Cityscape, 1888, Childe Hassam

Landscape with Mountain and River, Unidentified Artist, 17th century, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall Size: 37.9 x 57.2 cm (14 15/16 x 22 ½ in.) Medium: Brown ink and brown wash on cream antique laid paper, mounted overall on two sheets of antique laid ledger paper

Roses and Geraniums on the Terrace at Marquayrol, Henri Martin

Gemmi Pass (from “Splendid Mountain Watercolours” Sketchbook) by John Singer Sargent, American Paintings and Sculpture

Gift of Mrs. Francis Ormond, 1950 Metropolitan Museum of Art, New York, NY Medium: Wax crayon on off-white wove paper

Woman at the Garden, 1873, Pierre-Auguste Renoir

Davoncastle Butte, Sierra Nevada, Carleton E. Watkins, c. 1866-1870, Cleveland Museum of Art: Photography

From the medium’s beginnings in the 1830s through the 1880s, most photographs were intimately scaled objects meant for the hand, the album, and the home. As the medium began being used to document landscapes and monuments in the 1850s, larger scale processes arose such as the glass-plate negative. The mammoth print truly seemed gargantuan in the 1860s. For much of the 20th century, the 8-x-10-inch gelatin silver print was the norm for photojournalism; these prints were destined for reproduction in books and magazines around the same scale. Size: Image: 40.5 x 54.8 cm (15 15/16 x 21 9/16 in.); Matted: 55.9 x 71.1 cm (22 x 28 in.) Medium: albumen print from wet collodion negative

A house Magros, 1879, Vincent van Gogh

Waves, Arkhip Kuindzhi