7
Portfolios%3D%222792%22%20and%20Century%3D%2219th-20th%20centuries%22
Painting
Dutch Landscape
Charles Paul Gruppé, (Picton, Ontario, Canada, 1860 - 1940, Rockport, MA)
Gruppé, Charles Paul
United States
1860 - 1940
Male
12 3/8 x 16 1/4 in. (31.4 x 41.3 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1800-1900, American art, boats, by Rochester artists, paintings, seascapes
Painting
lower right
1991.32
item
Memorial Art Gallery
9/8/1999
91.32DI1
digital image
5/1/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/91.32_I1.jpg
91.32DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/91.32_A1.jpg
Painting
The White Bridge
John Henry Twachtman, 1853 - 1902
Twachtman, John Henry
United States
1853 - 1902
Male
30 1/4 x 25 1/8 in. (76.8 x 63.8 cm)
.
.
.
overall framed size
frame
.
.
.
without frame
Oil
Oil
ca. 1900
1895
1905
1900-2000, 20th century, bridges, Cos Cob colony, landscapes, paintings, seascapes
Painting
Impressionism, a radically modern style upon its inception in France in the 1860s, came late to American shores. The Impressionist artist sought to capture impressions of light, color, and shape in a spontaneous way.
[Gallery label text, 2007]
John Twachtman’s finest paintings were inspired by the beauty of the land on which he lived with his family. Located in Greenwich, Connecticut, the picturesque property included a portion of Horseneck Brook, across which Twachtman built an ornamental but functional footbridge. Here, his children swam in the summer and rowed their boat beneath the bridge’s arched deck. The bridge may have been inspired by similar structures in Venice, where the artist lived in the 1880s and 90s.
Twachtman was one of America’s premier impressionist painters and a founding member of the Ten American Painters, a group that included Thomas Dewing and William Merritt Chase, artists whose works are also on view at MAG. The White Bridge’s bright colors, energetic brushwork, and light-filled canvas link Twachtman’s work with that of French impressionist Claude Monet.
[Gallery label text, 2004]
lower right
1916.9
item
Memorial Art Gallery
9/8/1999
16.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
16.9DI2
digital image
Memorial Art Gallery
8/25/2001
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
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
16.9SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
16.9DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/16.9_A1.jpg
M425_p135.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p135.tif
M425_p135(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p135(10).tif
Painting
Design for Tea Labels: Cat Preparing Tofu
Japanese artist, (active )
Japanese artist
Japan
Primary
8 1/8 x 7 3/8 in. (20.7 x 18.8 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album
1974.50.29
item
Memorial Art Gallery
8/8/2008
74.50.29DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.29_A1.jpg
74.50.29SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Crane with a Banner
Japanese artist, (active )
Japanese artist
Japan
Primary
7 7/8 x 7 1/2 in. (20 x 19.1 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album.
Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea.
The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist.
[Label text from It Came From the Vault exhibition, 2013]
right panel, in image, Biklen, Winzer & Co. was a wholesale grocery company in Burlington, Iowa
1974.50.42
item
Memorial Art Gallery
8/8/2008
74.50.42DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.42_A1.jpg
74.50.42SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Man Sifting Tea
Japanese artist, (active )
Japanese artist
Japan
Primary
7 7/8 x 6 15/16 in. (20 x 17.7 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album.
1974.50.13
item
Memorial Art Gallery
8/8/2008
74.50.13DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.13_A1.jpg
74.50.13SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Samurai with a Sword
Japanese artist, (active )
Japanese artist
Japan
Primary
7 11/16 x 7 1/16 in. (19.5 x 18 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album
Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea.
The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist.
[Label text from It Came From the Vault exhibition, 2013]
1974.50.33
item
Memorial Art Gallery
8/8/2008
74.50.33DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.33_A1.jpg
74.50.33SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Textiles
Chilkat Robe (Naaxéin)
Tlingit artist, (active )
Tlingit artist
United States
Primary
52 3/4 x 62 1/2 in. (134 x 158.8 cm)
.
.
.
overall
overall
.
.
.
overall
overall
Wool
Wool
Fringe is entirely reproduction.
Tlingit; made in Alaska
0
0
Native American, Native American art, textiles
Textiles
For years, Indigenous activists have led efforts to reclaim the remains of their ancestors and sacred cultural objects currently housed in museums, universities, and other cultural institutions.
In 1990, U.S. federal law established the Native American Graves Protection and Repatriation Act (NAGPRA) to facilitate this process. In December 2023, NAGPRA ruled that museums must obtain consent from lineal descendants, Tribes, and Native Hawaiian organizations before allowing any exhibition of, access to, or research on these objects.
MAG has removed works from display that are classified under the statute in compliance and in support of the repatriation of these items to their original caretakers, including this work.
Living along the Chilkat River of Southern Alaska, the Chilkat people are a single kwan, or geographical grouping, of the larger Tlingit culture. Male and female clan leaders honor their ancestors, both human and animal, by wearing Chilkat robes at festivals called potlatches and other important events. The Chilkat robe (or naaxéin) is a woven ceremonial cape traditionally worn and danced by the chief and other important members of Tlingit society. When danced, the motions of the performer include the dramatic manipulation of the long fringe, further enlivening the animal forms on the robe.
The patterns on Chilkat robes represent animals important to Tlingit clans. These designs manipulate and rearrange specific animal forms, often adding additional faces and multiple eyes. This Chilkat robe features a diving humpback whale in the center panel. The whale is pictured both from above and in profile. Seated ravens shown in profile fill the two side panels of the robe. The arrangement of the overall design takes into account the position of these individual components when the robe is worn.
[Gallery label text, 2009]
1968.35
item
Memorial Art Gallery
9/8/1999
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.35SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.35DI#1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/68.35_A1.jpg
69.35DI#2
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A2.jpg
69.35DI#3
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A3.jpg
69.35DI#4
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A4.jpg
69.35DI#5
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A5.jpg
69.35DI#6
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A6.jpg
69.35DI#7
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A7.jpg
69.35DI#8
condition
digital image
Verso
1/9/2009
http://127.0.0.1:5000/Media/images/Conservation photos/68.35/68.35_C1.JPG
68.35DI#9
cond
digital image
Verso
1/9/2009
http://127.0.0.1:5000/Media/images/Conservation photos/68.35/68.35_C2.JPG
68.35TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.35DI#10
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.35_A8.jpg