Every work we know of.

Granite Pass.

Granite Pass in Kings Canyon National Park.

While a student at Yale, Eugene Kingman achieved national attention with a commission from the National Park Service to paint scenes of various parks, seven of which were displayed in Paris, France during an Expo in 1931. Two of these paintings (Yellowstone and the Grand Teton) were displayed in the Department of Interior Secretary Ken Salazar's office in Washington, D.C, while he served in that position. The 5 other paintings (Crater Lake, Mt. Rainier, the Grand Canyon, and Yosemite) are housed in vaults inside most of those National Parks.

Mt. Rainier National Park

While a student at Yale, Eugene Kingman achieved national attention with a commission from the National Park Service to paint scenes of various parks, seven of which were displayed in Paris, France during an Expo in 1931. Two of these paintings (Yellowstone and the Grand Teton) were displayed in the Department of Interior Secretary Ken Salazar's office in Washington, D.C, while he served in that position. The 5 other paintings (Crater Lake, Mt. Rainier, the Grand Canyon, and Yosemite) are housed in vaults inside most of those National Parks.

Sequoia National Park - This painting is owned by the Interior Department, located in the National Park Service headquarters in Washington, D.C.

While a student at Yale, Eugene Kingman achieved national attention with a commission from the National Park Service to paint scenes of various parks, seven of which were displayed in Paris, France during an Expo in 1931. Two of these paintings (Yellowstone and the Grand Teton) were displayed in the Department of Interior Secretary Ken Salazar's office in Washington, D.C, while he served in that position. The 5 other paintings (Crater Lake, Mt. Rainier, the Grand Canyon, and Yosemite) are housed in vaults inside most of those National Parks.

"Half Dome" - Yosemite National Park - Located inside Yosemite's Museum's vault

One of seven park paintings shown in Paris in 1931.

While a student at Yale, Eugene Kingman achieved national attention with a commission from the National Park Service to paint scenes of various parks, seven of which were displayed in Paris, France during an Expo in 1931. Two of these paintings (Yellowstone and the Grand Teton) were displayed in the Department of Interior Secretary Ken Salazar's office in Washington, D.C, while he served in that position. The 5 other paintings (Crater Lake, Mt. Rainier, the Grand Canyon, and Yosemite) are housed in vaults inside most of those National Parks.

View from the South - Crater Lake, Oregon

One of seven park paintings shown in Paris in 1931.

While a student at Yale, Eugene Kingman achieved national attention with a commission from the National Park Service to paint scenes of various parks, seven of which were displayed in Paris, France during an Expo in 1931. Two of these paintings (Yellowstone and the Grand Teton) were displayed in the Department of Interior Secretary Ken Salazar's office in Washington, D.C, while he served in that position. The 5 other paintings (Crater Lake, Mt. Rainier, the Grand Canyon, and Yosemite) are housed in vaults inside most of those National Parks.

Grand Teton - This painting is owned by the National Park Service.

Study for a painting of Bryce Canyon, Utah.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

All that now remains of the majestic mountain. Relentless forces leveled the towering peak. The top of Mount Mazama disappeared by explosion or gradual sinking, leaving a giant caldera six miles across and four thousand feet deep. Rains and snows have filled this huge depression with the waters of Crater Lake.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

Incredibly blue, Crater Lake sparkles in its rocky setting. Sheer walls rise in some places 2000 feet above the water. Clouds that drift above the water send shadows racing across the mirrorlike surface.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

The artist illustrates the first chapter in the ten-million-year-old rock story of Yosemite. Originally the Sierra Nevada were low mountains, and the Merced River wound sluggishly through a wide valley flanked by rolling hills. The ancestor of Half Dome, in center of the horizon, rose only 1,500 feet above the stream, and none of the picturesque features that now attract thousands of visitors to Yosemite Park had come into Existence.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

The Yosemite glaciers made a last advance. When the frozen sea had melted away, a smooth-walled U-shaped valley remained. Many centuries later ice came again, further deepened the valley, and polished the steep cliffs. Half Dome and El Capitan stood up boldly.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

Then a frozen sea hid the Merced River and Yosemite Valley. Cold, snowy winters and cool summers favored accumulation of snow an ice in the high mountain valleys. Glaciers formed and gradually pushed into Yosemite, burying the canyon. Half Dome, Sentinel Dome, and El Capitan rose only slightly above the frigid mantle.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

Glaciers were born on the slopes of the volcano. Continued outpourings of lava raised the mountain to at least 10,000 feet. Snows fell, massive layers of ice formed during periods when the subterranean fires were banked. But the record of these glacial caps is now buried under a thousand feet of rock, later poured in molten state from the crater.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

The volcano smolders beneath its icy cover. When the lava cooled, vast rivers of ice formed on top and moved in resistless majesty down the slopes. Broad valleys that remain today are verdure-clad reminders of the last glacial stage in the history of Mount Mazama.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

Lake Yosemite reflected the grandeur of its walls. The debris left by the glacier impounded a large lake which remained for several centuries to grace the valley. But silt gradually filled the shallow basin and produced a broad lowland, now the site of National Park headquarters and of hundreds of tents and cabins that visitors enjoy.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

Fire-breathing Mazama grew to magnificent stature. Slow but persistent volcano building gradually lifted the mountain higher and higher. A secondary cone developed on its western slope. Whenever the giant was dormant, glaciers cooled its head, and forests mantled its slopes, only to be destroyed at the next eruption.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

A mighty volcano once seethed with fire where mysterious Crater Lake glistens today. Many thousands of years ago molten rock from deep within the earth poured forth to build in the Cascade Range of southern Oregon lusty Mount Mazama, which the artist has re-created from geologic records. Its frequent explosions buried the surrounding landscape beneath pumice and ash, to be turned by the alchemy of millenniums into soil of remarkable fertility.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

Wind and light are forever altering the color of Crater Lake. Like rival artists seeking an impossible shade, they change their palettes with whimsical suddenness. One moment the gold of the sun may lie unbroken on the still water, the next a brush of breeze erases it and leaves a patch of dancing blue ripples. The small, rocky island close to the shore is Phantom Ship.

Illustrated "Crater Lake and Yosemite Through the Ages," National Geographic, March 1937.

Eugene Kingman loved the spirit of the National Parks. During 1936 he was invited to use his combined scientific and artistic background to illustrate 7 paintings of Yosemite and 6 paintings of Crater Lake National Park in an intriguing geographical article by Dr. Wallace W. Atwood, featuring these 13 paintings in the March 1937 issue of National Geographic Magazine. The title of this article is "Crater Lake and Yosemite Through the Ages" and the full article can be accessed via this link.

Several million years later the entire region was raise and tilted. In response to this increased elevation the Merced River cut a broad V-shaped valley below its former plain. Such landmarks as El Capitan and Half Dome then became prominent features.

Shown at the Mesa Verde museum in 1937.

Exhibited in the Mesa Verde Museum in 1937. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Mesa Verde National Park.

View of Navajo Canyon at Mesa Verde National Park, Colorado, where Kingman met his wife, Elizabeth Yelm, a Park Ranger there. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Navajo Canyon, Mesa Verde National Park.

Taylor Glacier - Rocky Mountain National Park, Colorado. Mountains with view of a distant glacier. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Taylor Glacier.

Melting Snows (1950) is similar. See Providence Journal, 25 January 1953. Exhibited May, 1951 at Associated Artists of Omaha show, and at Providence Art Club, Providence, R.I. in January, 1953.

Spier Farm, west of Omaha

Snowy landscape of the Spier Farm west of Omaha, Nebraska with a red snow fence in the foreground. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019. Donated to the Museum of Nebraska Art in Kearney, Nebraska.

Wintery Scene near Omaha.

Scene near Omaha

Also known as Lucy's View.

Commissioned by Mr. & Mrs. John Merriam, also known as "Lucy's View"

Scene At John Merriam's former home in Omaha, Nebraska

Fields west of Omaha

Published in Omaha World Herald Magazine Section, 22 June 1953. Purchased by Mrs. Leroy Crosby in 1976.

Scene near Omaha

View of a hillside farm in rural Nebraska. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Nebraska landscape.

Scene near Omaha

Scene near Omaha

Purchased from the Des Moines Art Center Invitation Show

Commissioned by Mr. & Mrs. Daniel Campbell of Omaha, who had a summer place near the scene.

Scene as titled

Commissioned by Mr. Dan W. Campbell.

Scene near Bennington, Nebraska

Exhibited at the Audubon Artists show in New York in January, 1956, and at the Association of Omaha Arts show in September, 1956.

Platte Valley near Omaha

Corn crib with farm in background near Omaha

Fields west of Omaha

Late harvest scene near Omaha, Nebraska. Kingman enjoyed capturing the late afternoon lighting on his canvas during painting picnics with his family. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Nebraska landscape.

Purchased by Northern Natural Gas Co. for its collection in 1959.

Road and gate near Omaha

Late summer country scene near Omaha, Nebraska. After work Kingman enjoyed capturing with his paint brush the late afternoon colors during painting picnics with his family members. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Nebraska landscape.

Also called Gray Day on the Elkhorn.

Scene near Omaha

Scene near Omaha

Late Fall scene near Omaha, Nebraska. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Nebraska landscape.

One of a pair, Nebraska Prairie Land, commissioned in 1958.

Commissioned by Mr. Ray Ginn of Omaha, who wished to display this picture and "Nebraska Prairie Land, Corn Harvest" as a pair.

Fall scene near Omaha

One of a pair, Nebraska Prairie Land, commissioned in 1958.

Commissioned by Mr. Ray Ginn of Omaha, who wished to display this picture and "Nebraska Prairie Land, Corn Cribs" as a pair.

Fall scene near Omaha

Also called Missouri River.

Commissioned by Mrs. Jasper Hall of Omaha

Also called "Missouri River Near Tekamah, Nebraska." Missouri River looking north of Blair, Nebraska near Tekamah.

Near Omaha

Commissioned for the lobby of the Omaha Country Club.

Commissioned by the Board of the Omaha Country Club for their lobby. Years later given to the Joslyn. Exhibited at special auction and sold for $3,000.00 to the head of Valmont Industries at Valley, Nebraska. Proceeds benefited the Women's Assn. Fund for the Museum.

Composite of scenes in Nebraska

Commissioned by Dale and Kay Clark for gift to Henry Doorly

The Henry Doorly residence near the University of Omaha

Like the "en plein air" painters of today, Eugene Kingman resonated with the spirit of painting landscape scenes (especially ones with corn) right on location in the fields outside of his home in Omaha Nebraska, where he was Director of the Joslyn Art Museum. This honored work was exhibited at the Audubon Artists' 19th Annual Exhibition in 1961 in New York City. It was later chosen by a jury for a 1970 calendar, sponsored by the Northwestern Bell Telephone Company.

This painting, an oil on canvas, was painted in 1961 near Omaha, Nebraska during one of many Sunday "painting picnics" he and his family would enjoy. Later during 1969 Northwestern Bell Telephone Co. assembled a jury panel to select 12 Omaha artists to submit paintings that would be suitable for each month of the year. This painting was chosen for November in the published 1970 calendar.

Commissioned by Willis A. Strauss, President and Chairman of the Board of Northern Natural Gas Co. in Omaha

Memorial Park on West Dodge Street in Omaha, Nebraska

Commissioned by Officers' Wives Club for presentation to General and Mrs. Curtis LeMay, Commanding General of the Strategic Air Command, near Omaha upon his retirement. Reported in January 26, 1965 Omaha World Herald

Fall scene in fields near Omaha

Commissioned by the University of Omaha Faculty & Staff Committee, for presentation to Dr. Milo Bail, retiring President of the University. Described in the Omaha World Herald, January 18, 1965. Donated to Joslyn in May, 1984. Currently on display in the Nebraska Governor’s Mansion.

Herbert Davis farm, west of Omaha.

Exhibited in January, 1966 at the Omaha Civic Opera Exhibition

Field of corn near Omaha

Also called Ten Mile Road.

Donated to the Omaha Symphony fund raiser.

West of Omaha. Also called "Ten Mile Road."

Commissioned by Burlington Railroad Executive, Mrs. Ellsworth Moser, as a memorial to her husband who was a director of the Burlington Railroad. The painting was installed in the Executive Car used by the Directors of the Railroad.

Burlington Raliroad track west of North Platte, Nebraska

View of a Nebraska farm featuring four silos amidst cloudy skies. Note: In 1965 following a severe toxic reaction to turpentine in his blood stream, Kingman was advised by his doctor to switch from oil to water-based acrylic paints in all his future artwork. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Nebraska landscape.

White Farm near Omaha

Farm near Omaha

Exhibited at the Texas Fine Arts Association, Region 20 Citation Exhibition, sponsored by the Lubbock Art Association - March 28 to May 4, 1972 at the Garden and Arts Center in Lubbock, Texas. Kingman received an award. Exhibited also at the Texas Fine Arts Association Annual State Citation Show - June 7 to July 6, 1972 at the Laguna Gloria Art Museum in Austin, Texas. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019. Note: In 1965 following a severe toxic reaction to turpentine in his blood stream, Kingman was advised by his doctor to switch from oil to water-based acrylic paints in all his future. artwork.

View of the Spier Farm near Omaha, Nebraska.

Sketch of a painting (called "Corn Country #2"), which was displayed at the Texas Fine Arts Assn. Annual State Citation Show in 1972, Austin, Texas. Also exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

View of the Spier Farm near Omaha, Nebraska.

Displayed in Senator Hruska's office in the Senate Office Building in Washington, D.C.

Farm and hills near Omaha

Displayed in Senator Hruska's home.

Farm near Omaha

Also called West of Big Springs.

Commissioned by U.S. National Bank in Omaha

Looking at the plains east of Denver. Also called "West of Big Springs."

South of Lubbock, Texas. This painting won Best-of-Show, Top Prize Award, and a trip to Europe for Betty and Eugene. The juried exhibit was that of the Texas Fine Arts Association 62nd Annual National Exhibition, open to all artists of the U.S.!

Also called Nebraska Farm Landscape.

Fields west of Omaha. Also called "Nebraska Farm Landscape.

Barn in Sugar Hill, New Hampshire. Exhibited at the Cassan Galleries - March, 1933. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

New England Scene.

Sketch of the Peterborough Church in Peterborough, New Hampshire. Exhibited in the following venues: Providence Art Club (1934), New Haven Club (1935), Boston Art Club (1935), and Vassar College(1936). Also exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

New England church.

View of a saw mill in an undetermined location. This piece reflects Kingman's style of painting in the 1930s while he was living in New England and traveling in the Western U.S. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Western landscape.

Foster Sterns house in New Hampshire. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

New England scene.

View of the South Ridge of Mt. Monadnock near Jaffrey, New Hampshire. Kingman spent many summer vacations with his family at his father's beloved farm in Jaffrey. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Rural New England landscape.

View of the South Ridge of Mt. Monadnock near Jaffrey, New Hampshire. Kingman spent many summer vacations with his family at his father's beloved farm in Jaffrey. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

New England landscape.

Rural scene near Jaffrey, New Hampshire, with a distant farmhouse and a country fence in the foreground. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

New England landscape.

Distant view of Mesa Verde National Park, Colorado. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Colorado landscape.

View featuring a butte amidst abundant sagebrush in the foreground. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Southwest landscape.

Scene near Aspen, Colorado, featuring mountains and sagebrush. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Southwest landscape.

Sketch (8"x10") and Finished Painting (9"x12"). The Meadows Resort in Aspen, Colorado, where Kingman was invited to be a participant at the Aspen Institute For Humanistic Studies in July, 1959.

The Meadows Resort.

Kingman painted this piece during a trip to the Gila Mountains in the Yuma County, Arizona area during 1970. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Southwest landscape.

Sketch of a larger "California Hills" painting which Kingman completed in his home studio. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Foothills near Carmel.

Commissioned by the Board of Directors, Gates Rubber Company of Denver, CO, for presentation to Mr. Charles C. Gates, President of the Company.

Carmel, California.

Wind River Mountains, Montana - 1934

Exhibited at the Baker Gallery of Fine Art in Lubbock. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Distant view of Grain Elevators amidst a dramatic sky near Lubbock Texas.

Quebec, Canada

French waterway scene. Exhibited at the Providence Art Club in 1927. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Fishing boats in Brittany.

Bordeaux, France

Bay of Biscay

Rochelle, France - 1927

Roman Aqueduct crossing the Gardon River

Vers-Pont-du-Gard - France - 1927

Plymouth, England 1927

One of Kingman's last paintings while visiting family members in Australia. Exhibited at the Baker Gallery in Lubbock, Texas. Exhibited as part of the Gallery 1516 "Plein Air Artists" exhibit in Omaha, Nebraska, 2019.

Beach scene in Tasmania, Australia.

Pittwater Estuary

Avalon, New South Wales - Australia - 1972

Clifton Beach

Hobart, Tasmania - Australia - 1972

Newport Beach, New South Wales - Australia - 1972

Also known as Quetzalcoatl, after the carving at Teotihuacan.

Quetzalcoatl, or The Feathered Serpent, from Temple at Teotihuacan, Mexico. Toltec II Period.

Printed from stone.

The Library of Congress bought an impression in 1943 for its Joseph Pennell Collection.

Printed from stone in the studio. Purchased by the Library of Congress in 1943 for the Joseph Pennell Collection. Also owned by the Joslyn Art Museum, Omaha, NE.

Printed as the Kingmans' Christmas card in 1946, their first in Nebraska.

Lithograph made into Eugene and Elizabeth's greeting card as new residents of Nebraska.

Eugene Kingman painted five murals for the Post Office in Hyattsville, Maryland. These murals have been described in "Maryland and Delaware Off the Beaten Path" as "... depict[ing] the working man in heroic proportions. They reflect the remains of the agricultural and pastoral quality of the Hyattsville lifestyle that still existed in 1937, when Kingman used such muralist techniques as stylized horses, foreshortening, and a decorative cornstalk border."

Mural on the right-hand wall of the Post Office.

This mural shows a church near Hyattsville.

This mural depicts an isolated farmhouse.

Left- and right-hand panels showing rural mailboxes.

Farming scene. Left and right images are connected in the mural by a section that extends above the intervening doorway.

Eugene Kingman painted three murals of the Post Office in Kemmerer, Wyoming. These murals depict archeological excavations in this area of Wyoming.

Mastodon bones excavated from the Kemmerer fossil beds, along with an imagined reconstruction of the mastodon and other prehistoric animals. Below these images is a strip showing the landscape around Kemmerer. This mural is positioned above the service windows and to the left. Below the mural you can see the names of stops along the railroad that reaches Kemmerer.

Workers uncovering fossils from the Kemmerer beds.

Eugene Kingman painted three murals of the Post Office in Kemmerer, Wyoming. These murals depict archeological excavations in this area of Wyoming.

Workers excavating a mastodon from the fossil bed. This mural hangs on the left wall of the Kemmerer Post Office.

Details from the "Excavation" mural, showing a landscape of the region around Kemmerer from the mural's upper right corner, and two of the tools -- a brush and a pick -- used by the archeologists.

Eugene Kingman painted three murals of the Post Office in Kemmerer, Wyoming. These murals depict archeological excavations in this area of Wyoming.

Marine animals whose fossils were excavated from the Kemmerer fossil beds. The strip at the bottom of the mural continues the Kemmerer landscape shown in the adjoining mural. This mural is positioned above the service windows and to the right. Below the mural you can see additional names of stops along the railroad through Kemmerer.

The East Providence, Rhode Island Post Office contains three murals by Eugene Kingman. To the left, as one enters, is a depiction of a violent hurricane striking the region. On the central wall, above the main counter, is a scene of the industrial landscape along the Seekonk River. And to the left, there are pictures of East Providence industry.

Industrial scenes around East Providence. One quarter of the right side of the mural has been removed from the wall, following water damage to the underlying plaster.

The East Providence, Rhode Island Post Office contains three murals by Eugene Kingman. To the left, as one enters, is a depiction of a violent hurricane striking the region. On the central wall, above the main counter, is a scene of the industrial landscape along the Seekonk River. And to the left, there are pictures of East Providence industry.

A violent storm is sweeping away people, houses and animals.

Black and white photograph.

The East Providence, Rhode Island Post Office contains three murals by Eugene Kingman. To the left, as one enters, is a depiction of a violent hurricane striking the region. On the central wall, above the main counter, is a scene of the industrial landscape along the Seekonk River. And to the left, there are pictures of East Providence industry.

Industrial landscape along the Seekonk River.

Commissioned for the lobby of The New York Times, where it hung for more than 40 years.

While working at Joslyn Art Museum in Omaha, one of Eugene Kingman's most noteworthy commissions was received in 1947, when he was invited by Mr. Arthur Sultzberger, Sr., CEO of the New York Times, to paint a large mural. Using his own skills with maps and murals and consulting with a cartographer, Kingman painted a vast and accurate view of the earth, a challenge since no one in the mid-1940s had ever seen what the earth looked like from space. He added a number of red dots on the map to mark important world cities, like New York, Paris, Tokyo and Omaha, his beloved home at the time. The mural was installed in the lobby of the New York Times building in 1948, and for the next forty years the art inspired generations of reporters, Times staff members and newsmakers who came to call at the venerable newspaper. The New York Times took down the mural during a lobby renovation in the late 1980s and after years in the Times archives, the mural was donated to the Joslyn Castle Trust in Omaha. After a community effort to get the mural back to Omaha spearheaded by Maureen McCann Waldron, it arrived in May 2014, and was restored at the Ford Conservancy Center in Omaha. At the publisher's request, Kingman added the lines of poetry, which remain timeless and uplifting: "Every day is a fresh beginning. Every morn is the world made new."

This shows the left side of the mural after it was removed from the Lobby of the New York Times and before restoration work was begun.

Eugene Kingman working on the mural commissioned for the lobby of the New York Times.

View of the mural hanging in the lobby of the New York Times in the 1940's.

School group playing the New York Times Lobby in the 1960's. Kingman mural is visible on the back wall.

The Kingman NYT mural was dedicated at the Dale Clark Library during a presentation by Maureen McCann Waldron on June 16, 2016. The Kingman daughters (Elizabeth Anne Kingman and Mixie Kingman Eddy), and grandson, Quinlan Kingman Eddy were present.

Maureen Waldron speaking at the dedication ceremony in the Dale Clark Library in Omaha on June 16, 2016.

The Kingman/New York Times Mural was dedicated on June 16, 2016 at the Dale Clark Public Library in Omaha during a presentation by Maureen McCann Waldron. The Kingman daughters (Elizabeth Anne Kingman and Mixie Kingman Eddy), grandson, Quinlan Kingman Eddy, and nephew, Lou Kingman, were present.

View of the left side of the mural, as displayed in the Dale Clark Library in Omaha.

View of the right side of the mural, as displayed in the Dale Clark Library in Omaha.

Eugene Kingman Collection LLC Co-Directors - Quinlan Kingman Eddy, Mixie Kingman Eddy and Elizabeth Anne Kingman with Maureen McCann Waldron during the mural unveiling reception. Two of Kingman’s paintings are displayed in the background.

Kenneth Bé working to restore the NY Times mural.

Designed while Kingman was chief of the Map Division at the Office of Strategic Services.

Cartoon from the Yale Record. Volume 57, Number 9 (February 27, 1929).

Kingman's extraordinary talent for architectural illustration is already evident, here depicting the interior of the Sterling Memorial Library at Yale and coupled with an amusing gag.

Cartoon from the Yale Record. Volume 59, Number 6 (December, 1930).

Co-credit to RGS, whose identity is unknown.

Cartoon from the Yale Record. Volume 59, Number 4 (December 10, 1930).

Construction humor - doubtless a common sight on campus in the early 1930's.

Cartoon in the Yale Record. Volume 58, Number 12 (April 16, 1930).

Neat gag. Considerable work in rendering the library building.

Cartoon from the Yale Record. Volume 59, Number 1 (October 8, 1930).

Another view of the interior of the Sterling Memorial Library.

Cartoon from the Yale Record. Volume 59, Number 4 (November 19, 1930).

Student distinguishes his room from the others.

Cover illustration for the Yale Record. Volume 58, Number 16 (June 4, 1930).

Wonderful gag about the newly constructed Payne Whitney Gym. The added credit "RDH" refers to Russel D. Hamilton, '31, also on the Yale Record.

Illustration from the Yale Record. Volume 59, Number 16 (June 3, 1931).

Beautiful rendering of the ghost of the old library being replaced by the new one.

Illustration from the Yale Record. Volume 59, Number 16 (June 3, 1931).

Illustration for a poem by "Glenn."

Poem and illustration from the Yale Record. Volume 59, Number 15 (May 27, 1931).

This illustration anticipates Kingman's majestic National Geographic landscapes. Kingman's poem criticizes the behavior of tourists at the Grand Canyon. The third verse confirms Kingman's authorship, as he was a geology major at Yale.

Illustration from the Yale Record. Volume 60, Number 2 (October 21, 1931).

Flawless rendering that beautifully captures how light streams into the main lobby of Grand Central Station.

Illustration for poem in the Yale Record. Volume 59, Number 13 (April 29, 1931).

Beautiful sketch. Sentimental poem by author "G.K.".

Cartoon from the Yale Record. Volume 59, Number 8 (February 11, 1931).

Harkness Hall was constructed in 1926.

Illustration from the Yale Record. Volume 59, Number 11 (March 25, 1931).

Cute poem, cute illustration.

Poem and illustration from the Yale Record. Volume 59, Number 15 (May 27, 1931).

Another delightful sketch.

Cover for the Yale Record. Volume 59, Number 11 (March 25, 1931).

Another detailed architectural drawing.

Illustration from the Yale Record. Volume 60, Number 10 (March 9, 1932).

Variation of the cover illustration from March 25, 1931.

Illustration of verses from the Yale Record. Volume 60, Number 10 (March 9, 1932).

Rougher rendering than other Kingman illustrations in the Yale Record. Verses by Tex McCrary and Hedges Macdonald.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.

Uncatalogued: a photograph from the family archive. Its title, date and details are not yet known.