Alphabetical listing
A-D
| A Sunny Day at Shinnecock Bay | c. 1892 | |
| Alice Dieudonnée | c. 1892 | Terra Museum of American Art, Chicago, Illinois |
| Alice in Shinnecock Studio | 1909 | Parrish Art Museum, Southampton, New York |
| Along the Canal | Art Gallery of the University of Rochester, New York | |
| The Antiquary Shop | 1879 | Brooklyn Museum, New York, N.Y. |
| Arab Boy | Indianapolis Museum of Art, Indiana | |
| Artist's Daughter in Mother's Dress (Young Girl in Black) | c. 1899 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
| The Artist's Mother, Sarah Swaim Chase | 1892 | Indianapolis Museum of Art, Indiana |
| At the Seaside | c. 1892 | Metropolitan Museum of Art, New York City |
| At Her Ease | 1884 | National Academy of Design, New York City |
| Autumn Still Life | Pennsylvania Academy of the Fine Arts, Philadelphia | |
| The Bayberry Bush | Parrish Art Museum, Southampton, New York | |
| The Big Brass Bowl | 1899 | Indianapolis Museum of Art, Indiana |
| The Blue Kimono | 1898 | Parrish Art Museum, Southampton, New York |
- The Blue Kimono, 1914, Philbrook Museum of Art, Tulsa, Oklahoma
- One of a number of Chase's paintings with Oriental motifs and inspired by Diego Velázquez and seventeenth-century Dutch masters, a fleeting moment is captured with the model striking a "studious yet captured pose", according to the painting's description at the Philbrook Museum of Art Web site. The work features a "flourish of contours, stunning colors, decorative patterns and broad, broken brushwork". Oriental decorative and design elements are incorporated, perhaps showing the influence of Chase's contemporaries, James Abbott McNeill Whistler and John Singer Sargent. [1]
| Carll H. de Silver | c. 1909 | Brooklyn Museum, New York City |
| A City Park | Art Institute of Chicago | |
| The Court Jester (etching) | Museum of Fine Arts, Boston, Massachusetts | |
| The Deserted Beach | 1907 | Maier Museum of Art, Randolph College, Virginia |
- Did You Speak to Me?, 1897, Butler Institute of American Art, Youngstown, Ohio
- The painting focuses on the girl's implied movement (she has just turned around from looking at one of the paintings), by rendering her in greater detail than the objects around her. The girl is Alice Dieudonne, Chase's daughter, then 10 years old, at his studio at Shinnecock Hills on Long Island. Her bracelets and gold hair band suggest genteel, graceful prosperity, and it has been said that the paintings also suggest it, although Chase at that point had some difficulty maintaining his lifestyle. The painting captures "a casual image of life suspended in time which, while looking effortless and unpremeditated, was actually carefully composed to reflect the movement of real people in real life situations." Chase learned much of this from French Impressionists. [2] The artist was also enamored of the Dutch painter Frans Hals, who also strove to capture moments in time.
| Dora Wheeler | 1882–1883 | Cleveland Museum of Art, Ohio |
| Dorothy | 1902 | Indianapolis Museum of Art, Indiana |
| Duveneck in His Studio | San Antonio Art League Museum, Texas |
E-K
| Edward Everett Hale | Fogg Museum, Harvard University, Cambridge, Massachusetts | |
| The Fairy Tale | 1892 | National Gallery of Art, Washington, D.C. |
| The Family Cow | 1869 | Indianapolis Museum of Art, Indiana |
| Fish, Plate, and Copper Container | c. 1910 | Washington County Museum of Fine Arts, Hagerstown, Maryland |
| First Touch of Autumn | 1897-99 | Indianapolis Museum of Art, Indiana |
| Floral Still Life with Hummingbird | 1870 | Indianapolis Museum of Art, Indiana |
| Florence | Brooklyn Museum, New York City | |
| A Friendly Call [3] | 1895 | National Gallery of Art, Washington D.C. |
| General James Watson Webb | 1880 | Shelburne Museum, Shelburne, Vermont |
| Girl in a Japanese Costume | c. 1890 | Brooklyn Museum, New York City |
| Girl in White | c. 1890 | Smithsonian American Art Museum, Washington, D.C. |
| Girl With Book | c. 1902 | Montgomery Museum of Fine Arts, Montgomery, Alabama |
| The Golden Lady | 1896 | Parrish Art Museum, Southampton, New York |
| Good Friends | c. 1909 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
| Gray Day on the Lagoon | c. 1877 | Museum of Fine Arts, Boston, Massachusetts |
| Hall at Shinnecock | 1892 | Terra Museum of American Art, Chicago, Illinois |
| Harbor Scene | c. 1895 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
| Head of a Boy | Cleveland Museum of Art, Ohio | |
| Henry W. Longfellow (etching, dry-point) | 1882 | Museum of Fine Arts, Boston, Massachusetts |
| Hide and Seek | 1888 | Brooklyn Museum, New York City |
| Idle Hours | Amon Carter Museum, Fort Worth, Texas | |
| In the Park. A By-path | c. 1890 | Thyssen-Bornemisza Museum, Madrid |
| In The Studio | c. 1892-1893 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
| In the Studio Corner | c. 1881 | Canajoharie Library & Art Gallery, Canajoharie, New York |
| An Italian Garden | c. 1909 | Chrysler Museum of Art, Norfolk, Virginia |
| The Jester: Preparatory drawing for the painting "Keying Up" — The Court Jester | c. 1875 | Pennsylvania Academy of the Fine Arts, Philadelphia |
| The Jester | c. 1890 | Cleveland Museum of Art, Ohio |
| Just Onions (Onions; Still Life) | 1912 | Los Angeles County Museum of Art, California |
| Keying Up' - The Court Jester | 1875 | Pennsylvania Academy of the Fine Arts, Philadelphia |
| The Kimono | c. 1895 | Thyssen-Bornemisza Museum, Madrid |
L-N
| Lady in a Pink Dress | c. 1892 | Westmoreland Museum of American Art, Greensburg, Pennsylvania |
| Landscape | c. 1885 | Wright Museum of Art at Beloit College, Wisconsin |
| Landscape, Near Coney Island | c. 1886 | Hyde Collection Art Museum, Glens Falls, New York |
| Landscape: Shinnecock, Long Island | Princeton University Art Museum, New Jersey | |
| The Lone Fisherman | 1890s | Hood Museum of Art, Dartmouth College, New Hampshire |
| Lydia Field Emmet | 1892 | Brooklyn Museum, New York City |
| Lydia Field Emmet | c. 1892 | Detroit Institute of Arts, Michigan |
| Marianne Heyward Taylor | c. 1902-06 | Columbia Museum of Art, South Carolina |
| A Modern Magdalen | c. 1888 | Museum of Fine Arts, Boston, Massachusetts |
| The Moorish Warrior | c. 1878 | Brooklyn Museum, New York City |
| Morning at Breakwater, Shinnecock | c. 1897 | Terra Museum of American Art, Chicago, Illinois |
- Mother and Child (The First Portrait), c. 1888, Museum of Fine Arts, Houston, Texas
- Chase paints his daughter, holding a coral whistle, and her mother, wearing a Japanese-inspired costume. The black tones of the kimono and the background reflect Chase's experiments with delicate tonal harmonies, which contrast sharply with the white of the child's clothing and the red near the mother's neck. One critic wrote of " . . . the tingling pleasure that one receives from the one note of vivid scarlet that cuts through this quiet harmony like a knife . . .". [4]
| Mrs. Chase | 1890–1895 | Carnegie Museum of Art, Pittsburgh, Pennsylvania |
| Mrs. Chase and Cosy | Sheldon Museum of Art, Lincoln, Nebraska | |
| Mrs. Chase in Prospect Park | 1886 | Metropolitan Museum of Art, New York City |
| Mrs. James Watson Webb (Laura Virginia Cram) | c. 1880 | Shelburne Museum, Shelburne, Vermont |
| Mrs. William Merritt Chase | c. 1890 | Detroit Institute of Arts, Michigan |
| My Little Daughter Dorothy | c. 1894 | Detroit Institute of Arts, Michigan |
| My Palette | Reading Public Museum, Pennsylvania | |
| Myra Reynolds | late 19th century | Smart Museum of Art, University of Chicago, Illinois |
| Nude | c. 1901 | National Gallery of Art, Washington, D.C. |
O-R
| The Olive Grove | c. 1910 | Terra Museum of American Art, Chicago, Illinois |
| The Open Air Breakfast | c. 1888 | Toledo Museum of Art, Ohio |
| The Opera Cloak | c. 1890 | Grand Rapids Museum of Art, Michigan |
| Pablo de Sarasate: Portrait of a Violinist | c. 1875 | Los Angeles County Museum of Art, California |
| Park Bench | c. 1890 | Museum of Fine Arts, Boston, Massachusetts |
| The Patrician | 1875 | Minneapolis Institute of Arts, Minnesota |
| Peonies | c. 1903 | Lilly Endowment, Inc., Indianapolis |
| The Pink Bow (Portrait of Alice Dieudonnee Chase) | c. 1898 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
| The Pot Hunter | 1894 | Parrish Art Museum, Southampton, New York |
| Portrait of Alice Gerson | by 1886 | Terra Museum of American Art |
| Portrait of an Elderly Woman | 1907 | Maier Museum of Art, Randolph College, Virginia |
| Portrait of Artist's Daughter | c. 1895 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
| Portrait of a Girl | 1903 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
| Portrait of a Lady in Black | c. 1895 | Detroit Institute of Arts, Michigan |
| Portrait of the Lady in Pink (Mrs. Leslie Cotton) | c. 1888-89 | Museum of the Rhode Island School of Design |
| Portrait of a Man | c. 1875 | Smart Museum of Art, University of Chicago |
| Portrait of Fra Dana | Montana Museum of Art and Culture, Missoula | |
| Portrait of Henry Wolf | c. 1900 | Westmoreland Museum of American Art, Greensburg, Pennsylvania |
- Portrait of Master Otis Barton and his Grandfather, 1903, Currier Museum of Art, Manchester, New Hampshire
- Both figures look out at the viewer with composed expressions, as if they are conscious of the dignity of their pose. Yet the double portrait shows signs of a natural bond, especially the intertwined hands, suggesting affection between the grandfather and grandson, who share the same name. Chase combined a fashionable painting style of loose brushwork and dark palette with conventions of formal portraiture to create portraits that Americans with money would want. Scattered magazines on the floor and similar details add touches of authenticity that moderate the artificiality of the formal portrait. [5]
| Portrait of Miss B. | c. 1903 | Richmond Art Museum, Indiana |
| Portrait of Mrs. C. (Lady with a White Shawl) | 1893 | Pennsylvania Academy of the Fine Arts, Philadelphia |
| Portrait of Mrs. William Merritt Chase | c. 1890 | Hirshhorn Museum and Sculpture Garden, Washington, D.C. |
| Portrait of My Daughter Alice | c. 1895 | Cleveland Museum of Art, Ohio |
| Portrait of President William Waugh Smith | 1907 | Maier Museum of Art at Randolph College, Virginia |
| Portrait of William Gurley Munson | 1868 | Indianapolis Museum of Art, Indiana |
| Portrait of a Young Girl (daughter of Karl Theodore von Piloty) | c. 1877 | Philadelphia Museum of Art, Pennsylvania |
| Portrait Sketch of a Woman with Mantilla | Terra Museum of American Art | |
| Priam | Montana Museum of Art and Culture, Missoula | |
| Prospect Park, Brooklyn | 1887 | Parrish Art Museum, Southampton, New York |
| Ready for a Walk: Beatrice Clough Bachmann | c. 1885 | Terra Museum of American Art |
| Reflections | 1893 | National Gallery of Art, Washington D.C. |
| Repair Docks, Gowanus Bay | c. 1870-1885 | Cleveland Museum of Art, Ohio |
| The Roycrofter - Portrait of Elbert Hubbard | c. 1902 | Maier Museum of Art, Randolph College, Virginia |
S
| St. Jerome (copy after Rembrandt) | c. 1872-1879 | Smithsonian American Art Museum, Washington, D.C. |
| Seascape | 1890s | Cleveland Museum of Art, Ohio |
- Self-portrait: The Artist in his Studio, Richmond Art Museum, Richmond, Indiana
- The painting was commissioned for the Richmond Art Museum, where it now hangs. Chase painted himself in his studio at his easel, holding his artist palette and with a blank canvas before him. In a letter to the museum director, Chase wrote: "I painted that picture for you people in Richmond. I thought you deserved something good. I have been interested in what you have been doing in the west for art." He added that the blank canvas in the picture was " the great picture I am going to paint someday". [6]
| Self-Portrait | Smithsonian American Art Museum, Washington, D.C. | |
| Self-Portrait | c. 1884 | National Gallery of Art, Washington, D.C. |
| Self-portrait | 1908 | State Museums of Florence, Italy |
| Self-Portrait | c. 1915 | Terra Museum of American Art, Chicago, Illinois |
- Self Portrait, c. 1914, Detroit Institute of Arts, Michigan
- The beribboned pince-nez eyeglasses, the carnation in his lapel and his cravat were all signature elements of Chase's typical dress and were caricatured in the press. When the Detroit Institute of Arts bought the painting in 1916, the museum stated "As a likeness it reproduces the artist as his many friends and pupils know him". The painting also exemplifies his technique, with "sure, quick brushwork". The painting has not been lined, so the original impasto (build up of paint) can be seen, especially on the forehead. The work was used to illustrate a reprint of a 1916 speech Chase made to the American Federation of Arts. [7] The portrait shows Chase, head and shoulders, in a quarter turn to the right, head turned toward the viewer, his right side somewhat in shadow, looking directly at the viewer, eyebrows crossed. He wears a jet black jacket (and sits in front of a jet black background) with very white collar and cravat, along with a very delicate white carnation (carefully painted) in his lapel.
| Shinnecock Hills | 1893–1897 | Thyssen-Bornemisza Museum, Madrid, Spain |
| Shinnecock Hills | 1895 | Cleveland Museum of Art, Ohio |
| Shinnecock Hills | c. 1895 | Smithsonian American Art Museum, Washington, D.C. |
| Shinnecock Hills Landscape | c. 1890–1895 | Detroit Institute of Arts, Michigan |
| Shinnecock Hills, Long Island | c. 1895 | Lilly Endowment, Inc., Indianapolis, Indiana |
| Shinnecock Studio Interior | 1892 | Terra Museum of American Art, Chicago, Illinois |
| Sketch for a Picture — Columbus before the Council of Salamanca (A) | c. 1876 | Los Angeles County Museum of Art, California |
| Sketch for a Picture — Columbus before the Council of Salamanca (B) | c. 1876 | Los Angeles County Museum of Art, California |
| Sketch of a Man, Whistling | Terra Museum of American Art, Chicago, Illinois | |
| Spanish bull-fighter (etching, dry-point) | Museum of Fine Arts, Boston, Massachusetts | |
| Spring Flowers (Peonies) | by 1889 | Terra Museum of American Art, Chicago, Illinois |
| Still Life: Cod and Mackerel | c. 1885 | National Museum of Wildlife Art, Jackson Hole, Wyoming |
| Still Life—Fish | The Parthenon, Nashville, Tennessee | |
| Still Life—Fish | c. 1900 | Museum of Fine Arts, Boston, Massachusetts |
| Still Life, Fish | c. 1903 | Pennsylvania Academy of the Fine Arts, Philadelphia |
| Still Life, Fish | 1912 | Brooklyn Museum, New York City |
- Still Life Urns and Red Peppers, c. 1895, Sheldon Swope Art Museum, Terre Haute, Indiana
- An example of Chase's "Munich-school" style, "characterized by bravura brushwork, heavy impasto, and muted colors"; inspirations for the style came from Frans Hals and Velázquez. [8]
| Still Life With Fruit | 1871 | Parrish Art Museum, Southampton, New York |
| Still Life With Watermelon | 1869 | Birmingham Museum of Art, Alabama |
- Studio Interior, c. 1882 Brooklyn Museum, New York City
- Chase's studio conveyed the sophisticated, worldly image he wanted to project. This rendering of it gives examples of the brilliant colors and bravura brushwork he could use. Near the center is a copy of Malle Babbe by Frans Hals, a painter Chase revered. [9] Contrasting textures can be seen throughout the painting, as for instance between the rougher rug, the woman's softer clothing and the pages of the books (the edges of which are rendered with careful brushstrokes) and the hard, reflective pot at the left, contrasted with the soft, reflective wall hanging and the large green plant; the shelves are full of smaller items of contrasting textures and colors.
| Summer At Shinnecock Hills | 1891 | Cincinnati Art Museum, Ohio |
- A Summer Day, c. 1892, Art Gallery of the University of Rochester, New York
- In this pastel on canvas, Chase used "[h]igh-keyed summary colors and rapid Impressionistic strokes" to depict the brilliant sky, wildflowers and ocean. He often painted his daughters exploring the area around his home in Shinnecock, Long Island. [10]
| Summertime (Pulling for Shore) | c. 1886 | Lilly Endowment, Inc., Indianapolis, Indiana |
| Sunlight and Shadow | 1884 | Joslyn Art Museum, Omaha, Nebraska |
| Sunlight and Shadow, Shinnecock Hills | c. 1895, | Museum of Fine Arts, Houston, Texas |
T-Z
| A Tambourine Player | c. 1886 | Montclair Art Museum, Montclair, New Jersey |
| Tenth Street Studio | c. 1880-1881 and c. 1910 | Carnegie Museum of Art, Pittsburgh, Pennsylvania |
| Terrace, Prospect Park | c. 1887 | Smithsonian American Art Museum, Washington, D.C. |
| Tompkins Park, Brooklyn | 1887 | Colby College Museum of Art, Waterville, Maine |
| The Unknown Dane | c. 1876 | Philadelphia Museum of Art, Pennsylvania |
| Untitled (Shinnecock Landscape) | c. 1892 | Parrish Art Museum, Southampton, New York |
- Venetian Balcony, 1913, Albrecht-Kemper Museum of Art [11] St. Joseph, Missouri
- Painted during Chase's final summer abroad, the painting shows the influence of Impressionism on his work. A student of his from the St. Joseph, Missouri, area urged the St. Joseph Art League to buy the painting, which became the first piece in the collection that later became the Albrecht-Kemper Museum of Art.
| Venice | 1877 | Oklahoma City Art Museum, Oklahoma |
| View of the Brooklyn Navy Yard | 1886-1890 | University of Michigan Museum of Art, Ann Arbor, Michigan [12] |
| Wash Day (Washing Day-a Backyard Reminiscence) | c. 1886 | Lilly Endowment, Inc., Indianapolis, Indiana |
- The White Rose, c. 1886, Phoenix Art Museum, Arizona
- The figure, Josephine Jessup, was a student of the artist. The entire work was drawn in pastel, which takes much longer than painting, so pastel pictures tend to be small, yet this work is life-size and almost six feet in height. [13]
- Woman in Spanish Shawl (Alice), 1879, Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina
- The painting is a portrait of his wife Alice Gerson Chase.
| Woman Standing in a Landscape | Fogg Museum, Harvard University, Cambridge, Massachusetts | |
| The Yield of the Waters | 1878 | Detroit Institute of Arts |
- Young Girl, c. 1900, Bruce Museum, Greenwich, Connecticut
- A demonstration piece executed before a class, probably for students at the New York School of Art (given the date). Chase typically took an hour for these paintings and gave them away as prizes to students for good work. The artist concentrated his efforts on the sitter's head to get a "sensitive and expressive portrayal" with minimal brushwork. Dabs of unmixed paint are used to portray the effects of light. The lower end of the painting is unfinished, with exuberant, curving strokes. [9]
