6
Portfolios%3D%222527%22%20and%20Disp_Obj_Type%3D%22Watercolor%22
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
http://127.0.0.1:5000/Graphics/blank.gif
44.53TR1
transparency
full
4 x 5
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negative
2.5x3
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
photographic print
2.5x3
00/00/00
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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
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
negative
8x10
00/00/00
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glossy
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
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
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negative
8x10
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glossy
8x10
00/00/00
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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
Watercolor
Paddling at Dusk
Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
15 1/8 x 21 7/16 in. (38.4 x 54.5 cm)
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overall
horizontal
frame
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sheet
Watercolor
Watercolor
1892
1892
1892
1800-1900, 19th century, figure, Lockhart Collection, seascapes, watercolors
Watercolor
The remote North Woods Club in the Adirondacks was a favorite retreat for Winslow Homer. There, he painted over a hundred oils and watercolors and found congenial friends, including 22-year-old Ernest Yalden, son of members of the club and the subject of this painting. Yalden recalled Homer’s interest in capturing the play of light flashing off the blades as he paddled his own self-built, light-weight canoe.
The year after Homer painted him in his canoe, Yalden graduated with a civil engineering degree and started a trade school in New York City for uneducated Jewish immigrants. He founded the Mineralogy Club of New York and trained men to be navigators during World War I. An authority on sun-dialing, he became an accomplished amateur astronomer who built an observatory in his back yard.
[Label text from It Came From the Vault exhibition, 2013]
upper right
1984.51
item
Memorial Art Gallery
9/8/1999
84.51TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.51SL1
slide
full
2 x 2
00/00/00
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glossy
full
8x10
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negative
full
4x5
00/00/00
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84.51DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/84.51_A1.jpg
84.51DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.51TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p109.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p109.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)
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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
00/00/00
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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
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
item
Memorial Art Gallery
9/8/1999
63.28SL1
slide
full
2 x 2
00/00/00
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negative
4 x 5
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glossy
full
8x10
00/00/00
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negative
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
63.28TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
63.28DI1
digital image
Memorial Art Gallery
Imaging Complete
3/13/2002
http://127.0.0.1:5000/Media/images/63.28_A1.jpg
63.28DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
30prendergast2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/30prendergast2.tif