Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 16 works by Boardman Robinson in our catalogue
In short
The Boardman Robinson painting most people know is Nastasya Burns the Money (1933). Right after it come Horse Auction and Billy Sunday in Action (1915). Out of 16 works by Boardman Robinson in our catalogue, these 14 are the best known. Each one comes with its year, its museum and a short note on what makes it stand out.
Boardman exhibited this work at the American Fine Arts Society in January-February 1927.
The 2 museums that hold the most of the paintings on this page.
| Museum | City | Works by Boardman Robinson | Paintings from this list |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 2 | Christ and Socrates (mural study, The Law Givers, U.S. Department of Justice, Washington, D.C.), Menes, Moses, Hammurabi (mural study, The Law Givers, U.S. Department of Justice, Washington, D.C.) |
 Metropolitan Museum of Art |
New York | 1 | The Ivory Fan |
Pick a decade to see its standout piece.
Boardman exhibited this work at the American Fine Arts Society in January-February 1927.
Top of the list is Nastasya Burns the Money (1933). Right behind it: Horse Auction and Billy Sunday in Action (1915).
57 years old. Boardman Robinson was born in 1876, and Nastasya Burns the Money dates from 1933.
Nastasya Burns the Money, Horse Auction, Billy Sunday in Action, The Ivory Fan, Study for mural of A History of Commerce, Mountain Rhythm, Christ and Socrates (mural study, The Law Givers, U.S. Department of Justice, Washington, D.C.), Great Codifiers of the Law Marshall, the Constitution, Kent, study for mural, Department of Justice, Washington D.C, Coke, Magna Charta, Blackstone , sketch for mural for the United States Department of Justice and Menes, Moses, Hammurabi (mural study, The Law Givers, U.S. Department of Justice, Washington, D.C.). You'll find the year and the museum of each in the list above.
We have 16 works by Boardman Robinson in our catalogue, dated 1915 to 1946.
You'll find most of them in Smithsonian American Art Museum (Washington, D.C.) and Metropolitan Museum of Art (New York). The museum list above has the full breakdown.
In 1930s, more than any other time: 7 of the 14 pieces on this page date from then, Nastasya Burns the Money among them.
The earliest piece here is Billy Sunday in Action (1915); the most recent is Colorado, from the United States Series (1946).
You can see 2 of the pieces on this page at the Smithsonian American Art Museum, Washington, D.C., including Christ and Socrates (mural study, The Law Givers, U.S. Department of Justice, Washington, D.C.) and Menes, Moses, Hammurabi (mural study, The Law Givers, U.S. Department of Justice, Washington, D.C.).
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
Boardman Michael Robinson, known to many as Mike Robinson, was a man whose artistic soul was inextricably linked to the pulse of a changing world. Born on September 6, 1876, in the rugged landscapes of Nova Scotia, Canada, his journey eventually led him across borders and through various cultural epochs, ultimately establishing him as a profound voice in American art. His life was a tapestry woven from diverse threads: the disciplined training of European academies, the radical fervor of socialist journalism, and a deep, abiding reverence for the natural world. Robinson did not merely observe history; he sought to illustrate its struggles and celebrate its enduring resilience through a style that blended the sharp edge of social critique with the soft, expressive beauty of American Impressionism.
His artistic evolution was shaped by an international education that provided him with both technical mastery and a global perspective. After spending his formative years in England and Canada, Robinson moved to Boston in the 1890s, where he began his formal studies at the Massachusetts College of Art. However, it was the allure of Paris that truly refined his vision. Immersed in the prestigious atmosphere of the Académie Colarossi and the École des Beaux-Arts, he absorbed the rich traditions of French art. This period was particularly transformative, as he encountered the legacy of Honoré Daumier. The influence of Daumier’s political caricatures became a cornerstone of Robinson's approach, teaching him how bold lines and expressive brushwork could serve as powerful instruments for visual storytelling and social provocation.
As the 20th century unfolded, Robinson emerged as a vital figure in the American media landscape, particularly through his work with The Masses. This socialist newspaper served as a crucible for progressive ideals, and Robinson’s illustrations became the visual heartbeat of its mission. He possessed a rare ability to tackle the most pressing and often painful social concerns of the Progressive Era—labor disputes, racial injustice, and the horrors of war—with an unflinching honesty that refused to look away from discomfort. His cartoons were far more than mere political commentary; they were works of art that utilized sophisticated visual metaphors and symbolism to communicate complex moral urgencies to a broad, diverse audience.
In these illustrations, Robinson’s technique mirrored his convictions. He avoided the trap of prioritizing stylistic elegance over substantive truth, instead opting for a dynamic energy that captured the movement of social change. His work during this era cemented his reputation as one of the most influential political cartoonists of his generation, a creator who could provoke thought and incite action through a single, well-placed stroke of ink. This period of his life represents a profound intersection of art and activism, where the canvas became a site of resistance and a mirror held up to the injustices of society.
While his political work demanded attention, Robinson’s later years revealed a more contemplative side, one that found solace in the sublime majesty of the American landscape. Moving away from the sharp satire of the newsprint, he embraced the sweeping vistas of the West and the dramatic textures of the mountains. His 1933 masterpiece, Going West, serves as a poignant example of this transition. Created during the depths of the Great Depression, the painting depicts a man and woman navigating a vast desert landscape, embodying themes of hope, adventure, and the rugged determination required to survive an era of profound hardship. Through earthy tones and bold, expressive brushstrokes, he captured the very essence of the human spirit in motion.
This mastery of light and atmosphere extended into his watercolor works, such as his 1946 piece Colorado, where he utilized delicate washes and expressive lines to evoke the awe-inspiring power of nature. Furthermore, Robinson’s talent for large-scale storytelling found expression in his monumental mural projects. His sketches for the United States Department of Justice, including works referencing Coke, Magna Charta, and Blackstone, demonstrate his ability to weave historical narrative into architectural spaces. Through these diverse mediums—from the biting wit of a cartoon to the sweeping grandeur of a mural—Boardman Robinson left an indelible mark on the American visual identity, leaving behind a legacy that continues to inspire awe and reflection.
