By Samuel F. B. Morse
Created in 1831–33
Discover how Veronese’s masterful use of color may have informed the complex organization of Morse’s painting.
The male artist at the lower left corner of the painting is thought to be Richard West Habersham.
Poussin's "Deluge" is "A much celebrated picture" of the biblical Flood.
Cooper often accompanied Morse during his daily excursions to the Louvre.
Gay Meyers explains how her treatment of the floor creates a more realistic space for the figures.
Morse included these figures as a reminder the Louvre was open to everyone, regardless of class.
Greenough was a sculptor who revered the classical artistic traditions of ancient Greece and Rome.
Conservators discovered a ray of light Morse included in his painting that had become obscured from years of damage.
Morse likely included a copy of Poussin’s painting in part for the moral lesson it provides.
It appears that Morse selected many of the paintings as much for their artistic merit as for the spiritual and moral lessons they communicate.
Conservators show how they restored clarity to the background figures and architectural space of the Grand Galerie.
Morse depicts himself in the guise of an art instructor.
Morse made small-scale copies of many of the pictures shown in his monumental painting.
Learn why Morse chose to place Murillo’s The Young Beggar directly to the right of the entrance into the Salon Carré.
Morse employed a meticulous process for copying paintings, including Leonardo’s "Mona Lisa."
Independent conservators assess the impact of previous conservation treatments.
Morse had a particular interest in the “chromatic classicism” of 15th- and 16th-century Venetian paintings.
Morse’s signature and the date of the painting’s completion appear on the back of a small canvas.
Morse truly appreciated Raphael’s work for his sense of composition.
Guido Reni’s "The Union of Design and Color" is featured prominently in Morse's painting.
Scholars have suggested that this unidentified young woman may be a Miss Joreter.
The practice of studying and drawing classical sculpture was fundamental to 18th- and 19th-century artistic education in Europe.
Morse wanted to familiarize an American audience with works by Europe's most celebrated masters.