“This early work by William Hart, usually known for his landscapes, is a vibrant political satire. Look closely at the exaggerated figures on hobby horses and the bustling crowd to appreciate its humor and detail.”
In "All on Hobbies, Gee Up, Gee Ho!," William Hart captures a lively, satirical scene, a far cry from the serene landscapes he would later become known for. This hand-colored lithograph, created when Hart was just fifteen, depicts a chaotic political procession. Figures on hobby horses, with exaggerated features and expressions, parade through a bustling street, their movements suggesting a frenzied, almost farcical energy. The hand-coloring adds a vibrant, almost theatrical quality to the scene, highlighting the individual characters and their elaborate costumes. This early work offers a fascinating glimpse into a different facet of Hart's artistic output, showing his engagement with social commentary and caricature before his focus shifted to the tranquil American landscapes of the Hudson River School.
- Artist
- William Hart
- Date
- 1838
- Medium
- Lithograph, hand-colored
- Location
- The Metropolitan Museum of Art
- Dimensions
- sheet: 10 7/8 x 18 9/16 in. (27.7 x 47.2 cm)
- Collection
- Drawings and Prints
- Credit line
- The Elisha Whittelsey Collection, The Elisha Whittelsey Fund and Harris Brisbane Dick Fund, by Exchange, 1970
What to Notice
Four details hide in plain sight. Here’s where to look.

The varied expressions on the faces of the hobby horse riders.
The intricate details of the costumes and banners.
The small, humorous interactions between figures in the crowd.
The way hand-coloring brings individual characters to life.
Stand in front of it and listen
The full narration walks you through All on Hobbies, Gee Up, Gee Ho! — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
William Hart
1823–1894 · United StatesWilliam Hart, a Scottish-born American landscape and cattle painter, became a prominent figure in the Hudson River School, known for his atmospheric depictions of light and shadow.
Further Works by Hart
Seashore, Morning
1866 · The Metropolitan Museum of Art
Scene at Napanoch
1883 · The Metropolitan Museum of Art
Mount Chocorua and Moat Mountain from North Conway
1850
Wordsworth Manor
1852
Birches
1855 · Museum of Fine Arts Boston
Peace and Plenty
1855 · New Britain Museum of American Art
Pools by the Seaside
1861 · Buffalo AKG Art Museum
Mount Madison from the Androscoggin River
1862
More works to explore
Beyond Hart: works from the same years.
Same era · 1820s–1850s
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
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Stormy Sea Breaking on a Shore
J. M. W. Turner · 1840 · Yale Center for British Art
Same era · 1820s–1850s
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1820s–1850s
Young Woman
Jean-François Millet · 1844 · Art Institute of Chicago
Same era · 1820s–1850s
Wooded Landscape
Gustave Courbet · 1848 · Art Institute of Chicago
Same era · 1820s–1850s
The Fortune Teller (La Bonne Aventure)
Jacques-Louis David · 1824 · Fine Arts Museums of San Francisco
Same era · 1820s–1850s
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
Designs for a Decorated Dish, or Platter, and a Biscuit Barrel
Alfred Henry Forrester [Alfred Crowquill] · 1845 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
Same era · 1820s–1850s
The Captive Slave (Ira Aldridge)
John Philip Simpson · 1827 · Art Institute of Chicago
