19
Portfolios%3D%22362%22%20and%20Disp_Obj_Type%3D%22Painting%22
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
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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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6/11/2009
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6/11/2009
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6/11/2009
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6/11/2009
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6/11/2009
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Painting
Along the Canal
William Merritt Chase, (Williamsburg, IN, 1849 - 1916, New York, NY)
Chase, William Merritt
United States
1849 - 1916
Male
10 x 13 1/2 in. (25.4 x 34.3 cm)
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overall
frame
Oil
Oil
ca. 1903
1898
1908
51.329
American art, boats, canals, cityscapes, paintings
Painting
lower left
1967.18
item
Memorial Art Gallery
9/8/1999
67.18TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/10/2000
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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
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Memorial Art Gallery
4 x 5
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26.20DI1
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Memorial Art Gallery
Imaging complete
7/13/2000
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37cooper1.tif
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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
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
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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
4 x 5
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51.3DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
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51.3SL2
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detail-slightly cropped
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51.3SL3
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photo of old gas pump
2 x 2
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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
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)
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without frame
image
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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
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digital image
Memorial Art Gallery
Imaging complete
6/23/2000
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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)
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approximate installation dimensions
frame
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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
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13.6DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
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Painting
Harbor Town
Jacob Maris, (The Hague, Netherlands, 1837 – 1899, Karlovy Vary, Czechia)
Maris, Jacob
Netherlands
1837 - 1899
Male
14 1/4 x 23 1/2 in. (36.2 x 59.7 cm)
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approximate installation dimensions
frame
Oil
Oil
1875
1875
1875
1800-1900, 19th century, cityscapes, George Eastman Collection, paintings, seascapes, windmills
Painting
back of frameback of stretcherback of stretcher, Illegible 3/08; behind backing boardlower right
1978.5
item
Memorial Art Gallery
1/30/2001
78.5SL1
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78.5DI#2
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/78.5_A2.jpg
Painting
Waterloo Bridge, Veiled Sun
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
25 1/2 x 39 1/4 in. (64.8 x 99.7 cm)
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without frame
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with frame
frame
Oil
Oil
1903
1903
1903
1900-2000, 20th century, bridges, cityscapes, Impressionism, London, England, paintings
Painting
Monet loved London for its fog. During his 1901 visit to the city, he attempted to capture the evanescent effects of its misty climate in a series of views of Waterloo Bridge under varying conditions. Each time the light and weather shifted, he began a new canvas or returned to the one that recorded that particular atmosphere. Monet did not complete the paintings in London. He perfected them in his studio in France over the next three years. Thus, this painting records not only the artist's immediate response to the scene, but also his memory of it.
[Gallery label text, 1999]
lower rightback of frameback of framestretcher, Presumably Durand-Ruel number?stretcher, Torn away at right edgestretcherstretcherstretcherback of canvas
1953.6
item
Memorial Art Gallery
4/5/2000
53.6TR1
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Memorial Art Gallery
4 x 5
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digital image
Memorial Art Gallery
Imaging complete
6/26/2000
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53.6DI#2
digital image
Detail
6/11/2009
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53.6DI#3
digital image
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6/11/2009
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53.6DI#4
digital image
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6/11/2009
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53.6DI#5
digital image
6/20/2016
http://127.0.0.1:5000/Media/images/53.6_A5.jpg
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)
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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
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Memorial Art Gallery
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digital image
Memorial Art Gallery
Imaging complete
6/19/2001
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35myers1.tif
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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
Memorial Bridge
Carl W. Peters, 1897 - 1980
Peters, Carl W.
United States
1897 - 1980
Male
36 x 40 in. (91.4 x 101.6 cm)
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without frame
Oil
Oil
1930
1930
1930
1900-2000, 20th century, American art, bridges, by Rochester artists, cityscapes, jobs & work, paintings, views of Rochester & western New York
Painting
One of Rochester's most picturesque river crossings is the Veterans' Memorial Bridge (Ridge Road), completed in 1931. In this painting, Carl Peters records the complex engineering systems that were used to build the bridge's series of seven granite-faced concrete arches. Most likely, his vantage point was the steep west bank of the Genesee River, whose green waters flow far below; work has been completed on both sides of the river but the bridge is still lacking its large central span.
On the bridge is a dedicatory plaque donated by World War I Gold Star Mothers - women who lost sons in World War I. At the dedication, the president of the group said:
Great bridges across flowing waters are
indicative of the continual labors of life.
In the very presence of continual change,
they seem to connect the past with the
present, even as they connect the East
with the West, the North with the South...
[Gallery label text, 2009]
lower left
Nancy Miller Batty
1981.56
item
Memorial Art Gallery
9/8/1999
81.56TR1
Transparency
Memorial Art Gallery
4 x 5
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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
81.56DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/81.56_A1.jpg
81.56DI2
digital image
Memorial Art Gallery
00/00/00
http://127.0.0.1:5000/Media/images/related_images/81.56_R1.jpg
81.56DI3
digital image
Memorial Art Gallery
00/00/00
http://127.0.0.1:5000/Media/images/related_images/81.56_R2.jpg
81.56DI4
digital image
Memorial Art Gallery
00/00/00
http://127.0.0.1:5000/Media/images/related_images/81.56_R3.jpg
81.56DI5
digital image
Memorial Art Gallery
00/00/00
http://127.0.0.1:5000/Media/images/related_images/81.56_R4.jpg
81.56DI6
digital image
Memorial Art Gallery
00/00/00
http://127.0.0.1:5000/Media/images/related_images/81.56_R5.jpg
Painting
Lower Falls
W. Elmer Schofield, (Philadelphia, PA, 1867 - 1944, Cornwall, England)
Schofield, W. Elmer
United States
1867 - 1944
Male
25 1/2 x 29 1/2 in. (64.8 x 74.9 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
1915
1915
1915
1900-2000, 20th century, cityscapes, paintings, rivers, views of Rochester & western New York, waterfalls
Painting
When Director George Herdle invited artists to exhibit their work at the Memorial Art Gallery, he often included an invitation for them to visit Rochester, give a talk, and meet potential patrons. Such was the case with Walter Elmer Schofield's 1915 exhibition. In March, he came to Rochester, spent time braving cold weather in various locales and painted at least two canvases. As he stood by his easel on the Driving Park Bridge overlooking the Lower Falls of the Genesee River, a news photographer happened upon him and took his picture for the March 3, 1915, newspaper. The headline? "Artist Braves March Weather to Paint Lower River".
[Gallery label text, 2007]
lower leftback of stretcherback of frameback of frame
1940.42
item
Memorial Art Gallery
9/8/1999
40.42TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
40.42SL1
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
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
40.42DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/40.42_A1.jpg
40.42DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/40.42_R1.jpg
40.42DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/40.42_R2.jpg
40.42DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/40.42_R3.jpg
40.42DI5
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/40.42_R4.jpg
40.42DI6
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/40.42_R5.jpg
40.42DI7
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/40.42_R6.jpg
40.42DI8
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/40.42_R7.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/40.42_R1.pdf
40.42DI#9
digital image
8/30/2012
http://127.0.0.1:5000/Media/images/40.42_A2.jpg
40.42DI#10
digital image
with frame
5/7/2014
http://127.0.0.1:5000/Media/images/40.42_A3.jpg
40.42DI#11
digital image
Verso
5/7/2014
http://127.0.0.1:5000/Media/images/40.42_A4.jpg
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
.
.
.
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
45.45TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
45.45TR2
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
45.45SL1
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
glossy
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
45.45DI1
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/45.45_A1.jpg
45.45DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/45.45_A2.jpg
32shinn1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/32shinn1.tif
Painting
Russian Bridge, Close of Day
Leon Gaspard, 1882 - 1964
Gaspard, Leon
United States
1882 - 1964
Male
17 x 22 in. (43.2 x 55.9 cm)
.
.
.
Oil
Oil
1922
1922
1922
1900-2000, 20th century, bridges, horses, landscapes, paintings, rivers
Painting
lower leftverso, Noted in WACC treatment proposal May 2017: Partial charcoal inscription on verso and artist’s signature; three diamond-shaped Colormen’s stamps on board verso, appear to have been sanded down, perhaps by artist?; remnants of another rectangular paper label also visible on verso, off-center.
1923.14
item
Memorial Art Gallery
9/8/1999
23.14TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
23.14SL1
slide
full
2 x 2
00/00/00
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
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
23.14DI1
digital image
Memorial Art Gallery
Imaging complete
2/1/2001
http://127.0.0.1:5000/Media/images/23.14_A1.jpg
Painting
Snow
Ella E. See, (Pillar Point, New York , ca. 1866 - 1925, Rochester, New York)
See, Ella E.
United States
ca. 1866 - 1925
Female
20 x 26 in. (50.8 x 66 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
by Rochester artists, paintings, winter
Painting
lower left
1926.23
item
Memorial Art Gallery
9/8/1999
26.23SL1
slide
full
2 x 2
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
26.23DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/26.23_I1.jpg
26.23DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/26.23_A1.jpg
26.23DI#1
digital image
2/26/2008
http://127.0.0.1:5000/Media/images/26.23_A2.jpg
Painting
Café Maure, Sidi-Bou-Said, Tunisia
Old Café at Sidi-Bou-Said
Frank Townsend Hutchens, (Canandaigua, NY, 1869 – 1937, Palm Beach, FL)
Hutchens, Frank Townsend
United States
1869 - 1937
Male
39 x 45 in. (99.1 x 114.3 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1926 or later
1926
1926
1900-2000, 20th century, paintings
Painting
lower rightback of canvas, See photo attached.back of frameback of frameback of stretcher, May be artist's handback of frame, Grasset was a gilder and framer in Tunisia
1926.99
item
Memorial Art Gallery
9/8/1999
26.99SL1
slide
full
2 x 2
00/00/00
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
glossy
5 x 6
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
26.99DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/26.99_I1.jpg
26.99DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/26.99_A1.jpg
26.99DI#2
digital image
4/1/2014
http://127.0.0.1:5000/Media/images/26.99_A2.jpg
Painting
Paris Roofs, Rue de la Bucherie
E. E. Cummings, 1894 - 1962
Cummings, E. E.
United States
1894 - 1962
Male
12 x 16 in. (30.5 x 40.6 cm)
.
.
.
Oil
Oil
0
0
1900-2000, 20th century, cityscapes, paintings
Painting
verso
1944.46
item
Memorial Art Gallery
9/8/1999
44.46SL1
slide
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
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.46DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/44.46_I1.jpg
44.46TR1
transparency
4 x 6
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.46DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.46_A1.jpg
Painting
Matin, Auray
Bridge at Avray
Walter Griffin, 1861 - 1935
Griffin, Walter
United States
1861 - 1935
Male
33 3/8 x 36 1/2 in. (84.8 x 92.7 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
1913
1913
1913
1900-2000, American art, bridges, day, paintings, roads
Painting
lower left
1944.55
item
Memorial Art Gallery
9/8/1999
44.55SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/44.55_I1.jpg
44.55DI#1
digital image
4/9/2008
http://127.0.0.1:5000/Media/images/44.55_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/R/Lending & Sales/Untitled-22.jpg
Painting
The Churchgoers
Colleen Browning, 1918 - 2003
Browning, Colleen
United States
1918 - 2003
Female
19 5/8 x 30 1/16 in. (49.8 x 76.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1950
1950
1950
1900-2000, American art, churches, cityscapes, houses, leisure activities, paintings, roads
Painting
upper leftverso, see Surrogate List for image
1950.22
item
Memorial Art Gallery
9/8/1999
50.22SL1
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
50.22DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/50.22_I1.jpg
50.22DI#2
digital image
7/13/2009
http://127.0.0.1:5000/Media/images/50.22_A1.jpg
50.22DI#3
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/50.22_A2.jpg
Painting
Street Scene
Emil Eugen Holzhauer, (Schwabisch-Gmund, Germany, 1887 - 1986, Niceville, FL)
Holzhauer, Emil
United States
1887 - 1986
Male
24 1/4 x 30 in. (61.6 x 76.2 cm)
.
.
.
without frame
.
.
.
overall
frame
Oil
Oil
1941
1941
1941
Painting
lower rightverso, upper left
2002.8
item
Memorial Art Gallery
3/27/2002
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
2002.8SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2002.8DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2002.8_A1.jpg