50
Portfolios%3D%222527%22%20and%20Century%3D%2220th%20century%22
Sculpture
Abraham Lincoln
George Grey Barnard, 1863 - 1938
Barnard, George Grey
United States
1863 - 1938
Male
21 x 11 7/8 x 14 7/16 in. (53.3 x 30.2 x 36.7 cm)
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.
.
overall
Marble
Marble
ca. 1918
1913
1923
1900-2000, 20th century, Abraham Lincoln, heads, men
Sculpture
1986.5
item
Memorial Art Gallery
9/8/1999
86.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5SL1
slide
full frontal
2 x 2
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negative
8x10
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86.5DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/86.5_A1.jpg
86.5SL2
slide
full-back
2 x 2
00/00/00
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86.5SL3
slide
full profile-right
2 x 2
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86.5SL4
slide
full profile-left
2 x 2
00/00/00
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46barnard1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/46barnard1.tif
46barnard1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/46barnard1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/86.5_A2.jpg
86.5DI2
digital image
Three-quarter
00/00/00
http://127.0.0.1:5000/Media/images/86.5_A3.JPG
Painting
Autumn Brook
George Bellows, 1882 - 1925
Bellows, George
United States
1882 - 1925
Male
16 1/2 x 24 in. (41.9 x 61 cm)
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.
approximate installation dimensions
frame
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without frame
Oil
Oil
October 1922
10/1922
10/1922
1900-2000, 20th century, landscapes, paintings, Realism
Painting
With his unflinching paintings of brutal boxing matches and urban tenements, George Bellows made a name for himself in the early years of the century as a central Urban Realist artist. In this later painting, "Autumn Brook," the modernist influence of expressive color, space and line is visible in Bellows’ lyrical painting of the countryside near his summer home in Woodstock, NY.
[Gallery label text, 2007]
"Autumn Brook" contains the archetypal elements present in Bellows's finest Woodstock landscapes, including water, rolling hills, mountains, animal life, vegetation, and a dramatic sky. Bellows's choice of vivid colors celebrates the magnificence of nature and the artist's joy at finding himself immersed in it. The active brush strokes prove his ability to paint with a controlled sense of abandon.
[Gallery label text]
lower left, centerverso
2001.27
item
Memorial Art Gallery
1/31/2002
2001.27TR1
transparency
4 x 5
00/00/00
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2001.27SL1
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full
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negative
4 x 5
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2001.27DI1
digital image
Memorial Art Gallery
Imaging Complete
3/13/2002
http://127.0.0.1:5000/Media/images/2001.27_A1.jpg
2001.27DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.27TR2
transparency
full
8 x 10
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http://127.0.0.1:5000/Graphics/blank.gif
42bellows3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/42bellows3.tif
Painting
Evening Group
George Bellows, 1882 - 1925
Bellows, George
United States
1882 - 1925
Male
25 x 30 in. (63.5 x 76.2 cm)
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approximate installation dimensions
frame
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overall framed size
frame
Oil
Oil
1914
1914
1914
1900-2000, 20th century, Ashcan School and friends, leisure activities, paintings, Realism, seascapes
Painting
This painting portrays the artist with his wife, Emma, and daughter, Anne, on vacation on Monhegan Island off the coast of Maine. Two neighbor children occupy the right side of the canvas.
[Gallery label text, 2007]
In the summer of 1914, painter George Bellows convinced his wife, Emma, to travel to Monhegan Island off the coast of Maine along with their young daughter, Anne. There, he hoped to paint more of the stunning seascapes he had worked on so successfully in past years. Evening Group depicts Emma and Anne on the left, the artist in the middle, and two neighbor children on the right.
Based in New York City during much of the year, Bellows found that the harsh beauty of places like Monhegan Island provided him with subjects that contrasted dramatically with his acclaimed urban scenes. He first visited the island in 1911 in the company of his teacher and mentor, Robert Henri, and wrote enthusiastically to Emma: “The Island is only a mile wide and two miles long, but it looks as large as the Rocky Mountains. It’s three times as high as Montauk [Long Island] and all black and grey rock. Beautiful pine forests and wonderful varieties of all kinds…” In another letter, he lamented “my head is full of millions of great pictures which I will never have time to paint.”
[Gallery label text, 2005]
lower leftback of panel, Handwritten, capital letters, printed (not script) on back of panel.
1947.13
item
Memorial Art Gallery
9/8/1999
47.13TR1
Transparency
Memorial Art Gallery
4 x 5
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47.13CNEG1
negative
2 x 2
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47.13SL1
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full
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neg
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5x7
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glossy
5x7
00/00/00
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47.13DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/47.13_A1.jpg
47.13SL2
slide
full with frame
2 x 2
00/00/00
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47.13SL3
slide
photo in Art & Deocration Magazine 8/1915
2 x 2
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47.13SL4
slide
full with grid lines
2 x 2
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42bellows1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/42bellows1.tif
Painting
Boomtown
Thomas Hart Benton, 1889 - 1975
Benton, Thomas Hart
United States
1889 - 1975
Male
46 1/8 x 54 1/4 in. (117.2 x 137.8 cm)
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overall framed size
horizontal
frame
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without frame
Egg yolk and oil
Egg yolk and oil
1928
1928
1928
1900-2000, 20th century, American Scene/Regionalism, cityscapes, Encyclopedia Britannica Collection, paintings
Painting
Early in his career, Thomas Hart Benton was involved in the American abstract movement, Synchromism. In the 1920s, Benton embarked on a style that incorporated Synchromist rhythmic line and expressive color with representational imagery of rural America. With this major shift in style, Benton established the Regionalist movement. Many consider Boomtown to be the artist’s first Regionalist masterpiece.
[Gallery label text, 2007]
Boomtown is one of the masterpieces of the Gallery's collection because of its impressive and unique depiction of an American landscape. When Thomas Hart Benton sketched this panoramic scene from a second floor window, the smoky fire on the horizon signified progress, not pollution. Borger, Texas was a boomtown that sprang to life in 1926 after a refinery company hit a gusher that produced 5000 gallons of oil a day.
Benton is one of the three major American Regionalists (the other two are Grant Wood and John Steuart Curry), so called because most of their subjects were about life in the rural heartland of America.
While Benton was not a fan of contemporary modernist painting, and in fact disdained artists who painted in the abstract style, he couldn't help but be influenced by the curvy and streamlined aesthetic of his times and the way in which artists were reinterpreting three-dimensional space. Consider the way in which the people, buildings and landscape are layered from top to bottom on the canvas, rather than being laid out carefully from front to back in the manner of traditional artistic renderings.
[Gallery label text, 2006]
lower right
1951.1
item
Memorial Art Gallery
9/8/1999
51.1TR1
Transparency
Memorial Art Gallery
4 x 5
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51.1SL1
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51.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/51.1_A1.jpg
51.1SL2
slide
detail-two men
2 x 2
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51.1SL3
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detail-street
2 x 2
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51.1SL4
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detail-street corner
2 x 2
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51.1SL5
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detail-slightly cropped
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51.1SL
slide
detail-car
2 x 2
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51.1DI1
digital image
Memorial Art Gallery
Imaging complete
00/00/00
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51.1DI3
digital image
00/00/00
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52benton1.tif
digital image
00/00/00
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51.1DI4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A7.jpg
51.1DI5
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A8.jpg
51.1DI6
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A10.jpg
51.1DI7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A6.jpg
51.1DI8
digital image
Detail
6/11/2009
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digital image
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Watercolor
Cat-Eyed House
Snow-lit House
Charles Ephraim Burchfield, 1893 - 1967
Burchfield, Charles Ephraim
United States
1893 - 1967
Male
18 1/4 x 22 1/4 in. (46.4 x 56.5 cm)
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overall
frame
Watercolor and gouache
Watercolor and gouache
1918
1918
1918
1900-2000, 20th century, American Scene/Regionalism, houses, line, watercolors, winter
Watercolor
lower rightverso
1944.53
item
Memorial Art Gallery
9/8/1999
44.53SL1
slide
full
2 x 2
00/00/00
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44.53TR1
transparency
full
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2.5x3
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negative
4x5
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photographic print
2.5x3
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glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.53DI1
digital image
Memorial Art Gallery
Imaging Complete
3/13/2002
http://127.0.0.1:5000/Media/images/44.53_A1.jpg
44.53DI2
digital image
Memorial Art Gallery
00/00/00
http://127.0.0.1:5000/Media/images/44.53_A2.jpg
44.53DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47burchfield1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/47burchfield1.tif
Watercolor
Springtime in the Pool
Sun Reflected in the Pool
Charles Ephraim Burchfield, 1893 - 1967
Burchfield, Charles Ephraim
United States
1893 - 1967
Male
21 1/8 x 18 5/8 in. (53.7 x 47.3 cm)
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frame
Watercolor
Watercolor
1922
1922
1922
1900-2000, 20th century, American Scene/Regionalism, landscapes, spring, watercolors
Watercolor
lower right
1945.68
item
Memorial Art Gallery
9/8/1999
45.68TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
45.68SL1
slide
2 x 2
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8x10
00/00/00
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45.68DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/45.68_A1.jpg
47burchfield2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/47burchfield2.tif
Watercolor
Telegraph Pole
Charles Ephraim Burchfield, 1893 - 1967
Burchfield, Charles Ephraim
United States
1893 - 1967
Male
23 3/8 x 20 7/8 in. (59.4 x 53 cm)
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sheet
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overall
frame
Watercolor
Watercolor
1935
1935
1935
20th century, American Scene/Regionalism, MAG Lending Library, power lines, watercolors
Watercolor
As a symbol of American invention and progress, the telegraph pole and its wires frame a depressing landscape. The curved pole, clearly a tree cut down and stripped of its bark and limbs, is a powerful metaphor for the abuse that man and nature experience under the unstoppable momentum of industry. Railroad tracks lined by austere workers’ huts lead the viewer’s eyes back to an industrial inferno.
Buffalo artist Charles Burchfield felt a great deal of reverence for the natural world. His nuanced depictions of the industrial landscape were indictments of environmental abuse.
[label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012]
initialed, lower leftlower center, [Illegible] GERMANY
1947.105
item
Memorial Art Gallery
9/8/1999
47.105SL1
slide
full
2 x 2
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4x5
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47.105DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/47.105_A1.jpg
47burchfield3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/47burchfield3.tif
47.105DI2
00/00/00
http://127.0.0.1:5000/Media/images/47.105_A2.jpg
47.105DI#3
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/47.105_A3.jpg
Sculpture
Untitled Standing Mobile
Untitled Mobile
Alexander Calder, 1898 - 1976
Calder, Alexander
United States
1898 - 1976
Male
105 1/2 x 72 x 41 in. (268 x 182.9 x 104.1 cm)
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overall
complete object
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64.27a: blue/yellow
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64.27b: red
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67.24c: white
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64.27d: black
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64.27e: base
Iron
Iron
1935
1935
1935
1900-2000, 20th century, from Rochester collections, sculpture
Sculpture
Alexander Calder was one of the most important and influential sculptors of the twentieth century. He is best known for his mobiles, kinetic or moving sculptures usually painted in black and the primary colors of red, yellow, and blue.
Calder’s sculptures delight people of all ages for their charm, whimsy, and grace. If this mobile, with its rather bulky counter-weight, seems less graceful than some of Calder’s others, it may be because it is one of the earliest of his mobiles made for the outdoors. Created in 1935 of iron rather than the artist’s typical sheet metal, it is a very rare and relatively large early example. Soon after this, Calder would work in metal far less frequently. As the U.S. geared up for the World War II effort, metal became a very scarce material.
This sculpture was given to the Memorial Art Gallery by Charlotte Whitney Allen, who commissioned it in 1934 for her garden on Oliver Street in Rochester.
[Summer 2015]
1964.27
item
Memorial Art Gallery
9/8/1999
64.27TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.27TR2
Transparency
Memorial Art Gallery
In Situ 2000
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.27SL1
slide
full- in Gallery
2 x 2
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full-studio
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64.27DI2
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/64.27_A2.jpg
64.27DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/64.27_A1.jpg
64.27SL3
slide
in situ-1935
2 x 2
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64.27SL4
slide
full-in situ 2000
2 x 2
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2 x 3
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64.27DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/64.27_R1.jpg
57calder1.tif
digital image
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http://127.0.0.1:5000/Media/images/SeeingAmerica/57calder1.tif
57calder1(10).tif
digital image
00/00/00
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57calder5.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/57calder5.tif
64.27DI#4
digital image
1/11/2016
http://127.0.0.1:5000/Media/images/Inventory pictures/64.27_I1.jpg
64.27DI#5
digital image
1/11/2016
http://127.0.0.1:5000/Media/images/Inventory pictures/64.27_I2.jpg
Painting
Main Street Bridge, Rochester
Colin Campbell Cooper, (Philadelphia, PA, 1856 - 1937, Santa Barbara, CA)
Cooper, Colin Campbell
United States
1856 - 1937
Male
26 1/4 x 36 in. (66.7 x 91.4 cm)
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without frame
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overall
horizontal
frame
Oil
Oil
1908
1908
1908
1900-2000, 20th century, bridges, by Rochester artists, cityscapes, paintings, rivers, views of Rochester & western New York
Painting
Colin Campbell Cooper wrote an essay in 1911 where he recommended his wife’s home town of Rochester as a subject for artists: “Rochester is filled with subjects which need no other idealization to make beautiful than an eye receptive to the glory of light and color and the ability to register these things on canvas.” Here, the artist’s receptive eye captured from a northeast angle downtown’s Main Street Bridge in contrasting colors of warm brick and the cool water. The shops and offices on the Main Street Bridge over the Genesee River illustrate Rochester’s commercial boom in this era, where every inch of space was needed to support the businesses of the central city.
[Gallery label text, 2021]
lower left
1926.20
item
Memorial Art Gallery
9/8/1999
26.20TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
26.20SL1
slide
full
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negative
4 x 5
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26.20DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/26.20_A1.jpg
26.20DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/26.20_R1.jpg
26.20DI3
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26.20DI4
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26.20DI6
digital image
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26.20DI7
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/26.20_R6.jpg
26.20DI8
digital image
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http://127.0.0.1:5000/Media/images/related_images/26.20_R7.jpg
37cooper1.tif
digital image
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digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/26.20_I1.jpg
26.20DI#9
digital image
8/30/2012
http://127.0.0.1:5000/Media/images/26.20_A2.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/26.20_R8.pdf
Painting
Whitestone Bridge
Ralston Crawford, 1906 - 1978
Crawford, Ralston
United States
9/5/1906 - 4/27/1978
Male
40 1/4 x 32 in. (102.2 x 81.3 cm)
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.
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overall framed size
vertical
frame
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without frame
Oil
Oil
1939-1940
1939
1940
1900-2000, 20th century, bridges, Encyclopedia Britannica Collection, paintings, Precisionism
Painting
Ralston Crawford’s strong linear style and simplified form and palette in Whitestone Bridge are representative of the modern Precisionist style. Precisionist artists celebrated industrialization and technology with a visual language that evoked the purity and perfection of the machine.
[Gallery label text, 2007]
The Whitestone Bridge, linking The Bronx and Queens, was opened in 1939 just in time for the New York World's Fair. The suspension bridge routed travelers coming to the Fair from Upstate and New England away from the congestion of New York City. At the same time, Crawford was moving away from painting traditional landscapes and searching for a vocabulary that was closer in spirit to the streamlined, industrial aesthetic that he was observing in the world around him. The Whitestone Bridge was an excellent match for his artistic aspirations.
The sleek and futuristic lines of the Whitestone Bridge matched the Trylon and Perisphere logo of the World's Fair, which was intended to signify progress and the World of Tomorrow. By 1944, when this painting was acquired by the Encyclopedia Britannica Collection, the sleek and elegant Whitestone Bridge had become an icon of contemporary design.
The curator traveled to New York City to determine whether the bridge really looks as though it extends back into space with no land visible on the other side. And, in fact, Crawford's thrilling vantage point can be experienced by taking the bus across the bridge - for a brief instant, the first-time crosser experiences the view that Crawford recorded: a slim line of road, held up by wires, sailing across the water with no end in sight.
[Gallery label text, 2006]
lower right
Neelon Crawford
1951.2
item
Memorial Art Gallery
9/8/1999
51.2TR1
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Memorial Art Gallery
4 x 5
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digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/51.2_A1.jpg
51.2SL2
slide
photo of bridge from same vantage point
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Memorial Art Gallery
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digital image
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51.2DI#3
digital image
5/22/2013
http://127.0.0.1:5000/Media/images/51.2_A3.jpg
Painting
Woman in an Ermine Collar
Kathleen McEnery Cunningham, 1885 - 1971
Cunningham, Kathleen McEnery
United States
1885 - 1971
Female
76 7/8 x 38 3/8 in. (195.3 x 97.5 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, American art, Ashcan School and friends, by Rochester artists, paintings, portraits, women
Painting
Kathleen McEnery’s early training as an Urban Realist drew her to depict reality with an uncompromising eye. The artist was about twenty-two years old and living in Paris when she painted this bold and modern woman. McEnery lived in New York, Madrid, and Paris before she moved to Rochester, NY in 1914.
[Gallery label text, 2007]
Kathleen McEnery was about twenty-two years old and living in Paris when she painted Woman in an Ermine Collar. She lived and trained in New York, Madrid, and Paris before moving to Rochester in 1914. McEnery played a major role in Rochester’s cultural circles, and painted throughout her life while raising a family with her husband, Francis Cunningham of the Cunningham Car Company.
McEnery’s training with the American realist master Robert Henri drew her to depict with honesty the conditions of modern life. The result is this woman’s unapologetic presence. She is an embodiment of the New Woman – a cultural phenomenon of the growing women’s rights movement, of which the artist was an ardent supporter. The New Woman rebelled against traditional gender roles and was independent, confident, and physically active. As this woman’s dashing manner illustrates, she was equally as comfortable in the public domain as would be any man.
[Gallery label text, 2006]
In New York City, Kathleen McEnery studied with Robert Henri. She also studied abroad and exhibited two paintings at the controversial 1913 Armory Show in New York City. After her marriage to Rochesterian Francis Cunningham, whose family owned the Cunningham Carriage Factory, she continued painting in a studio off the family's home on 10 South Goodman St., now on the campus of the Rochester Museum and Science Center. As Mrs. Cunningham, she was a member of the Gallery's Board of Managers from 1927 through 1971.
The model's direct and intelligent expression and forthright pose suggests the "new woman," ready to be a participant in contemporary society rather than remain at home. Certainly, McEnery herself, who had graduated from Pratt Institute and lived on her own in New York City, fit that description as well.
[Gallery label text, 2003]
lower left
1983.13
item
Memorial Art Gallery
9/8/1999
83.13TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
6/23/2000
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83.13DI2
digital image
Signature
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39mcenery1.tif
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Painting
Landscape with Garage Lights
Garage Lights
Stuart Davis, (Philadelphia, PA, 1892 – 1964, New York, NY)
Davis, Stuart
United States
1892 - 1964
Male
32 x 41 7/8 in. (81.3 x 106.4 cm)
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.
overall framed size
horizontal
frame
.
.
.
approximate installation dimensions
frame
.
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without frame
Oil
Oil
1931-1932
1931
1932
1900-2000, 20th century, Abstract, cityscapes, Encyclopedia Britannica Collection, Modernism, paintings
Painting
Stuart Davis began as a student of the Urban Realist style, but upon seeing the many European modernist works on display at the New York Armory Show of 1913, the artist found his passion for abstraction. The influence of the broken-up and flattened surfaces of Cubism and the syncopated rhythms of American jazz contributed to Davis’ personal style.
[Gallery label text, 2007]
Gloucester, one of Massachusetts's oldest seaports, was a summer home for painter Stuart Davis from the time he was a young man of twenty-two. This view of the harbor clearly captivated him by the early 1930s, and preliminary studies of this painting reveal how carefully he considered the scene and translated it into paint, all the while deliberately conveying a sense of simplicity and speed in its execution.
After a Parisian stay in the late 1920s, Davis returned to the United States with a new way of seeing things. The goal for him was to paint an expressive, abstracted version of the world around him, rather than a photographic simulacrum. As modernism challenged the nature of reality and how it is perceived, Davis reminds us here that it is possible to see two sides of a building at once, and that often it really looks like only half of a ship is in the water even though our brains convince us that the other half is hidden behind the fish warehouse. Flatness and simplification of forms were characteristics that distinguished work of influential European painters like Picasso and Matisse, whose work Davis would have encountered during his stay in France.
[Gallery label text, 2006]
yes, lower righton top stretcher memberon vertical cross member, inscription is written vertically down the cross member and the "I" in "Davis" is written horizontally
1951.3
item
Memorial Art Gallery
9/8/1999
51.3TR1
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Memorial Art Gallery
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digital image
Memorial Art Gallery
Imaging complete
7/13/2000
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51.3SL2
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detail-slightly cropped
2 x 2
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51.3SL3
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photo of old gas pump
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51.3DI3
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A2.jpg
Painting
Portrait in a Brown Dress
Lady in Yellow
Thomas W. Dewing, (Boston, MA, 1851 - 1938, New York, NY)
Dewing, Thomas W.
United States
1851 - 1938
Male
20 x 15 1/2 in. (50.8 x 39.4 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1908
1903
1913
1900-2000, 20th century, paintings, portraits, women
Painting
Around the same time that Thomas Dewing painted this portrait of a young woman reading a book, American art critic Charles Caffin wrote about Dewing's work:
"Generations of repressed emotion have made [Dewing's women] incapable of passion; strenuousness survives only in supersensitive nerves; their sole religion is the worship of self…They are motionless in an atmosphere from which all human warmth has been sucked, in a vacuum drained of intellectual and emotional nourishment. These bodily shapes are not of flesh and blood; they are the essence distilled from the withering of what is womanly, the mere fragrance of dead rose-leaves."
Thomas Dewing's depictions of genteel, ethereal young women engaged in contemplative and artistic pursuits stand in contrast to the bold and vigorous "New Woman," the feminist model of woman who emerged during this same period. The "New Woman" earned a living and wanted the vote and was not content to be marginalized in gauzy environments like the ones created by Dewing.
This painting is in its original frame, which is similar to those designed by Stanford White, who created opulent and decorative environments for many of Dewing's Gilded Age patrons.
(1). Charles H. Caffin, The Story of American Painting: The Evolution of American Painting from Colonial Times to the Present (New York: Frederick A. Stokes Company, 1907) , 189.
[Gallery label text]
lower leftverso, upper rightverso
1957.79
item
Memorial Art Gallery
9/8/1999
57.79TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/10/2000
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Painting
Cars in a Sleet Storm
Arthur Dove, (Canandaigua, NY, 1880 - 1946, Long Island, NY)
Dove, Arthur
United States
1880 - 1946
Male
15 x 21 in. (38.1 x 53.3 cm)
.
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.
overall framed size
horizontal
frame
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1938
1938
1938
1900-2000, 20th century, cars, Encyclopedia Britannica Collection, Modernism, paintings
Painting
Painted in Geneva, NY, Cars in a Sleet Storm is representative of Arthur Dove’s personalized abstract vocabulary with which he responded to the world around him. Dove, along with Georgia O’Keeffe and Marsden Hartley, were members of a group of modernist American artists championed by the photographer Alfred Stieglitz in his 291 Gallery in Manhattan.
[Gallery label text, 2007]
Arthur G. Dove was a native of Geneva, New York, about 46 miles from Rochester. Early on, rural New York State did not satisfy Dove's desire for a more engaged artistic life, and a few years after the turn of the 20th century, he moved to New York City and then to Paris. On his return to the United States in 1910, he began to paint abstract landscapes, and is considered one of America's first abstract painters. Dove's work was actively exhibited by photographer Alfred Stieglitz in his Gallery 291 and Intimate Gallery, major centers of avant-garde art in the United States. Stieglitz also showed the work of Georgia O'Keeffe whom he married in 1924.
Cars in a Sleet Storm was painted at the end of Dove's years in Geneva, where he had returned to manage his father's estate.
Dove's own words align him with the 20th century movement away from identifiable subject matter:"I would like to make something that is real in itself, that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." He also commented, "… I no longer observed in the old way, and not only began to think subjectively but also to remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes."
[Gallery label text, 2006]
lower center
Toni Dove
1951.4
item
Memorial Art Gallery
9/8/1999
51.4SL1
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Memorial Art Gallery
full
2 x 2
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51.4DI2
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/51.4_A2.jpg
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
.
.
.
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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41.26SL
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photo of Wm. Macdowell
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Memorial Art Gallery
Imaging complete
6/23/2000
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41.26SL2
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photo of Mr. & Mrs. Wm Macdowell
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41.26DI#2
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6/4/2012
http://127.0.0.1:5000/Media/images/41.26_A2.jpg
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Sculpture
Windy Doorstep
Mary Abastenia St. Leger Eberle, (Webster City, IA, 1878 - 1942, New York, NY)
Eberle, Mary Abastenia St. Leger
United States
1878 - 1942
Female
13 3/4 x 9 1/2 x 6 3/4 in. (34.9 x 24.1 x 17.1 cm)
.
.
.
sight
Bronze
Bronze
1910
1910
1910
Sculpture
While [Gaston] Lachaise’s sculptures portrayed idealized subjects or specific individuals, Eberle often depicted realistic figures she saw on the streets of New York.
[Gallery label text, 2005]
An avid suffragist and social advocate, Mary Abastenia St. Leger Eberle spent much of her artistic career depicting the daily lives of tenement residents in New York City. While a great deal of Eberle’s sculptures depicted urban subjects, Windy Doorstep renders a woman who lived near Eberle’s cottage in Woodstock, New York. As in much of Eberle’s works, the gestural expressions captured here are of a working-class subject: the figure braces herself against the billowing current, immersed in the demands of the task at hand. The doorstep becomes a stage, upon which the beauty and strength of the mundane is memorialized.
[Summer 2023, Adam Ranz]
underside, Base coat: acryloid B-72 in acetone
Number: acrylic paint
Top coat: acryloid B-67 in napthaon top of base
2004.14
item
Memorial Art Gallery
10/5/2004
A1.2004.14.jpg
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/2004.14_A1.jpg
2004.14TR1
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Painting
Beach at Blue Point
William Glackens, 1870 - 1938
Glackens, William
United States
1870 - 1938
Male
25 1/4 x 30 1/8 in. (64.1 x 76.5 cm)
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.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1915
1910
1920
1900-2000, 20th century, Ashcan School and friends, leisure activities, paintings, seascapes
Painting
Like many American painters, including Winslow Homer, William Glackens was an artist-reporter early in his career. He met Robert Henri in Philadelphia, shared a studio with him, and went to Paris with him in 1895. Upon Glackens's return, he moved to New York City. He exhibited with The Eight in 1908, and chaired the Armory Show in 1913. By 1914, he was devoting all of his time to painting, and espoused subjects like this one, colorful depictions of Americans at play. Many of his paintings reflect the influence of French impressionists, particularly Pierre Auguste Renoir.
[Gallery label text, 2003]
lower right
1973.12
item
Memorial Art Gallery
9/8/1999
73.12TR1
Transparency
Memorial Art Gallery
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73.12DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/73.12_A1.jpg
M425_p187.tif
digital image
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73.12DI#2
digital image
9/7/2012
http://127.0.0.1:5000/Media/images/73.12_A2.jpg
Painting
Bar Scene
Douglas Warner Gorsline, (Rochester, NY, 1913 - 1985, Dijon, France)
Gorsline, Douglas Warner
United States
1913 - 1985
Male
Primary
29 1/2 x 25 1/4 in. (74.9 x 64.1 cm)
.
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.
overall
frame
.
.
.
without frame
Oil
Oil
1942
1942
1942
1900-2000, 20th century, American Scene/Regionalism, by Rochester artists, paintings, Realism
Painting
lower right
1942.19
item
Memorial Art Gallery
9/8/1999
42.19TR1
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Memorial Art Gallery
4 x 5
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digital image
Memorial Art Gallery
Imaging complete
6/23/2000
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digital image
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Memorial Art Gallery
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62gorsline1.tif
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Painting
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
28 x 38 in. (71.1 x 96.5 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
1942
1942
1942
1900-2000, 20th century, American Scene/Regionalism, Encyclopedia Britannica Collection, men, paintings, politics in art, Social Realism
Painting
William Gropper satirized the United States Senate in The Opposition as lawmakers were threatening to cut significant federal funding for the arts. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
William Gropper supported himself with his political cartoons, satirical drawings, and illustrations, most of which pointed out how the burdens of society were largely borne by the working class.
[Gallery label text, 2024]
Lawmakers were threatening to cut significant federal funding for the arts when political cartoonist and painter William Gropper satirized the United States Senate in The Opposition. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
[Gallery label text, 2007]
William Gropper was best known for his caustic commentary on the American political and social scene. He depicted realistic and identifiable subjects; The Opposition was one of a number of paintings and illustrations that came out of his 1934 assignment for the magazine Vanity Fair, to sketch legislators in action in Washington. Gropper made no bones about his distaste for politics and used his art to further his point of view:
"I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate and the House of Representatives have had such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country. No matter how far removed from politics artists may be, it seems to strike home. Only recently one blasting speech of a reactionary representative resulted in not only doing away with the Section of Fine Art, but also dismissing the Graphic Division of the OWI [Office of War Information] and nullifying art reportage for the War Department."
Gropper's start as a newspaper illustrator informed the creative processes of the rest of his life. His work retained his journalist's interest in issues of the day, giving it a particularly topical essence presented in a dynamic, expressionistic format.
[Gallery label text, 2006]
lower left
1951.5
item
Memorial Art Gallery
9/8/1999
51.5TR1
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Memorial Art Gallery
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Memorial Art Gallery
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Memorial Art Gallery
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Painting
The Wanderer
George Grosz, 1893 - 1959
Grosz, George
United States
1893 - 1959
Male
30 x 40 in. (76.2 x 101.6 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1943
1943
1943
1900-2000, 20th century, Encyclopedia Britannica Collection, men, paintings, wandering jew
Painting
George Grosz was a German soldier in World War I and left his country for the United States in 1933 during Adolf Hitler’s rise to power. Ten years later, he painted The Wanderer in New York—his intensely personal response to his experiences—as World War II raged over the ocean.
[Gallery label text, 2024]
Ten years after fleeing Germany during Hitler’s rise to power, George Grosz painted The Wanderer in New York. As World War II raged over the ocean, Grosz created this intensely personal response to his experience as a German soldier in World War I and his 1933 emigration to the United States.
[Gallery label text, 2007]
Painted in the midst of World War II, The Wanderer is an expression of the artist’s recent life experience. George Grosz was an established painter in Germany who, like many others, spoke out against the totalitarian Nazi regime. For his own safety and that of his family, he relocated to the United States. The Wanderer was one of a group of so-called ‘hell pictures’; in a letter, he wrote:
I work a lot…I painted a little picture – The Wanderer –
myself of course…The resonance of explosion and
destruction often shakes me bodily.
The explosion and destruction was a reference to the war-torn European continent that he had left behind, as well as a reference to his own emotional volatility as he tried to adjust, with little success, to his new life in America, suggested in the painting by the seagrasses he knew from Long Island and Cape Cod beaches.
The Wanderer was probably one of the newest paintings acquired for the Encyclopedia Britannica Collection, as the collection was formed in 1943, the same year that Grosz painted this work. Stylistically, the painting’s expression of personal and cultural angst – achieved through desolate subject matter, somber palette, and unquiet line – was very much an alternative view to the more upbeat images of wartime artists like Norman Rockwell.
[Gallery label text, 2006]
lower left, In yellowish-brown paintback of frameback of frameback of frame, Two identical labels. SEE ATTACHED SURROGATE IMAGESback of frame, mechanically incised into wood, in two placesback of frameback of frameback of frameback of frame, SEE ATTACHED SURROGATE RECORDback of stretcher
1951.6
item
Memorial Art Gallery
9/8/1999
51.6TR1
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7/10/2000
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Painting
Non-Fiction
Robert Gwathmey, (Manchester, VA, 1903 – 1988, Southampton, NY)
Gwathmey, Robert
United States
1903 - 1988
Male
29 x 24 in. (73.7 x 61 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1943
1943
1943
1900-2000, 20th century, children, Encyclopedia Britannica Collection, Images of Black People, paintings
Painting
Entrenched in the social realist movement, which sought to depict the trials and tribulations of all people, Robert Gwathmey focused on the lives of Black sharecroppers in the American South. Non-Fiction shows a once common sight on southern farms: older children tending to the young while adults worked all day in the fields. The barbed wire and minstrel puppet figure symbolize the dual oppressions of segregation and racism.
Born in Virginia and spending much of his life in New York City, Gwathmey spent two summers in the 1940s working alongside Black tobacco farmers in North Carolina. At a time when Black artists in the American South were rarely granted a platform for self-representation, Gwathmey, as a white artist, was able to depict the oppression he witnessed.
[Gallery label text, 2024]
In the 1940s, Robert Gwathmey focused his artist’s eye upon the lives of African-American sharecroppers in the South. Non-Fiction shows a common sight on southern farms; older children tended to the young when both parents worked all day in the fields. The barbed wire and minstrel figure symbolize the dual oppressions of segregation and racism.
[Gallery label text, 2007]
1951.7
item
Memorial Art Gallery
9/8/1999
51.7TR1
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2/1/2001
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liner (removed)
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Painting
Waterfall, Morse Pond
Marsden Hartley, 1877 - 1943
Hartley, Marsden
United States
1877 - 1943
Male
22 x 28 in. (55.9 x 71.1 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1940
1935
1945
1900-2000, 20th century, landscapes, paintings, waterfalls
Painting
With the introduction of modernism, landscapes painted by American artists become deeply personal exercises. Unlike the emphasis on panoramic vistas in the 19th century, modernist artists allow their personal connection and response to a waterfall or a tree become the main subject of their painting. This waterfall in the Maine woods would have held particular interest for Marsden Hartley, who felt a spiritual connection to Maine and its natural resources.
[Gallery label text, 2007]
versoback of frame, see image in "surrogate list" tab [only thumbnail attached 4/16-- where is JPG?]back of frame, see image in "surrogate list" tabback of frame, see image in "surrogate list" tabback of frame, see image in "surrogate list" tabback of frame, see image in "surrogate list" tabback of frame, Shipping label. See image in "surrogate list" tabback of frame, Mostly illegible. See image in "surrogate list" tabback of frame, see image in "surrogate list" tab
Marsden Hartley
1965.59
item
Memorial Art Gallery
9/8/1999
65.59TR1
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6/19/2001
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Painting
The Bathers
Childe Hassam, 1859 - 1935
Hassam, Childe
United States
1859 - 1935
Male
48 3/16 x 148 1/4 in. (122.4 x 376.6 cm)
.
.
.
without frame
Oil
Oil
1904
1904
1904
1900-2000, 20th century, nudes, paintings, seascapes, women
Painting
This painting hung originally in the home of C.E.S. Wood, a Portland, Oregon lawyer, writer and art collector.
Murals were a common feature of turn-of-the-20th-century interiors, as they complemented the unified design popularized by artists and designers like William Morris and Gustav Stickley.
Monumental buildings like the Boston Public Library as well as cozy residential bungalows were decorated by artists who covered blank walls with colorful, imaginative, and romantic scenes like The Bathers.
MAG’s painting by Impressionist painter Childe Hassam was installed as part of a larger mural in the library/studio of the Portland, Oregon, home of Charles Erskine Scott Wood. A lawyer, writer, connoisseur, and friend of Hassam, Wood was influenced by the late 19th century Arts & Crafts aesthetic that disdained the ornate and cluttered surroundings of the Victorian period and aspired to simplicity and harmonious design. Wood wrote to his friend, the artist J. Alden Weir, that Hassam “whirled in and painted me a whole wall for my studio, and they tell me it is beautiful.”
[Gallery label text, 2008]
lower leftverso, original stretcher
1963.27
item
Memorial Art Gallery
9/8/1999
63.27TR1
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Memorial Art Gallery
4 x 5
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7/10/2000
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63.27DI2
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Detail
6/16/2009
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63.27DI2
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Detail
6/16/2009
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6/16/2009
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Painting
Interlude
John Koch, 1909 - 1978
Koch, John
United States
1909 - 1978
Male
50 1/8 x 39 7/8 in. (127.3 x 101.3 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1963
1963
1963
1900-2000, 20th century, artists, making art (depictions), men, nudes, paintings, Realism, self portraits, women
Painting
John Koch was a master of the tradition of American realism. His warm, intimate, and elegant New York City interiors glow with light that is reflected by well-polished furniture, floors, and silver.
In this painting, the artist’s wife (piano teacher Dora Zaslavsky) offers a cup of tea to the nude artist’s model, while the artist sits in the background and contemplates his canvas. A variation on the theme of artists and models, Interlude also is an expression of the generosity of human relationships. As one of Zaslavsky’s former students wrote, “…her philosophy of care and concern for the individual student helps shape my teaching to this day.”
[Summer 2015]
lower left
1965.12
item
Memorial Art Gallery
9/8/1999
65.12TR1
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Memorial Art Gallery
4 x 5
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6/23/2000
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Sculpture
Fountain Figure
Gaston Lachaise, 1882 - 1935
Lachaise, Gaston
United States
1882 - 1935
Male
72 in. (182.9 cm)
.
.
.
Limestone
Limestone
1927
1927
1927
1900-2000, 20th century, from Rochester collections, nudes, sculpture, women
Sculpture
Charlotte Whitney Allen and her husband hired Pittsford native Fletcher Steele to design a garden for their newly built house on Oliver Street [Rochester, NY] in 1915. The lot was small, ninety by two hundred feet, so Steele had to make use of interesting details to provide visual stimulation. The young landscape architect had strong notions of what would make a small backyard into a charming city oasis, which he enumerated in several articles and even a book, "Design in the Little Garden". Sculpture was one such detail Steele felt was crucial to a small garden, providing it met the proper criteria. He also considered space composition a necessary factor in good garden design. Some of the traits good garden sculpture should possess, according to Steele, include substantial mass, interesting silhouette, strong light and shadow, and contrasting material and color to the foliage around it.
Mr. and Mrs. Allen commissioned the French-born sculptor Gaston Lachaise in 1926 to create a figure for the focal point of their garden. They had first seen his work in an exhibition in New York City in 1918, from which they may have purchased a small sculpture, and possibly even earlier in the 1913 Armory Show. A group of letters housed at Kenyon College in Gambier, Ohio chronicles the development of their occasionally stormy relationship. After considerable delay, the sculpture was finally installed above the pool in the Oliver Street garden. Alfred Stieglitz, who championed Lachaise, wrote to the Allens in 1927 that "It [the sculpture] has been seen by at least thirty sculptors and their unanimous opinion has been that it is one of the grand bits of work that has come out of America." (Kenyon College Special Collections, Gambier, Ohio, March 26, 1927)
[Gallery label text]
lower right
Marie P. Charles
1964.28
item
Memorial Art Gallery
9/8/1999
64.28TR1
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Memorial Art Gallery
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2/2/2001
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Painting
Summer Street Scene in Harlem
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
20 1/16 x 24 1/8 in. (51 x 61.2 cm)
.
.
.
without frame
image
.
.
.
overall framed size
horizontal
frame
Tempera
Tempera
1948
1948
1948
1900-2000, 20th century, cityscapes, Images of Black People, New York city, paintings, Social Realism
Painting
Jacob Lawrence put his own stylistic innovations on the flattened surfaces, distorted shapes, and bold colors of modernism. Here his vibrant palette and energetic composition express the joy and vitality of a summer in Harlem. Children play with their soap box and approach a shaved ice vendor; adults gather in conversation. Lawrence moved to Harlem with his family at the age of twelve, and he was greatly influenced by the creative community flourishing there.
Lawrence chronicled the lives, accomplishments, and challenges experienced by Black communities in the United States. His best-known series, The Migration of the Negro (1941), depicted the mass movement of Black people who relocated from the American South to the North, Midwest, and West in search of economic and social mobility. Lawrence’s parents themselves moved to the North in this exodus known as the Great Migration, which took place from the 1910s through the 1970s.
[Gallery label text, 2024]
lower rightback of panel, Undated; from 1974-75 exhibitionback of panel, partly covered by another labelback of panelback of panelback of panelback of panelback of panelback of panel, orange tag with black printing
Jacob and Gwendolyn Lawrence
1991.5
item
Memorial Art Gallery
9/8/1999
91.5TR1
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Memorial Art Gallery
4 x 5
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91.5CNEG1
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http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.5DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/91.5_A1.jpg
68lawrence1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/68lawrence1.tif
M425_p271.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p271.tif
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
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.36SL2
slide
illustration in Architectural Forum
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
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8x10
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http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.36SL4
slide
photo of current fountain
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.36SL3
slide
photo of current garden
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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
00/00/00
http://127.0.0.1:5000/Media/images/related_images/51.36_R1.jpg
TheGardenPlan.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/51.36_R2.jpg
TheGarden.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/51.36_R3.jpg
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
Morning on the River
Jonas Lie, 1880 - 1940
Lie, Jonas
United States
1880 - 1940
Male
50 x 60 in. (127 x 152.4 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1911-1912
1911
1912
1900-2000, 20th century, boats, bridges, Brooklyn, NY, cityscapes, paintings, rivers
Painting
Jonas Lie captures the new American landscape of industry and technology by painting the gritty underside of the Brooklyn Bridge.
[Gallery label text, 2007]
lower left
1913.6
item
Memorial Art Gallery
9/8/1999
13.6TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.6DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/13.6_A1.jpg
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.6SL1
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full
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http://127.0.0.1:5000/Graphics/blank.gif
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8 x 10
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http://127.0.0.1:5000/Graphics/blank.gif
13.6DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41lie1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/41lie1.tif
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Boy with Dice
Shoeshine Boy
George Luks, 1867 - 1933
Luks, George
United States
1867 - 1933
Male
30 5/16 x 26 5/16 in. (77 x 66.8 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1923-1924
1923
1924
5964
1900-2000, 20th century, children, paintings, portraits
Painting
This painting of a shoeshine boy is a part of a series Luks made of young boys who worked on the streets of New York.
[Gallery label text, 2007
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, 2003]
upper right
1974.103
item
Memorial Art Gallery
9/8/1999
74.103TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.103SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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
74.103DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/74.103_A1.jpg
49luks1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/49luks1.tif
Watercolor
Marin Island, Small Point, Maine
John Marin, 1870 - 1953
Marin, John
United States
1870 - 1953
Male
17 x 21 3/4 in. (43.2 x 55.2 cm)
.
.
.
sheet
Watercolor
Watercolor
1931
1931
1931
1900-2000, 20th century, Encyclopedia Britannica Collection, seascapes, watercolors
Watercolor
Like Arthur G. Dove and Georgia O'Keeffe, John Marin aligned himself with the avant-garde circle surrounding Alfred Stieglitz. While Marin's favorite subjects were landscapes and seascapes, particularly Maine marines, he applied to them the modernist sensibilities that he absorbed from European masters like Cézanne, whose first one-man show was at Stieglitz's Gallery 291 in 1911. The island that Marin depicts here is one that he purchased in 1914 immediately after getting married. It is off the coast of Maine, near Portland. The Maine landscape drew Marin back throughout his life.
A chief characteristic of twentieth century painting has been the practice of artists to transform subject with emotion, or as Marin's fellow painter Arthur Dove describes it, to pull the subject matter out and leave the sensation. Here, Marin sketches in the bare bones of his island but then folds it in as part of an all-over expression of action and energy, as if to suggest that the land mass is one with the wind and the waves.
[Gallery label text, 2006]
lower right
1951.10
item
Memorial Art Gallery
9/8/1999
51.10TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.10SL1
slide
2 x 2
00/00/00
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glossy
8x10
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http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.10DI1
digital image
Memorial Art Gallery
Imaging complete
2/20/2001
http://127.0.0.1:5000/Media/images/51.10_A1.jpg
53marin1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/53marin1.tif
M425_p216.tif
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p216.tif
Painting
Ice Cream Cones
Reginald Marsh, 1898 - 1954
Marsh, Reginald
United States
1898 - 1954
Male
24 x 30 in. (61 x 76.2 cm)
.
.
.
overall
frame
.
.
.
without frame
Egg tempera
Egg tempera
1938
1938
1938
1900-2000, 20th century, MAG Lending Library, paintings, women
Painting
lower right
1945.70
item
Memorial Art Gallery
9/8/1999
45.70TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
45.70SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
45.70DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/45.70_A1.jpg
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59marsh2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/59marsh2.tif
Painting
People's Follies No. 3
Reginald Marsh, 1898 - 1954
Marsh, Reginald
United States
1898 - 1954
Male
25 7/8 x 39 in. (65.7 x 99.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Egg tempera
Egg tempera
1938
1938
1938
1900-2000, 20th century, dance, MAG Lending Library, men, paintings, women
Painting
Reginald Marsh inherited the Urban Realist interest in the act of seeing and being seen. His art often addressed sexuality in the urban environment, as in this painting of a burlesque hall.
[Gallery label text, 2007]
lower right
1943.1
item
Memorial Art Gallery
9/8/1999
43.1TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
43.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
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http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
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http://127.0.0.1:5000/Graphics/blank.gif
neg
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
43.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/43.1_A1.jpg
43.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59marsh1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/59marsh1.tif
Painting
Sunday Morning
Jerome Myers, 1867 - 1940
Myers, Jerome
United States
1867 - 1940
Male
37 1/2 x 44 1/2 in. (95.3 x 113 cm)
.
.
.
image
Oil
Oil
1907
1907
1907
1900-2000, 20th century, Ashcan School and friends, children, cityscapes, men, paintings, women
Painting
Jerome Myers said of his art, “I went to the gutter for my subject, but they were poetic gutters.”
[Gallery label text, 2007]
Jerome Myers was called "the gentle poet of the slums" for his compassionate images of immigrant life in New York's Lower East Side. Myers recorded the unglamorous, yet commonplace aspects of city life, as did fellow painters John Sloan and Robert Henri, members of The Eight or the Ashcan School. However, his vision of the city's poor never evoked a sense of wretchedness: "Why catch humanity by the shirt-tail," he said, "when I could see more pleasant things?"
Though tame to us today, paintings like Sunday Morning were considered progressive, even "revolutionary" when they were painted, because of their subject matter. However, when it came to exhibiting with The Eight, Robert Henri didn't think that Myers's work was forceful enough. As a founder of the innovative American Association of Painters and Sculptors in 1911, Myers helped to pave the way for the watershed 1913 Armory Show in New York City, the exhibition that introduced European modernism to an enthusiastic but occasionally bewildered public.
[Gallery label text, 2006]
lower left
1998.74
item
Memorial Art Gallery
10/21/1999
98.74TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.74SL1
slide
full
2 x 2
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.74DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/98.74_A1.jpg
98.74DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
35myers1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/35myers1.tif
98.74DI#2
digital image
Memorial Art Gallery
Imaging complete
1/19/2015
http://127.0.0.1:5000/Media/images/98.74_A2.jpg
Painting
Jawbone and Fungus (recto); Untitled (Abstraction) (verso)
Georgia O'Keeffe, (Sun Prairie, WI, 1887 - 1986, Santa Fe, NM)
O'Keeffe, Georgia
United States
1887 - 1986
Female
17 x 20 in. (43.2 x 50.8 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1931
1931
1931
1900-2000, 20th century, Encyclopedia Britannica Collection, Modernism, paintings
Painting
With her unique vision and expression, Georgia O’Keeffe epitomizes the modern American artist. Her simple, pared down shapes and closely cropped still-lifes of bones and flowers turn objects into landscapes of their own.
[Gallery label text, 2007]
Painting on the verso, an untitled abstraction, dates to ca. 1923
backing board, Gallery label on backing board.backing board, Gallery label on backing board.backing board, Gallery label from backing board.backing board, Gallery label on backing board.backing board, Gallery label on backing board.backing board, Shipping label on backing board.backing board, Gallery label on backing board.verso
1951.11a-b
item
Memorial Art Gallery
9/8/1999
51.11TR1
Transparency
Memorial Art Gallery
Recto
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11TR2
Transparency
Memorial Art Gallery
Verso
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11SL2
slide
full-verso
2 x 2
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http://127.0.0.1:5000/Graphics/blank.gif
51.11SL1
slide
full recto
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8x10
00/00/00
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glossy
full verso
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
5x7
00/00/00
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glossy
full front
4x5
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negative
full verso
4x5
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negative
full verso
3x2
00/00/00
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negative
full front
4x5
00/00/00
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51.11DI1
digital image
Memorial Art Gallery
Recto
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/51.11a_A1.jpg
54okeeffe1.tif
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11bDI1
digital image
Memorial Art Gallery
Verso
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/51.11b_A1.jpg
54okeeffe2.tif
digital image
00/00/00
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Sculpture
Memory
William Ordway Partridge, (Paris, France, 1861 - 1930, New York, NY)
Partridge, William Ordway
United States
1861 - 1930
Male
82 1/2 x 26 3/4 x 29 5/8 in. (209.6 x 67.9 x 75.2 cm)
.
.
.
overall
.
.
.
overall
Marble
Marble
1914
1914
1914
1900-2000, 20th century, allegories, from Rochester collections, sculpture, women
Sculpture
back, at bottom
1913.12
item
Memorial Art Gallery
9/8/1999
13.12TR1
Transparency
Memorial Art Gallery
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.12DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/1/2001
http://127.0.0.1:5000/Media/images/13.12_A1.jpg
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
4 x 5
00/00/00
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negative
4 x 5
00/00/00
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13.12SL2
slide
full-without base
2 x 2
00/00/00
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13.12SL1
slide
full-with base
2 x 2
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13.12SL3
slide
detail-base Averill
2 x 2
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13.12SL4
slide
instalation in orig gallery
2 x 2
00/00/00
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glossy
installation
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.12DI2
archival
digital image
2/8/2006
http://127.0.0.1:5000/Media/images/related_images/13.12_R1.jpg
44partridge1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/44partridge1.tif
44partridge1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/44partridge1(10).tif
44partridge3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/44partridge3.tif
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/13.12_R2.pdf
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/Partridge_contract_p1_fromRBSC.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/Partridge_contract_p2_fromRBSC.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.12_R3.tif
Painting
Jane
Guy Pène du Bois, 1884 - 1958
Pène du Bois, Guy
United States
1884 - 1958
Male
30 x 24 in. (76.2 x 61 cm)
.
.
.
overall
frame
.
.
.
Oil
Oil
ca. 1946
1941
1951
1900-2000, 20th century, paintings, women
Painting
Critic and painter Guy Pène du Bois continued the Realist, urban tradition of the Ash Can School painters, but peopled his canvases with more urbane elegant, and at times, mysterious, figures.
Jane is one of his quintessential creations. An enigmatic figure appears to step out of a shadow, perhaps in a restaurant or nightclub, perhaps inside or outside, in America or abroad. She is fashionably thin, well-dressed, and bejeweled, and yet for all her apparent material comfort, she manifests a sense of isolation and anxiety, expressed by her hands, her cast down eyes, and a downward turn of the mouth. Pène du Bois' intriguing contrasts of light and dark areas within the painting contribute to the sense of unease that the figure expresses. The painting's mood certainly reflects the artist's admiration of Edward Hopper.
[Gallery label text, 2003]
1998.36
item
Memorial Art Gallery
10/21/1999
98.36TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.36SL1
slide
2 x 2
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98.36DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/98.36_A1.jpg
98.36DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/98.36_A2.jpg
67dubois1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/67dubois1.tif
Painting
The Beginning of the Fields
Fairfield Porter, 1907 - 1975
Porter, Fairfield
United States
1907 - 1975
Male
52 x 76 1/8 in. (132.1 x 193.4 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1973
1973
1973
1900-2000, 20th century, landscapes, paintings, roads
Painting
lower rightyes, in the stretcher
1986.132
item
Memorial Art Gallery
9/8/1999
86.132TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.132SL1
slide
full
2 x 2
00/00/00
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8x10
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.132DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/86.132_A1.jpg
71porter1.tif
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4/17/2014
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Watercolor
Park by the Sea
Maurice Prendergast, 1858 - 1924
Prendergast, Maurice
United States
1858 - 1924
Male
17 3/8 x 22 3/8 in. (44.1 x 56.8 cm)
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.
.
.
.
.
overall
frame
Watercolor
Watercolor
1922
1922
1922
1900-2000, 20th century, landscapes, watercolors
Watercolor
Throughout his life, Maurice Prendergast found delight and inspiration in the pleasant, sun-filled parks and beaches along the New England shore. He recalled happy moments there in brilliant watercolors, so remarkable in their energy and hue that they were likened, in Prendergast's day, to "an explosion in a color factory."
Trained as a theater poster painter, Prendergast became extraordinarily facile in watercolor, and he employed it throughout his career. The fluid medium was especially appropriate to Prendergast's expressions of the momentary, as the dance of light across the landscape and the rhythmic movements of bathers and picnickers could be suggested in quick dashes of luminous color.
Under the influence of French post-impressionistic painting, Prendergast's watercolors became increasingly abstract. This late example is typical in its brevity. The design is realized through a loose pattern of strong primary and secondary colors set against the bright white ground. Much of the sheet has been left to create scattered highlights and to heighten the viewer's awareness of the work as pure paint on paper.
[Gallery label text]
1963.28
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Memorial Art Gallery
9/8/1999
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Memorial Art Gallery
Imaging Complete
3/13/2002
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Painting
Woodland Bathers
Maurice Prendergast, 1858 - 1924
Prendergast, Maurice
United States
1858 - 1924
Male
19 1/2 x 26 1/2 in. (49.5 x 67.3 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1913-1915
1913
1915
1900-2000, 20th century, Ashcan School and friends, paintings, women
Painting
Despite many differences in style and subject matter, Maurice Prendergast exhibited with the Urban Realist artists in the beginning of the century. His style of breaking up the surface of his paintings with color and light was a shock to American viewers. An art critic wrote in 1908, “Hung in a group, these canvases of Mr. Prendergast look… like an explosion in a color factory.”
[Gallery label text, 2007]
Prendergast looked to European artists for his inspiration. One of the most modern painters working in America in the first decade of the century, his colors were often applied in post-impressionist daubs, like Seurat, and the space in his works was compressed and unrealistic.
Like Glackens, he enjoyed painting scenes of leisure, particularly bathing scenes like this one. He exhibited in the 1908 Macbeth Gallery show, along with Henri and the others, and while his work had little in common with many of the members of The Eight, he was as interested as they were in defying the conventions that had been established by the National Academy.
[Gallery label text, 2003]
lower right
1963.29
item
Memorial Art Gallery
9/8/1999
63.29TR1
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Memorial Art Gallery
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Memorial Art Gallery
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7/10/2000
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30prendergast3.tif
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Sculpture
The Cheyenne
Frederic Remington, 1861 - 1909
Remington, Frederic
United States
1861 - 1909
Male
19 3/4 x 23 x 7 1/2 in. (50.2 x 58.4 x 19.1 cm)
.
.
.
Bronze
Bronze
1901
1901
1901
Sculpture
top of baseback of baseunderside of basefront of basealong base (back) , Base coat: Acryloid B-67 in naphtha
Accession number: Golden Fluid Acrylics (white)
2003.104
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Memorial Art Gallery
10/15/2003
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2003.104DI#3
digital image
11/1/2005
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Painting
Soldier on Leave
Little Girl Observing Lovers on a Train
Norman Rockwell, 1894 - 1978
Rockwell, Norman
United States
1894 - 1978
Male
22 x 20 in. (55.9 x 50.8 cm)
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.
.
approximate installation dimensions
frame
.
.
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without frame
Oil
Oil
1944
1944
1944
Painting
During World War II, Rockwell became the nation’s best-loved artist due to his uplifting scenes of the American home front. Soldier on Leave appeared on the cover of the widely read magazine, The Saturday Evening Post, two months after D-Day, June 6,1944, when Allied Forces invaded Normandy on the northern coast of France. Rockwell captures a moment of reprieve as this couple comforts each other, knowing their time together is brief.
Rockwell used thousands of photographs as studies for his realistic settings. His Vermont neighbors posed in an actual train car loaned to him by the Rutland Railroad.
[Gallery label text, 2024]
During World War II, Norman Rockwell painted positive and uplifting scenes of the American homefront. Rockwell, America’s most popular illustrator, created "Soldier on Leave" for the [August 12, 1944] cover of the widely-read magazine, 'The Saturday Evening Post.'
[Gallery label text, 2007]
Norman Rockwell’s Saturday Evening Post covers have shaped much of the American public’s imagination about what is American about America. This painting appeared on the magazine’s cover on August 12, 1944, in the midst of World War II. Allied Forces had landed on the beaches of France on D-Day, June 6, two months prior to the magazine’s publication date, and there was reason to believe that the war would not go on much longer.
In the meantime, soldiers were continuing to be drafted and wartime romances were intensified by the threat of separation. The scene in Soldier on Leave was a common story: young lovers take what comfort they can from each other in spite of their lack of privacy, knowing their time together is brief.
Rockwell frequently used Vermont neighbors as models for his paintings. This painting is no exception, and to complete the realistic setting, he posed his models in an actual train that was loaned to him by the Rutland Railroad.
[Gallery label text, 2004]
lower center
John Rockwell
1974.98
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Memorial Art Gallery
9/8/1999
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1/20/2006
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Sculpture
Hettie Sherman Evarts Beaman
Augustus Saint-Gaudens, 1848 - 1907
Saint-Gaudens, Augustus
United States
1848 - 1907
Male
22 1/4 x 20 x 3/8 in. (56.5 x 50.8 x 1 cm)
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.
overall
Bronze
Bronze
1900
1900
1900
1800-1900, 19th century, sculpture
Sculpture
upper rightupper edgeleft center, in wreathlower right
1994.50
item
Memorial Art Gallery
9/8/1999
94.50SL1
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Drawing
Ballet Mechanique
Charles Sheeler, 1883 - 1965
Sheeler, Charles
United States
1883 - 1965
Male
10 1/2 x 10 1/4 in. (26.7 x 26 cm)
.
.
.
image
Conte crayon
Conte crayon
1931
1931
1931
1900-2000, 20th century, cityscapes, drawing, factories, Precisionism
Drawing
In 1927, Charles Sheeler was commissioned to photograph Henry Ford’s River Rouge car factory outside Detroit to advertise the company’s new Model A car. Ford’s innovations in the assembly line were celebrated for their efficiency, productivity, and ability to produce low-cost consumer goods. Yet the dark underside to this progress was unbearable, dehumanizing work conditions.
<em>Ballet Mechanique</em>, based on a photo from Sheeler’s Ford factory series, is a tightly-cropped scene of an industrial system of pipes and metal. By isolating the sleek machinery from actual labor, Sheeler elevates the loud, hot, dangerous factory environment to a cool, sleek, abstract vision of modernity.
Sheeler’s style, Precisionism, was a celebration of the technological sublime with its crisp, pure form and industrial themes. Of American artists in the early years of the 1900s, Charles Sheeler made one of the most dramatic breaks from the traditional assumption that beauty could be found in nature alone.
[label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012]
lower right, in image
1974.96
item
Memorial Art Gallery
9/8/1999
74.96TR1
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Memorial Art Gallery
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2/19/2001
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Painting
Sullivan Street
Everett Shinn, 1876 - 1953
Shinn, Everett
United States
1876 - 1953
Male
8 x 10 in. (20.3 x 25.4 cm)
.
.
.
approximate installation dimensions
frame
.
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.
without frame
Oil
Oil
1900-1905
1900
1905
1900-2000, 20th century, Ashcan School and friends, cityscapes, paintings, winter
Painting
In a city of many tough neighborhoods, New York’s Sullivan Street was one of the toughest. Shinn’s depiction of the isolated figure in the foreground evokes the condition of modern man in an urban environment—a recurring theme in the art of the Urban Realists.
[Gallery label text, 2007]
In 1897, encouraged by his mentor Robert Henri, Shinn moved from Philadelphia to New York City. Like Luks and Glackens, he was an artist-reporter as well as a painter. He exhibited with The Eight in 1908 at Macbeth Gallery. Sullivan Street was owned by the artist until 1945, when the Memorial Art Gallery purchased the canvas directly from him.
With just a few strokes of his brush, Everett Shinn has recreated an overcast winter street scene filled with mood and mystery. Sullivan Street is in Greenwich Village, around the corner from Shinn's studio on Waverly Place and near Washington Square Park, whose leafless trees can be seen beyond the buildings on the right.
[Gallery label text, 2003]
lower left
1945.45
item
Memorial Art Gallery
9/8/1999
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Memorial Art Gallery
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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
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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)
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.
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
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Memorial Art Gallery
9/8/1999
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Painting
Famous Names
Jaune Quick-to-See Smith, (Saint Ignatius, MT, 1940 - )
Smith, Jaune Quick-to-See
United States
1940
Female
80 x 50 in. (203.2 x 127 cm)
.
.
.
without frame
Oil
Oil
1998
1998
1998
1900-2000, 20th century, paintings
Painting
Jaune Quick-To-See Smith’s collaged paintings incorporate the desert colors of her childhood with the spontaneous brushwork of Abstract Expressionism. She has said about her work:
My art, my life experience, and my tribal ties are totally enmeshed. I go from one community with messages to the other, and I try to enlighten people.
Famous Names accomplishes Smith’s self-appointed task. The canvas is dominated by the image of a traditional Native American buckskin dress. The photographs and text around this central form refer to stereotypes that the dominant non-Native culture has used to describe Native Americans as simultaneously exotic and ridiculous, and to marginalize them. As Seneca artist and site manager of Ganondagan
G. Peter Jemison writes in an essay on this painting, the “famous names” referenced in the title offer a composite of “a record of people with ancient ties to the land and of the often-bungled attempts of English-speaking writers to capture what a translator related.”
[Summer 2015]
Jaune Quick-to-See-Smith
1998.39
item
Memorial Art Gallery
10/18/1999
98.39TR1
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Print
Jackie
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
23 7/8 x 23 1/4 in. (60.6 x 59.1 cm)
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overall
frame
Acrylic
Acrylic
1964
1964
1964
1900-2000, 20th century, politics in art, serigraphs, women
Print
Warhol often used an unorthodox approach to portraiture. He borrowed from media photographs of celebrities to construct an individual’s public image instead of using a brush to render an idiosyncratic artistic interpretation of a sitter’s appearance.
This work is part of Warhol’s “Jackie” series, which he began shortly after the assassination of President John F. Kennedy in 1963. As the basis for the paintings, he first selected eight photographs from the mass-media coverage of the event. He then cropped the pictures to focus on the President’s widow, Jacqueline Kennedy. Warhol used a commercial silkscreen technique to produce multiple versions of his work. As Warhol described,
I wanted something that gave more of an assembly line effect….With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick and chancy.
[Forman Gallery, Summer 2015]
1965.7
item
Memorial Art Gallery
9/8/1999
65.7TR1
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Memorial Art Gallery
4 x 5
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65.7DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
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70warhol1.tif
digital image
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http://127.0.0.1:5000/Media/images/SeeingAmerica/70warhol1.tif
Painting
Three Trees, Winter
Harold Weston, 1894 - 1972
Weston, Harold
United States
1894 - 1972
Male
Primary
16 x 20 in. (40.6 x 50.8 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1922
1922
1922
1900-2000, 20th century, landscapes, paintings, trees in art, winter
Painting
In 1922, the year he painted "Three Trees, Winter," Harold Weston wrote:
"I stopped beside a big hemlock tree and reached around the great trunk to feel its vigor, its reality, its life existing essence. My ear, laid against the wet bark, seemed to hear the pulse, the flow of life-creating sap....[R]oots plunged into the soil, made it one with the earth and gave it life. As a primitive pagan I bowed before the mystery of that world spirit that giveth life to nature and to man."
Weston has recently emerged as one of the premier painters of the Adirondack landscape. His modernist sensibility - abstract forms, expressive lines and colors - renew the viewer's understanding and appreciation of traditional vistas. In the words of collector Duncan Phillips, "There is a young American painter who stirs in me the hope for a re-birth on this new soil of something that was not lost to the art of painting with the passing of Vincent van Gogh."
[Gallery label text, 2007]
lower leftlower right
Foster Rebecca
1925.33
item
Memorial Art Gallery
9/8/1999
25.33TR1
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Memorial Art Gallery
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digital image
Memorial Art Gallery
Imaging complete
8/28/2000
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25.33DI2
digital image
with frame
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Sculpture
Right to the Jaw
Mahonri Young, 1877 - 1957
Young, Mahonri
United States
1877 - 1957
Male
14 x 21 x 10 in. (35.6 x 53.3 x 25.4 cm)
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approximate installation dimensions
overall
Bronze
Bronze
ca. 1926
1921
1931
1900-2000, 20th century, sculpture, sport
Sculpture
Many of the subjects of Mahonri Young's bronze sculptures were drawn from the working class—dock workers, riveters, and farmers. Among his most successful small sculptures were energetic scenes of boxers in action, whose movements embodied strength and power. Like his Ash Can School colleagues, he extolled the activities of everyday life.
Young came to New York from Salt Lake City, Utah, where his grandfather, Brigham Young, established America's permanent Mormon community after their forced exodus from Nauvoo, Illinois. Young studied at the Art Students League, and became a teacher there as well.
[Gallery label text, 2003]
on baseon edge of base
1998.38
item
Memorial Art Gallery
10/21/1999
98.38TR1
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Memorial Art Gallery
2 1/4 x 2 3/4
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Memorial Art Gallery
Imaging complete
8/28/2000
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98.38DI2
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50young1.tif
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98.38DI#3
digital image
Front
7/25/2011
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98.38DI#4
digital image
Back
7/25/2011
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