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Winter Scavenger Hunt Inspiration

A man with pale skin, wearing a black suit and hat, glides toward us on ice skates in this vertical portrait painting. The man’s body faces us but he turns his head to our right as he looks slightly down and off into the distance. His arms are crossed over his chest, and he balances on his right skate, the other toe pushing him forward. His gray hair is pulled back under his wide-brimmed hat, which may have a buckle or other ornament at the front center of the crown. A curl along his left cheek escapes and is lifted by the breeze. He has dark eyes, a straight nose, his wide mouth is closed, and he as a cleft in his chin. He wears a high-necked white shirt and cravat under his black, fitted, knee-length jacket. The wide gray lapels lie open, and may be lined with fur. The wrist of one ivory-white glove is visible where he tucks his hand into the opposite elbow. His knee-length breeches have a buckle at the knee we can see, and he wears black stockings and black shoes with silver buckles. The blades of the skates seem to have been tied onto his shoes. The blades leave curving marks on the ice, which is painted with silver and iron gray. The horizon line of the landscape behind him comes about a third of the way up the canvas. A knot of skaters and buildings and trees beyond are hazy in the distance to our left. A few people stand along the water’s edge near a leafless tree to our right. The steely sky is nearly white around the man and deepens to nickel gray along the top edge.
Gilbert Stuart, The Skater (Portrait of William Grant), 1782, oil on canvas, Andrew W. Mellon Collection, 1950.18.1
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Three tall sailing ships, each with three masts and full sails, float in calm, arctic waters, surrounded by fragments of icebergs and ice floes amid a smattering of arctic animals in this horizontal landscape painting. The horizon line comes about a quarter of the way up the composition so the sails and rigging of the ships are shown against the sky. The clouds have ivory tops and lavender-purple undersides, and they curve in a C-shaped bank to cover most of the left half of the painting and to span the horizon. The three ships closest to us are spaced evenly across the composition, with the left-most the closest, and therefore the largest. The ship to our right is set a bit farther back, and the center ship is the farthest away. A rowboat holding several men has pulled alongside the boat to our left, and more men haul massive slabs of whale blubber up the side of the ship. Others walk on an ice floe nearby. Close inspection reveals more rowboats around and beyond these ships, and several more ships fading into the hazy distance along the horizon. Jagged edged chunks of icebergs as tall as the ships float around them. Closer to us, a trio of seals sits on an ice floe near the lower center of the composition, and a polar bear stands nose to nose with a cub to our right. Two narwhal whales with long tusks break the surface of the water between us and the ships, as does a whale’s tail near the boat to our right. Two walruses with long tusks sit on a floe near the center ship. A couple dozen birds, many white with black wing tips, fly low over the surface of the water across the painting.
John Ward of Hull, The Northern Whale Fishery: The "Swan" and "Isabella", c. 1840, oil on canvas, The Lee and Juliet Folger Fund, 2007.114.1
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We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting. The street in front of us is alive with action but the overall color palette is subdued with burgundy red, grays, and black, punctuated by bright spots of harvest yellow, shamrock green, apple red, and white. Most of the people wear long dark coats and black hats but a few in particular draw the eye. For instance, in a patch of sunlight in the lower right corner, three women wearing light blue, scarlet-red, or emerald-green dresses stand out from the crowd. The sunlight also highlights a white spot on the ground, probably snow, amid the crowd to our right. Beyond the band of people in the street close to us, more people fill in the space around carriages, wagons, and trolleys, and a large horse-drawn cart piled with large yellow blocks, perhaps hay, at the center of the composition. A little in the distance to our left, a few bare trees stand around a patch of white ground. Beyond that, in the top half of the painting, city buildings are blocked in with rectangles of muted red, gray, and tan. Shorter buildings, about six to ten stories high, cluster in front of the taller buildings that reach off the top edge of the painting. The band of skyscrapers is broken only by a gray patch of sky visible in a gap between the buildings to our right of center, along the top of the canvas. White smoke rises from a few chimneys and billboards and advertisements are painted onto the fronts of some of the buildings. The paint is loosely applied, so many of the people and objects are created with only a few swipes of the brush, which makes many of the details indistinct. The artist signed the work with pine-green paint near the lower left corner: “Geo Bellows.”
George Bellows, New York, 1911, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1986.72.1
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Several pieces of fruit, a bunch of green grapes, a stem of raisins, and several types of nuts in their shells are piled on a putty-brown tabletop or ledge with rounded corners against a dark background in this horizontal still life painting. The food is brightly lit from the front, and we look slightly down onto the table. There are two round red apples and two pieces of small yellow fruit, perhaps quinces, flanking a golden yellow pear at the back center. The bunch of grapes drapes over the fruit to our right and the raisins lie between the apples. Thirteen walnuts, peanuts, almonds, hazelnuts, and perhaps a brazil nut are scattered in a loose band in front of the fruit. The surface on which the still life sits becomes swallowed in shadow behind the fruit, and blends into the dark brown background. The artist signed and dated the work in dark paint in the lower right corner, almost lost in shadow under the ledge: “R.S. Duncanson 1848.”
Robert Seldon Duncanson, Still Life with Fruit and Nuts, 1848, oil on board, Gift of Ann and Mark Kington/The Kington Foundation and the Avalon Fund, 2011.98.1
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Charles Warren Eaton, Woods in Winter, 1886, oil on canvas, Stephen and Andrew Trachtenberg in loving memory of Honey Trachtenberg Weiss and Henry Weiss, 2015.162.1
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