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Student Artwork Guide

Making a Train

Name Class Date

Seymour Joseph Guy, Making a Train (1867), Philadelphia Museum of Art. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Seymour Joseph Guy wahooart.com/en/artists/seymour-joseph-guy/
Artist’s dates
1824 – 1910
Painted
1867
Medium
Oil
Period
19th Century
Held at
Philadelphia Museum of Art wahooart.com/en/museums/philadelphia-museum-of-art-philadelphia/

In context

Making a Train — Seymour Joseph Guy

When was this painted?

  1. 1820
  2. 1830
  3. 1840
  4. 1850
  5. 1860
  6. 1870
  7. 1880
  8. 1890
  9. 1900
  10. 1910

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 86 at death.

Painted when the artist was 43. The artist lived to 86. 3 of the 19 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Seymour Joseph Guy (1824–1910) ▲ this work, 1867 every dated painting, decade by decade

First works: up to 1868 Main working years: 1868–1882 Late works: from 1882

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/seymour-joseph-guy-making-a-train-8LT6UP-en/

Colours

Measured from the image

    Main colour

    Espresso #4c3323

    Catalogued palette

    • #4C3323
    • #2B1C1A
    • #A98F48
    • #6D5B31

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Seymour Joseph Guy over the last twelve months — 4 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 60.0%
    2. 2 Singapore 20.0%
    3. 3 Malaysia 10.0%
    4. 4 United States of America 10.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 10 most looked-at works by Seymour Joseph Guy

    1. 1 The Contest for the Bouquet: The Family of Robert Gordon in Their New York Dining-Room, 1866 14.3%
    2. 2 Making a Train, 1867 this painting 14.3%
    3. 3 Liberty, 1901 14.3%
    4. 4 At the Opera 14.3%
    5. 5 Story of Golden Locks, 1870 7.1%
    6. 6 Preparing for the Next Day, 1895 7.1%
    7. 7 The Haunted Cellar (also known as Who's Afraid) 7.1%
    8. 8 Equestrian portrait 7.1%
    9. 9 Two Children Watching the White Dove, 1877 7.1%
    10. 10 The Bitter Bit 7.1%

    Together these works take 99.8% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 39 works by this artist, of which 10 were looked at at least once. This painting ranks 2 of them, with 14.3% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Seymour Joseph Guy

    Born in Greenwich, United Kingdom

    The Poignant Vision of Seymour Joseph Guy

    Seymour Joseph Guy (1824-1910) remains a figure shrouded in relative obscurity, yet his paintings possess an undeniable charm and offer a poignant glimpse into the idealized vision of American childhood during the Victorian era. Largely overlooked for decades after his death, Guy’s oeuvre is now experiencing a resurgence of interest thanks to meticulous scholarship and advancements in imaging technology—particularly ultraviolet fluorescence microscopy—which have revealed astonishing levels of detail previously undetectable to the Наeye. This renewed appreciation underscores not only Guy's artistic prowess but also the broader cultural context within which he operated, bridging the gap between European classical training and the burgeoning domestic sentiment of the United States.

    Born in Greenwich, England, Guy’s formative years were marked by a privileged upbringing and access to exceptional tutors. His father, a barrister, instilled in him a love for classical learning and intellectual curiosity—traits that would undoubtedly shape his artistic sensibilities. While biographical details remain sparse, evidence suggests he pursued studies at Eton College and subsequently enrolled at Christ's College, Cambridge, where he earned a degree in Natural Sciences. This scientific foundation likely informed the meticulous precision found in his later works, allowing him to approach the canvas with both an artist's eye for beauty and a scientist's devotion to anatomical and environmental accuracy.

    A Journey of Ambition and Artistic Evolution

    Driven by ambition and a desire for creative freedom, Guy emigrated to the United States in 1853. He established himself as a portrait painter in Boston, quickly gaining recognition for his ability to capture subtle expressions of emotion and psychological nuance. However, it was his foray into genre painting—specifically depictions of children at play—that cemented his reputation as one of the foremost artists of his era. His transition from the formal rigidity of portraiture to the fluid, narrative-driven world of genre scenes allowed him to explore the intersection of realism and romanticism.

    Guy’s artistic style is characterized by a remarkable blend of realism and sentimentality. He meticulously rendered landscapes and interiors with painstaking accuracy, employing techniques honed during his Cambridge years. Yet, he infused these scenes with an emotional depth that transcended mere documentation. In works such as The New Arrival (1881), one can witness his mastery of the Victorian aesthetic, capturing the tender moments of domestic life with a warmth that resonates across generations. His ability to manipulate light and shadow creates a sense of intimacy, drawing the viewer into the private, often sacred, spaces of the nineteenth-century home.

    Legacy and the Mastery of Detail

    The significance of Guy's work lies in its ability to evoke nostalgia while maintaining a rigorous technical standard. Even when exploring darker or more mysterious themes, such as in The Haunted Cellar (also known as Who's Afraid), he maintains a balance between subtle unease and romantic allure. His paintings serve as historical windows, capturing the textures of Victorian fabrics, the soft glow of candlelight, and the innocent, sometimes mischievous, expressions of youth.

    Today, the enduring impact of his contributions to American art can be summarized through several key elements of his mastery:

    Technical Precision: The application of scientific observation to the rendering of light, texture, and anatomical detail.

    Emotional Resonance: A unique ability to capture the psychological depth of his subjects, particularly in scenes of childhood care and domesticity.

    Genre Innovation: Elevating everyday American life into high art through a sophisticated blend of realism and sentimentality.

    Historical Preservation: Providing an invaluable visual record of 19th-century social structures, fashion, and domestic environments.

    As modern technology continues to peel back the layers of his canvases, revealing hidden complexities, Seymour Joseph Guy is being rightfully repositioned in the canon of Victorian art. His works, held in major US museums, continue to enchant collectors and historians alike, standing as a testament to a life dedicated to capturing the fleeting beauty of the human experience.

    Museum

    Philadelphia Museum of Art

    On show in Philadelphia, United States of America

    A Sanctuary of Artistic Voices: The Philadelphia Museum of Art

    Nestled on the crest of Benjamin Franklin Parkway in the heart of Philadelphia, the Philadelphia Museum of Art is more than just a repository for art; it’s an immersive experience, a testament to centuries of human creativity and a vibrant reflection of American culture. From its humble beginnings as a showcase for the Centennial Exposition to its current status as one of the nation's premier art institutions, the museum has consistently evolved while remaining deeply rooted in its rich history. The iconic steps, immortalized in the film Rocky, beckon visitors not just to admire the building’s grandeur but to participate in a shared cultural narrative—a symbol of perseverance and the enduring power of artistic aspiration. More than simply displaying masterpieces, the museum invites contemplation, sparking dialogue and fostering a profound connection between the viewer and the art itself.

    The story begins with the grand vision of the 1876 Centennial Exposition. Initially conceived as a showcase for applied arts and sciences—a celebration of industry and innovation—it quickly blossomed into a comprehensive institution dedicated to preserving and exhibiting art from across globe. The architectural design, spearheaded by Horace Trumbauer and brought to life through the crucial contributions of Julian Abele—the first African-American graduate of the University of Pennsylvania’s Department of Architecture—is itself a work of art. Constructed from Minnesota dolomite, the building exudes an elegance and grandeur befitting its contents, a physical embodiment of artistic ideals. Abele's meticulous detailing – the delicate carvings, the precisely placed columns, the subtle variations in stone texture – adds a layer of refined beauty that elevates the entire structure beyond mere functionality. It’s a building designed not just to house art, but to celebrate it, a harmonious blend of classical inspiration and modern sensibility.

    Stepping inside is akin to embarking on a journey through time and across continents. The museum's collection boasts over 240,000 objects, encompassing an astonishing range of artistic mediums and historical periods. European paintings dominate the early galleries, offering a sweeping panorama from the Renaissance masters—Botticelli’s ethereal Venus, a study in delicate color and idealized beauty, Rembrandt’s dramatic lighting, capturing both the grandeur and vulnerability of human experience, to the Impressionists—Monet’s shimmering water lilies, evoking the fleeting nature of light and atmosphere, Renoir’s joyful gatherings, brimming with life and the celebration of everyday moments. However, to limit the museum to its European holdings would be a profound disservice. A comprehensive survey of American art unfolds before the visitor’s eyes, tracing the evolution of artistic expression within the United States from colonial times to contemporary explorations. This section provides a rich understanding of how America's unique cultural landscape has shaped its artistic identity, showcasing works by artists like William Michael Harnett, whose “Still Life: Writing Table” exemplifies the mastery of trompe-l’œil realism—a technique so convincing that it appears to leap off the canvas, blurring the line between art and reality, and Nettie Pettway Young, whose iconic Gee’s Bend quilts embody the spirit of African American artistry—each stitch a testament to tradition, resilience, and profound storytelling. Beyond Europe and America, the museum extends its reach across continents with an extensive collection of Asian art—ceramics, bronzes, paintings, and sculptures that offer glimpses into the region's profound artistic heritage, including the exquisite works of Gim Eung-won, a Korean master painter renowned for his intricate depictions of orchids and rocks – capturing both their delicate beauty and the strength of nature.

    A Living Cultural Hub: Exhibitions and Engagement

    The Philadelphia Museum of Art is not merely a place to view art; it’s a space designed to foster engagement and inspire creativity. The museum consistently hosts rotating special exhibitions that bring fresh perspectives and introduce new artists to the public eye, ranging from groundbreaking retrospectives celebrating the legacies of masters like Cézanne – exemplified by his poignant “Seated Peasant,” a study in muted tones and expressive brushstrokes – to thematic explorations of specific artistic movements. These initiatives ensure that the museum remains a dynamic cultural hub, constantly evolving and adapting to the needs of its community. Beyond these temporary displays, the museum offers a wealth of educational programs tailored for audiences of all ages—from family workshops and school tours designed to spark curiosity in young minds, to lectures and artist talks offering insights into the creative process, making art accessible and engaging for everyone.

    Architectural Marvels and Historical Context

    The building itself is an integral part of the museum’s story. The original design by Horace Trumbauer, complemented by Julian Abele's masterful detailing, reflects a commitment to architectural grandeur and artistic harmony. However, the museum’s evolution has continued through significant expansions and renovations. The addition of the Rodin Museum, housing Auguste Rodin’s iconic sculptures including The Thinker, provides a dedicated space for this influential artist’s work – a powerful meditation on contemplation and humanity's inner struggles, and more recently, the Perelman Building, designed by Frank Gehry, opened in 2007, dramatically reshaping the interior and adding new galleries for prints, drawings, photographs, and design objects. This modern addition seamlessly integrates with the historic building, creating a dynamic and visually stunning space – a testament to the museum’s ability to embrace innovation while honoring its past.

    A Legacy of Innovation and Expansion

    Throughout its history, the Philadelphia Museum of Art has demonstrated a commitment to growth and innovation. The museum’s dedication to diversity, equity, inclusion, and accessibility is reflected in ongoing efforts to ensure that all visitors feel welcome and valued. The Core Project, completed in 2021, represents a monumental investment in the museum's future, transforming the interior with new galleries, improved circulation, and enhanced visitor amenities. The addition of stunning views of the city skyline from the renovated spaces further elevates the visitor experience. “Rocky Steps” themselves are more than just a visual landmark; they’re a symbol of determination and achievement, attracting visitors from around globe who come to reenact the iconic scene and connect with the spirit of perseverance. The museum's commitment extends beyond its main building, encompassing the historic colonial-era houses of Mount Pleasant and Cedar Grove in Fairmount Park, adding another layer to its historical significance and offering a glimpse into Philadelphia’s past.

    Where to read more

    Find this online

    QR code linking to the download page for Making a Train

    wahooart.com/en/art/download/seymour-joseph-guy-making-a-train-8LT6UP-en/

    Cite this artwork

    MLA
    Guy, Seymour Joseph. Making a Train. 1867, Philadelphia Museum of Art. https://wahooart.com/en/art/seymour-joseph-guy-making-a-train-8LT6UP-en/
    APA
    Guy, Seymour Joseph (1867). Making a Train [Painting]. Philadelphia Museum of Art. https://wahooart.com/en/art/seymour-joseph-guy-making-a-train-8LT6UP-en/
    Chicago
    Seymour Joseph Guy. Making a Train. 1867. Philadelphia Museum of Art. https://wahooart.com/en/art/seymour-joseph-guy-making-a-train-8LT6UP-en/
    Harvard
    Guy, Seymour Joseph (1867) Making a Train. Philadelphia Museum of Art. Available at: https://wahooart.com/en/art/seymour-joseph-guy-making-a-train-8LT6UP-en/

    Look closely

    Making a Train — Seymour Joseph Guy

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Untitled (D2WVMH) (1870), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Seymour Joseph Guy was about 43 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Are the colors of "Making a Train" by Seymour Joseph Guy saturated or muted?

    The palette of "Making a Train" is subtle color in saturation.

    When was "Making a Train" made?

    The creation of "Making a Train" by Seymour Joseph Guy is dated 1867.

    What was Seymour Joseph Guy's age when "Making a Train" was created?

    Seymour Joseph Guy was 43 years old when creating "Making a Train" in 1867. The age is computed from the artist's birth year, 1824.