Claude Monet, Path in the Wheat Fields at Pourville (Camino en los trigales de Pourville), 1882. Óleo sobre lienzo; 23 x 30 ¾ pulg. (58.4 x 77.5 cm). Colección Frederic C. Hamilton, 2016.365

Arte Europeo y Estadounidense anterior a 1900

Claude Monet, Path in the Wheat Fields at Pourville (Camino en los trigales de Pourville), 1882. Óleo sobre lienzo; 23 x 30 ¾ pulg. (58.4 x 77.5 cm). Colección Frederic C. Hamilton, 2016.365

Obras destacadas de la colección

Claude Monet

Waterlilies or The Water Lily Pond (Nymphéas)

Claude Monet, Waterlilies or The Water Lily Pond (Nymphéas), 1904. Oil paint on canvas; 34 × 36 in. (88 × 91.4 cm). Funds from Helen Dill bequest, 1935.14 

Claude Monet

Path in the Wheat Fields at Pourville (Chemin dans les blés à Pourville)

Claude Monet, Path in the Wheat Fields at Pourville, 1882. Oil on canvas; 23 x 30 ¾ in. (58.4 x 77.5 cm). Frederic C. Hamilton Collection, 2016.365

Berthe Morisot

The Lesson in the Garden (La Leçon au jardin)

Berthe Morisot, The Lesson in the Garden (La Leçon au jardin), 1886. Oil paint on canvas; 23 5/16 × 28 7/8 in. (23.8 × 28.9 cm). Frederic C. Hamilton Collection, bequeathed to the Denver Art Museum

 

 

Edgar Hilaire Degas

Dance Examination (Examen de Danse)

Edgar Degas, Dance Examination (Examen de Danse), 1880. Pastel on paper;
24 1/2 × 18 in. (62.2 × 45.7 cm). Anonymous Gift, 1941.6

British artist

The Crucifixion

This picture of the Crucifixion of Jesus dates from a time when England was Roman Catholic. It is one of very few paintings to survive the widespread destruction of religious imagery following Henry VIII’s establishment of the Church of England. Painted on a panel of oak wood, its small size suggests it was made as an altarpiece for a private chapel or for personal devotion. Jesus is shown nailed to the cross, wearing a crown of thorns. In the foreground at left is the Virgin Mary, her swooning body supported by one of the Holy Women. Behind the Virgin the beardless figure of St. John the Evangelist gazes up at Jesus while reaching out to support Mary. In the foreground at right stands a Roman centurion, depicted as a fashionable fourteenth-century gentleman. The picture was painted in the International Style, so named because of its wide popularity throughout Europe and England in the late Middle Ages. The elegant, refined style was characterized by slender, graceful figures and attention to luxurious materials – fabrics, jewels, and gold.

British artist 
The Crucifixion, about 1395
Tempera and oil paint with gilded tin relief on oak panel 
Gift of the Berger Collection Educational Trust, 2020.7

John Singer Sargent

Rosina Ferrara, Head of a Capri Girl

John Singer Sargent 
American, 1856–1925
Rosina Ferrara, Head of a Capri Girl, 1878   
Oil on cardboard 
Signed, inscribed, and dated by the artist at lower right, To my friend Hyde / souvenir of / John S. Sargent / Capri 1878. 
Gift of the Berger Collection Educational Trust, 2018.21

John Singer Sargent painted this intimate study of Rosina Ferrara, whom he met on the island of Capri, off the coast of Naples, Italy, when he was just twenty-two. She briefly became his most frequent model, the subject of numerous sketches and finished paintings. Rosina’s southern European looks appealed to Sargent – his biographer Evan Charteris described her as “a magnificent type, about seventeen years of age, her complexion a rich nut-brown, with a mass of blue-black hair, very beautiful” – but here she emerges not as an object but as a fully human person. 

John Singer Sargent, Rosina Ferrara, Head of a Capri Girl, 1878. Oil paint on cardboard; 12 7/8 × 9 7/8 in. Gift of the Berger Collection Educational Trust, 2018.21 

Thomas Cole

Dream of Arcadia

Thomas Cole, Dream of Arcadia, About 1838
Oil paint on canvas; 38 × 62 ¾ in. (98.1 × 159.4 cm)
Denver Art Museum: Gift of Mrs. Lindsey Gentry, 1954.71

Image Courtesy of the Denver Art Museum

Bernardo Zenale

Madonna and Child with Saints

Bernardo Zenale, Madonna and Child with Saints, about 1510.  Oil paint and tempera paint on panel; 71 x 48 1/2 in. Denver Art Museum: Gift of the Samuel H. Kress Foundation, 1961.173

 

Maria van Oosterwyck

Bouquet of Flowers in a Vase

Maria van Oosterwyck
Bouquet of Flowers in a Vase, about 1670s
Oil paint on canvas
29 × 22 in. (73.7 × 55.9 cm.)
Denver Art Museum: Funds by exchange from T. Edward and Tullah Hanley in honor of longtime director, Otto Bach and his wife Cile Bach, 1997.219

Hans Holbein the Younger, studio

Edward, Prince of Wales (later Edward VI)

This portrait of Henry VIII’s only son, Edward (1537-1553), by his third wife, Jane Seymour, was painted when the boy was about fourteen months old. Although no more than a toddler, Edward is portrayed as a small adult, standing in an adult pose, wearing adult dress, his right hand raised in the gesture of an orator. When Henry died in 1547, Edward became king at age nine, ruling in name only under the guidance of a council of advisors. This picture was painted by the German-born artist Hans Holbein the Younger, whose arrival in London in 1532 swept away the medieval-looking portrait style then current in England.

Hans Holbein the Younger and studio, Edward, Prince of Wales (later Edward VI), about 1538. Oil paint on panel; 22 3/4 × 17 in. (57.8 × 43.2 cm). Gift of the Berger Collection Educational Trust, 2021.23.

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Historia del departamento

El Departamento de Arte Europeo y Estadounidense anterior a 1900, como se lo conoce ahora, surgió como dos departamentos distintos en 1947: por un lado, arte mediterráneo y europeo y, por otro, arte estadounidense. No habría apenas cambios en la estructura de los departamentos curatoriales durante los siguientes 40 años hasta que, en 1989, el entonces recién nombrado director Lewis I. Sharp instó a reorganizar la división curatorial. Ello resultó en la formación de un Departamento de Arte Moderno y Contemporáneo independiente, que hoy se encarga de las obras creadas después de 1945, mientras asignó a un nuevo departamento de pintura y escultura el cuidado del arte europeo y estadounidense, desde la Antigüedad hasta las colecciones creadas antes de 1945. Más recientemente, en 2019, para reflejar mejor la naturaleza de las colecciones, el nombre del departamento se cambió a Departamento de Arte Europeo y Estadounidense anterior a 1900.

A lo largo de las décadas, un número de curadores y académicos han contribuido a dar forma a las colecciones, exposiciones y publicaciones del departamento. El Denver Art Museum no estaría donde está sin su considerado liderazgo y conocimiento. Entre los curadores pasados se cuenta, más recientemente, al Dr. Timothy J. Standring, nuestro duradero curador Fundación Familiar Gates, curador Colección Berger y líder del departamento entre 1989 y 2020: su larga y exitosa permanencia en el cargo se refleja en las numerosas y revolucionarias exposiciones, publicaciones académicas y adquisiciones que lideró. Kathleen Stuart, nuestra curadora Colección Berger entre 2007 y 2019; Ann Daley, nuestra curadora de Arte Estadounidense y curadora titular del Instituto Petrie de Arte del Oeste de Estados Unidos entre 1977 y 2001; Lauretta Dimmick, la primera curadora Fundación Familiar Gates y curadora de Arte Estadounidense entre 1990 y 1997; David Park Curry, curador de Arte Estadounidense entre 1983 y 1989; y (Claire) Cameron Wolfe, curador titular de Arte Europeo desde 1973 hasta 1984. Actualmente, el departamento se encuentra liderado por Angelica Daneo, curadora jefe y curadora de Arte Europeo anterior a 1900.

Publicaciones

Las publicaciones recientes sobre arte europeo y estadounidense incluyen:

Angelica Daneo, Christoph Heinrich, Michael Philipp y Ortrud Westheider, eds., Claude Monet: The Truth of Nature (Claude Monet: la verdad de la naturaleza), catálogo de exposición, Prestel Publishing, 2019.

Timothy J. Standring y Jaco Rutgers, Rembrandt As Printmaker (Rembrandt como grabador), catálogo de exposición, Yale University Press, 2018.

Angelica Daneo y Giovanna Damiani, Glory of Venice: Masterworks of the Renaissance (La gloria de Venecia: obras maestras del Renacimiento), catálogo de exposición, Denver Art Museum, 2015.

Timothy J. Standring, Wyeth: Andrew and Jamie in the Studio (Wyeth: Andrew y Jamie en el estudio), catálogo de exposición, Yale University Press, 2015.

Christoph Heinrich, Nature as Muse, Inventing Impressionist Landscape (La naturaleza como musa: la invención del paisaje impresionista), Denver Art Museum, 2014.

Timothy J. Standring, Daniel Sprick’s Fictions (Las ficciones de Daniel Sprick), catálogo de exposición, University of New Mexico Press, 2014.

Kathleen Stuart, Treasures of British Art 1400—2000: The Berger Collection (Tesoros del arte británico 1400—2000: la Colección Berger), catálogo de exposición, Denver Art Museum, 2014

Angelica Daneo, Companion to European Painting before 1800 (Guía complementaria a la pintura europea anterior a 1800), Denver Art Museum, 2013.

Timothy J. Standring y Martin Clayton, Castiglione: Lost Genius (Castiglione: un genio perdido), catálogo de exposición, University of Chicago Press, 2013.

Kathleen Stuart, Master Drawings: The Collection of Esmond Bradley Martin (Dibujos maestros: la colección de Esmond Bradley Martin), Denver Art Museum, 2013.

Timothy J. Standring y Louis van Tilborgh, eds., Becoming Van Gogh (Convertirse en Van Gogh), catálogo de exposición, Yale University Press, 2012.

Angelica Daneo, The Kress Collection at the Denver Art Museum (La Colección Kress en el Denver Art Museum), Denver Art Museum, 2011.

Lush green painting of the English countryside

Edward Lear (English, 1812–1888), Nuneham, 1860. Oil paint on canvas. Gift of the Berger Collection Educational Trust, 2018.22.

The Berger Collection

The Berger Collection at the Denver Art Museum comprises 65 British artworks gifted to the museum in 2018 by the Berger Collection Educational Trust (BCET), owner of the collection since 1999. More than 60 of these paintings are currently on view in Treasures of British Art: The Berger Collection.

Two figures sitting on a bench in a lush green garden

Berthe Morisot, The Lesson in the Garden (La leçon dans le jardin), 1886. Oil paint on canvas; 23 9/16 x 28 ¾ in. Collection of Frederic C. Hamilton, bequeathed to the Denver Art Museum.

Colección Frederic C. Hamilton

En enero de 2014, el filántropo de Dénver Frederic C. Hamilton (1927–2016), presidente emérito del museo, legó a esta institución 22 obras maestras impresionistas provenientes de su colección particular. La donación culminante marcó 35 años de generosas donaciones de Fred Hamilton al Denver Art Museum.

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Membership and Museum Friends

Membership at the Denver Art Museum not only provides you discounts and access, but also the satisfaction of knowing your support helps us preserve and share art with present and future generations. Become a member today and see just how much the museum has to offer!

Are you interested in a specific type of art, while also enjoying opportunities to participate across the museum? If so, consider deepening your support by adding Museum Friends to your membership. Museum Friends enjoy access to free lectures, a deeper dive into a department of interest, and invitations to social gatherings for that department of interest.

Lit up hallway of the newly renovated Martin Building

The Martin Building Project

The gallery for this collection is housed inside the newly renovated Martin Building. Standing seven stories tall, the Martin Building is home to collection galleries, a conservation laboratory, interactive classroom space, a family activity center, two restaurants, and the brand new Anna and John J. Sie Welcome Center. It reopened to the public on October 24, 2021.