28
Portfolios%3D%22596%22%20and%20Disp_Obj_Type%3D%22Painting%22
Painting
Portrait of a Boy of the Bracciforte Family of Piacenza
Girolamo Mazzola Bedoli, (ca. 1505 - ca. 1569)
Abate, Niccolò dell'
Italy
1509-1512 - 1571
Male
Previous attribution
Bedoli, Girolamo Mazzola
Italy
ca. 1505 - ca. 1569
Male
65 x 34 5/8 in. (165.1 x 87.9 cm)
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.
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overall
frame
Oil
Oil
ca. 1560
1555
1565
1400-1600, angels, children, musical instruments (depictions), paintings, portraits, Renaissance & Baroque
Painting
Every pictorial element in this full-length portrait of a young boy refers to his aristocratic heritage and high status in society. His costume is made of a richly-textured fabric trimmed with buttons of gold; the elegant purse at his waist, his fashionable small plumed hat and the golden hilt of his sword attest to the wealth of his family. The coat of arms on the gilded medallion he holds in his right hand clearly identifies him as a member of the Bracciforte family of Piacenza, one of the richest cities in Renaissance Europe. A book, flute and allegorical statue of Fame, shown here as a winged figure holding two long, thin trumpets, are on a table at his right; they suggest the importance of education and music in the highest strata of Renaissance society.
For decades, this portrait was attributed to the painter Niccolò dell’Abate. Recent scholarship, however, has suggested that it is the work of Girolamo Mazzola Bedoli, who was well known for his portraits of the Farnese and other notable and aristocratic families in the Duchy of Piacenza as well as the nearby Duchy of Parma. These two duchies united only a few years after this portrait was painted.
[Gallery label text]
back of stretcherback of canvasback of canvas, 18th-century hand?back of canvas, 18th-century hand?back of frameback of canvasback of stretcherback of canvas, Circular pattern-- mark of old seal or stamp since removed or faded?
1976.13
item
Memorial Art Gallery
6/9/2000
76.13TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
76.13SL1
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digital image
00/00/00
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76.13DI#4
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A3.jpg
76.13DI#5
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A4.jpg
76.13DI#6
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A5.jpg
76.13DI#7
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A6.jpg
76.13DI#8
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A7.jpg
Painting
Child with Cherries
Jan de Bray, (Haarlem, ca. 1627 - 1697, Haarlem)
Bray, Salomon de
Netherlands
1597 - 1664
Male
Previous attribution
Bray, Jan de
Netherlands
ca. 1627 - 1697
Male
Primary
23 x 18 1/2 in. (58.4 x 47 cm)
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.
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.
.
approximate installation dimensions
frame
Oil
Oil
0
0
1600-1800, 17th century, children, fruit in art, paintings
Painting
This painting shows a young child draped in a floral shawl and holding a wicker basket filled with ripe cherries. His attentive gaze, directed straight at the viewer, adds to the sense of immediacy conveyed by the portrait.
Jan de Bray trained as a painter with his father Salomon, a distinguished artist, architect, and urban planner in Haarlem (The Netherlands). More than half of his work consists of individual portraits.
[Forman Gallery, Summer 2015]
back of frame, Notation is on new travel frame, so inscription is new
1955.65
item
Memorial Art Gallery
11/13/2000
55.65SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
00/00/00
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8x10
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negative
4x5
00/00/00
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55.65TR1
transparency
4 x 5
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55.65DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/55.65_A1.jpg
55.65DI#2
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/55.65_A2.jpg
Painting
Sketch of a Girl's Head
James E. Freeman, 1808 - 1884
Freeman, James E.
United States
1808 - 1884
Male
11 1/2 x 12 in. (29.2 x 30.5 cm)
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vertical
frame
Oil
Oil
1852
1852
1852
1800-1900, 19th century, children, paintings, portraits
Painting
across the bottom
1936.20
item
Memorial Art Gallery
9/8/1999
36.20SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
2 x 2
00/00/00
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00/00/00
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glossy
4x5
00/00/00
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36.20DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/36.20_A1.jpg
36.20DI#2
digital image
in frame
5/21/2009
http://127.0.0.1:5000/Media/images/Inventory pictures/36.20_I1.JPG
36.20DI#3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/36.20_A2.jpg
Painting
Portrait of Sophia Josephine Dixon
Mrs. Robert Fulton White
Attributed to Jefferson Gauntt, (1806 - 1864)
Gauntt, Jefferson
United States
1806 - 1864
Male
50 1/4 x 40 1/8 in. (127.6 x 101.9 cm)
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.
.
overall framed size
vertical
frame
.
.
.
without frame
Oil
Oil
ca. 1850-1860
1850
1860
1800-1900, 19th century, birds, bridges, children, paintings, portraits, rivers, women
Painting
Attributed to Jefferson Gauntt
American, 1806 – 1864
Sophia Josephine Dixon, born circa 1852 - date of death unknown
Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860.
Tombstone, Oct. 2010, Colleen Piccone
A favorite of MAG visitors, the portrait of Sophia Josephine Dixon was conserved in 2006 through a Lower Hudson Conference Conservation Treatment Grant and has been on view in the 19th century American gallery. We are happy to reunite her with her parents, Hiram and Angeline Dixon, whose portraits were conserved in 2008 through the Henry Luce Foundation American Art Conservation Grant. This is the first time that MAG has exhibited the portraits together as a family. They were given to the Gallery by Sophia Josephine’s daughter, Mrs. George B. Penny.
The Dixons’ daughter, Sophia Josephine, holds her pet goldfinch on a string, illustrating her patience and nurturing nature in training a wild bird as her pet. Her white dress with blue ribbon sash, lace pantaloons and straw hat are those of a well-bred young girl from a successful American family. In the early nineteenth century, girls were generally depicted in domestic settings. By 1831, however, “The Mother’s Book” by Lydia Child argued that girls as well as boys would benefit from open air and should be allowed to play outside.
The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY.
Excerpted from installation text, Oct. 2010
Colleen Piccone, Curatorial Dept.
lower left, in Scotch thistle
1942.45
item
Memorial Art Gallery
9/8/1999
42.45TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.45TR2
transparency
8 x 10
00/00/00
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42.45SL1
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full
2 x 2
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glossy
8x10
00/00/00
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42.45DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/42.45_A1.jpg
Painting
Non-Fiction
Robert Gwathmey, (Manchester, VA, 1903 – 1988, Southampton, NY)
Gwathmey, Robert
United States
1903 - 1988
Male
29 x 24 in. (73.7 x 61 cm)
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.
.
approximate installation dimensions
frame
Oil
Oil
1943
1943
1943
1900-2000, 20th century, children, Encyclopedia Britannica Collection, Images of Black People, paintings
Painting
Entrenched in the social realist movement, which sought to depict the trials and tribulations of all people, Robert Gwathmey focused on the lives of Black sharecroppers in the American South. Non-Fiction shows a once common sight on southern farms: older children tending to the young while adults worked all day in the fields. The barbed wire and minstrel puppet figure symbolize the dual oppressions of segregation and racism.
Born in Virginia and spending much of his life in New York City, Gwathmey spent two summers in the 1940s working alongside Black tobacco farmers in North Carolina. At a time when Black artists in the American South were rarely granted a platform for self-representation, Gwathmey, as a white artist, was able to depict the oppression he witnessed.
[Gallery label text, 2024]
In the 1940s, Robert Gwathmey focused his artist’s eye upon the lives of African-American sharecroppers in the South. Non-Fiction shows a common sight on southern farms; older children tended to the young when both parents worked all day in the fields. The barbed wire and minstrel figure symbolize the dual oppressions of segregation and racism.
[Gallery label text, 2007]
1951.7
item
Memorial Art Gallery
9/8/1999
51.7TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.7CNEG1
negative
2 x 2
00/00/00
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51.7
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4x5
00/00/00
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digital image
Memorial Art Gallery
Imaging complete
2/1/2001
http://127.0.0.1:5000/Media/images/51.7_A1.jpg
51.7DI2
digital image
liner (removed)
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/51.7_I1.jpg
65gwathmey1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/65gwathmey1.tif
Painting
Tom Cafferty
Robert Henri, 1865 - 1929
Henri, Robert
United States
1865 - 1929
Male
22 1/4 x 20 1/8 in. (56.5 x 51.1 cm)
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approximate installation dimensions
frame
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frame
Oil
Oil
1924
1924
1924
1900-2000, 20th century, children, paintings, portraits
Painting
Robert Henri, the leader of the Urban Realist movement, sought truth in art above all else. Henri promoted this revolutionary idea in support of a uniquely American art.
[Gallery label text, 2007]
In addition to providing guidance and inspiration (as well as occasional financial assistance) to many artists, Robert Henri was himself a very fine painter. Wherever he taught, he gathered around him eager and enthusiastic students who benefited from his instruction. He moved to New York in 1900 and taught at William Merritt Chase's school for a few years. In 1909, he established his own school, and also taught painting at the radical Ferrer School established by former Rochesterian Emma Goldman.
Although a member of the National Academy of Design, Henri actively promoted non-juried exhibitions and the work of younger, less traditional artists. Dictums such as "Know what the old masters did…They made their language. You make yours. All the past can help you" gave his followers the confidence to paint in their own way.
During the 1920s, Henri lived in Ireland and painted a young boy named Tom Cafferty, who was the subject of this painting and a number of others. Characteristically, Henri painted him in a very loose and colorful style, with energetic brush strokes.
[Gallery label text, 2003]
lower rightyes, verso
1926.1
item
Memorial Art Gallery
9/8/1999
26.1TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
26.1SL1
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full
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8 x 10
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26.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/26.1_A1.jpg
26.1DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/26.1_A2.jpg
26.1DI#3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/26.1_A3.jpg
26.1DI#4
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/26.1_A4.jpg
Painting
Eliza Pixley Lacey (1834 - 1839)
Attributed to Milton W. Hopkins, 1789 - 1844
Hopkins, Milton W.
United States
1789 - 1844
Male
North, Noah
United States
1809 - 1880
Male
Previous Attribution
30 x 25 in. (76.2 x 63.5 cm)
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approximate installation dimensions
frame
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Oil
Oil
1835-1836
1835
1836
1800-1900, 19th century, children, folk art, New York State & Local History, paintings, portraits, women
Painting
M. W. Hopkins
American, 1789 - 1844
Eliza Pixley Lacey (1834 - 1839)
ca. 1835 - 36
Oil on canvas
Gift of Mr. and Mrs. Robert H. Dunn
in memory of Ruth Hanford Munn and
James Buell Munn, 78.188
M.W. Hopkins painted several portraits of young girls holding flower baskets. Eliza was painted when she was about two, and may have been Hopkins’ youngest and most endearing sitter.
Portrait painting was not Hopkins’ sole occupation; he was also a farmer and ornamental painter who decorated carriages and signs.
Eliza was only five when she died. She is buried in Fellows Cemetery in Chili along with her mother, Ann, whose portrait hangs nearby.
{Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial}
The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery.
The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors.
{Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}
1978.188
item
Memorial Art Gallery
9/8/1999
78.188TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.188SL1
slide
full
2 x 2
00/00/00
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78.188DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/78.188_A1.jpg
78.187DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/78.187-191_R1.jpg
5hopkins3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/5hopkins3.tif
Painting
Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun
Attributed to Milton W. Hopkins, 1789 - 1844
Hopkins, Milton W.
United States
1789 - 1844
Male
North, Noah
United States
1809 - 1880
Male
Previous Attribution
42 x 30 1/8 in. (106.7 x 76.5 cm)
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.
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approximate installation dimensions
frame
.
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.
Oil
Oil
1835-1836
1835
1836
1800-1900, 19th century, children, dogs, folk art, New York State & Local History, paintings, portraits
Painting
The Lacey family lived and farmed in Scottsville, New York, a small village south of Rochester on the Oatka Creek. Like many families of means, they used the services of a local artist to have their likenesses painted, since photography as we know it did not exist. For many years, this artist was thought to be Noah North, but recent scholarship points to Milton Hopkins, with whom North probably apprenticed. Painting was not Hopkins' sole occupation. As well, he farmed and was a carriage and sign painter, and was involved in anti-Masonic, abolitionist, and temperance politics.
Pierrepont Lacey was born in 1832, and like many little boys, he probably was not comfortable posing for a painting in his best clothes. The family dog, Gun, most likely didn't stand still for long, either, so it may have been quite a challenge for the artist to capture the likenesses of boy and dog. When Pierrepont was fifteen, his family moved to Marshall, Michigan. He grew up, married, and was the father of one son. Milton Hopkins moved to Ohio shortly after this portrait was painted, where he continued to paint portraits and work for the Underground Railroad.
[Gallery label text, 2000]
Like many young boys, Pierrepont Lacey was probably not comfortable posing for a painting dressed in his best suit and red shoes. Gun, the family dog, was most likely a restless subject for the artist to capture, as well.
There are six known portraits by Hopkins showing children dressed in their finest clothes, often accompanied by their dogs. All of the children’s parents were connected to the artist through their activities in anti-Masonic, abolitionist, and temperance politics.
MAG’s nearly full-size portrait is one of the most engaging likenesses done by Hopkins and has become an American folk art icon.
[Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial]
The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery.
The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors.
[Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}]
1978.189
item
Memorial Art Gallery
9/8/1999
78.189TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.189TR3
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8 x 10
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78.189TR2
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2.5 x 2.5
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full
2 x 2
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78.189DI1
digital image
Memorial Art Gallery
Imaging complete
2/20/2001
http://127.0.0.1:5000/Media/images/78.189_A1.jpg
78.187DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/78.187-191_R1.jpg
78.189DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/78.189_A2.jpg
78.189TR4
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
5hopkins1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/5hopkins1.tif
5hopkins1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/5hopkins1(10).tif
Painting
Cottage Interior
Josef Israels, (Groningen, Netherlands, 1824 – 1911, Scheveningen, Netherlands)
Israels, Josef
Netherlands
1824 - 1911
Male
8 x 7 in. (20.3 x 17.8 cm)
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approximate installation dimensions
frame
Oil
Oil
1880-1889
1880
1889
cats, children, European art, genre scenes, home life, paintings
Painting
lower right
1938.12
item
Memorial Art Gallery
1/29/2001
38.12SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
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38.12DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/38.12_A1.jpg
38.12DI#2
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/38.12_A2.jpg
Painting
Back from the Orchard
Eastman Johnson, 1824 - 1906
Johnson, Eastman
United States
1824 - 1906
Male
10 3/8 x 6 5/8 in. (26.4 x 16.8 cm)
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.
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approximate installation dimensions
frame
.
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.
Oil
Oil
ca. 1876
1871
1881
1800-1900, 19th century, children, figure, paintings
Painting
lower right
1975.138
item
Memorial Art Gallery
9/8/1999
75.138TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.138SL1
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full
2 x 2
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8x10
00/00/00
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75.138DI1
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/75.138_A1.jpg
75.138DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of a Young Girl
Franz Kessler, ca. 1580 - 1650
Kessler, Franz
Germany
ca. 1580 - 1650
Male
27 1/16 x 22 3/4 in. (68.8 x 57.8 cm)
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approximate installation dimensions
frame
Oil
Oil
1620
1620
1620
1600-1800, 17th century, children, paintings, portraits
Painting
upper right, in imageback of frame, Written twice
1950.30
item
Memorial Art Gallery
1/19/2001
50.30SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
00/00/00
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8x10
00/00/00
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negative
4x5
00/00/00
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50.30SL2
slide
detail-necklace
2 x 2
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50.30SL3
slide
detail-eye
2 x 2
00/00/00
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50.30DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/50.30_A1.jpg
50.30DI#2
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/50.30_A2.jpg
Painting
Boy with Dice
Shoeshine Boy
George Luks, 1867 - 1933
Luks, George
United States
1867 - 1933
Male
30 5/16 x 26 5/16 in. (77 x 66.8 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1923-1924
1923
1924
5964
1900-2000, 20th century, children, paintings, portraits
Painting
This painting of a shoeshine boy is a part of a series Luks made of young boys who worked on the streets of New York.
[Gallery label text, 2007
Luks, like Glackens, was originally from Philadelphia and moved to New York City in 1896. He was one of The Eight who exhibited together at Macbeth Gallery in 1908, and his painting of a boy with dice reflects his interest in depicting aspects of life in the lower classes. Here, a boy who looks to be no more than ten is smoking, more than likely earning his own living as a shoeshine boy, and supplementing his income by gambling.
The painting, inscribed To Elizabeth, was given by the artist to his student, Elizabeth Olds, who studied with him at the Art Students League in New York City. Elizabeth Olds was an accomplished printmaker and, like her teacher, believed in the importance of art for all people, not just the upper classes.
[Gallery label text, 2003]
upper right
1974.103
item
Memorial Art Gallery
9/8/1999
74.103TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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74.103SL1
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74.103DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/74.103_A1.jpg
49luks1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/49luks1.tif
Painting
Antoinette Pierson
William Sidney Mount, 1807 - 1868
Mount, William Sidney
United States
1807 - 1868
Male
24 x 33 in. (61 x 83.8 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1830
1830
1830
1800-1900, 19th century, children, paintings, portraits
Painting
Antoinette Pierson resided in nearby Canandaigua, New York. She was eight years old when this portrait was painted.
[Gallery label text, 2007]
verso
1930.56
item
Memorial Art Gallery
9/8/1999
30.56TR1
Transparency
Memorial Art Gallery
4 x 5
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full
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4 x 5
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30.56DI1
digital image
Memorial Art Gallery
Imaging complete
7/17/2000
http://127.0.0.1:5000/Media/images/30.56_A1.jpg
Painting
Bread and Butter
Albert Neuhuys, (Utrecht, Netherlands, 1844 – 1914, Locarno, Switzerland)
Neuhuys, Albert
Netherlands
1844 - 1914
Male
52 x 42 in. (132.1 x 106.7 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
0
0
1800-1900, 19th century, children, genre scenes, George Eastman Collection, home life, paintings, women
Painting
1973.148
item
Memorial Art Gallery
1/30/2001
73.148SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.148DI2
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/73.148_A1.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
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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
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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
The Pancake Woman
Jan Steen, (1626 - 1679)
Steen, Jan
Netherlands
1626 - 1679
Male
26 1/4 x 20 7/16 in. (66.7 x 51.9 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1661-1669
1661
1669
1600-1800, 17th century, children, genre scenes, jobs & work, men, paintings, women
Painting
Pancake vendors, much like outdoor food vendors today, were a common sight on Dutch streets during the 1600s. Originally a delicacy prepared on the festival day of Shrove Tuesday, the last day of Carnival and the day before the beginning of Lent, pancakes were associated with feasting and wild behavior. Images of pancake makers were initially moralistic in nature, symbolizing gluttony and lust. By the 17th century, pancakes were eaten every day and the theme lost some of its allegorical significance. The scene retained its popularity among painters and printmakers of “low-life” genre scenes, or scenes of everyday peasant and street life.
[Gallery label text]
Steen was a prolific artist who specialized in low-life genre scenes, such as the popular subject of the pancake maker. A delicacy prepared especially on Vastenavond, or Shrove Tuesday, which was the last day of Carnival, the pancake had become associated with feasting and riotous behavior. It was therefore identified with overindulgence and became a symbol of gluttony or lust. During the seventeenth century, however, pancakes began to be enjoyed at any time, which reduced the allegorical potency of the theme.
[Gallery label text]
1955.71
item
Memorial Art Gallery
1/22/2001
55.71TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71SL1
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full
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55.71DI1
digital image
4 x 5
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full with frame
2 x 2
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detail
2 x 2
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55.71DI2
digital image
4 x 5
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55.71DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/55.71_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of a Child with a Dog
Spanish artist, (active )
Spanish artist
Spain
Primary
29 1/2 x 25 in. (74.9 x 63.5 cm)
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.
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.
overall
frame
Oil
Oil
probably mid-1600s
1600-1800, 17th century, children, dogs, paintings, portraits
Painting
Portraits often include visual elements similar to those used by other painters of the period. The landscape and the rich drapery behind the child suggest a Spanish origin. Based on these elements as well as the treatment of the child’s face, one scholar has suggested that MAG’s Child with a Dog could be the work of Juan Battista Martinez del Mazo, the son-in-law of the most famous Spanish painter of the mid-1600s, Diego Velázquez. After his father-in-law’s death, Mazo succeeded Velázquez as the official painter to the royal family; many of his portraits were of children, and many made use of similar background landscapes and drapery. We believe now that this work is by a painter active among the Spanish nobility during the mid-17th century, a period marked by prosperity and a flourishing of the arts known as Spain’s Golden Age.
[Label text from It Came From the Vault exhibition, 2013]
1964.51
item
Memorial Art Gallery
1/30/2001
64.51SL1
slide
full
2 x 2
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3 x 5
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64.51D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/64.51_A1.jpg
64.51DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.51DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/64.51_A2.jpg
Painting
Young Man with a Dog
Cornelis de Vos, 1584 - 1651
Vos, Cornelis de
Flanders
1584 - 1651
Male
57 x 39 1/2 in. (144.8 x 100.3 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
0
0
1600-1800, 17th century, children, dogs, men, paintings, portraits
Painting
1955.83
item
Memorial Art Gallery
2/20/2001
55.83SL1
slide
full
2 x 2
00/00/00
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full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.83_A1.jpg
55.83DI2
digital image
full
2 x 2
00/00/00
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55.83SL2
slide
full in exhibit
2 x 2
00/00/00
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55.83DI3
digital image
11/1/2018
http://127.0.0.1:5000/Media/images/Inventory pictures/55.83_I3.jpg
Painting
At Court (Au Tribunal)
Jean Louis Forain, (Reims, France, 1853 – 1931, Paris)
Forain, Jean Louis
France
1853 - 1931
Male
22 x 27 5/8 in. (55.9 x 70.2 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1900
1895
1905
children, European art, lawyers, men, paintings, politics in art, women
Painting
1954.1
item
Memorial Art Gallery
1/29/2001
54.1TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.1SL1
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full
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54.1D1
digital image
full
4 x 5
6/14/2002
http://127.0.0.1:5000/Media/images/54.1_A1.jpg
54.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Genesee River Valley I
Lemuel M. Wiles, (Perry, NY, 1826 - 1905, New York, NY)
Wiles, Lemuel M.
United States
1826 - 1905
Male
11 1/2 x 19 3/4 in. (29.2 x 50.2 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1865-1870
1865
1870
1800-1900, 19th century, children, landscapes, paintings, views of Rochester & western New York, women
Painting
Wiles, an artist from Perry, New York, offers two views of the rolling valleys of the Genesee. Both feature people who seem to be admiring the landscape, as we are invited to do: two women have laid down a rug or blanket on which to picnic, looking out over the rooftops of a barn and other outbuildings; a boy gazes out over the valley while his cows graze nearby. Atmospheric perspective renders the far hills a misty mirage. The artist wrote “Endeavor, as far as possible, to carry the eye beyond the canvas into the subject or scene depicted. Anything short of this detracts from your effort as a work of art. The master conceals his art and fascinates you in the spirit of his work. Therefore, consider your pigments your servants, not your masters. Study good pictures much, but study nature more.”
[Gallery label text, 2021, although painting ultimately not included in installation]
1971.8
item
Memorial Art Gallery
9/8/1999
71.8TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.8SL1
slide
2 x 2
00/00/00
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negative
full
4 x 5
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71.8DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/71.8_A1.jpg
71.8DI#2
digital image
9/5/2012
http://127.0.0.1:5000/Media/images/71.8_A2.jpg
Painting
Genesee River Valley II
Lemuel M. Wiles, 1826 - 1905
Wiles, Lemuel M.
United States
1826 - 1905
Male
11 1/2 x 19 3/4 in. (29.2 x 50.2 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1865-1870
1865
1870
1800-1900, 19th century, children, landscapes, paintings, views of Rochester & western New York
Painting
Wiles, an artist from Perry, New York, offers two views of the rolling valleys of the Genesee. Both feature people who seem to be admiring the landscape, as we are invited to do: two women have laid down a rug or blanket on which to picnic, looking out over the rooftops of a barn and other outbuildings; a boy gazes out over the valley while his cows graze nearby. Atmospheric perspective renders the far hills a misty mirage. The artist wrote “Endeavor, as far as possible, to carry the eye beyond the canvas into the subject or scene depicted. Anything short of this detracts from your effort as a work of art. The master conceals his art and fascinates you in the spirit of his work. Therefore, consider your pigments your servants, not your masters. Study good pictures much, but study nature more.”
[Gallery label text, 2021, although painting ultimately not included in installation]
1971.9
item
Memorial Art Gallery
9/8/1999
71.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.9SL1
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2 x 2
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71.9DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/71.9_A1.jpg
71.9DI#2
digital image
9/5/2012
http://127.0.0.1:5000/Media/images/71.9_A2.jpg
Painting
Mother and Child
Lynne Feldman, 1951 -
Feldman, Lynne
United States
1951
Female
41 x 31 in. (104.1 x 78.7 cm)
.
.
.
overall
vertical
frame
Oil
Oil
0
0
by Rochester artists, cats, children, families, paintings, women
Painting
lower right
1998.72
item
Memorial Art Gallery
6/19/2002
negative
4 x 5
00/00/00
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2 x 2
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98.72DI1
digital image
2 x 2
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http://127.0.0.1:5000/Media/images/98.72_A1.jpg
Painting
Religious Procession
Attributed to Jules-Adolphe-Aimé Louis Breton, 1827 - 1906
Breton, Jules-Adolphe-Aimé Louis
France
1827 - 1906
Male
15 x 18 in. (38.1 x 45.7 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1857
1852
1862
1800-1900, 19th century, children, Judeo-Christian, men, paintings, women
Painting
A detail of the central figures from Breton's Blessing of the Wheat in Artois, 1857, at the Musee d'Orsay
1964.19
item
Memorial Art Gallery
1/30/2001
64.19SL1
slide
full
2 x 2
00/00/00
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full
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64.19D1
digital image
full
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/64.19_A1.jpg
64.19DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
x-ray
00/00/00
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Painting
Roman Ruins with Card Players
After Jan Both, 1618 - 1652
Both, Jan
Netherlands
1618 - 1652
Male
25 5/8 x 32 1/8 in. (65.1 x 81.6 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1600-1800, 17th century, children, donkeys, landscapes, leisure activities, men, paintings, ruins
Painting
As an independent subject of painting, landscape first emerged in Europe during the 1600s. Its development reflects changes in the views commonly held at that time on the universe and man’s relation to it. As landscape painting developed, the Dutch were quick to acquire a taste for Italian settings and motifs. In this painting, Both uses Italian motifs, such as ruins, as pictorial elements; he then combines them with the typical genre scene of a group of men playing cards.
Also called The Ruins of the Temple of Saturn, this painting is a version of the original Jan Both painting of the same subject that is owned by the Alte Pinakothek in Munich, Germany. It was probably painted by either Jan Both or his brother, Andries.
[Gallery label text]
Born in Utrecht, Both subsequently traveled to Rome, where he remained from 1635 until 1641, when he returned to Holland. He was among the leading “bamboccianti,” as the Dutch painters were called who assimilated their native genre tradition with the classical landscape tradition they discovered in Italy. This popular composition, an autograph version of which survives in the Alte Pinakothek, Munich, shows low-life types amusing themselves near the formidable ruins of the Temple of Saturn.
[Gallery label text]
1962.29
item
Memorial Art Gallery
11/13/2000
62.29SL1
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full
2 x 2
00/00/00
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62.29DI1
digital image
2 x 2
00/00/00
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62.29DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/62.29_A2.jpg
62.29DI#3
digital image
7/13/2007
http://127.0.0.1:5000/Media/images/62.29_A3.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)
.
.
.
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
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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full
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98.74DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/98.74_A1.jpg
98.74DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
35myers1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/35myers1.tif
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
The Butterfly
Bernardus-Johannes Blommers, (the Hague, 1845 – 1914, the Hague)
Blommers, Bernardus-Johannes
Netherlands
1845 - 1914
Male
16 x 19 in. (40.6 x 48.3 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1800-1900, children, European art, genre scenes, George Eastman Collection, home life, paintings, women
Painting
1973.155
item
Memorial Art Gallery
11/13/2000
73.155TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.155SL1
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full
2 x 2
00/00/00
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full
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4 x 5
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73.155DI3
digital image
with frame
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http://127.0.0.1:5000/Media/images/73.155_A2.jpg
Painting
The Sculpture Gallery
Sir Lawrence Alma-Tadema, (Dronerijp, the Netherlands, 1836 - 1912, Wiesbaden, Germany)
Alma-Tadema, Lawrence
Netherlands
1836 - 1912
Male
30 1/4 x 23 1/4 in. (76.8 x 59.1 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1875
1875
1875
1800-1900, 19th century, children, men, Orientalism, paintings, women
Painting
Alma-Tadema is known for his historical and anecdotal scenes set in classical antiquity or medieval Europe. The Sculpture Gallery is one of a number of scenes showing patrons at an ancient art gallery or sculptor’s studio. Here a slave—recognizable by the tablet hanging around his neck—displays a basin ornamented with Scylla, the mythological sea-serpent. The 19th-century collecting audience could likely identify the "Infant Hercules Struggling with a Snake," from the Capodimonti Museum in Naples at the left, and on the right, the statue of Helen, mother of Emperor Constantine, from the Capitoline museum in Rome. The Roman visitors are modelled on members of Alma-Tadema's family, including the artist’s wife and children, at the center.
The artist travelled widely and visited historic sites, gaining a reputation for his accuracy in depicting ancient settings and artifacts. However, it was modern technology that helped him achieve this renown: the artist collected professional photographs of artworks and artifacts found on archaeological digs, using these images as the basis for his scenes.
[Gallery label text, 2011]
upper leftback of panel,
back of panelback of panelback of panel, also appears at least twice on back of frameback of panel, Partly torn away.back of frameback of frameback of frame, Partly obscured by a labelback of frameback of frameback of frameback of frame
1989.45
item
Memorial Art Gallery
11/2/2000
89.45TR1
transparency
4 x 5
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89.45SL1
slide
full
2 x 2
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glossy
8x10
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negative
4x5
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89.45DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/89.45_A1.jpg
89.45DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/89.45_A2.jpg
Painting
Autumn, from the Four Seasons
Studio of Jacopo Bassano, ca. 1515 - 1592
Bassano, Jacopo
Italy
ca. 1515 - 1592
Male
17 1/4 x 17 1/8 in. (43.8 x 43.5 cm)
.
.
.
Oil
Oil
16th Century
1500
1599
1400-1600, chickens & roosters, children, dogs, genre scenes, jobs & work, men, paintings, rabbits, Renaissance & Baroque, women
Painting
This painting was originally one of a set of four that illustrated the four seasons of the year. The scene of wine-making was traditionally associated with autumn.
[Gallery label text]
1945.62
item
Memorial Art Gallery
1/22/2001
45.62SL1
slide
2 x 2
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glossy
8x10
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neg
8x10
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neg
4x5
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45.62DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/45.62_A1.jpg
45.62DI2
digital image
00/00/00
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x-ray
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