George Fuller (painter) - Works

Works

  • The Plains Between "The Bars" and South Deerfield, c. 1836-1838, oil on canvas, Addison Gallery of American Art, Andover, Massachusetts
  • Cupid, 1854
  • Negro Nurse with Child, 1861
  • At the Bars, 1865
  • Ideal Head of a Boy (George Spencer Fuller)"", c. 1867–1873, oil on canvas, Metropolitan Museum of Art New York City
  • The Romany Girl, 1877-1879, oil on canvas, Addison Gallery of American Art, Andover, Massachusetts
  • Shearing the Donkey, 1877-1879
  • And She Was a Witch, 1877–1884, oil on canvas, Metropolitan Museum of Art New York City
  • Turkey Pasture in Kentucky, 1878
  • The Dandelion Girl, 1879
  • The Quadroon, 1880, oil on canvas, Metropolitan Museum of Art New York City
  • The Gathering of Simples, 1880
  • Sketch of the Deerfield Valley, c. 1880-1884, chalk on blue-grey wove paper, Addison Gallery of American Art, Andover, Massachusetts
  • Portrait of Mary C. Hardy as a Child, 1881, oil on canvas, Addison Gallery of American Art, Andover, Massachusetts
  • Winifred Dysart, 1881
  • Nydia, 1882, oil on canvas, Metropolitan Museum of Art New York City
  • Priscilla Fauntleroy, 1882
  • Psyche, 1882
  • November, 1882-1884
  • Fedalma, 1883-1884, oil on canvas, Smithsonian American Art Museum, Washington, D.C.
  • Arethusa, 1884
  • A Nun at Confession
  • Boy and Bird
  • By the Wayside
  • Girl with a Calf
  • Ideal Head, oil on canvas, Smithsonian American Art Museum, Washington, D.C.
  • Reapers Resting

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    “We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
    —Clive Bell (1881–1962)

    “Only the more uncompromising of the mystics still seek for knowledge in a silent land of absolute intuition, where the intellect finally lays down its conceptual tools, and rests from its pragmatic labors, while its works do not follow it, but are simply forgotten, and are as if they never had been.”
    —Josiah Royce (1855–1916)

    “They commonly celebrate those beaches only which have a hotel on them, not those which have a humane house alone. But I wished to see that seashore where man’s works are wrecks; to put up at the true Atlantic House, where the ocean is land-lord as well as sea-lord, and comes ashore without a wharf for the landing; where the crumbling land is the only invalid, or at best is but dry land, and that is all you can say of it.”
    —Henry David Thoreau (1817–1862)