9
Portfolios%3D%22591%22%20and%20Period%3D%22%22%20and%20Century%3D%2220th%20century%22%20and%20Disp_Obj_Type%3D%22Painting%22
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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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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51.2DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
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51.2SL2
slide
photo of bridge from same vantage point
2 x 2
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51.2DI2
digital image
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51.2DI3
digital image
Memorial Art Gallery
Imaging complete
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60crawford1.tif
digital image
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51.2DI#3
digital image
5/22/2013
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Painting
The Canal Boat
The Locks at Brighton (title given by Gertrude Herdle Moore and Isabel Herdle when it came into collection)
George Leonard Herdle, 1868 - 1922
Herdle, George Leonard
United States
1868 - 1922
Male
21 15/16 x 28 in. (55.8 x 71.1 cm)
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without frame
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overall
frame
Oil
Oil
ca. 1915
1910
1920
1900-2000, 20th century, boats, bridges, by Rochester artists, canals, houses, paintings, views of Rochester & western New York
Painting
Title is taken from Memorial Exhibition.
George Herdle was one of the most versatile and influential leaders of Rochester’s arts community around the turn of the twentieth century. In addition to being a fine landscape painter, he was president of the Rochester Art Club for nearly two decades and, in 1913, he became the first director of the Memorial Art Gallery of the University of Rochester.
Herdle’s legacy is visible in the building and collections that surround you, as well as in the tradition of connoisseurship and artistic vitality that he transmitted to his two daughters, Gertrude Herdle Moore and Isabel C. Herdle. Gertrude took over at the Gallery as director after her father’s untimely death, and Isabel worked by her side as curator and associate director for many years. The family was honored by the naming of the Herdle Fountain Court on the second floor of the Gallery.
[Gallery label text, 2007]
1989.55
item
Memorial Art Gallery
9/8/1999
89.55SL1
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full
2 x 2
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89.55DI1
digital image
2 x 2
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89.55DI#2
digital image
7/12/2012
http://127.0.0.1:5000/Media/images/89.55_A2.jpg
00/00/00
http://127.0.0.1:5000/Media/images/R/Exhibition Images and Digital files/1304_Memorial_Exhibition_Paintings_by_George_Herdle/exhibitview1.tif
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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negative
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13.6DI2
digital image
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41lie1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/41lie1.tif
x-ray
00/00/00
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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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81.56DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
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81.56DI2
digital image
Memorial Art Gallery
00/00/00
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81.56DI3
digital image
Memorial Art Gallery
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81.56DI4
digital image
Memorial Art Gallery
00/00/00
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81.56DI5
digital image
Memorial Art Gallery
00/00/00
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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
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
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approximate installation dimensions
frame
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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
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cropped
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58dove1.tif
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51.4DI2
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/51.4_A2.jpg
Painting
Cliff and Pier in Sunshine, St. Ives
Hayley Lever, (Adelaide, Australia, 1875 - 1958, Mount Vernon, NY)
Lever, Hayley
United States
1875 - 1958
Male
21 x 24 in. (53.3 x 61 cm)
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overall
frame
Oil
Oil
0
0
American art, boats, paintings, seascapes
Painting
lower leftverso, Looks like it is in the artist's hand - painted in script on back of canvas
1938.35
item
Memorial Art Gallery
9/8/1999
38.35SL1
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full
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38.35DI1
digital image
4/24/2002
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38.35DI2
digital image
full
2 x 2
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digital image
00/00/00
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Painting
Boats, Blue Square
Paul Resika, (New York, NY, 1928 - )
Resika, Paul
United States
1928
Male
76 x 76 in. (193 x 193 cm)
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without frame
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overall
frame
Oil
Oil
1996-1998
1996
1998
1900-2000, 20th century, boats, paintings, seascapes
Painting
Painter Paul Resika's brush translates the dramatic colors of boats, sea and sky into a nearly abstract composition. The artist's lifelong interest in color was established early on in studies with Hans Hofmann (see Hofmann's "Ruby Gold," 60.37). Two years in the watery environs of Venice, and residency since the 1960s on Cape Cod, have given Resika the imagery with which to express his profound connection with the beauty of the natural world.
[Gallery label text]
lower left
Paul Resika
1999.41
item
Memorial Art Gallery
10/27/1999
99.41TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
99.41SL1
slide
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99.41DI2
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
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99.41DI3
CMYK for printing
digital image
00/00/00
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Painting
Polperro Harbor
W. Elmer Schofield, (Philadelphia, PA, 1867 - 1944, Cornwall, England)
Schofield, W. Elmer
United States
1867 - 1944
Male
20 x 24 in. (50.8 x 61 cm)
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overall
frame
Oil
Oil
ca. 1915
1910
1920
1900-2000, 20th century, boats, paintings, seascapes
Painting
lower right
1941.27
item
Memorial Art Gallery
9/8/1999
41.27SL1
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2 x 2
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41.27DI1
digital image
2 x 2
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41.27DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/41.27_A1.jpg
41.27DI#3
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/41.27_A2.jpg
Painting
Road Runner in a Big Red Apple
Manon Cleary, 1942 - 2011
Cleary, Manon
United States
1942 - 2011
Female
60 x 60 in. (152.4 x 152.4 cm)
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without frame
overall
Acrylic
Acrylic
0
0
1900-2000, American art, color, figure, movement, paintings, transportation
Painting
lower right
1970.67
item
Memorial Art Gallery
9/8/1999
70.67DI1
digital image
5/1/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/70.67_I1.jpg
70.67DI#2
digital image
7/13/2009
http://127.0.0.1:5000/Media/images/70.67_A1.jpg