Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 373 del v našem katalogu avtorja Thomas Moran
Kratek opis
The Teton Range (1897) je slika avtorja Thomas Moran, ki pritegne največ pogledov; original se nahaja v muzeju Metropolitanski muzej umetnosti, New York. Nato se pogled smeri k East Moriches (1900) in The Mountain of the Holy Cross, Colorado (1876). Med 373 dela umetnika Thomas Moran v našem katalogu so ta 100 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
In the late nineteenth century, as the American frontier began to yield to the encroaching shadows of industrialization, Thomas Moran captured a world that felt both eternal and untouched. The Teton Range, executed in 1897, is far more than a mere topographical record of the Wyoming wilderness; it is a profound window into the soul of the American West. Through his masterful use of oil on canvas, Moran invites the…
East Moriches is a landscape painting created by the artist Thomas Moran. The work dates to 1900. The composition focuses on a riverbank scene situated under an overcast sky. This depiction of the natural world centers on the interaction between the sky, the river, and the surrounding vegetation.
This monumental composition presents a breathtaking vista of the American West, dominated by towering, snow-capped peaks that pierce the sky. The landscape captures the immense scale of the Rockies, with the rugged terrain rising dramatically to meet the heavens. Throughout the scene, clusters of trees are scattered across the slopes, providing a sense of life and organic texture against the stony expanse. A substantial rock formation is positioned prominently in…
The scene unfolds before us in Fingal's Cave, Island of Staffa, Scotland, a work painted by Thomas Moran. Created between 1884 and 1885, this oil on canvas captures a moment of intense natural activity. The subject is the geological marvel of Fingal's Cave, located on the remote Island of Staffa in Scotland. Here, the artist turns his gaze toward the rugged edges of the Atlantic, focusing on the dramatic interplay…
To gaze upon Thomas Moran’s 1912 masterpiece, Grand Canyon, is to step into the very heart of the American Romantic spirit. This is not merely a geological record of one of Earth's most profound chasms; it is an evocative embodiment of the sublime, designed to stir the deepest recesses of the human soul. As a prominent figure of the Hudson River School, Moran possessed a rare ability to translate the…
To gaze upon this depiction of the Grand Canyon at its Eastern End is to feel an immediate, profound sense of awe—a quiet confrontation with geological time itself. Thomas Moran, the celebrated painter whose brushstrokes helped define the visual narrative of the American frontier, has gifted us a scene that transcends mere landscape painting. It is a meditation on permanence against the fleeting breath of cloud and light. The composition…
In the annals of American landscape painting, few works command the same reverence and awe as Thomas Moran’s Mountain of the Holy Cross. Painted in 1875, this breathtaking oil on canvas serves as a profound window into the untamed majesty of the American West. The scene unfolds with a dramatic orchestration of light and earth, presenting a landscape where snow-capped peaks pierce the heavens, their jagged silhouettes rendered in ethereal…
The night air feels heavy and salt-laden in Moonlit Seascape, a work by the American artist Thomas Moran. Created in 1891, this oil on canvas captures a moment where the ocean meets the dark sky under a lunar glow. The scene unfolds with a quiet intensity, pulling the viewer toward the rhythmic movement of waves crashing against a shoreline. In the distance, the silhouettes of boats drift upon the water,…
Moonlight in Venice is an 1898 work by the artist Thomas Moran. This painting captures a nocturnal scene within the Venetian landscape. It belongs to the American Romantic movement, a style that seeks to translate the atmosphere of a place into a specific emotional resonance. The canvas holds the quietude of the Italian night.
The sun breaks through heavy, turbulent clouds, casting a radiant glow across the immense rock faces of the canyon. Light filters down in ethereal hues, illuminating patches of foliage and the rugged textures of granite and sandstone. A rainbow arches through the sky, a sudden streak of color amidst the dramatic shadows of the gorge. The scale of the landscape feels overwhelming, pulling the eye toward the vastness of the…
Childe Roland to the Dark Tower Came1859
12
Temple of Venus, Castle of Baiae1867
13
Fort George Island1878
14
Sunset near Land's End, Cornwall, England1909 · Thyssen-Bornemisza Museum
15
Romantic Landscape1885
16
The Gate of Venice1895
17
Landscape with Waterfall1893
18
Moonlit Shipwreck at Sea1901
19
Long Island Landscape1902
20
Moonlit Seascape1902
21
Sunset after a Storm1901
22
Grand Canal, Venice1906
23
Tantallon Castle, North Berwick, Scotland1910
24
Icebergs in Mid-Atlantic1909
25
Monterey Coast1912
26
Old Windmill, East Hampton, Long Island, New York1912
27
The Cavern, California Coast (also known as Sinbad Wrecked)1919
28
Shepherdess Watching Her Flock1867
29
Vera Cruz Harbor1884
30
Sunset in Mid-Ocean1904
31
View of East Hampton1900
32
Shoshone Falls on the Snake River1900 · Gilcrease Museum
33
Fiercely the Red Sun Descending, Burned His Way across the Heavens1875
34
Hopi Museum, Arizona1916
35
Golden Bough (after Joseph Mallor William Turner)1862
36
Lake Como1867 · Metropolitanski muzej umetnosti
37
Venice 1
38
Venice1905
39
Near Tula1907
40
An English Fishing Village, Polperro, Cornwall1907
41
Cliffs of Green River1874 · Amon Carter Museum of American Art
42
Slave Hunt, Dismal Swamp, Virginia1862
43
June, East Hampton
44
Sunset on Long Island 1
45
The Angry Sea
46
Caledonia, Stern and Wild
47
The Autumnal Woods (aka Under the Trees)
48
A Mexican Hacienda, Lake Cuitzeo1885 · Smithsonian American Art Museum
49
The Dell1878 · Cleveland Museum of Art
50
The Much Resounding Sea1884 · National Gallery of Art
51
View of Venice
52
Angangueo, Mexico
53
Venetian Scene 1
54
Sunset, Long Island Sound1907
55
Sunset Cloud, Green River, Wyoming1917 · Smithsonian American Art Museum
56
Valley of the Catawissa in Autumn1862 · Crystal Bridges Museum of American Art
57
Western Landscape with Waterfall, (painting)1857
58
Haunted House1858
59
Summer Landscape with Cows1856
60
Dusk Wings1860
61
View of Fairmont Waterworks, Philadelphia1860
62
A Scene on the Tohickon Creek: Autumn1868 · Minneapolis Institute of Art
63
The Juniata, Evening1864 · National Gallery of Art
64
The Shores of Lake Superior1866 · Crystal Bridges Museum of American Art
65
The Sacrifice of Isaac1868
66
Indians on a Cliff1864
67
The Wilds of Lake Superior1864 · New Britain Museum of American Art
68
The Evening Hunter1867
69
The Yellowstone Range from near Fort Ellis1871
70
Children of the Mountain1867
71
Fort George Island, Florida1878 · Cleveland Museum of Art
72
Tower Falls at Yellowstone1876
73
The Golden Hour1875 · Blanton Museum of Art
74
The Cliffs of Green River, Wyoming Territory1875 · Cincinnati Art Museum
75
Green River, Wyoming1878 · Crystal Bridges Museum of American Art
76
Green River of Wyoming1878
77
Hot Springs of the Yellowstone1872 · Los Angeles County Museum of Art
78
Mammoth Hot Springs, Yellowstone1872 · Smithsonian American Art Museum
79
Fort George Island, Florida1878 · Smithsonian American Art Museum
80
Excelsior Geyser, Yellowstone Park1873 · Smithsonian American Art Museum
81
Above Tower Falls, Yellowstone1872 · Smithsonian American Art Museum
82
Green River, Wyoming1878 · Crystal Bridges Museum of American Art
83
Yellowstone Lake1874
84
Yellowstone Lake1874
85
Tower Falls and Sulphur Rock, Yellowstone1874
86
Cliffs of the Rio Virgin, South Utah1872
87
Tower Falls1872
88
Crossing the Brook Near Plainfield, New Jersey1878
89
Environs of Salt Lake, Utah1877
90
Chasm of the Colorado1873 · Smithsonian American Art Museum
91
Sunset on the Great Salt Lake, Utah1877
92
Shoshone Falls, Snake River, Idaho1873
93
A Side Canyon, Grand Canyon, Arizona1905
94
Bringing Home the Cattle - Coast of Florida1879 · Buffalo AKG Art Museum
95
Study of a Water Lotus1879 · Yale University Art Gallery
96
Green River Cliffs, Wyoming1881 · National Gallery of Art
97
Looking over Niagara Falls1885
98
Misty Morning, Appaquogue1885
99
Tahoe1879
100
Long Island Landscape1884
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Thomas Moran | Slike iz tega seznama |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 15 | A Mexican Hacienda, Lake Cuitzeo, Sunset Cloud, Green River, Wyoming, Mammoth Hot Springs, Yellowstone |
 Crystal Bridges Museum of American Art |
Bentonville | 4 | Valley of the Catawissa in Autumn, The Shores of Lake Superior, Green River, Wyoming |
 National Gallery of Art |
Washington | 3 | The Much Resounding Sea, The Juniata, Evening, Green River Cliffs, Wyoming |
 Amon Carter Museum of American Art |
Fort Worth | 3 | The Mountain of the Holy Cross, Colorado, Cliffs of Green River |
 Metropolitanski muzej umetnosti |
New York | 2 | The Teton Range, Lake Como |
 Cleveland Museum of Art |
Cleveland | 2 | The Dell, Fort George Island, Florida |
 Gilcrease Museum |
Tulsa | 4 | Shoshone Falls on the Snake River |
 Thyssen-Bornemisza Museum |
Madrid | 3 | Sunset near Land's End, Cornwall, England |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
The sky burns with an ominous, fiery glow, casting a warm light that clashes against the cool, heavy tones of the distant mountains. In this 1859 oil on canvas, the horizon is a bruised expanse of clouds and light. A small figure, Childe Roland, stands amidst the harsh, barren terrain. He is a speck of humanity dwarfed by the immense scale of the wilderness. The earth beneath him feels lunar…
In this work, titled Temple of Venus, Castle of Baiae, the artist Thomas Moran captures a specific moment along the Italian coast. Painted in 1867, the scene focuses on a location situated seven miles southwest of Naples. The composition centers on the interplay between the coastal landscape and the historical structures that define this Mediterranean setting.
This monumental composition presents a breathtaking vista of the American West, dominated by towering, snow-capped peaks that pierce the sky. The landscape captures the immense scale of the Rockies, with the rugged terrain rising dramatically to meet the heavens. Throughout the scene, clusters of trees are scattered across the slopes, providing a sense of life and organic texture against the stony expanse. A substantial rock formation is positioned prominently in…
The scene unfolds before us in Fingal's Cave, Island of Staffa, Scotland, a work painted by Thomas Moran. Created between 1884 and 1885, this oil on canvas captures a moment of intense natural activity. The subject is the geological marvel of Fingal's Cave, located on the remote Island of Staffa in Scotland. Here, the artist turns his gaze toward the rugged edges of the Atlantic, focusing on the dramatic interplay…
In the late nineteenth century, as the American frontier began to yield to the encroaching shadows of industrialization, Thomas Moran captured a world that felt both eternal and untouched. The Teton Range, executed in 1897, is far more than a mere topographical record of the Wyoming wilderness; it is a profound window into the soul of the American West. Through his masterful use of oil on canvas, Moran invites the…
East Moriches is a landscape painting created by the artist Thomas Moran. The work dates to 1900. The composition focuses on a riverbank scene situated under an overcast sky. This depiction of the natural world centers on the interaction between the sky, the river, and the surrounding vegetation.
To gaze upon Thomas Moran’s 1912 masterpiece, Grand Canyon, is to step into the very heart of the American Romantic spirit. This is not merely a geological record of one of Earth's most profound chasms; it is an evocative embodiment of the sublime, designed to stir the deepest recesses of the human soul. As a prominent figure of the Hudson River School, Moran possessed a rare ability to translate the…
To gaze upon this depiction of the Grand Canyon at its Eastern End is to feel an immediate, profound sense of awe—a quiet confrontation with geological time itself. Thomas Moran, the celebrated painter whose brushstrokes helped define the visual narrative of the American frontier, has gifted us a scene that transcends mere landscape painting. It is a meditation on permanence against the fleeting breath of cloud and light. The composition…
The Teton Range (1897), Metropolitanski muzej umetnosti, New York. Zatem sledeta East Moriches (1900) in The Mountain of the Holy Cross, Colorado (1876).
60 let: delo The Teton Range iz leta 1897, Thomas Moran pa je bil/a rojen/a leta 1837.
The Teton Range, East Moriches, The Mountain of the Holy Cross, Colorado, Fingal's Cave, Island of Staffa, Scotland, Grand Canyon, Grand Canyon Scene at Eastern End of Canyon, Mountain of the Holy Cross, Moonlit Seascape, Moonlight in Venice in Grand Canyon with Rainbows. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 373 del avtorja Thomas Moran, datiranih od 1856 do 1920.
Večini v Smithsonian American Art Museum (Washington, D.C.), Crystal Bridges Museum of American Art (Bentonville) in National Gallery of Art (Washington). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1870s: 32 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa The Mountain of the Holy Cross, Colorado.
Na tej strani je najstarejše delo iz Summer Landscape with Cows (1856) in najstarejše iz Grand Canyon Scene at Eastern End of Canyon (1920).
Landscape (16), Sunset (11) in Mountains (10), na 100 delih na tej strani.
Oil On Canvas, za 23 od 100 del na tej strani.
Hudson river school, glede na originala na tej strani.
A Mexican Hacienda, Lake Cuitzeo, Sunset Cloud, Green River, Wyoming in Mammoth Hot Springs, Yellowstone: v muzeju Smithsonian American Art Museum, Washington, D.C. se nahaja 7 del z te strani.
Bolton v Lancasteru v Angliji je bil sceno, kjer se je 12. februar 1837 rodil Thomas Moran. Izrasil je v družini očeta Thomasa Morana starejšega in matere Mary Higson. Stabilnost njegove družine se je spremenila leta 1844, ko je Moran, star le sedem let, zapustil domovino in se odpravil v Združene države, kjer je iskal novo življenje čez Atlantik.
Prehod v ameriško realnost ga je vodil v Philadelphijo. Leta 1853 je mladenič Thomas Moran začel svoje delo v podlearničkem obdobju pri podjetju za lesoreznico Scattergood & Telfer. Njegovo delo je bilo izjemno natančno in zahtevne narave. V prostem času pa je že tedaj začel razvijati svojo strast za akvarele, kar ga je počasi odmaknilo od strogih in omejevalnih zahtev grafičnega rezanja. Da bi izostril svoj razvijajoči se umetniški pogled, je poiskal strokovno vodstvo pri lokalnem slikarju James Hamilton. Do leta 1856 je njegova pot od grafične ilustracije do fine umetnosti potekala skozi njegovo prvo oljno sliko, Among the Ruins There He Lingered.
Prehod iz rezbarjenja lesa v prehod na slikarstvo se začne z globoko spremembo fokusa. Medtem ko so njegove zgodnje leta opredeljila natančna, ponavljajoča se dela pri graviranju ilustracij za filadelfijske podjetja, se v njem začne preživeti globoka ambicija. Do leta 1861 se njegova pozornost smeri k pravi mojstrom. Thomas Moran potuje v London, kjer išče neposredno prisotnost del, ki določajo nov vizualni jezik. Stoji pred platnami Claude Lorraina in J.M.W. Turnera ter z globoko koncentracijo vpija mehaniko svetlobe in atmosfere.
Potovanje v Anglijo leta 1862 predstavlja odločilno preoblikovanje njegovega umetniškega življenja. On Turnera ne le opazuje; on ga emulira. Prevzame Turnern avtoritativni pristop k barvam in njegov način izbire krajinskih motivov, te evropske občutljivosti pa prevaja v nov, ameriški kontekst. To obdobje ga transformira v izjemno nadarjenega ilustratorja in kolorista z izpostavljenimi sposobnostmi. Tehnična natančnost, ki jo prinaša njegova izkušnja z graviranjem, se združuje z to novo, atmosfersko občutljivostjo. Sčasoma se od rigidnih linij gravirja odmakne v smeri fluidne, emotivne moči akvarela in oljne barve.
Neskončnost dalekega zahoda zahteva razmere, ki jih tradicionalna portretna slikarstvo ne more prejeti. Thomas Moran to potrebo izpolnjuje z ogromnimi platnami, ki zajamejo nepredvoljeno veličastnost meje. S svojim delom presega vzpostavljene konvencije šole Hudson River in sprejema vlogo pejzažnega slikarja, ki se posveča veličastnosti in grandioznosti. Ta fascinacija nad razmerami narave ga vodi proti nepristojnim in hribovitim ozemljem Zahoda, kjer pejzaž ni le pasivna ozadja, temveč primarni predmet intenzivnega raziskovanja in proučevanja.
Leta 1872 se osredje njegovega zanimanja premakne v dolino Yosemite v Kaliforniji. Tu neprebojna vertikalnost in geološka kompleksnost terena ponudita popoln predmet za njegovo razvijajočo se vizijo. Thomas Moran postane osrednja figura šole pejzažnih slikarjev hribovja Skalite gore, skupine, ki jo definiše njihova predanost tem specifičnim, visokogorskim okoljem. Njegovo del prevaja surov, fizični realizem gora v vizualni jezik neprednostnih proporcij.
Leto 1871 označuje nenadenno spremembo v Moranovi poti. Pred tem je delal kot ilustrator za revijo Scribner’s, kjer je bil zadolžen za vizualizacijo ozemelj, ki jih večina Američanov ni nikoli videla. Revija mu je naročila izdelavo ilustracij območja Yellowstone, projekt, ki je zahteval veliko več od zgolj domišljije. Njegove končne ilustracije so izšle v majevnem in junijskem številu revije Scribner’s leta 1871, s čimer je javnosti omogočil prvi vizualni srečanje s geotermalnimi čudesi in neprebojno divjino tega regiona.
Ta naloga ga je neposredno vodila v naravo. Moran se je pridružil Haydenjevi ekspediciji leta 1871, kjer je potoval kot gostujoči umetnik s Geološkimi raziskavami ozemelj. Prešel je iz kontrolovanega okolja studia v suro realnost meje. Ekspedicija mu je ponudila neprecenljivo gradivo za njegove najpomembnejše dela, ko je poskuval "vrelo blato in globice" ter "vodo, ki iz zemlje špreha proti nebu", prevesti v vizualni jezik. Skice, izdelane med temi potovanji, so njegovo kariero spremenile iz ilustratorja revij v primarnega kronikarja ameriškega zahoda.
Preciznost lesoreza ostaja globoko vtesana v Moranov pristop k platnu. Njegovo zgodnje delovno učenje v Philadelphiji mu je vdelo natančno oko za detajle, lastnost, ki se je neopazno prelivala v njegovo poznejše mojstvo v akvarelu in olju. On ne beleži le pokrajine; on jo konstruira skozi sofisticirano vladanje z atmosfersko perspektivo. Oddaljeni vrhovi in stene kanjonov se izbledijo v meglenih modrih in sivih odtenkih, kar ustvarja oprijemljivo občutje neskončnega, odprtega prostora. Ta tehnična nadzornost omogoča, da se veličastnost Skalistih gora fizično prisutna, tudi ko je prikazana skozi nežne prelivanje akvarela v skici na terenu.
Moranova vsestranskost se razprostira tudi v področje grafike, kjer se premika med ostremi linijami etsinga in plastno globino litografije. Usvojil je številne tiskarske tehnike, vključno z lesorezo in kromolitografijo, kar je njegove vizije ameriškega zahoda omogočilo, da dosežejo masovnega gledalca skozi prednotejšče magazine. Njegova sposobnost, da dramatično svetlobo sunseta prevede tako v enostavno oljno sliko kot v masovno proizveden tisk, dokazuje tehnično raznolikost, ki premosti razprazor med likovno umetnostjo in komercialno ilustracijo. Barvo ne uporablja kot dekorativni element, temveč kot orodje za definiranje samega zraka, ki prostira med gledalcem in obzorjem.
Velikost Moranove vizije je pogosto zahtevala leta neprekinjenega truda in predanosti. Med letoma 1893 in 1901 je posvečal ogromno pozornost delu The Grand Canyon of the Yellowstone, massive polnojišnem podvagu, ki je ujel geološko dramatičnost tega regiona. To obdobje intenzivnega osredotočenja se je preplezalo z njegovo sposobnostjo, da je surove teksture ameriškega zahoda prenesel v kompozicije velikih razmer. Njegova sposobnost prikazovanja nepredstavljive globine pokrajine je neposredna in očitna v delu Chasm of the Colorado, kjer vertikalnost kanjonovih stene popolnoma prevzame perspektivo gledalca.
Svetloba in atmosfera narekidata vzdušje njegovih najpomembnejših kompozicij. V delu Sunset, Pueblo del Walpe, Arizona, naslikanem okoli leta 1880, nebo postane primarni subjekt, ki prelivajoč svetlobni sjaj obkoli teren. Ta mojstrovsko obdelava svetlobe se razširja tudi na njegove prikaze gorskih verig, kot je The Three Tetons iz leta 1895. Tudi ko se je njegova pozornost premaknila k evropskim motivom, je vpliv njegove atmosfere ostal prisoten. Leta 1900 je ustvaril Venice from the Tower of San Giorgio, kjer je svoje razumevanje svetlobe in vode uporabil za prikazovanje kanalov Italije.
Moranove ilustracije ne opisujejo le pokrajin; delujejo kot katalizator nacionalne radovednosti. Ko so njegovi skici za revijo Scribner’s dosegle javnost, so neznana ozemlja Zahoda spremenile v oprijemljivo realnost za publiko, ki je hreja bila željna širjenja. Te slike so pomagale vzbuditi pozornost naroda in spremenile oddaljene, siromašene pokrajine v konkretne cilje za raziskovanje in naseljivanje. S tem je pomagal vzpostaviti vizualni jezik za razumevanje ameriškega Zahada in zagotovil podobe, ki so v kolektivni ameriški zavesti definiralo mejo.
Njegov vpliv sega vse do same tkivo ameriške varstva narave. S tem ko je veličastnost Zahoda predstavil očem javnosti, je njegovo del postalo orodje za promocijo, ki je spodbudilo zanimanje za obsežna ozemlja, ki so ležala zunaj vzpostavljenih meja. Kot ključna figura šole Hudson River je premostil razporeditev med tradicionalno slikarstvo pokrajin in suro, neukrotjeno realnostjo Skalistih gora. Njegova sposobnost, da je razmerje kanjona in vročino pustinje prenesel v vizualno obliko, je pomagala oblikovati način, kako je rastoča nation doživljala svojo naravno identiteto.
Moranova pozna leta so ga vodila v New York, kjer se je dokončno udomočil. Skupaj z ženo Mary Nimmo Moran, škotsko rodeno grafičarko in slikarico pokrajin, je delil življenje, ki je bilo tesno prepleten z umetnostjo. Skupaj sta preživela v svetu, kjer so sirovite pokrajine, ki sta jih nekoč dokumentirala neposredno na terenu, postale nerazložni in uveljavljeni delovi ameriške vizualne identitete. Njihovo bivališče v New Yorku je služilo kot temelj za življenje, zgrajeno na skupnem jeziku umetnosti in globokega opazovanja narave.
Zadnje poglavje njegovega življenja pa se seli stran od hiterih in veselejših ritmov vzhodnega obala. Thomas Moran je umrl v Santa Barbari na Kaliforniji 25. avgusta 1926. Njegova smrt je označila konec dolge in izjemne kariere, ki je pomembno oblikovala vizualno percepcijo ameriškega zahoda in nas pripravila na razumevanje njegove veličastnosti.
Njegova platna so razpršena po prestižnih institucijah na več kontinentov, kjer so še vedno vidna kot pričevanja njegove umetniške vizije. V Washingtonu, D.C., v Smithsonian American Art Museum, se nahajajo njegova ključna dela, ki javnosti razkrivajo veličastnost in obseg njegovega umetniškega dosežka. V Evropi pa Muzej Thyssen-Bornemisza v Madridu hrani kolekcijo treh njegovih slik, med katerimi izpostaja njegova ujetja obale Kornwal, naslikana leta 1909.
Ameriški zahod ostaja osrednji motiv njegovega umetniškega dediščeva, ki ga najdemo v številnih galerijah. Amon Carter Museum of American Art v Fort Worthu v Texasu v ospa hrani tri njegova dela. Medtem pa Buffalo Bill Center of the West ohranja njegove grafične printe, ki so nekoč z svojo slikovnostjo prinesli podobe neukrotljivejšega prostora v domove po celotni državi.
