THE FARNSWORTH COLLECTION

The Farnsworth Art Museum’s collection of approximately 15,000 works focuses on American art from the 18th century to the present, in all media, with a special emphasis on artists with deep connections to Maine.

These include some of America’s most important artists: Bernice Abbott (1898–1991), George Bellows (1882–1925), Ashley Bryan (1923–2022), Ann Craven (b. 1967), Lynne Drexler (1928–1999), Richard Estes (b. 1932), Lauren Fensterstock (b. 1975), Jeremy Frey (b. 1978), Marsden Hartley (1877–1943), Edward Hopper (1882–1967), Robert Indiana (1928–2018), Erin Johson (b. 1985), Alex Katz (b. 1927), Rockwell Kent (1882–1971), Fitz Henry Lane (1804–1865),  John Marin (1870–1953), Daniel Minter (b. 1961), Louise Nevelson (1899–1988), Theresa Secord (b. 1958), Neil Welliver  (1929–2005), and the Wyeth family, including N.C. (1882–1945), Andrew (1917–2009), and James (Jamie) (b. 1946).

Over 5,000 objects in the museum’s collection of 15,000 works are searchable on the museum’s collection database.

BROWSE THE COLLECTION

Or browse by category using one of the links below

Paintings

Fitz Henry Lane, Shipping in DownEast Waters, 1854, oil on canvas, 17 3/4 x 29 3/4 inches, Museum purchase, 1960.1172

Prints

George Bellows, A Stag at Sharkey’s, detail, 1917, Lithograph, Museum Purchase, 1946.575

Photography

Berenice Abbott, Prospect Harbor, 1966-1967, Gelatin silver print, Gift of Mr. Ronald A. Kurtz, 1987.17.35

Sculpture

Celeste Roberge, Northern Archives: Geographies, 1987, Museum Purchase, 1993.11

Artwork Display Policy

The Museum’s guiding principle when selecting work for display is presenting the highest quality artwork. Not all artwork meets the tastes or values of all people. The Farnsworth evaluates and exhibits works of artists who are outstanding in their professional fields. Any history of cultural excellence contains a wide range of works that may have sparked controversy.

The Farnsworth Art Museum may be asked to remove an artwork from display because the artwork provokes objections that are based on the behaviors of the artist, religious preferences, financial affiliations, a desire for censorship, subject matter considered offensive, or any number of other views.

The Farnsworth celebrates the work of artists. Unfortunately not all artists have lived their lives in ways as admirable as the art they have created. But the work is the document that exists for evaluation, not the person. The Farnsworth has strong policies to prevent abuse of power, harassment, or discrimination and is responsible for providing a safe and professional environment for its workers and its visitors.