Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 7 works by Henry Bacon in our catalogue
In short
Of all the originals Henry Bacon left, the most famous is Dog in Mourning (1870), in the collection of the Museum of Fine Arts, Boston. Close behind it come On the Open Sea-- The Transatlantic Steamship "Péreire" (1877) and Étretat (1890). Our catalog holds 7 works by Henry Bacon; the gallery has kept the 7 the world admires most, each shown with its date, its museum and its story.
In this sentimental 19th-century oil painting, Dog in Mourning by Henry Bacon, the artist establishes a quiet, vertical orientation that draws the eye immediately to the emotional core of the scene. A medium-sized, long-haired dog occupies the lower half of the frame, resting upon a wooden floor. The perspective is set at eye-level with the animal, creating an intimate connection that invites the viewer to share in its silent vigil.…
The oil painting titled On the Open Sea-- The Transatlantic Steamship "Péreire" was created by the artist Henry Bacon in 1877. This work depicts a scene on the deck of a large steamship, capturing a specific moment of maritime life. The composition focuses on the passengers and the structural elements of the vessel against the backdrop of the sea and sky.
The scene unfolds upon a pebble beach at Étretat, where the daily labor of coastal life meets the vastness of the sea. Figures move across the foreground and midground, their dark, earthy clothing providing a sharp contrast to the pale, luminous tones of the landscape. They appear engaged in the quiet, industrious tasks of gathering shellfish or tending to fishing nets, their presence grounding the composition in the physical reality…
In this Orientalist landscape painting, titled Twilight in the Desert, the artist Henry Bacon captures a quiet moment within a vast, arid expanse. Created about 1907, the work reflects the artist's deep fascination with the Middle East, a subject that defined much of his later career. The scene is set during the soft transition of dusk, focusing on the stillness of the desert landscape.
The sun hangs high over the French coast, casting a direct, bright light that defines every contour of this coastal scene. In this 1890 oil painting, we find ourselves on a pebbled shore, framed by the weathered, ochre-toned wooden beach huts that line the foreground. These structures, rendered with a sense of tactile roughness, create a rhythmic perspective that draws the eye past the immediate textures of the sand and…
The four subjects that come back most often in these originals, each with its finest example.
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Henry Bacon | Paintings from this list |
|---|---|---|---|
 Museum of Fine Arts |
Boston | 2 | Dog in Mourning, On the Open Sea-- The Transatlantic Steamship "Péreire" |
 Reading Public Museum |
Reading | 1 | Twilight in the Desert |
 Smithsonian American Art Museum |
Washington, D.C. | 1 | (Lincoln Memorial) |
Pick a decade to see the original that defines it.
In this sentimental 19th-century oil painting, Dog in Mourning by Henry Bacon, the artist establishes a quiet, vertical orientation that draws the eye immediately to the emotional core of the scene. A medium-sized, long-haired dog occupies the lower half of the frame, resting upon a wooden floor. The perspective is set at eye-level with the animal, creating an intimate connection that invites the viewer to share in its silent vigil.…
The scene unfolds upon a pebble beach at Étretat, where the daily labor of coastal life meets the vastness of the sea. Figures move across the foreground and midground, their dark, earthy clothing providing a sharp contrast to the pale, luminous tones of the landscape. They appear engaged in the quiet, industrious tasks of gathering shellfish or tending to fishing nets, their presence grounding the composition in the physical reality…
In this Orientalist landscape painting, titled Twilight in the Desert, the artist Henry Bacon captures a quiet moment within a vast, arid expanse. Created about 1907, the work reflects the artist's deep fascination with the Middle East, a subject that defined much of his later career. The scene is set during the soft transition of dusk, focusing on the stillness of the desert landscape.
The sun hangs high over the French coast, casting a direct, bright light that defines every contour of this coastal scene. In this 1890 oil painting, we find ourselves on a pebbled shore, framed by the weathered, ochre-toned wooden beach huts that line the foreground. These structures, rendered with a sense of tactile roughness, create a rhythmic perspective that draws the eye past the immediate textures of the sand and…
Dog in Mourning (1870), Museum of Fine Arts, Boston. On the Open Sea-- The Transatlantic Steamship "Péreire" (1877) and Étretat (1890) come next.
31 years old: Dog in Mourning dates from 1870, and Henry Bacon was born in 1839.
Our catalog holds 7 works by Henry Bacon, dated from 1870 to 1912.
Mostly in Museum of Fine Arts (Boston), Reading Public Museum (Reading) and Smithsonian American Art Museum (Washington, D.C.). The museum table above lists them all.
In 1870s: 2 of the 7 works on this page were made then, Dog in Mourning among them.
On this page, the earliest is Dog in Mourning (1870) and the latest Beach at Etretat (1912).
People (3), Sea (3) and Sky (3), across the 7 works on this page.
Oil On Canvas, for 2 of the 7 works on this page.
Dog in Mourning and On the Open Sea-- The Transatlantic Steamship "Péreire": the Museum of Fine Arts, Boston holds 2 of the works on this page.
Henry Bacon enters the historical record in 1839, born in Haverhill, Massachusetts. His early years precede the upheaval of the American Civil War, a conflict that would fundamentally alter his trajectory. On 16 July 1861, he enlists in the Union Army. He is assigned to the 13th Massachusetts Infantry, but his role is not strictly that of a combatant. He serves as a field artist for Frank Leslie's Weekly, documenting the realities of war through his sketches and observations.
The violence of the conflict finds him personally. During the Second Battle of Bull Run, Bacon is badly wounded. The injury is severe enough to necessitate his discharge from military service on 19 December 1862. This period of combat and documentation marks a sharp departure from the quiet life of a civilian in Massachusetts, leaving a permanent imprint on his professional development.
The transition from the battlefields of the American Civil War to the studios of Europe begins with a recommendation. Following his discharge, Walter Gay suggests a move toward formal instruction. By 1864, Henry Bacon arrives in Paris alongside his first wife, Elizabeth Lord. The focus shifts from the visceral documentation of war to the disciplined study of figure painting.
The rigor of the French academic system provides the next stage of his development. He gains admission to the National School of Fine Arts, entering a world of strict technique and classical tradition. Within these walls, he becomes a pupil of Alexandre Cabanel. This period of intense study establishes the technical foundation that will support his later shifts in subject matter and medium.
The landscape shifts from the formal studios of Paris to the commune of Pont-Aven in the Finistère département of Brittany. Here, Bacon finds a new rhythm. He becomes a member of the Pont-Aven School, a movement defined by its departure from academic rigidity. His focus turns toward the quietude of French country life. He captures genre subjects, rendering the daily existence of rural inhabitants with a specific, localized interest.
Bacon’s presence in Brittany carries historical weight. He is credited as the first American painter to arrive in Pont-Aven. His influence extends beyond his own canvas; he acts as a bridge for others. He advises and attracts fellow American Robert Wylie to spend summers in the village, helping to establish the area as a destination for artists seeking a different way of seeing.
The ink of the journalist meets the brush of the painter in the bustling atmosphere of Paris. Bacon does not merely observe the city; he reports on its shifting social and political currents. Writing for the Boston Daily Evening Transcript, he sends dispatches back to America, bridging the distance between the French capital and his home country. His reports capture significant moments, including General Grant's visit and the formation of the American Artists Association. These journalistic endeavors provide a steady connection to the American market, which remains his primary audience.
By 1880, a shift occurs in his subject matter. The focus moves toward the sea. He devotes himself to maritime scenes, capturing the movement and atmosphere of nautical life. This period marks a departure from his earlier genre subjects, as he turns his attention to the complexities of the water. His work during these years remains intended for the American collectors who follow his progress from across the Atlantic.
The year 1897 marks a shift in Bacon's focus. His first trip to Egypt ignites a fascination with Orientalist painting, pulling his attention away from the maritime scenes and French genre subjects of his earlier career. This interest becomes a permanent fixture of his life. From 1899 onwards, he takes up the habit of residing in Egypt during the winter months, seeking the specific atmosphere of the Middle East.
The light of the region demands a change in technique. To capture the transparent quality of the Egyptian sun, Bacon gradually abandons oil painting. He switches to watercolours, finding the medium better suited to the luminosity of the landscape. He spends his winters there, immersing himself in the local environment and the shifting light that defines the desert and the Nile.
The shift in Bacon's technical approach marks a definitive departure from his earlier training. He gradually abandons oil painting, moving away from the heavy textures of his previous years to devote himself to watercolors. This transition allows for a different kind of precision, one suited to the specific light he encountered during his travels.
The final chapter of his life unfolds in the Middle East. After years of spending winters in the region, he remains in Egypt. In 1912, a heart attack brings his life to an end in Cairo. The suddenness of his passing leaves behind a body of work focused on the landscapes and subjects of his adopted surroundings.
Following his death, his wife organizes a large posthumous exhibition. This collection focuses primarily on his Orientalist paintings, many of which were completed during the final year of his life. The retrospective travels across the United States, appearing in many American cities to present his final vision to the public.
