Student Artwork Guide
Copyright This work is in the public domain. Henry Mosler died in 1920; copyright lasts 70 years after the artist’s death, so it ended in 1990.
In context
Lost Cause — Henry Mosler
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 79 at death.
Painted when the artist was 28. The artist lived to 79. 1 of the 28 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Henry Mosler (1841–1920) ▲ this work, 1869 every dated painting, decade by decade
First works: up to 1877 Main working years: 1877–1897 Late works: from 1897
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
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: topimpressionists.com/en/art/similar/henry-mosler-lost-cause-8YDE93-en/
Measured from the image
Main colour
Clay #9e714a
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
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.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 28 works by this artist, of which 9 were looked at at least once. This painting ranks 6 of them, with 5.3% 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
Born in Tropszyno, Poland
Henry Mosler, born in Tropplowitz, Silesia (present-day Poland) in 1841, embarked on a journey that would establish him as a significant figure in American art. His family’s emigration to the United States in 1849, settling first in New York and then Cincinnati, Ohio, proved pivotal. This move placed young Henry within a thriving German-Jewish community known for its commitment to education and cultural pursuits—a nurturing environment that undoubtedly fostered his early artistic inclinations. While his father pursued work as a cigar maker and tobacconist, Henry received an apprenticeship with a wood engraver, Horace C. Grosvenor, simultaneously learning the fundamentals of painting from an amateur landscape artist named George Kerr. These formative experiences laid the groundwork for a career deeply rooted in observation, technical skill, and a burgeoning passion for visual storytelling. Even as a young man, Mosler demonstrated a natural talent, sketching portraits of family members and local scenes that hinted at the detailed realism he would later become renowned for.
The outbreak of the American Civil War dramatically altered the course of Mosler’s artistic development. Serving as an art correspondent for Harper's Weekly from 1862 to 1863, he documented the conflict with a keen eye and unwavering commitment to visual accuracy. This experience wasn’t merely reportage; it was an immersive education in human drama, suffering, and resilience—themes that would subtly permeate his later work. He served as an aide-de-camp with the Army of the Ohio, creating 34 drawings for Harper's Weekly, including depictions of key campaigns in Kentucky and Ohio, alongside portraits of Union generals. Following the war, Mosler sought formal training abroad, a common pursuit for ambitious American artists of the time. He studied in Düsseldorf under Heinrich Mücke and Albert Kindler, then spent six months with Ernest Hébert in Paris. This European sojourn was transformative, exposing him to classical techniques and the prevailing artistic currents of the day. It instilled within him a dedication to craftsmanship and a refined aesthetic sensibility that would define his mature style.
Mosler’s career unfolded across continents, reflecting a deliberate pursuit of artistic excellence. He returned to Cincinnati in 1866, establishing himself as a sought-after portraitist, but the allure of Europe proved irresistible. In 1874, he relocated his family to France, initially studying with Carl Theodor von Piloty in Munich before settling into an extended period in Brittany. It was here that Mosler truly found his voice. He became captivated by the lives of Breton peasants, depicting their daily routines and quiet dignity with remarkable sensitivity and detail. His paintings from this period—such as The Quadroon Girl and Early Cares—gained recognition at the Paris Salon, a prestigious platform for showcasing artistic talent. A pivotal moment arrived in 1879 with Le Retour, which was not only accepted by the Salon but also acquired by the Luxembourg Palace – an unprecedented honor for an American artist. This success solidified Mosler’s international reputation and underscored his mastery of realism, a movement that emphasized accurate representation and emotional depth.
In 1894, Henry Mosler returned to the United States, establishing a studio in Carnegie Hall, New York City. He continued to paint prolifically, shifting his focus towards historical genre scenes while maintaining his signature attention to detail and psychological insight. His work resonated with an American audience eager for narratives that celebrated both national heritage and universal human experiences. Beyond his individual achievements, Mosler’s influence extended through his family; his son, Gustave Henry Mosler, also pursued a career in painting, and another son, Arthur Rembrandt Mosler, became an engineer who married the renowned vocal coach Estelle Liebling. His artistic contributions are preserved in major museum collections worldwide—the Smithsonian American Art Museum, the Cincinnati Art Museum, the Huntington Library, and many others—ensuring that his legacy endures for generations to come. He provided valuable visual documentation of both a tumultuous period in American history – the Civil War – and the everyday lives of people across cultures. Henry Mosler stands as a testament to the power of dedication, observation, and artistic skill, leaving an indelible mark on the landscape of 19th-century art.
topimpressionists.com/en/art/download/henry-mosler-lost-cause-8YDE93-en/
Look closely
Lost Cause — Henry Mosler
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
A digital image of "Lost Cause" by Henry Mosler can be purchased on its Digital Image page: a high-resolution digital image download.
The dominant color of "Lost Cause" by Henry Mosler is clay (#9e714a).
Statistics about "Lost Cause" by Henry Mosler are on the artwork's Stats page: monthly visits of the artwork, visits of the artist's works, and country and language breakdowns of recent visitors.