28
Exhibitions%3D%22836%22
Painting
Mary Smith Booth (1744-1824)
Ralph Earl, 1751 - 1801
Earl, Ralph
United States
1751 - 1801
Male
38 x 31 in. (96.5 x 78.7 cm)
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overall
frame
Oil
Oil
1790
1790
1790
1600-1800, 18th century, paintings, portraits, women
Painting
left, center
1957.13
item
Memorial Art Gallery
9/8/1999
57.13SL1
slide
full
2 x 2
00/00/00
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57.13DI2
digital image
Memorial Art Gallery
Imaging Complete
3/13/2002
http://127.0.0.1:5000/Media/images/57.13_A1.jpg
glossy
full
8 x 10
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negative
full
2 x 2.5
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5 x 7
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57.13TR1
transparency
4 x 5
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57.13DI1
transparency
4 x 5
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57.13DI2
digital image
00/00/00
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Painting
William H. Macdowell
Thomas Eakins, 1844-1916
Eakins, Thomas
United States
1844 - 1916
Male
24 x 20 in. (61 x 50.8 cm)
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.
approximate installation dimensions
frame
.
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without frame
Oil
Oil
ca. 1904
1899
1909
1900-2000, 20th century, figure, men, paintings, portraits, Realism
Painting
Thomas Eakins painted multiple portraits of his father-in-law, William H. Macdowell. Eakins’s sensitive portraits and genre scenes defined American realist art at the end of the 19th century. His art and commitment to realism were enormously influential to the artists of the Urban Realist movement.
[Gallery label text, 2007]
Thomas Eakins was one of America's greatest painters, whose realistic portrayals of people at work and at play have become icons of American culture. He immortalized many friends and family members by using them as subjects, among them his father-in-law, William Macdowell, an engraver and self-styled philosopher, whom Eakins painted and photographed numerous times. In the Gallery's portrait, Macdowell's aged face, rendered with scrupulous care and detail, emerges from a somber background. In this direct and straightforward manner, Eakins suggests Macdowell's strength of character and distinctive personality.
[Gallery label text]
initialed, verso
1941.26
item
Memorial Art Gallery
9/8/1999
41.26TR1
Transparency
Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
41.26SL
slide
photo of Wm. Macdowell
2 x 2
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41.26SL1
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full
2 x 2
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41.26DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.26_A1.jpg
41.26DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26SL2
slide
photo of Mr. & Mrs. Wm Macdowell
2 x 2
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http://127.0.0.1:5000/Graphics/blank.gif
M425_p140.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p140.tif
M425_p140(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p140(10).tif
41.26DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/41.26_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Park at Evening
Arthur B. Davies, 1862 - 1928
Davies, Arthur B.
United States
1862 - 1928
Male
10 1/4 x 21 in. (26 x 53.3 cm)
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overall
frame
Oil
Oil
0
0
1900-2000, American art, natural environment, paintings, people in art
Painting
1931.12
item
Memorial Art Gallery
9/8/1999
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.12SL1
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full
2 x 2
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31.12DI1
digital image
full
2 x 2
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31.12DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/31.12_A2.jpg
Painting
Unfinished Portrait of Nathaniel Hurd (1729-1777)
John Singleton Copley, (Boston, MA?, 1738 - 1815, London, England)
Copley, John Singleton
United States
1738 - 1815
Male
29 3/8 x 24 5/8 in. (74.6 x 62.5 cm)
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.
frame opening
vertical
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approximate installation dimensions
frame
.
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Oil
Oil
ca. 1765
1760
1770
1600-1800, 18th century, artist portraits, artists, Colonial, men, paintings, portraits
Painting
Nathaniel Hurd (1730-1778), silversmith, goldsmith, and engraver, was a member of a distinguished Boston family of silversmiths. In addition to creating a number of silver pieces, he was well-known for his bookplates, which were designed for many distinguished colonial families including Loyalists and a signer of the Declaration of Independence, and were based on heraldic motifs (to which they may or may not have been entitled). Hurd also designed a plate for his own family, as well as bookplates for both Harvard and Dartmouth Colleges. The bookplates provide an unusual link to the social and intellectual climate of the times, and literally speak volumes about sociocultural aspirations of eighteenth-century America.
Hurd was a contemporary of Copley’s. This ca. 1765 portrait, Copley’s first to depict a fellow artisan in working costume, had been preceded by an earlier miniature that Copley had painted of Hurd in 1755.
[Gallery label text, 1996]
removed from stretcher, Now in curatorial fileremoved from stretcher, Now in curatorial file. Old exhibition label, mostly torn away
1944.2
item
Memorial Art Gallery
9/8/1999
44.2TR1
Transparency
Memorial Art Gallery
4 x 5
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44.2DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/44.2_A1.jpg
1copley1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/1copley1.tif
44.2DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.2_A2.jpg
Painting
Trial Scene
David Gilmour Blythe, 1815 - 1865
Blythe, David Gilmour
United States
1815 - 1865
Male
22 1/4 x 27 in. (56.5 x 68.6 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
ca. 1862-1863
1862
1863
1800-1900, 19th century, genre scenes, men, paintings, politics in art
Painting
Blythe’s painting shows a scene of frontier justice in a rough building serving as a courtroom. A backwoods “lawyer” at the center either defends or makes his case against a shackled prisoner at the right. However, some elements of the scene, including the onlookers—some armed with long guns, some distracted by a card game—and the pot and sack at the lower left labelled “tar” and “feathers,” reveal that this is an extrajudicial proceeding. The prisoner whittles unconcernedly while his fate is decided, suggesting that this is a typically satirical genre scene for Blythe, who made other paintings of farcical trials and caricatured politics.
[Gallery label text, 2019]
verso, Exhibition label, removed from painting and now stored in object file.illegible, lower left, Letters from the dealers and the permanent collection worksheet done in 6/78 claim that it is signed, but it is very difficult to read now.
1941.24
item
Memorial Art Gallery
9/8/1999
41.24TR1
Transparency
Memorial Art Gallery
4 x 5
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41.24SL1
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41.24DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/41.24_A1.jpg
41.24SL2
slide
detail
2 x 2
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M425_p80.tif
digital image
00/00/00
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M425_p80(10).tif
digital image
00/00/00
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glossy
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Painting
Steamship James Fisk, Jr.
James Bard, 1815 - 1897
Bard, James
United States
1815 - 1897
Male
29 1/4 x 49 1/2 in. (74.3 x 125.7 cm)
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Oil
Oil
1870
1870
1870
1800-1900, 19th century, boats, paintings, seascapes
Painting
The large steamship in this painting, the James Fisk, Jr., was a ferryboat with a side paddlewheel, decorated with oversized flags and at least six gold eagles. It was named for its owner, a powerful financier who lived a colorful life that was ended by a scandalous shooting. Fisk also owned the Bristol, which can be seen in the distance.
Known for his pristine depictions of ferries and steamboats, self-taught artist James Bard painted so accurately that it was said that shipbuilders could rebuild their boats based on his works.
[Gallery label text, 2002]
lower right
1965.60
item
Memorial Art Gallery
9/8/1999
65.60TR1
Transparency
Memorial Art Gallery
4 x 5
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65.60SL1
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full
4 x 5
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65.60DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/65.60_A1.jpg
65.60DI#2
digital image
9/7/2012
http://127.0.0.1:5000/Media/images/65.60_A2.jpg
Painting
Colonel Nathaniel Rochester
American artist, (active )
American artist
United States
Primary
Audubon, John James
United States
1785 - 1851
Male
Previous attribution
Previously attributed to
30 x 25 in. (76.2 x 63.5 cm)
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approximate installation dimensions
frame
.
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without frame
Oil
Oil
before 1831
1821
1830
1800-1900, 19th century, from Rochester collections, men, New York State & Local History, paintings, portraits
Painting
Long celebrated as our city’s founder, Nathaniel Rochester (1752–1831) was recently discovered to have bought and sold enslaved people while he lived in Maryland. Not only did Rochester buy and sell enslaved people in the South as a business venture, he continued to own and profit from the labor of enslaved individuals after moving north. In fact, he did so until New York State law made it impossible for him to continue in 1827. This information makes evident how insidious and enmeshed slavery was in the business life of the early nineteenth century, even in the northern states.
Many decades before Kodak gave us the snapshot, a portrait such as this one was a way for a privileged, white person of this period to capture their likeness for posterity. In comparison, the enslaved Black men, women, and children of Rochester’s household did not have their portraits painted. Their names, likenesses, and personal stories went largely unrecorded and most have not survived history—another example of the dehumanization of enslaved individuals during this period of American history.
[Gallery label text, 2021]
verso
1934.1
item
Memorial Art Gallery
9/8/1999
34.1TR1
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Memorial Art Gallery
4 x 5
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34.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/34.1_A1.jpg
glossy
full front
8 x 10
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3unknown2.tif
digital image
00/00/00
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M425_p30.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p30.tif
M425_p30(10).tif
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M425_p30_270%.tif
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digital image
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34.1DI#2
digital image
8/28/2012
http://127.0.0.1:5000/Media/images/34.1_A2.jpg
Painting
Gideon Granger (1767 - 1822)
Ezra Ames, 1768 - 1836
Ames, Ezra
United States
1768 - 1836
Male
29 1/4 x 23 in. (74.3 x 58.4 cm)
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.
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.
approximate installation dimensions
Oil
Oil
0
0
1800-1900, 19th century, from Rochester collections, Granger Family, Canandaigua, NY, men, paintings, portraits
Painting
1930.54
item
Memorial Art Gallery
9/8/1999
30.54TR1
transparency
4 x 5
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full
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30.54TR2
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4 x 5
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30.54DI1
digital image
2 x 2
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30.54DI2
digital image
full
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4phillips2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/4phillips2.tif
30.54DI#4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/30.54_A3.jpg
30.54DI#5
digital image
full
4/10/2006
http://127.0.0.1:5000/Media/images/30.54_A4.jpg
Painting
A Brace of Ducks
Richard LaBarre Goodwin, 1840 - 1910
Goodwin, Richard LaBarre
United States
1840 - 1910
Male
30 x 25 in. (76.2 x 63.5 cm)
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.
.
without frame
.
.
.
overall
frame
Oil
Oil
1885
1885
1885
1800-1900, 19th century, birds, by Rochester artists, paintings, still lifes, trompe l'oeil
Painting
lower right
1964.39
item
Memorial Art Gallery
9/8/1999
64.39TR1
Transparency
Memorial Art Gallery
4 x 5
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full
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8 x 10
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64.39DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/64.39_A1.jpg
64.39DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
RocStudio.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/64.39_R2.jpg
SyrStudio.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/64.39_R1.jpg
22haberle3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/22haberle3.tif
Painting
Torn-in-Transit with Woman's Photograph
John Haberle, 1856 - 1933
Haberle, John
United States
1856 - 1933
Male
14 x 12 1/8 in. (35.6 x 30.8 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1888-1889
1888
1889
1800-1900, 19th century, paintings, trompe l'oeil
Painting
lower right
1965.6
item
Memorial Art Gallery
9/8/1999
65.6TR1
Transparency
Memorial Art Gallery
4 x 5
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65.6DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/65.6_A1.jpg
65.6DI2
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Graphics/blank.gif
22haberle1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/22haberle1.tif
Painting
The Artist's Studio in an Afternoon Fog
Winslow Homer, (Boston, MA, 1836 - 1910, Prout's Neck, ME)
Homer, Winslow
United States
1836 - 1910
Male
24 x 30 1/4 in. (61 x 76.8 cm)
.
.
.
with frame
frame
Oil
Oil
1894
1894
1894
1800-1900, 19th century, paintings, seascapes, weather & water
Painting
In the course of his long and distinguished career, Winslow Homer shifted his focus from robust descriptions of American life to studies of interaction between man and the powerful forces of nature, particularly the ocean. This evocative painting of his studio at his family’s compound on the coast of Maine in Prout’s Neck, near Portland, is considered one of Homer’s most masterful works.
[Gallery label text, 2007]
A foggy day on the coastal peninsula of Prout's Neck, Maine, inspired Winslow Homer to paint one of his most elegant and contemplative works. His studio and family home stand silhouetted between the darker cliffs in the foreground and the paler sky. The painting's composition balances strong diagonal and horizontal elements in the lower half with a monolithic sky punctuated by a circle of sun.
Homer was known for his many paintings of rural America, as well as his illustrations of the Civil War. In 1883, Homer left New York City, where he had been living, and settled permanently in Prout's Neck. During his years there, he produced some of the most thrilling marine paintings in the history of American art.
[Gallery label text, 2006]
lower rightremoved, kept in file, Exhibition label for Panama-Pacific International Expositionremoved, kept in file
1941.32
item
Memorial Art Gallery
9/8/1999
41.32TR1
Transparency
Memorial Art Gallery
4 x 5
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41.32DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.32_A1.jpg
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detail-rocks
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41.32DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
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digital image
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digital image
00/00/00
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41.32DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
41.32DI#4
digital image
Memorial Art Gallery
Imaging complete
9/19/2019
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
Painting
Early Moonrise in Florida
July Moonrise in Florida (Eastman Catalog)
George Inness, (Newburgh, NY, 1825 – 1894, Bridge of Allan, Scotland)
Inness, George
United States
1825 - 1894
Male
24 3/8 x 36 1/4 in. (61.9 x 92.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1892-1893
1892
1893
1800-1900, 19th century, George Eastman Collection, landscapes, paintings
Painting
For George Inness, an adherent of the mystical Swedenborgian faith, landscape elements and colors had specific symbolic qualities. For example, he wrote that the moon is a ‘natural emblem of faith,’ reassuring the faithful that divine light still exists even though it is not directly visible in the night sky. In Inness’s philosophical system, blue is the color of faith.
[Gallery label text, 2007]
lower right
1936.61
item
Memorial Art Gallery
9/8/1999
36.61TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
separations
8 x 10
00/00/00
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neg
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.61DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/36.61_A1.jpg
26inness1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/26inness1.tif
36.61DI2
digital image
Memorial Art Gallery
4/17/2014
http://127.0.0.1:5000/Media/images/36.61_A2.jpg
Painting
The Garden
Ernest Lawson, 1873 - 1939
Lawson, Ernest
United States
1873 - 1939
Male
20 x 24 in. (50.8 x 61 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1914
1914
1914
1900-2000, 20th century, Ashcan School and friends, landscapes, paintings
Painting
While many early twentieth century American paintings celebrated buildings, bridges and the hustle and bustle of the city, tranquil subjects, including Ashcan artist Ernest Lawson’s Garden, filled canvases as well.
In documenting a formal garden owned by H.H. Rogers in exclusive Tuxedo Park, New York, Lawson chose rich and vivid colors that evoked the warmth and languor of a summer interlude. The view of the charming teahouse, complete with sculpture, suggests afternoons filled with genteel conversation and desultory reading, or spent drifting off to the sound of lapping water, far removed from the clamor of Lie’s nearby Brooklyn Bridge or Sloan’s Election Night.
[Gallery label text, 2007]
Ernest Lawson moved to New York in 1898, and in 1908 he exhibited at Macbeth Gallery with The Eight.
While this garden vista is an uncharacteristically intimate view by Lawson, it demonstrates his intense use of a color palette that was referred to as consisting of "crushed jewels." The painting was exhibited in 1916 at the Memorial Art Gallery, acquired from the exhibition by longtime MAG patrons, the Watsons, and generously donated to the Gallery in 1951. Long thought to be a Rochester garden, the subject was definitively identified by Deirdre Cunningham, the George Eastman House Nancy R. Turner landscape curator, as a garden in Tuxedo Park, New York. The current owners are in the process of restoring the garden, abandoned for many years, to its original beauty.
[Gallery label text, 2003]
lower left
1951.36
item
Memorial Art Gallery
9/8/1999
51.36TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/A1.51.36.jpg
51.36SL1
slide
full
2 x 2
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51.36SL2
slide
illustration in Architectural Forum
2 x 2
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4x5
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51.36SL4
slide
photo of current fountain
2 x 2
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http://127.0.0.1:5000/Graphics/blank.gif
51.36SL3
slide
photo of current garden
2 x 2
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51.36DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/51.36_A1.jpg
51.36SL5
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
The Garden1917.jpg
digital image
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TheGardenPlan.jpg
digital image
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TheGarden.jpg
digital image
00/00/00
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43lawson1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/43lawson1.tif
51.36DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.36_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/51.36_R4.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/51.36_R5.jpg
51.36DI#3
digital image
Memorial Art Gallery
9/16/2015
http://127.0.0.1:5000/Media/images/51.36_A3.jpg
Painting
London Bus Driver
Cabby or London Cabby
George Luks, 1867 - 1933
Luks, George
United States
1867 - 1933
Male
27 x 22 in. (68.6 x 55.9 cm)
.
.
.
without frame
Oil
Oil
1889
1889
1889
1800-1900, 19th century, Ashcan School and friends, Encyclopedia Britannica Collection, men, paintings, portraits
Painting
Luks, like Glackens, was originally from Philadelphia and moved to New York City in 1896. He was one of The Eight who exhibited together at Macbeth Gallery in 1908, and his painting of a boy with dice reflects his interest in depicting aspects of life in the lower classes. Here, a boy who looks to be no more than ten is smoking, more than likely earning his own living as a shoeshine boy, and supplementing his income by gambling.
The painting, inscribed To Elizabeth, was given by the artist to his student, Elizabeth Olds, who studied with him at the Art Students League in New York City. Elizabeth Olds was an accomplished printmaker and, like her teacher, believed in the importance of art for all people, not just the upper classes.
[Gallery label text]
lower leftverso
1951.9
item
Memorial Art Gallery
9/8/1999
51.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.9SL1
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full
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negative
4x5
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51.9DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.9_A1.jpg
51.9SL2
slide
detail of flower
2 x 2
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51.9TR2
transparency
4 x 5
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digital image
00/00/00
http://127.0.0.1:5000/Media/images/51.9_A2.jpg
51.9DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.9_A3.jpg
Painting
Judge and Mrs. Arthur Yates
Conversation Piece
M. M. Manchester, active ca. 1840
Manchester, M. M.
United States
active ca. 1840
Male
36 x 58 3/4 in. (91.4 x 149.2 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1840
1835
1845
1800-1900, 19th century, folk art, men, paintings, portraits, women
Painting
This grand portrait might have been a focal point in Judge and Mrs. Yates’s parlor. Judge Yates built the first steam saw mill in Tioga County, and was justice of the peace and postmaster.
Whether the furnishings, book, and clothing accurately depict the Yates’s possessions is impossible to say. They are meant to convince us of the pair’s position within the local gentry. Yards of satiny fabric held in place by a curtain holdback speak of luxury. Mrs. Yates’s jewelry, lace collar, cuffs and trimmed handkerchief, were the accoutrements of a lady of means. Judge Yates holds a book by English theologian William Paley entitled Natural Theology, a text regularly consulted by well-read gentlemen of the 19th century. While we know very little about Mr. Manchester, the artist, we can safely say that he was familiar with the grand tradition of portraiture that frequently placed subjects within ennobling, but not always authentic, settings.
[Gallery label text, 2002]
verso, Visible before relining
1941.30
item
Memorial Art Gallery
9/8/1999
41.30TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.30SL1
slide
full
2 x 2
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41.30DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/41.30_A1.jpg
41.30DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.30DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/41.30_A2.jpg
Painting
The Meadow Brook
Homer Dodge Martin, (Albany, NY, 1836 - 1897, St. Paul, MN)
Martin, Homer Dodge
United States
1836 - 1897
Male
14 1/2 x 24 in. (36.8 x 61 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1887
1887
1887
19th century, barns, landscape, trees in art
Painting
lower right
1951.39
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.39DI#1
digital image
6/26/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/51.39_I1.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
The Golden Carnival
Willard L. Metcalf, 1858 - 1925
Metcalf, Willard L.
United States
1858 - 1925
Male
36 x 39 in. (91.4 x 99.1 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
1910
1910
1910
1900-2000, 20th century, landscapes, paintings
Painting
lower left
1913.7
item
Memorial Art Gallery
9/8/1999
13.7TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.7DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/13.7_A1.jpg
glossy
8 x 7
00/00/00
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glossy
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13.7_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/13.7_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.7_R1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.7_R2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.7_R3.jpg
13.7DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/13.7_A3.jpg
Painting
Articles Hung on a Door
John Frederick Peto, 1854 - 1907
Peto, John Frederick
United States
1854 - 1907
Male
30 x 21 3/4 in. (76.2 x 55.2 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
after 1890
1891
1900
1800-1900, 19th century, paintings, trompe l'oeil
Painting
verso, Visible before re-lining.
1965.3
item
Memorial Art Gallery
9/8/1999
65.3TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.3SL1
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full
2 x 2
00/00/00
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full
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full
4 x 5
00/00/00
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65.3DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/65.3_A1.jpg
65.3TR2
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
22haberle2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/22haberle2.tif
65.3DI2
digital image
8/6/2014
http://127.0.0.1:5000/Media/images/65.3_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Election Night
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 3/8 x 32 1/4 in. (67 x 81.9 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1907
1907
1907
1900-2000, 20th century, Ashcan School and friends, movement, paintings, politics in art
Painting
This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night.
[Gallery label text, 2007]
John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging.
On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene.
Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.”
[Gallery label text, 2003]
lower left
1941.33
item
Memorial Art Gallery
9/8/1999
41.33TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL2
slide
detail-central group
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL1
slide
full
2 x 2
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41.33DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/41.33_A1.jpg
41.33SL3
slide
detail- lady in red
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL4
slide
detail-man with false nose
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL5
slide
detail-streetlight
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36sloan1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/36sloan1.tif
Painting
Chinese Restaurant
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 x 32 1/4 in. (66 x 81.9 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, Ashcan School and friends, cats, Encyclopedia Britannica Collection, important MAG collections, paintings
Painting
John Sloan’s interest in the working class was not only aesthetic, it was also political. By 1909, Sloan was an active member of the Socialist party and used his art to shine a light on the equally noble and interesting lives of the lower classes. Marrying style to subject, Sloan’s loose brushwork and dark colors epitomize the Ashcan style.
[Gallery label text, 2007]
In 1909, many artists and collectors would not have considered a Chinese restaurant to be an appropriate subject for a painting. The artist, John Sloan, was part of a group of artists labeled “Ashcan” painters early in the century, because of their frequent choice of the less genteel aspects of urban life. Now, Sloan’s paintings are recognized as major documents of American life and this painting, like many others on view in this installation, is often loaned to museums in the United States and overseas.
Also called “The Eight,” Sloan and his seven colleagues exhibited together in a landmark show at Macbeth Gallery in 1908 in response to the jurying system of the National Academy and its more traditional members that frequently excluded less conventional artists.
It’s amusing to consider that in 1943, when the Encyclopedia Britannica collection was being assembled, that a painting created in 1909 would be considered contemporary. However, it may have been included in recognition of the fact that John Sloan painted his contemporary world as he saw it. In fact, in 1943, the freshness of Sloan’s style and the timeless nature of the scene painted thirty-four years previously did not seem out of keeping with many works from the 1940s. And Sloan was still quite an active artist at this point in his life.
[Gallery label text, 2006]
As recommended by his mentor, painter Robert Henri, John Sloan derived most of his subjects from close observation of his surroundings. Such was the case on the night of February 23, 1909, when he went out to eat at a restaurant on Sixth Avenue, not far from Herald Square. He wrote, “I saw a strikingly gotten up girl with dashing red feathers in her hat playing with the restaurant's fat cat. It would be a good thing to paint. I may make a go at it.” Characteristically, Sloan waited for a bit before undertaking the work, and on March 15 wrote, “I started a memory painting of the Chinese Restaurant girl I saw some four weeks ago." His intermittent working style is revealed by a diary entry on March, 18, in which he described not only working on the painting, but going to the restaurant again to “refresh my memory of the place.”
In 1944, the painting joined a corporate collection of outstanding contemporary art formed by the Encyclopedia Britannica. In 1951, the Memorial Art Gallery acquired fourteen paintings from the collection – this painting and work by Thomas Hart Benton, Georgia O'Keeffe, and Stuart Davis, among others.
[Gallery label text, 2003]
lower left
1951.12
item
Memorial Art Gallery
9/8/1999
51.12TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.12TR2
transparency
8 x 10
00/00/00
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51.12DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/51.12_A1.jpg
51.12SL2
slide
detail-cat
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.12SL3
slide
detail- man
2 x 2
00/00/00
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51.12SL4
slide
detail-woman
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
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51.12TR3
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36sloan3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/36sloan3.tif
51.12TR2
transparency
Full
4 x 5
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51.12DI#2
digital image
6/1/2009
http://127.0.0.1:5000/Media/images/51.12_A2.jpg
Painting
Russell Sturgis (1750 - 1826)
Gilbert Stuart, (Saunderstown RI, 1757 - 1828, Boston)
Stuart, Gilbert
United States
1757 - 1828
Male
28 3/4 x 24 1/8 in. (73 x 61.3 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1806
1801
1811
1800-1900, 19th century, artist portraits, artists, men, paintings, portraits
Painting
Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill.
[Gallery label text, 2007]
1941.34
item
Memorial Art Gallery
9/8/1999
41.34TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.34SL1
slide
full
2 x 2
00/00/00
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41.34DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/41.34_A1.jpg
41.34SL2
slide
xray of damage
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Elizabeth Perkins Sturgis (1756 - 1843)
Gilbert Stuart, (Saunderstown RI, 1757 - 1828, Boston)
Stuart, Gilbert
United States
1757 - 1828
Male
28 3/4 x 23 1/8 in. (73 x 58.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1806
1801
1811
1800-1900, 19th century, paintings, portraits, women
Painting
Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill.
[Gallery label text, 2007]
1941.35
item
Memorial Art Gallery
9/8/1999
41.35TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.35SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
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glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.35DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/41.35_A1.jpg
41.35TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Anne Mumford Palmer
Abbott Handerson Thayer, 1849 - 1921
Thayer, Abbott Handerson
United States
1849 - 1921
Male
24 x 19 1/2 in. (61 x 49.5 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
1879
1879
1879
1800-1900, 19th century, figure, flowers in art, paintings, portraits, women
Painting
A vision of fresh beauty in her portrait, Anne Mumford Palmer lived a life that was hardly placid. Born to a Rochester lawyer and his wife, Palmer moved to New York City after her father became the treasurer of Western Union. She was a good friend of the distinguished American writer Henry Adams and his wife, Clover.
An adventurous marriage to Englishman E. Nelson Fell included draining swamps in Florida to build a British colony called Fellsmere. Four years were spent with their three children on the Siberian steppes where Nelson Fell supervised a mining operation.
When Anne Mumford Palmer, age 22, was painted by Abbott Thayer, newly returned from studying in France, her life lay ahead of her like a limitless ocean. When she sold the painting to MAG founder Emily Sibley Watson in 1930, she was nearing the end of her remarkable journey, and would die seven years later. More remains to be learned about an interesting life.
[Gallery label text, 2009]
versoupper right
1951.37
item
Memorial Art Gallery
9/8/1999
51.37SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.37DI1
digital image
7/19/2000
http://127.0.0.1:5000/Media/images/51.37_A1.jpg
51.37sig.jpg
digital image
detail of signature
00/00/00
http://127.0.0.1:5000/Media/images/51.37_A2.jpg
51.37sig2.jpg
digital image
detail of signature
00/00/00
http://127.0.0.1:5000/Media/images/51.37_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/51.37_R1.jpg
Painting
Outlet of Lake George
Outlet of Lake George - Rogers Rock in the Distance
Jacob C. Ward, 1809 - 1891
Ward, Jacob C.
United States
1809 - 1891
Male
21 3/4 x 30 in. (55.2 x 76.2 cm)
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.
.
overall
frame
.
.
.
without frame
Oil
Oil
ca. 1840
1835
1845
1800-1900, 19th century, American art, landscapes, movement, paintings, trees in art
Painting
1947.19
item
Memorial Art Gallery
9/8/1999
47.19TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.19SL1
slide
full
2 x 2
00/00/00
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neg
4x5
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glossy
8x10
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neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.19DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/47.19_A1.jpg
47.19SL2
slide
detail of figure
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.19DI#2
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/47.19_A2.jpg
Painting
Study for "Christ Rejected"
Benjamin West, 1738 - 1820
West, Benjamin
United States
1738 - 1820
Male
30 7/8 x 42 1/8 in. (78.4 x 107 cm)
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.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1811
1811
1811
1800-1900, 19th century, Christ, paintings, Pontius Pilate, rejection
Painting
According to the Christian gospels, Jesus was brought before Caiaphus and his fellow high priests, who rejected Jesus and gave him to Pilate to be crucified. Even today, among contemporary clergy and theologians, there is debate about the historical circumstances of Christ's death.
Benjamin West depicted the traditional narrative in a compressed manner, bringing together elements of the events that were to follow: the crucifix and the instruments of the passion lie in the foreground; Mary, the mother of Jesus, and Mary Magdalene anticipate Jesus' suffering with looks of sorrow and horror; Roman soldiers stand by with spears.
The artist was born in pre-Revolutionary Philadelphia, studied in Italy, and settled permanently in England, where he became the second president of the Royal Academy of Arts. He became known for his dramatic historical and religious subjects. West taught the first generation of American artists, including Gilbert Stuart and Matthew Pratt. The finished version of Christ Rejected is monumental, at 16' x 23', and it hangs at the Pennsylvania Academy of the Fine Arts in Philadelphia.
[Gallery label text, 2004]
lower center
1964.59
item
Memorial Art Gallery
9/8/1999
64.59TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.59SL1
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full
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glossy
full
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glossy
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glossy
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negative
full
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.59DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/64.59_A1.jpg
64.59SL2
slide
detail, 1
2x2
00/00/00
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64.59SL3
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2x2
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detail, 9
2x2
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64.59TR2
Transparency
Memorial Art Gallery
4 x 5
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64.59DI#2
digital image
Detail
00/00/00
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64.59DI#3
digital image
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64.59DI#4
digital image
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64.59DI#5
digital image
Detail
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64.59DI#6
digital image
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64.59DI#7
digital image
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64.59DI#8
digital image
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64.59DI#9
digital image
Detail
00/00/00
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64.59DI#10
digital image
Detail
00/00/00
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64.59DI11
digital image
with frame
00/00/00
http://127.0.0.1:5000/Media/images/64.59_A11.jpg
Drawing
Deborah Leonard Holmes (Mrs. John Hendrickson Holmes, 1802-1872)
Micah Williams, 1782 - 1837
Williams, Micah
United States
1782 - 1837
Male
25 1/4 x 20 1/2 in. (64.1 x 52.1 cm)
.
.
.
overall framed size
frame
Pastel
Pastel
ca. 1820
1815
1825
1800-1900, 19th century, drawing, portraits, women
Drawing
1948.72
item
Memorial Art Gallery
9/8/1999
48.72SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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negative
4x5
00/00/00
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48.72DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/48.72_A1.jpg
48.72DI#2
digital image
3/25/2013
http://127.0.0.1:5000/Media/images/48.72_A2.jpg
Drawing
Micah Van Mater (ca. 1795-?) with Baby Joseph
Micah Williams, 1782 - 1837
Williams, Micah
United States
1782 - 1837
Male
25 x 21 in. (63.5 x 53.3 cm)
.
.
.
.
.
.
overall framed size
vertical
frame
Pastel
Pastel
ca. 1820
1815
1825
19th century, children, costume, drawing, portrait, women
Drawing
1948.74
item
Memorial Art Gallery
9/8/1999
48.74SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
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negative
4x5
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48.74DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/48.74_I1.jpg
48.74DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/48.74_A1.jpg
Drawing
John Stout Holmes (1762-1821)
Micah Williams, 1782 - 1837
Williams, Micah
United States
1782 - 1837
Male
25 x 21 in. (63.5 x 53.3 cm)
.
.
.
Pastel
Pastel
ca. 1820
1815
1825
19th century, costume, drawing, men, portrait
Drawing
1948.75
item
Memorial Art Gallery
9/8/1999
48.75SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
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glossy
5x7
00/00/00
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.75DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/48.75_I1.jpg