
George Inness Painting Reproductions 5 of 9
1825-1894
American Romanticism Painter
George Inness occupies a singular place in American art - a painter who, across a career of more than four decades, refused to be contained by the descriptive exactitude of the Hudson River School or by the incandescent shimmer that would later mark Impressionism. Instead he pursued an elusive equilibrium between observation and evocation, convinced that landscape might speak both of earthbound fact and of metaphysical truth.
Born on 1 May 1825 in Newburgh, New York, the fifth of thirteen children, Inness spent his formative years in bustling Newark, New Jersey, where a brief apprenticeship to a map engraver sharpened his eye for structure while encouraging a dislike of the purely mechanical. Lessons with the French émigré Régis François Gignoux and evenings at the National Academy of Design acquainted him with the rhetorical grandeur of Thomas Cole and the calm lucidity of Asher Durand - models he would later splice rather than merely imitate.
A first European sojourn in 1851, financed by the patron Ogden Haggerty, placed Inness before the orderly pastorals of Claude Lorrain and Nicolas Poussin. Their measured harmonies impressed him less as formulae than as prompts: classical balance might, he sensed, conceal currents of feeling not immediately visible. Exposure to the Barbizon painters at mid-century reinforced that intuition. From Corot he absorbed the hush of twilight; from Daubigny the tactility of paint itself. By the time he returned to New York in the mid-1850s, he was recognised as the foremost American exponent of Barbizon tonalities, yet his ambition lay beyond stylistic allegiance.
The commission for The Lackawanna Valley around 1855 dramatised an early tension that would haunt his art: the locomotive arches across the foreground, smoke dissolving into cloud, while a boy surveys the scene from a grassy knoll. The image acknowledges technological prowess yet permits nature the last word, the grey plume merging with weather rather than conquering it. Even here, Inness’s brush modulates between crisp contour and atmospheric blur, hinting at the unseen energies he would later explore more fully.
That exploration deepened after his encounter with the writings of Emanuel Swedenborg, whose vision of a universe permeated by spiritual correspondences resonated with Inness’s instinctive pantheism. From the late 1870s his canvases pursue not topographical fidelity but an intimation of what he called “the reality of the unseen”. Forms soften, edges dissolve, tonal transitions thicken like half-remembered melodies. Early Morning - Tarpon Springs (c. 1877) presents Floridian pines as columns through which light filters in silent cadences, the subtropical rendered northern by mood rather than by botany.
Settling in Montclair, New Jersey in 1885, Inness intensified this idiom. October (1886) or Early Autumn, Montclair (1888) proceed by chromatic murmurs: russet, olive, tawny gold, each value calibrated to nudge the eye from surface sensation toward inward reflection. Technique grows freer, at times almost abrupt, yet the underlying architecture remains rigorously plotted. Such canvases remind us that for Inness the scientific study of colour and the mathematical poise of composition were not counters to poetry but its indispensable armature.
Critical esteem kept pace. Elected a full Academician in 1868, he garnered a gold medal at the Paris Exposition of 1889, and in 1884 a retrospective organised by the American Art Association confirmed his stature at home. Yet honours meant less to him than the daily wrestle with pigment and idea. “The true use of art,” he wrote, “is to cultivate the artist’s own spiritual nature” - a statement that turns biography into credo.
Inness died on 3 August 1894 at Bridge of Allan in Scotland, collapsing after exclaiming at the splendour of a sunset - an end uncannily consonant with his life’s pursuit. His burial in Montclair closed a circle: the town whose vistas he had translated into meditations now shelters his remains. Today the Montclair Art Museum’s dedicated gallery attests to a legacy that is both regional and international. To view his late paintings is to experience an art poised between material immediacy and ineffable depth, an art that invites contemplation long after the eye has registered its gentle radiance.
Inness’s achievement lies not in any single manifesto but in a sustained attempt to align painting with the rhythms of perception and belief. He stands, therefore, as a pivotal figure: a witness to America’s industrial ascent, a student of European tradition, and, above all, a seeker who transcribed into paint the mutable dialogue between the visible world and the mysteries it shelters.
Born on 1 May 1825 in Newburgh, New York, the fifth of thirteen children, Inness spent his formative years in bustling Newark, New Jersey, where a brief apprenticeship to a map engraver sharpened his eye for structure while encouraging a dislike of the purely mechanical. Lessons with the French émigré Régis François Gignoux and evenings at the National Academy of Design acquainted him with the rhetorical grandeur of Thomas Cole and the calm lucidity of Asher Durand - models he would later splice rather than merely imitate.
A first European sojourn in 1851, financed by the patron Ogden Haggerty, placed Inness before the orderly pastorals of Claude Lorrain and Nicolas Poussin. Their measured harmonies impressed him less as formulae than as prompts: classical balance might, he sensed, conceal currents of feeling not immediately visible. Exposure to the Barbizon painters at mid-century reinforced that intuition. From Corot he absorbed the hush of twilight; from Daubigny the tactility of paint itself. By the time he returned to New York in the mid-1850s, he was recognised as the foremost American exponent of Barbizon tonalities, yet his ambition lay beyond stylistic allegiance.
The commission for The Lackawanna Valley around 1855 dramatised an early tension that would haunt his art: the locomotive arches across the foreground, smoke dissolving into cloud, while a boy surveys the scene from a grassy knoll. The image acknowledges technological prowess yet permits nature the last word, the grey plume merging with weather rather than conquering it. Even here, Inness’s brush modulates between crisp contour and atmospheric blur, hinting at the unseen energies he would later explore more fully.
That exploration deepened after his encounter with the writings of Emanuel Swedenborg, whose vision of a universe permeated by spiritual correspondences resonated with Inness’s instinctive pantheism. From the late 1870s his canvases pursue not topographical fidelity but an intimation of what he called “the reality of the unseen”. Forms soften, edges dissolve, tonal transitions thicken like half-remembered melodies. Early Morning - Tarpon Springs (c. 1877) presents Floridian pines as columns through which light filters in silent cadences, the subtropical rendered northern by mood rather than by botany.
Settling in Montclair, New Jersey in 1885, Inness intensified this idiom. October (1886) or Early Autumn, Montclair (1888) proceed by chromatic murmurs: russet, olive, tawny gold, each value calibrated to nudge the eye from surface sensation toward inward reflection. Technique grows freer, at times almost abrupt, yet the underlying architecture remains rigorously plotted. Such canvases remind us that for Inness the scientific study of colour and the mathematical poise of composition were not counters to poetry but its indispensable armature.
Critical esteem kept pace. Elected a full Academician in 1868, he garnered a gold medal at the Paris Exposition of 1889, and in 1884 a retrospective organised by the American Art Association confirmed his stature at home. Yet honours meant less to him than the daily wrestle with pigment and idea. “The true use of art,” he wrote, “is to cultivate the artist’s own spiritual nature” - a statement that turns biography into credo.
Inness died on 3 August 1894 at Bridge of Allan in Scotland, collapsing after exclaiming at the splendour of a sunset - an end uncannily consonant with his life’s pursuit. His burial in Montclair closed a circle: the town whose vistas he had translated into meditations now shelters his remains. Today the Montclair Art Museum’s dedicated gallery attests to a legacy that is both regional and international. To view his late paintings is to experience an art poised between material immediacy and ineffable depth, an art that invites contemplation long after the eye has registered its gentle radiance.
Inness’s achievement lies not in any single manifesto but in a sustained attempt to align painting with the rhythms of perception and belief. He stands, therefore, as a pivotal figure: a witness to America’s industrial ascent, a student of European tradition, and, above all, a seeker who transcribed into paint the mutable dialogue between the visible world and the mysteries it shelters.
195 George Inness Paintings

Landscape 1888
Oil Painting
$626
$626
Canvas Print
$70.75
$70.75
SKU: ING-9179
George Inness
Original Size: 56.2 x 70 cm
Cleveland Museum of Art, Ohio, USA
George Inness
Original Size: 56.2 x 70 cm
Cleveland Museum of Art, Ohio, USA

Sunny Autumn Day 1892
Oil Painting
$808
$808
Canvas Print
$65.12
$65.12
SKU: ING-9180
George Inness
Original Size: 81 x 106 cm
Cleveland Museum of Art, Ohio, USA
George Inness
Original Size: 81 x 106 cm
Cleveland Museum of Art, Ohio, USA

Durham, Connecticut 1858
Oil Painting
$575
$575
Canvas Print
$56.81
$56.81
SKU: ING-9181
George Inness
Original Size: 39.3 x 67.3 cm
Cleveland Museum of Art, Ohio, USA
George Inness
Original Size: 39.3 x 67.3 cm
Cleveland Museum of Art, Ohio, USA

Sunset over the Sea 1887
Oil Painting
$633
$633
Canvas Print
$87.10
$87.10
SKU: ING-9182
George Inness
Original Size: 56 x 91.8 cm
Brooklyn Museum of Art, New York, USA
George Inness
Original Size: 56 x 91.8 cm
Brooklyn Museum of Art, New York, USA

On the Delaware River c.1861/63
Oil Painting
$861
$861
Canvas Print
$83.46
$83.46
SKU: ING-9183
George Inness
Original Size: 71.8 x 122 cm
Brooklyn Museum of Art, New York, USA
George Inness
Original Size: 71.8 x 122 cm
Brooklyn Museum of Art, New York, USA

Homeward 1881
Oil Painting
$729
$729
Canvas Print
$95.38
$95.38
SKU: ING-9184
George Inness
Original Size: 51.5 x 76.5 cm
Brooklyn Museum of Art, New York, USA
George Inness
Original Size: 51.5 x 76.5 cm
Brooklyn Museum of Art, New York, USA

June 1882
Oil Painting
$743
$743
Canvas Print
$56.98
$56.98
SKU: ING-9185
George Inness
Original Size: 76.5 x 114.9 cm
Brooklyn Museum of Art, New York, USA
George Inness
Original Size: 76.5 x 114.9 cm
Brooklyn Museum of Art, New York, USA

Summer Foliage 1883
Oil Painting
$755
$755
Canvas Print
$56.98
$56.98
SKU: ING-9186
George Inness
Original Size: 76.2 x 113 cm
Dallas Museum of Art, Texas, USA
George Inness
Original Size: 76.2 x 113 cm
Dallas Museum of Art, Texas, USA

View of Rome from Tivoli 1872
Oil Painting
$769
$769
Canvas Print
$56.83
$56.83
SKU: ING-9187
George Inness
Original Size: 76.2 x 114.3 cm
Dallas Museum of Art, Texas, USA
George Inness
Original Size: 76.2 x 114.3 cm
Dallas Museum of Art, Texas, USA

Durham, Connecticut 1869
Oil Painting
$449
$449
Canvas Print
$56.81
$56.81
SKU: ING-9188
George Inness
Original Size: 22.7 x 30.4 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
George Inness
Original Size: 22.7 x 30.4 cm
Fogg Art Museum at Harvard University, Massachusetts, USA

A View near Medfield 1861
Oil Painting
$742
$742
Canvas Print
$103.87
$103.87
SKU: ING-9189
George Inness
Original Size: 66.7 x 91.5 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
George Inness
Original Size: 66.7 x 91.5 cm
Fogg Art Museum at Harvard University, Massachusetts, USA

The Mill Stream, Montclair, New Jersey c.1888
Oil Painting
$709
$709
Canvas Print
$56.98
$56.98
SKU: ING-9190
George Inness
Original Size: 77.4 x 114.3 cm
Minneapolis Institute of Arts, Minnesota, USA
George Inness
Original Size: 77.4 x 114.3 cm
Minneapolis Institute of Arts, Minnesota, USA

Apple Blossom Time 1883
Oil Painting
$543
$543
SKU: ING-9191
George Inness
Original Size: 68.9 x 56.2 cm
Pennsylvania Academy of the Fine Arts, Philadelphia, USA
George Inness
Original Size: 68.9 x 56.2 cm
Pennsylvania Academy of the Fine Arts, Philadelphia, USA

Italy c.1872/74
Oil Painting
$582
$582
SKU: ING-9192
George Inness
Original Size: 36.8 x 54.6 cm
Philadelphia Museum of Art, Pennsylvania, USA
George Inness
Original Size: 36.8 x 54.6 cm
Philadelphia Museum of Art, Pennsylvania, USA

Landscape near Medfield, Massachusetts 1868
Oil Painting
$619
$619
Canvas Print
$56.81
$56.81
SKU: ING-9193
George Inness
Original Size: 31.1 x 43.8 cm
Philadelphia Museum of Art, Pennsylvania, USA
George Inness
Original Size: 31.1 x 43.8 cm
Philadelphia Museum of Art, Pennsylvania, USA

Landscape with a Stream 1885
Oil Painting
$657
$657
SKU: ING-9194
George Inness
Original Size: 30.6 x 46.2 cm
Philadelphia Museum of Art, Pennsylvania, USA
George Inness
Original Size: 30.6 x 46.2 cm
Philadelphia Museum of Art, Pennsylvania, USA

Landscape with Yellow Bushes 1865
Oil Painting
$592
$592
SKU: ING-9195
George Inness
Original Size: 30.6 x 46 cm
Philadelphia Museum of Art, Pennsylvania, USA
George Inness
Original Size: 30.6 x 46 cm
Philadelphia Museum of Art, Pennsylvania, USA

Short Cut, Watchung Station, New Jersey 1883
Oil Painting
$679
$679
Canvas Print
$109.53
$109.53
SKU: ING-9196
George Inness
Original Size: 95.6 x 74 cm
Philadelphia Museum of Art, Pennsylvania, USA
George Inness
Original Size: 95.6 x 74 cm
Philadelphia Museum of Art, Pennsylvania, USA

Summer Landscape 1876
Oil Painting
$691
$691
SKU: ING-9197
George Inness
Original Size: 76.8 x 114.9 cm
Philadelphia Museum of Art, Pennsylvania, USA
George Inness
Original Size: 76.8 x 114.9 cm
Philadelphia Museum of Art, Pennsylvania, USA

Twilight on the Campagna c.1851
Oil Painting
$787
$787
SKU: ING-9198
George Inness
Original Size: 96.2 x 136.2 cm
Philadelphia Museum of Art, Pennsylvania, USA
George Inness
Original Size: 96.2 x 136.2 cm
Philadelphia Museum of Art, Pennsylvania, USA

Perugia c.1873
Oil Painting
$541
$541
SKU: ING-9199
George Inness
Original Size: unknown
Phoenix Art Museum, Arizona, USA
George Inness
Original Size: unknown
Phoenix Art Museum, Arizona, USA

Elf Ground c.1860
Oil Painting
$570
$570
Canvas Print
$56.81
$56.81
SKU: ING-9200
George Inness
Original Size: 25.5 x 35.5 cm
Smithsonian American Art Museum, Washington, USA
George Inness
Original Size: 25.5 x 35.5 cm
Smithsonian American Art Museum, Washington, USA

Georgia Pines 1890
Oil Painting
$484
$484
Canvas Print
$62.30
$62.30
SKU: ING-9201
George Inness
Original Size: 45.3 x 61 cm
Smithsonian American Art Museum, Washington, USA
George Inness
Original Size: 45.3 x 61 cm
Smithsonian American Art Museum, Washington, USA

Niagara 1889
Oil Painting
$673
$673
Canvas Print
$57.14
$57.14
SKU: ING-9202
George Inness
Original Size: 76 x 114.3 cm
Smithsonian American Art Museum, Washington, USA
George Inness
Original Size: 76 x 114.3 cm
Smithsonian American Art Museum, Washington, USA