“Stop and admire Harriet White's serene gaze in this 1835 portrait. The artist masterfully uses light and shadow to bring her composed figure to life, inviting a timeless connection with the sitter.”
In this striking portrait, Harriet White gazes out with a calm, direct expression, her figure framed by a rich, dark backdrop that emphasizes her presence. Her elegant dark dress, with its delicate lace collar and cuffs, speaks to the fashion of the 1830s. The artist, Samuel Lovett Waldo, renders the textures with care, from the soft sheen of her fabric to the subtle highlights on her hair. There's a quiet dignity to her pose, her hands gently clasped, suggesting a woman of composure and grace. The warm light seems to emanate from within the painting, illuminating her face and hands, drawing our attention to her thoughtful eyes. This work captures not just a likeness, but a sense of Harriet White's character, inviting us to connect with her across time.
- Artist
- Samuel Lovett Waldo
- Date
- 1835
- Medium
- Oil on canvas
- Location
- Art Institute of Chicago
- Dimensions
- 123.5 × 89.5 cm (48 5/8 × 35 1/4 in.)
- Collection
- Arts of the Americas
- Culture
- United States
- Credit line
- Gift of Mr. Joseph Winterbotham Jr.
What to Notice
Five details hide in plain sight. Here’s where to look.

The delicate lace trim on her collar and cuffs.
The subtle blush on her cheeks and lips.
Her hands, gently clasped, revealing a wedding band.
The way the light illuminates her face and hands against the dark background.
1 more detail is waiting.
See all 5 in Art Whisper →Stand in front of it and listen
The full narration walks you through Harriet White — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Samuel Lovett Waldo
Samuel Lovett Waldo was a prominent American portrait painter known for his detailed likenesses and a unique partnership with William Jewett.
More works to explore
Beyond Waldo: works from the same years.
Same era · 1820s–1850s
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1820s–1850s
Landscape with a river and a bay in the background
J. M. W. Turner · 1835 · Department of Paintings of the Louvre
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
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
The Fortune Teller (La Bonne Aventure)
Jacques-Louis David · 1824 · Fine Arts Museums of San Francisco
Same era · 1820s–1850s
Wooded Landscape
Gustave Courbet · 1848 · Art Institute of Chicago
Same era · 1820s–1850s
Mount Chocorua and Moat Mountain from North Conway
William Hart · 1850
Same era · 1820s–1850s
Saturn Devouring His Son
Francisco Goya · 1820 · Museo del Prado
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
The Captive Slave (Ira Aldridge)
John Philip Simpson · 1827 · Art Institute of Chicago
