13
Portfolios%3D%222792%22%20and%20Period%3D%22%22%20and%20Disp_Obj_Type%3D%22Painting%22%20and%20Century%3D%2219th%20Century%22
Painting
The Night Before the Battle
James Henry Beard, (Buffalo, NY, 1811 - 1893, Flushing, NY)
Beard, James Henry
United States
1811 - 1893
Male
30 1/2 x 44 1/2 in. (77.5 x 113 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, Death, genre scenes, paintings, war
Painting
James Beard had first-hand experience as a captain in the Union army during the Civil War. This painting, completed in the year the war ended, is a dramatic statement about the ever-present possibility of death on the battlefield.
[Gallery label text, 2007]
Were it not for details like the skeleton keeping vigil behind the cannon, the cruciform composition of the flag draped over the sleeping soldier, and the scattered playing cards suggestive of luck and chance, this painting would be a simple narrative about the Civil War. However, such potent symbolism imbues the work with layers of spiritual significance.
Perhaps the reminders of death and sacrifice that the artist included in his masterful painting emerged from his firsthand experience in the Union Army during the Civil War. The meticulously selected and carefully arranged details attest to the poignancy of the soldiers' situation and contrast with the implied violence that will occur on the morrow.
[Gallery label text]
lower left
1978.15
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Memorial Art Gallery
9/8/1999
78.15TR1
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Memorial Art Gallery
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Memorial Art Gallery
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6/26/2000
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detail-skeleton
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Memorial Art Gallery
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6/26/2000
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M425_p83.tif
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78.15DI#4
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7/16/2012
http://127.0.0.1:5000/Media/images/78.15_A4.jpg
Painting
The Sierras Near Lake Tahoe, California
Albert Bierstadt, 1830 - 1902
Bierstadt, Albert
United States
1830 - 1902
Male
14 15/16 x 21 1/16 in. (38 x 53.5 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, deer, landscapes, mountains, paintings
Painting
Bierstadt was one of the most gifted artists to depict the stunning mountain views of the expanding frontier, far west of the Hudson River region that had inspired earlier American landscape painters. He was a member of the generation of artist-explorers who traveled with expeditions or in their footsteps and recorded the visual experience. MAG's painting quietly but masterfully convinces us of the grandeur of mountains and sky by including the tiny deer to give a sense of scale, and by suffusing the surface of the painting with a warm, glowing palette.
lower leftverso, centerverso, upper left, 'No.' is painted over an illegible word.verso
1992.78
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Memorial Art Gallery
9/8/1999
92.78TR1
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Memorial Art Gallery
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6/26/2000
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M425_p85(10).tif
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Painting
Afternoon Light
Ralph Albert Blakelock, 1847 - 1919
Blakelock, Ralph Albert
United States
1847 - 1919
Male
16 1/8 x 24 1/16 in. (41 x 61.1 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
ca. 1880-1890
1880
1890
1800-1900, 19th century, landscapes, paintings, romanticism
Painting
This brooding, moody canvas was created by one of the most haunted souls in the history of American art. Ralph Blakelock, a man diagnosed as a paranoid schizophrenic and placed in a sanitarium for fifteen years, painted some of the most mysterious, expressive and poetic paintings in 19th century America. Indeed, his interest in and exploration of the unknown and the expressive were deeply admired by such radical 20th century abstract painters as Willem deKooning, Jackson Pollock and Franz Kline....
[Gallery label text]
lower rightcardboard backing of paintingverso, Visible before relining.
1974.4
item
Memorial Art Gallery
9/8/1999
74.4TR1
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Memorial Art Gallery
4 x 5
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digital image
Memorial Art Gallery
Imaging complete
7/13/2000
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Painting
The Bay of Estaque Seen from the East (La Baie de l'Estaque vue de l'est)
View of Mt. Marseilleveyre and the Isle of Maire (L'Estaque); La Montagne Marseilleveyre et l'Ile Maire; Le Golfe bleu (L'Estaque); Sea at L'Estaque
Paul Cézanne, (Aix-en-Provence, France, 1839 – 1906, Aix-en-Provence, France)
Cézanne, Paul
France
1839 - 1906
Male
21 1/4 x 25 5/8 in. (54 x 65.1 cm)
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approximate installation dimensions
frame
Oil
Oil
ca. 1878-1882
1878
1882
1800-1900, 19th century, Impressionism, landscapes, paintings, seascapes
Painting
Paul Cézanne exhibited in the Impressionist exhibition of 1874, and was encouraged by Camille Pissarro to begin painting out of doors. He soon moved beyond the style of Impressionism and began building form with color to paintings that were more analytical than sensory. He frequently painted scenes of the small town of L’Estaque in southern France, where he lived and worked periodically from 1870 to 1885. In an 1876 letter to his friend the Impressionist painter Camille Pissarro, he wrote of his work in L’Estaque:
"I have started two little motifs with a view of the sea…red roofs over the blue sea…The sun is so terrific here that it seems to me as if the objects are silhouetted not only in black and white, but in blue, red, brown and violet. I may be mistaken, but this seems to me to be the opposite of modeling."
In this painting, he uses interlocking shapes of bright color and diagonal brushstrokes to create the sensation of volumes in the foliage, mountains, and water.
[Label copy from Monet: Vision and Process exhibition, 2018]
Cézanne's artistic goals developed through his contact with the Impressionists. Although he was not interested in rendering particular momentary impressions, he wished to record his "sensations" of nature. This painting typifies his technique-- suggesting form and volume through interlocking shapes that are rendered with bold, diagonal brushstrokes. The bright colors deftly evoke the strong light and crystalline atmosphere of southern France.
[Gallery label text, 1999]
back of stretcherback of stretcherback of stretcherback of stretcherback of stretcher, Italian customs stampback of stretcherback of stretcherback of stretcherback of stretcher, on cross-member of stretcherback of stretcher, on cross-member of stretcherback of stretcherback of stretcher, on cross-member of stretcherback of stretcher, On cross member of stretcher. Import or export stamp.back of canvas, Import or export stamp. Slightly different size and proportion than other similar stamp on this canvasback of canvas, Import or export stamp. Slightly different size and proportion than other similar stamp on this canvasback of canvas, Import or export stampback of canvas, Import or export stampback of stretcherback of stretcher, approximate height dimension of stretcher in cm.back of stretcherback of frameback of frame, (see photo attached)backing board, From Musee National d'Art Occidental
1969.45
item
Memorial Art Gallery
1/17/2001
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painting in frame
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69.45DI4
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69.45DI#5
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11/27/2017
http://127.0.0.1:5000/Media/images/69.45_A4.jpg
Painting
Genesee Scenery
Thomas Cole, 1801 - 1848
Cole, Thomas
United States
1801 - 1848
Male
6 1/4 x 4 3/8 in. (15.9 x 11.1 cm)
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approximate installation dimensions
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without frame
Oil
Oil
1846-1847
1846
1847
1800-1900, 19th century, bridges, Hudson River School, landscapes, paintings, rivers, views of Rochester & western New York, waterfalls
Painting
Like many artists, Thomas Cole traveled extensively, sketching views that he would later include in finished (and much larger) paintings. On a trip to the Upstate New York region, he sketched Deh-ga-ya-soh Creek at what is now Letchworth State Park in Mount Morris. Later that year, he used the sketch to create this study, which ultimately became the subject of the 'Genesee Scenery' (1847, 51 x 39 1/2 inches, owned by the Museum of Art, Rhode Island School of Design).
[Adapted from gallery label text, 2007]
1994.40
item
Memorial Art Gallery
9/8/1999
94.40TR1
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Memorial Art Gallery
2 1/4 x 2 3/4
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4 x 5
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Rhode Island School of Design
11/26/2001
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Memorial Art Gallery
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6/26/2000
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Painting
Genesee Oaks
Asher Brown Durand, 1796 - 1886
Durand, Asher Brown
United States
1796 - 1886
Male
28 1/4 x 42 in. (71.8 x 106.7 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
1860
1860
1860
1800-1900, 19th century, cows, Hudson River School, landscapes, paintings, rivers, trees in art, views of Rochester & western New York
Painting
Asher B. Durand was commissioned to paint this magnificent vista overlooking the Genesee River Valley in Geneseo, New York, by a member of the Wadsworth family, the village founders. At one time, they owned all the land from Geneseo to Rochester.
[Gallery label text, 2007]
No matter what the weather, this view across the Genesee Valley near Geneseo is as breathtaking now as it was over two hundred years ago, when landowner James S. Wadsworth commissioned Hudson River school founder Asher B. Durand to record the beauty of the landscape in a painting. In the summer of 1859, Durand traveled from New York City to the Genesee Valley to make preparatory sketches. Trained as an engraver, he recorded many of the details that he saw, but in addition, his personal belief in the immanence of the divine in the natural world motivated him to present a landscape that seems to extend infinitely.
Statuesque oak trees, many of which are still standing on the land, dominate the painting. In this region, the trees were more than a decorative feature. When the Wadsworths began to sell and lease land to local farmers, they included a clause in the contract requiring that a number of trees remain after the land was cleared. This was a holdover from British husbandry; the result was a countryside that was not only beautiful but that provided sun and moisture control for humans and animals alike. Genesee Oaks was Durand's tribute to the splendor of this valley.
[Gallery label text]
Durand visited the Genesee country but once, sketching in the Geneseo area during late June and July of 1859. Of his trip he wrote to his son in August: "With all my troubles I believe I have learnt more about the management of colors in the painting of trees than by all my previous practice, altho' I have never produced so little in the same span of time, not having made but four studies in five weeks."
During the following year, back in his studio, Durand painted Genesee Oaks, based on the sketches he had made. The painting was commissioned by James Samuel Wadsworth, a local squire, who owned the work when it was exhibited at the National Academy of Design in 1861. Seven oil studies done near Geneseo in 1859 are photographed in Durand's studio after 1878. A photograph shows three small sculptures of cows, two standing, one reclining that may have served as models for the animals in the painting.
Howard S. Merritt
Peters, Susan Dodge, ed. Memorial Art Gallery: An Introduction to the Collection. (Rochester, NY: The Memorial Art Gallery, 1988). p.182-3.
lower left
1974.5
item
Memorial Art Gallery
9/8/1999
74.5TR1
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Memorial Art Gallery
4 x 5
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74.5DI2
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Memorial Art Gallery
8/25/2001
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Memorial Art Gallery
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6/23/2000
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Detail cows and figure under trees
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Painting
The Printseller's Window
Walter Goodman, (London, 1838 - 1912, London)
Goodman, Walter
England
1838 - 1912
Male
52 1/4 x 44 3/4 in. (132.7 x 113.7 cm)
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Oil
Oil
1883
1883
1883
1800-1900, 19th century, jobs & work, men, paintings, trompe l'oeil
Painting
Painted in the illusionistic technique of trompe l’oeil (French for “fool the eye),” The Printseller depicts a heavily-bearded shopkeeper cradling a small statuette of Cupid. The display case before him contains a variety of objects, including prints, books, coins in a porcelain dish, a magnifying glass, a wineglass, a strand of pearls and a metal tankard. Many of the prints are reproductions of famous paintings that would have been familiar to Walter Goodman’s audience of the early 1880s.
A string of small photographs called cartes-de-visites stretches across the display case. These small photographic portraits, sized to mount on a visiting card, became extremely popular; a craze developed for collecting the cartes of celebrities as well as family and friends. Here, each represents a famous Victorian painter of Goodman’s time, including John Everett Millais, Rosa Bonheur, and Lawrence Alma-Tadema (fourth, sixth, and ninth from the left, respectively). A larger photographic portrait of the famous art critic John Ruskin is located in the center directly below the string of cartes.
Although relatively unknown, Walter Goodman was an interesting and practiced artist with a varied career as a portraitist, illustrator and writer. Of Jewish heritage, he was the son of portraitist Julia Salaman Goodman. He was widely traveled and an intimate member of London’s theatrical society. He exhibited at the Royal Academy and the British Institution.
lower rightback of stretcher, per 1999 conservation report; partial label, mostly illegible. [possibly The London, Brighton and South Coast Railway (LB&SCR), a railway company in the UK from 1846 to 1923? ran to Victoria Station, London]back of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation report. Inscription has been effaced.back of stretcher, per 1999 conservation report.back of canvas, per 1999 conservation report. back of canvas, per 1999 conservation report. back of canvas, per 1999 conservation report.back of stretcher, per 1999 conservation report; partial label, mostly illegible [possibly So. Kensington Museum?]back of stretcher, scratched into the wood
1998.75
item
Memorial Art Gallery
10/21/1999
98.75TR1
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Memorial Art Gallery
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digital image
4/7/2009
http://127.0.0.1:5000/Media/images/98.75_A4.jpg
Painting
Pittsford on the Erie Canal
George Harvey, 1800 - 1878
Harvey, George
United States
1800 - 1878
Male
17 1/2 x 23 1/2 in. (44.5 x 59.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1837
1837
1837
Painting
This scene is thought to be in the vicinity of King’s Bend Park just outside of Pittsford Village.
[Gallery label text, 2007]
lower right
2005.33
item
Memorial Art Gallery
5/20/2005
2005.33DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.33_I1.jpg
2005.33det1DI2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A2.jpg
2005.33det2DI3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A3.jpg
2005.33det3DI4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A4.jpg
2005.33DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A6.jpg
2005.33SL1
slide
full
2 x 2
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2005.33TR1
transparency
full
4 x 5
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2005.33.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/2005.33.tif
M425_A.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_A.tif
6harvey1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/6harvey1.tif
2005.33DI#5
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/2005.33_A5.jpg
2005.33DI#6
digital image
11/1/2005
http://127.0.0.1:5000/Media/images/2005.33_A7.jpg
2005.33DI#7
digital image
1/7/2014
http://127.0.0.1:5000/Media/images/2005.33_A8.jpg
Painting
Landscape with Figures
Joseph H. Hidley, 1830 - 1872
Hidley, Joseph H.
United States
1830 - 1872
Male
10 7/8 x 20 7/8 in. (27.6 x 53 cm)
.
.
.
overall
horizontal
.
.
.
without frame
Oil
Oil
0
0
1800-1900, 19th century, cows, folk art, houses, men, paintings, women
Painting
This painting was never intended to hang on a wall. Rather, it was created as part of a wall to decorate a panel underneath a tall window in the parlor of a home in Eagle Mills, New York, near Albany.
The artist was an unusual individual. In addition to painting scenes to decorate rooms in the Albany region, Joseph Hidley was a house painter, a carpenter, and arranger of stuffed birds and dried flowers.
For his underwindow panels, he is thought to have derived his inspiration from European viewbooks, which is why this scene is reminiscent of a Swiss landscape. We are still trying to locate the original view that Hidley copied.
[Gallery label text, 2002]
1997.173
item
Memorial Art Gallery
10/25/1999
97.173SL1
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
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97.173DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.173_A2.jpg
97.173TR1
transparency
full
4 x 5
00/00/00
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97.173DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.173_A1.jpg
Painting
The Artist's Studio in an Afternoon Fog
Winslow Homer, (Boston, MA, 1836 - 1910, Prout's Neck, ME)
Homer, Winslow
United States
1836 - 1910
Male
24 x 30 1/4 in. (61 x 76.8 cm)
.
.
.
with frame
frame
Oil
Oil
1894
1894
1894
1800-1900, 19th century, paintings, seascapes, weather & water
Painting
In the course of his long and distinguished career, Winslow Homer shifted his focus from robust descriptions of American life to studies of interaction between man and the powerful forces of nature, particularly the ocean. This evocative painting of his studio at his family’s compound on the coast of Maine in Prout’s Neck, near Portland, is considered one of Homer’s most masterful works.
[Gallery label text, 2007]
A foggy day on the coastal peninsula of Prout's Neck, Maine, inspired Winslow Homer to paint one of his most elegant and contemplative works. His studio and family home stand silhouetted between the darker cliffs in the foreground and the paler sky. The painting's composition balances strong diagonal and horizontal elements in the lower half with a monolithic sky punctuated by a circle of sun.
Homer was known for his many paintings of rural America, as well as his illustrations of the Civil War. In 1883, Homer left New York City, where he had been living, and settled permanently in Prout's Neck. During his years there, he produced some of the most thrilling marine paintings in the history of American art.
[Gallery label text, 2006]
lower rightremoved, kept in file, Exhibition label for Panama-Pacific International Expositionremoved, kept in file
1941.32
item
Memorial Art Gallery
9/8/1999
41.32TR1
Transparency
Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
41.32SL1
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8x10
00/00/00
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41.32DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.32_A1.jpg
41.32SL2
slide
detail-rocks
2 x 2
00/00/00
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41.32SL3
slide
detail-waves
2 x 2
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41.32SL4
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detail-sun
2 x 2
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color
1 x 1
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glossy
8x10
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41.32DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p116.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p116(10).tif
41.32DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
41.32DI#4
digital image
Memorial Art Gallery
Imaging complete
9/19/2019
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
Painting
Home Late
Mortimer Smith, 1840 - 1896
Smith, Mortimer
United States
1840 - 1896
Male
40 x 46 in. (101.6 x 116.8 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1866
1866
1866
1800-1900, 19th century, children, families, genre scenes, home life, men, paintings, weather & water
Painting
Home Late is the earliest identified painting by Mortimer Smith. The shadowy interior of the frontier cabin demonstrates his mastery of the genre scene: the rifle hanging from the ceiling side by side with drying meats and vegetables, supper cooking in the kettle suspended in the stone fireplace, and the dog sleeping peacefully by the fire. Smith is equally adept at capturing the warm glow cast by the fire as it contrasts with the cold light of the winter scene beyond the doorway. The child pausing in the doorway heightens the emotional ambiguity of the scene as he surveys the cabin's interior, perhaps to gauge the mood within as he returns home late from skating.
Smith's landscape and genre scenes suggest familiarity with his better-known contemporaries, like Albert Bierstadt and Eastman Johnson. Certainly, early exposure to the work exhibited at the Cosmopolitan Art Association in Sandusky provided Smith with models of painting styles that continued to influence him throughout his life.
[Gallery label text]
lower left
1975.139
item
Memorial Art Gallery
9/8/1999
75.139TR1
Transparency
Memorial Art Gallery
pink
4 x 5
00/00/00
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negative
4x5
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75.139DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/75.139_A1.jpg
M425_p90(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p90(10).tif
M425_p90.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p90.tif
cmyk
digital image
00/00/00
http://127.0.0.1:5000/Media/images/75.139_A2.jpg
75.139DI#5
digital image
11/18/2019
http://127.0.0.1:5000/Media/images/75.139_A3.jpg
Painting
Peeling Onions
Lilly Martin Spencer, 1822 - 1902
Spencer, Lilly Martin
United States
1822 - 1902
Female
36 x 29 in. (91.4 x 73.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1852
1847
1857
1800-1900, 19th century, food, genre scenes, home life, jobs & work, paintings, women
Painting
lower left, in frontmost peach. Second numeral unclear.
1988.6
item
Memorial Art Gallery
9/8/1999
88.6TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.6SL1
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full
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4x5
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88.6DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/88.6_A1.jpg
88.6DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.6DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/88.6_A2.jpg
88.6_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/88.6_A3.jpg
10spencer1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/10spencer1.tif
Painting
Aurélien-Marie Lugné-Poë (1869-1940)
Edouard Vuillard, (Cuiseaux, France, 1868 – 1940, La Baule-Escoublac, France)
Vuillard, Edouard
France
1868 - 1940
Male
8 3/4 x 10 1/2 in. (22.2 x 26.7 cm)
.
.
.
overall framed size
horizontal
frame
Oil
Oil
1891
1891
1891
1800-1900, 19th century, authors, men, paintings, portraits
Painting
This likeness captures the intense fervor of the artist's friend and patron, Aurélien-Marie Lugné-Poë (1869-1940), an actor and daring theatrical producer who helped Vuillard obtain his first commission for a theatrical poster. The artist's use of broad areas of flat color to define form and volume in this intimate portrait is typical of the Nabis painters, a group of artists influenced by Paul Gauguin and with whom Vuillard was aligned.
[Gallery label text, 1999]
initialed, lower left
1972.18
item
Memorial Art Gallery
4/5/2000
72.18TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.18SL1
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full
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glossy
8x10
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72.18DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/72.18_A1.jpg
72.18SL2
slide
photo of Lugne-Poe
2 x 2
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72.18DI2
digital image
00/00/00
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72.18_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.18_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.18_A3.jpg
72.18DI#4
digital image
8/31/2012
http://127.0.0.1:5000/Media/images/72.18_A4.jpg