Learn about this studio and the house that was a home to a family of artists.



Anna Alma-Tadema, The Garden Studio, 1886-87, watercolor, traces of gum Arabic, and scratching out on paper stretched over a wooden frame. The Clark, acquired with support from Frank and Katherine Martucci, 2020.3

Anna Alma-Tadema, "The Garden Studio"

Learn about how Pantheism and Christianity were at odds in the work of Thomas Calvert.

Edward Calvert, "The Brook"

Learn how Evelyn de Morgan's depiction of strong female figures was a reflection of her personal drive.

Evelyn de Morgan, "Head of Medea"

Hear about the contrast between the peaceful setting of this edifice and its gothic history.

Thomas Girtin, Lydford Castle, 1800, watercolor and gouache over graphite on white laid paper. The Clark, gift of the Manton Art Foundation in memory of Sir Edwin and Lady Manton, 2007.8.87

Thomas Girtin, "Lydford Castle"

Hear about how George Hayter's drawing relates to nineteenth-century innovations in stage craft.

George Hayter, "The Ghost of Caesar Appears to Brutus" from Shakespeare's Julius Caesar, c. 1850, brush and brown wash on paper. The Clark, 1987.7

George Hayter, "The Ghost of Caesar Appears to Brutus" from Shakespeare's Julius Caesar

Listen to how George Romney interpreted John Milton's a century after it was written.

George Romney, Satan Surveying the Fallen Angels, c. 1790, Pen and black ink and brush and gray wash over graphite on laid paper. The Clark, 2023.8

George Romney, "Satan Surveying the Fallen Angels"

Hear about how the character of Peregrine Pickle was a perfect match for Thomas Rowlandson.


Thomas Rowlandson, Peregrine Rescuing Emilia from the Inn Fire, c. 1786, pen and black and gray inks and watercolor over graphite on cream wove paper. The Clark, gift of the Manton Art Foundation in memory of Sir Edwin and Lady Manton, 2007.8.94

Thomas Rowlandson, "Peregrine Rescuing Emilia from the Inn Fire"

Hear how J.M.W. Turner shifted the castles in this drawing to heighten the visual impact.


Joseph Mallord William Turner, Falmouth Harbor, c. 1825, watercolor and gouache, with scraping, on cream wove paper. The Clark, gift of the Manton Art Foundation in memory of Sir Edwin and Lady Manton, 2007.8.108

Joseph Mallord William Turner, "Falmouth Harbor"

Hear about how this sitter went from being decorated to disgraced.


James Watson, Sir Jeffrey Amherst, K. B., 1766, mezzotint and engraving on paper. The Clark, gift of James A Bergquist, Boston, in honor of James A Ganz, 2008.3

James Watson, after Joshua Reynolds, "Sir Jeffrey Amherst, K. B."

Albrecht Dürer, Sudarium Spread out by an Angel, 1516, etching on laid paper. The Clark, 1993.4

Albrecht Dürer, "Sudarium Spread out by an Angel"

Hilaire Ledru, The Painful Farewell, or Lesurques’s Farewell to His Family, c. 1796–1802, Conté crayon with stumping and white chalk with white gouache highlights on several sheets of paper. The Clark, 2023.2.1

Hilaire Ledru, "The Painful Farewell, or Lesurques’s Farewell to His Family"

Gustave Le Gray, Brig on the Water, 1856, albumen print from wet-collodion-on-glass negative. The Clark, 1998.32.3

Gustave Le Gray, "Brig on the Water"

Édouard Manet, After Diego Velázquez, Philip IV, 1862, etching and drypoint on laid paper. The Clark, acquired with funds donated by Jeffrey Shedd, 1985.27

Édouard Manet, After Diego Velázquez, "Philip IV"

Jacopo Palma, the Younger, Saint Onophrius in the Wilderness, c. 1610–20, pen and brown ink with brush and brown wash over black chalk on paper. The Clark, 2003.9.10

Jacopo Palma, the Younger, "Saint Onophrius in the Wilderness"

James Van Der Zee, Printer: Richard Benson, Publisher: Graphics International, Ltd. Marcus Garvey and Garvey Militia, Harlem, 1924, printed 1975, gelatin silver print. The Clark, Gift of Frank and Katherine Martucci, 2021.11.2

James Van Der Zee, "Marcus Garvey and Garvey Militia, Harlem"

Carleton E. Watkins, Up Yosemite Valley from the Foot of El Capitan, 1865-66, albumen print from a mammoth-plate negative. The Clark, Gift of Paul and Anima Katz, 2022.12

Carleton E. Watkins, "Up Yosemite Valley from the Foot of El Capitan"

Hermann Wöhler, The Four Horsemen of the Apocalypse, c. 1915-35, pen and black ink on cardboard. The Clark, Acquired by the Clark, 2022.6

Hermann Wöhler, "The Four Horsemen of the Apocalypse"

Berenice Abbott, Portrait of Eugène Atget, 1927, printed 1982, gelatin silver print. The Clark, Gift of A&M Penn Photography Foundation by Arthur Stephen Penn and Paul Katz, 2007.2.255

Berenice Abbott, "Eugène Atget"

Utagawa Kunisada II, The Maiden, 1857, color woodblock print. The Clark, Gift of Henry Morris and Elizabeth H. Burrows, 1980.50

Utagawa Kunisada II, "The Maiden"

In 1950 Sterling and Francine Clark chartered the Sterling and Francine Clark Art Institute as a home for their extensive art collection. Opened to the public in 1955, the Clark has built upon this extraordinary group of works to become one of the most beloved and respected art museums in the world, known for its intimate galleries and stunning natural environment. One of the few institutions in the United States that combines a public art museum with research and academic programs, including a major art history library, the Clark is now a leading international center for research and discussion on the nature of art and art history. Building upon the founders’ legacy, the Clark completed its master plan for the twenty-first century. This final phase of a transformational campus expansion program adds new facilities to support the growth of museum and academic programs; enhances the visitor experience of the Clark; improves circulation throughout the campus; and creates new levels of environmental sustainability across its 140-acre grounds while maintaining the unique character of its beautiful rural setting.

New tracks tagged #50 years and forward