Painted Autumn

With the chill, a new palette of colors …



The Peaceable Kingdom, 1826, oil on canvas. 

Edward Hickey, 1780-1849, American.  National Gallery of Art, Washington, DC


This version, one of more than 60 , is in the National Gallery of Art, Washington, DC.

An idealized portrait both of Autumn in eastern Pennsylvania;

and of a secular paradise made of the principles of the Holy Experiment.

Edward Hicks, born an Anglican in Pennsylvania, became a Quaker preacher and painter in Philadelphia.  There on the left is William Penn,(1644-1718, proprietor of Pennsylvania) making treaties with American Indians:  treaties which were oral and are said never to have been broken by reason of the principles of the Holy Experiment.

The Holy Experiment, though it comes out of mainstream (Nonconformist) Christianity, is rare as an organizing principle for political and governing institutions.  A contrast to our unprincipled and chaotic governance now. 


The Holy Experiment from the website of Quakers in the World:

In 1682 Penn set out the first version of Pennsylvania’s Constitution in the ‘Great Law’. 

In 1683 this was augmented, in the ‘Second Frame of Government’.

In 1699, when he returned to Pennsylvania, it was revised to become the ‘Charter of Privileges’.

This remained in place until the War of Independence, in 1776.




The Peaceable Kingdom, 1830-32, oil on canvas. 

Edward Hickey, 1780-1849, American. Winterthur, Delaware

The key features of all these documents incorporated the values of the Holy Experiment:

Freedom of religion: all could worship freely, as they chose. Pennsylvania would be open to people of all religious persuasions, not only Quakers. 

An enlightened penal code; prison was to reform, not only to punish.  People in prison were to be taught a trade, so that they could be gainfully employed on release, and they were to be treated humanely. The death penalty was to be confined to murder and treason. In Britain at the time many relatively trivial offences incurred the death penalty and prisons were terrible places.

Work for everyone: he made occupations in agriculture, crafts and trade much more accessible than elsewhere. Pennsylvania became known as “the best poor man’s country.”

Education for everyone: girls and boys were all to be educated. This was a remarkable innovation at a time when most children were illiterate, especially girls. And the education was to be useful, and practical, so that all could find employment. This was characteristic of Quakers in Britain too.

A widened franchise: all men were to be given the vote. Equality did not extend to giving women the vote, but in England only a small proportion of men could vote, namely those owning property. There was no mention of slaves or ‘Indians’ however.

Town planning for healthy living: he designed Philadelphia on a grid pattern, with wide public squares and parks. He had seen the ravages caused by the Great Plague in London, and the fire that followed, and he was determined that his ‘greene countrie towne‘ would be healthy and safe. This approach to design was later emulated all over America.






Remnant of the Tribe Leaving the Hunting Ground of their Fathers, c. 1845, oil on canvas. 

Alvan Fisher, 1792-1893, American.  Delaware Art Museum





The Potato Harvest, 1855, oil on canvas.

  Jean-Francois Millet, , 1814-1875, French.  I don’t know where I saw this




The Edge of the Woods at Monts-Girard, Fontainbleu Forest, 1852-1854, oil on canvas.

Theodore Rousseau, 1812-1867, French.  Metropolitan Museum of Art, NY.

  The museum notes that the first nature preserve in history was set up as a result of Rousseau’s midcentury petition to safeguard “the old trees” from commercial interests that would deprive artists of “their inspiration, their joys, and their future” and all visitors of “these venerable souvenirs of past ages.”

In 1861, an imperial decree preserved 4000 acres of this forest as “partie artistique”.





The Old Oak, c. 1862, oil on canvas. 

John Kensett, 1816-1872, American.  Private collection on loan to ?the Brandywine Museum, Chadds Ford, Pennsylvania




The Bodmer Oak, Fontainebleu Forest, 1865, oil on canvas. Claude Monet, 1840-1926.  Metropolitan Museum of Art, NY. 

The museum notes that this is an autumnal view of a famous oak made by the artist in preparation for The Luncheon on the Grass (1865-1866).







Haystacks at Sunset, c. 1870, oil on canvas. 

Martin Johnson Heade, 1819-1904, American. Private loan to the Brandywine River Museum in 2018





Haystacks:  Autumn c. 1874, oil on canvas.

  Jean-Francois Millet, 1814-1875, French.  Metropolitan Museum of Art, NY




Autumn, 1877, oil on canvas. 

Winslow Homer, 1836-1910, American.  National Gallery of Art, Washington, DC



The Gardner – Old Peasant with Cabbage, 1883-1895, oil on canvas. 

Camille Pissarro, 1883-1895, oil on canvas.  National Gallery of Art, Washington, DC





Autumn on the Brandywine River, 1887, oil on canvas. 

Jasper Cropsey, 1823-1900, American.  Brandywine River Museum, Chadds Ford, Pennsylvania






Sunflower, 1887, oil on canvas, and detail. 

Vincent van Gogh, 1853-1890, Dutch. Metropolitan Museum of Art, NY. 

Originally owned by Paul Gauguin who sold it to fund his journey to the South Seas.  There he ordered sunflower seeds for his garden.





Under the Pines, Evening, 1888, oil on canvas.

Claude Monet, 1840-1926, French.  Philadelphia Art Museum




Early Autumn, 1891, oil on canvas. 

George Innes, 1825-1894, American.  Delaware Art Museum, Wilmington





Chrysanthemums in the Gardens at Petits-Gennevilliers, oil on canvas.

Gustave Caillebotte, 1848-1894, French. ? National Gallery of Art, Washington, DC





Landscape with Bridge, 1914, oil on canvas. 

Morton Livingstone Shamberg, 1881-1918, American.  Philadelphia Art Museum





Landsccape, c. 1915, oil on canvas. 

Carl Newman,1858-1932, American born Germany.  Philadelphia Art Museum





Quarry, 1917, oil on canvas.

  Daniel Garber, 1880-1958, American.  Pennsylvania Academy of the Fine Arts, Philadelphia





The Sunflower, Edward Steichen, The Met, NY-1

The Sunflower, Edward Steichen, The Met, NY-2

Le Tournesol (the Sunflower), and detail, 1920, tempera and oil on canvas. 

Edward Steichen, 1879-1973, American born Luxembourg.  National Gallery of Art, Washington, DC





The Elm Tree, 1922, oil on canvas.

Harold Weston, 1894-1972, American.  Philadelphia Art Museum




Winds, Upper Ausable Lake, 1922, oil on canvas.  Harold Weston, 1894-1972, American.  The Phillips Collection, Washington, DC





Large Dark Red Leaves on White, 1925, oil on canvas.

Georgia O’Keefe, 1887-1986, American.  The Phillips Collection, Washington DC






Waterlilies, Japanese Footbridge, 1918-1926, oil on canvas. 

Claude Monet, 1840-1926, French.  Philadelphia Museum of Art




The Japanese Footbridge, 1920-22, oil on canvas.

Claude Monet, 1840-1926, French. MOMA, NY





Autumn, c. 1931. oil on canvas.

  Hugh Henry Breckenridge, 1870-1937, American.  Philadelphia Art Museum





Person in the Presence of Nature, 1935, oil and aqueous medium on cardboard.

Joan Miro, 1893-1983, Spanish. Philadelphia Art Museum







The Squirrel Hunter, 1940, oil on canvas.

  Horace Pippin, 1888-1946, American.  ?Metropolitan Museum of Art, NY




Four O’Clock Train, c. 1940-41, egg tempera on Masonite panel.  John W. McCoy, 1910-1989, American.  Delaware Art Museum, Wilmington




The Park Bench, 1946, oil on canvas. 

Horace Pippin, 1888-1946, American.  Philadelphia Museum of Art






No 5/No 22, 1950 (1949 on the reverse), oil on canvas. 

Mark Rothko, 1903-1970, American born Russia (now Latvia).  MOMA, NY





 Migrating Birds, 1953, oil on canvas. 

Norman Lewis, 1909-1979,   American.  Collection of Halley K. Harrisburg and Michael Rosenberg.  Exhibited at the Pennsylvania Academy of Fine Art, Philadelphia in the autumn/winter 2015/16.







Composition 16, 1954-56, oil on canvas. 

Beauford Delaney, 1901-1979, American.  MOMA, NY  The artist moved to Paris permanently in 1953 permanently where this painting was made.






Autumn Flight, 1956, oil on canvas. 

Norman Lewis, 1909-1979, American.  Baltimore Museum of Art







Autumn Gold and detail, 1957, oil on canvas. 

Hans Hoffman, 1880-1966, American.  National Gallery of Art, Washington, DC





Painting, 4, 1962, oil on canvas.  Vasuedo S. Gaitonde, 1924-2001, Indian.  MOMA, NY




#2 Red, 1966, watercolour on paper. 

Alma W. Thomas, 1891-1978 Joyner/Giuffrida Collection on exhibit at the Baltimore Museum in 2019.






 Spectrum V, 1969, oil on canvas. 

Ellsworth Kelly, 1923-2015, American.  Metropolitan Museum of Art, NY




Wind and Crepe Myrtle Concerto, 1973, acrylic on canvas. 

Alma W. Thomas, 1891-1978, America.  Smithsonian American Museum of Art

The crepe myrtle blossoms in pinks and whites in late Summer and continues until early October in the mid-Atlantic, USA.





Earth Signs, 1973, acrylic on canvas.  Ed Clarke, American born 1926.  Joyner/Guiffrida Collection on display at the Baltimore Museum in 2019







Frost Valley in the Catskills and detail, 1995, oil on canvas. 

Louis B. Sloan, 1932-2008.  Pennsylvania Academy of the Fine Arts, Philadelphia






Damp Autumn, 2001-2008, oil on wood and historic frame. 

Howard Hodgkin, born 1932, English. Promised gift to the Philadelphia Museum, 2016









Woods 1, 8 and 11, 2005, oil on canvas. 

Gerhard Richter, German born 1932.  MOMA, NY 




Abstract Painting and detail, 780-1, 1992, oil on canvas. 

Gerhardt Richter, German, born 1932.  National Gallery of Art, Washington, DC





Sunflower Quilting Bee at Arles, 1991, and detail.  Colour lithograph on paper. 

Faith Ringgold, American born 1930.  Pennsylvania Academy of the Fine Arts, Philadelphia





Maxwell Over, oil on canvas, 1992-93.

Ronald Bateman, American born Wales, 1947.  Woodmere Art Museum, Philadelphia from its website.






One Day and Back Then (Standing), 2007, colour photograph. 

Xaviera Simmons, American born 1974. 

On exhibit at the Barnes Foundation, Philadelphia in: 30 Americans, works from the Rubell Family Collection, now in the 10th year of touring exhibition






Il Sogno del Cortile, 2004, serigraph. 

Kay Walkingstick, American, born 1935.  Pennsylvania Academy of the Fine Arts, Philadelphia







The Propitious Garden of Plane Image, 3rd Version, 2000-2006, oil on linen, 6 panels.

Brice Marden, born 1938, American, MOMA, NY







The Birds at Foxfire, 2017, oil on canvas mounted panel. 

Nicole Parker.  Exhibited and awarded in 2017 in the graduating class (BFA) exhibit at the Pennsylvania Academy of the Fine Arts, Philadelphia








Conversations with the Trees, 2017, graphite, ink and sgrafitto on clayboard. 

Amy Herzel, on exhibit at the Pennsylvania Academy of the Fine Arts in 2019







Family Outside, 2018, oil on linen. 

Susan Lichtman, born 1956.  On exhibit in 2019 at the Pennsylvania Academy of the Fine Arts





Numbers and Trees:  Central Park Series IV, Tree #9,  Henry, acrylic paint on panel and Plexiglas, 2017.

Charles Gaines, American born 1944. The Joyner/Giuffrida Collection on display at the Baltimore Museum in 2019







Cool Grey, 2019, oil on canvas. 

Joanne Funkhouser currently in the BFA program at the Pennsylvania Academy of Fine Arts, Philadelphia




Something in the Field, oil on canvas, 2020. 

Madison Greiner, 2020 Certificate-Penn at the Pennsylvania Academy of Fine Arts. No other details.




Yes is Another Country #4, acrylic in digital photograph on board, 2020. 

Sally Richards, 2020 Certificate at the Pennsylvania Academy of Fine Arts, Philadelphia.  No other details.










6 thoughts on “Painted Autumn

    1. Did you miss this change of seasons when you were in Kenya? Or was everything there just too absorbing for you to miss it? I know that expatriates often say that this is what they miss the most. Sarah

  1. Encore de superbes découvertes, merci.
    Merci pour les tableaux de Millet, peintre mal connu et mal aimé en France, mis à part son célèbre “Angélus” et pour le tableau de Georgia O Keefe dont j’adore toutes les œuvres.

    1. I am so glad you enjoyed these, Louis.

      I actually have a superb painting of Millet (on my hard drive, I mean). I did not know whether to post it or not because it is a painting of peasants clubbing pigeons to death at night. I don’t know whether this was an all-year activity or what. Do you know?

      When I have more Millets and more O’Keefes, I’ll post them even if I have a feeling that O’Keefe’s work is probably heavily concentrated in California……..


  2. I am astonished, awed and grateful for what you have collected in this autumn pallet blog! Such gems of unfamiliar works. And so many in Philadelphia museums. Quite inspiring. Thank you.

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