesJohn Ferneley, 1829Courtesy National Gallery of Art, Washington
  2. Sabrina, by Samuel Palmer, 1856
    SabrinaSamuel Palmer, 1856Courtesy of The Metropolitan Museum of Art
  3. Serene red-haired woman, framed with allegorical symbols of red bird, sundial.
    Beata BeatrixDante Gabriel Rossetti, 1871–72Courtesy of the Art Institute of Chicago