Copyright This work is in the public domain. Henry Keller died in 1949; copyright lasts 70 years after the artist’s death, so it ended in 2019.
In context
Disturbed — Henry Keller
The original measures 92 × 92 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 80 at death.
Painted when the artist was 39. The artist lived to 80. 4 of the 10 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Henry Keller (1869–1949) ▲ this work, 1908 every dated painting, decade by decade
First works: up to 1903 Main working years: 1903–1923 Late works: from 1923
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/disturbed-by-henry-keller/
Measured from the image
Main colour
Espresso #635b53
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
Artist and museum
Born in Cleveland, United States
Henry Keller was born on April 3, 1869, in Cleveland, United States. His roots were tied to the land; his family home was originally a farmhouse owned by his father, a structure that stood before Cleveland grew into a city. He was raised by German-born parents, and his upbringing was shaped by the steady, disciplined habits often associated with his heritage. He lived a regular life, avoiding the common vices of his contemporaries, such as smoking, which many of his peers relied upon to sustain their creative temperament.
His formal education began in Cleveland, where he first learned to observe the world. Seeking a deeper understanding of his craft, he traveled to Munich to continue his studies. This period of training abroad provided him with a technical foundation that would define his later work. He returned to Ohio, carrying the precision of his European training back to the American landscape.
Keller’s presence in the Ohio art scene was defined by a steady, disciplined influence. He became a central figure for a generation of watercolor painters known as the Cleveland School. His work was recognized far beyond the local level, leading to his election as an Associate Academician of the National Academy of Design in 1939. He moved through the professional world with a quiet, conscientious work ethic, focusing on the technical precision of his craft.
Teaching was a constant part of his life. He spent much of his time at the Cleveland School of Art, guiding students through the complexities of painting. During the warmer months, he moved his instruction to a summer school in Berlin Heights, Ohio. These settings allowed him to pass on his methods to many others, shaping the direction of regional art through direct, hands-on guidance.
His work often reveals a focus on the mechanics of form and the precision of execution. He was a painter, etcher, and lithographer who approached his subjects with a steady hand. Rather than leaning on sudden bursts of creative impulse, his canvases rely on the quiet strength of technical skill and meticulous craftsmanship. There is a certain discipline in how he handles his materials, favoring a controlled application that prioritizes the integrity of the method over dramatic flair.
He found a particular rhythm in watercolor and the study of animal life. His paintings of animals show a commitment to the physical reality of the creature, captured through a lens of careful observation. This specialization in watercolor allowed him to work with a transparency and lightness that contrasted with the more structured demands of his lithography and etching. He moved between these mediums with the habits of a man who understood the specific weight and resistance of each tool.
In 1912, Keller produced Wisdom and Destiny, a work that would later find its way into the 1913 Armory Show. This piece features two allegorical figures on the right, while a shepherd on the left remains unaware of their presence. The composition was so significant that he was commissioned to create a 70-foot mural of the same subject for Cleveland City Hall. He eventually withdrew from the project after being asked to paint clothing on the nude figure.
His work also extended into private portraiture. He spent time making portraits for the mother of Elvesta Thomas Leslie, a woman who had previously commissioned busts in crayon. These smaller, more personal assignments sat alongside his larger, more public endeavors.
The influence of Keller’s teaching extended through the classrooms of the Cleveland School of Art and into his summer school in Berlin Heights, Ohio. He guided a generation of Ohio watercolor painters, helping them find their own way through the medium. Among those who studied under his direction were Charles E. Burchfield, James Kulhanek, and Paul Travis. These students learned within a system shaped by his own disciplined approach to the craft.
His classroom was a place where technical precision was passed down to others. August Biehle and Frank N. Wilcox were among the many who sought his instruction. Through these connections, his presence in the local art scene was felt not only in his own canvases but in the development of the artists who followed him. He remained a constant figure in the instructional life of the region, shaping the hands and eyes of those who would carry on the traditions of the Cleveland School.
On show in Cleveland, United States of America
The Cleveland Museum of Art was established in 1913. Its foundation rests upon a bedrock of philanthropic vision, organized as a trust to ensure its longevity. The initial momentum for the institution was provided by the financial contributions of Hinman Hurlbut, John Huntington, and Horace Kelley. This early support helped transform a local need for a permanent collection into a stable institution. The museum's story is inextricably linked to Cleveland itself, growing alongside the city's own development and expansion.
The institution maintains a substantial endowment, which exceeded $920 million as of 2023. This financial stability supports a mission of accessibility, allowing the museum to remain a constant presence in the community. The dedication of its founders continues to influence the way art is preserved and shared. The museum exists as a permanent repository for works that have been gathered over many decades, maintaining a presence that reflects the enduring commitment of its supporters.
The architectural narrative of the Cleveland Museum of Art begins with the 1916 building, a structure defined by neoclassical design. This original edifice utilizes pristine white Georgian Marble to establish a sense of permanence. The weight of the stone and the precision of the classical lines create a foundation that anchors the institution within University Circle.
The site underwent a significant stylistic shift in 1971 with the addition of the North Wing. This expansion introduced an angular granite facade, providing a sharp, modernist counterpoint to the earlier neoclassical elements. The presence of these two distinct eras creates a dialogue between different philosophies of form and material.
A final transformation was completed in 2013, which doubled the size of the institution. This phase introduced a glass-roofed atrium that allows natural light to flood the interior spaces. The atrium functions as a deliberate orchestration of architectural styles, bridging the gap between the historical marble and the modern granite through a shared, airy openness.
The collection comprises 61,000 works organized into 16 distinct departments. This structure allows for a focused study of specific traditions, from the intricate details of Chinese Art to the spiritual depth found in Islamic Art. The museum maintains a particular strength in the field of Asian art, offering a significant presence of works from across the continent. Beyond these, the African Art department holds a substantial assembly of objects, including many traditional sub-Saharan works.
The breadth of the holdings extends into the realms of ancient and modern expression. Egyptian art is represented through a variety of artifacts, while the collection also encompasses 19th-century Photography and the decorative precision of the Arts and Crafts movement. These diverse areas allow for a continuous dialogue between different eras and geographic origins.
Sakhi Persuades Radha to Meet Krishna, about 1820
The Tears of St. Peter, 1645
Cup and Saucer, 1790
The presence of the collection is felt most strongly in the quietude of its specific holdings. One finds the Virgin and Child with the Young John the Baptist by Botticelli, a work that demands a stillness from those standing before it. This piece exists alongside a lineage of European art that spans centuries, including the works of Caravaggio, Rubens, and Matisse. The selection of paintings and sculptures reflects a deep engagement with the evolution of form, particularly within the Modern European section, which contains pieces dating from 1800 to 1960. Here, the brushwork of Renoir and Monet meets the more radical shifts of the early twentieth century.
Beyond the European tradition, the museum holds one of the most significant collections of Asian art in the United States. This breadth allows for a dialogue between disparate traditions, from the delicate precision of classical works to the bold expressions of the modern era. The collection includes the works of Picasso, Dalí, and van Gogh, each contributing a distinct weight to the halls. These objects are not merely objects of study; they are presences that anchor the space.
Virgin and Child with the Young John the Baptist, Botticelli
Works by Picasso, Dalí, and Matisse
Works by Renoir and Monet
Works by Rubens and Caravaggio
The museum maintains a presence beyond its primary halls through several dedicated spaces. In June 2021, a community arts center opened in the Clark-Fulton neighborhood of Cleveland. This facility extends the institution's reach into the city's residential fabric. Additionally, Transformer Station operates in the Hingetown area, functioning as a center for visual and performing arts. These locations allow for a continuous dialogue between the institution and the local population.
Accessibility remains a fundamental principle of the institution's mission. General admission is provided to the public free of charge. This policy ensures that the collections remain available to all visitors without financial barrier. The museum's Open Access program has received recognition for its approach to making art available to a wider audience. Such initiatives reflect a commitment to transparency and the shared ownership of cultural resources.
originaluniqueart.com/en/art/download/disturbed-by-henry-keller/
For art students and researchers
Disturbed — Henry Keller
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"Disturbed" by Henry Keller is on display at the Cleveland Museum of Art, Cleveland, United States of America. The museum listing refers to the original work, not to reproductions.
"Disturbed" by Henry Keller can be downloaded from the artwork's Download page, as a high-resolution digital image download.
When "Disturbed" was created in 1908, Henry Keller - born in 1869 - was 39 years old.
The dominant hue of "Disturbed" by Henry Keller is ochre to sepia. The hue is the underlying tone of the palette.
"Disturbed" by Henry Keller is a square composition measuring 92.1 x 92.1cm in the original.