65
Portfolios%3D%22716%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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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
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76.13DI#4
digital image
4/18/2011
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digital image
Detail
4/18/2011
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digital image
Detail
4/18/2011
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76.13DI#7
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4/18/2011
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76.13DI#8
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4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A7.jpg
Painting
Autumn Brook
George Bellows, 1882 - 1925
Bellows, George
United States
1882 - 1925
Male
16 1/2 x 24 in. (41.9 x 61 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
October 1922
10/1922
10/1922
1900-2000, 20th century, landscapes, paintings, Realism
Painting
With his unflinching paintings of brutal boxing matches and urban tenements, George Bellows made a name for himself in the early years of the century as a central Urban Realist artist. In this later painting, "Autumn Brook," the modernist influence of expressive color, space and line is visible in Bellows’ lyrical painting of the countryside near his summer home in Woodstock, NY.
[Gallery label text, 2007]
"Autumn Brook" contains the archetypal elements present in Bellows's finest Woodstock landscapes, including water, rolling hills, mountains, animal life, vegetation, and a dramatic sky. Bellows's choice of vivid colors celebrates the magnificence of nature and the artist's joy at finding himself immersed in it. The active brush strokes prove his ability to paint with a controlled sense of abandon.
[Gallery label text]
lower left, centerverso
2001.27
item
Memorial Art Gallery
1/31/2002
2001.27TR1
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digital image
Memorial Art Gallery
Imaging Complete
3/13/2002
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2001.27DI2
digital image
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42bellows3.tif
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Painting
Evening Group
George Bellows, 1882 - 1925
Bellows, George
United States
1882 - 1925
Male
25 x 30 in. (63.5 x 76.2 cm)
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frame
Oil
Oil
1914
1914
1914
1900-2000, 20th century, Ashcan School and friends, leisure activities, paintings, Realism, seascapes
Painting
This painting portrays the artist with his wife, Emma, and daughter, Anne, on vacation on Monhegan Island off the coast of Maine. Two neighbor children occupy the right side of the canvas.
[Gallery label text, 2007]
In the summer of 1914, painter George Bellows convinced his wife, Emma, to travel to Monhegan Island off the coast of Maine along with their young daughter, Anne. There, he hoped to paint more of the stunning seascapes he had worked on so successfully in past years. Evening Group depicts Emma and Anne on the left, the artist in the middle, and two neighbor children on the right.
Based in New York City during much of the year, Bellows found that the harsh beauty of places like Monhegan Island provided him with subjects that contrasted dramatically with his acclaimed urban scenes. He first visited the island in 1911 in the company of his teacher and mentor, Robert Henri, and wrote enthusiastically to Emma: “The Island is only a mile wide and two miles long, but it looks as large as the Rocky Mountains. It’s three times as high as Montauk [Long Island] and all black and grey rock. Beautiful pine forests and wonderful varieties of all kinds…” In another letter, he lamented “my head is full of millions of great pictures which I will never have time to paint.”
[Gallery label text, 2005]
lower leftback of panel, Handwritten, capital letters, printed (not script) on back of panel.
1947.13
item
Memorial Art Gallery
9/8/1999
47.13TR1
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Memorial Art Gallery
4 x 5
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47.13DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
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full with frame
2 x 2
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photo in Art & Deocration Magazine 8/1915
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Drawing
Study for "Evening Group"
The Family, Evening
George Bellows, 1882 - 1925
Bellows, George
United States
1882 - 1925
Male
17 11/16 x 21 3/16 in. (44.9 x 53.8 cm)
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overall
horizontal
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sheet (irregular)
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Graphite
Graphite
ca. 1914
1909
1919
1900-2000, 20th century, Ashcan School and friends, drawing, Realism, seascapes
Drawing
George Bellows was a remarkable painter who studied, taught, and lived in New York City. There, he often associated with members of the group of artists known as The Eight, led by Robert Henri. In 1911, accompanied by Henri, George Bellows made the first of several trips to Monhegan Island off the coast of Maine. On his last visit, in 1914, he was accompanied by his wife and daughter Anne, who are the two figures on the left of this drawing. The figures on the right are young neighbors, but the central figure has not yet been identified. While this drawing has an anecdotal quality in its depiction of friends and family, the artist's interest in composition, or the arrangement of forms, can also be seen in the heavily-drawn diagonal lines and the diamond grid in the paper that he used.
Bellows used this drawing as a preliminary study for a similar painting that is owned by the Gallery, which underwent technical analysis at the Williamstown Art Conservation Center to determine what changes the artist may have made to the painting before his death in 1925.
[Gallery label text]
lower left, in image, Inscribed by the artist's daughter, Jean Bellows Boothupper center
1993.23
item
Memorial Art Gallery
9/8/1999
93.23TR1
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Memorial Art Gallery
2 x 2 3/4
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digital image
Memorial Art Gallery
Imaging complete
2/19/2001
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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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Memorial Art Gallery
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51.1DI4
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6/11/2009
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51.1DI5
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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
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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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
item
Memorial Art Gallery
9/8/1999
92.78TR1
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Memorial Art Gallery
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digital image
Memorial Art Gallery
Imaging complete
6/26/2000
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Painting
The Indian Hunter
DeWitt Clinton Boutelle, (Troy, NY, 1820 - 1884, Bethlehem, PA)
Boutelle, DeWitt Clinton
United States
1820 - 1884
Male
32 5/8 x 47 1/8 in. (82.9 x 119.7 cm)
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frame
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without frame
Oil
Oil
1846
1846
1846
1800-1900, 19th century, landscapes, paintings
Painting
lower left
1984.47
item
Memorial Art Gallery
9/8/1999
84.47TR1
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Memorial Art Gallery
4 x 5
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Memorial Art Gallery
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2/1/2001
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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
frame
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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
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
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94.40TR2
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94.40DI2
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Rhode Island School of Design
11/26/2001
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Memorial Art Gallery
Imaging complete
6/26/2000
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Painting
Unfinished Portrait of Nathaniel Hurd (1729-1777)
John Singleton Copley, (Boston, MA?, 1738 - 1815, London, England)
Copley, John Singleton
United States
1738 - 1815
Male
29 3/8 x 24 5/8 in. (74.6 x 62.5 cm)
.
.
.
frame opening
vertical
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1765
1760
1770
1600-1800, 18th century, artist portraits, artists, Colonial, men, paintings, portraits
Painting
Nathaniel Hurd (1730-1778), silversmith, goldsmith, and engraver, was a member of a distinguished Boston family of silversmiths. In addition to creating a number of silver pieces, he was well-known for his bookplates, which were designed for many distinguished colonial families including Loyalists and a signer of the Declaration of Independence, and were based on heraldic motifs (to which they may or may not have been entitled). Hurd also designed a plate for his own family, as well as bookplates for both Harvard and Dartmouth Colleges. The bookplates provide an unusual link to the social and intellectual climate of the times, and literally speak volumes about sociocultural aspirations of eighteenth-century America.
Hurd was a contemporary of Copley’s. This ca. 1765 portrait, Copley’s first to depict a fellow artisan in working costume, had been preceded by an earlier miniature that Copley had painted of Hurd in 1755.
[Gallery label text, 1996]
removed from stretcher, Now in curatorial fileremoved from stretcher, Now in curatorial file. Old exhibition label, mostly torn away
1944.2
item
Memorial Art Gallery
9/8/1999
44.2TR1
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Memorial Art Gallery
4 x 5
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Memorial Art Gallery
Imaging complete
7/10/2000
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1copley1.tif
digital image
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44.2DI#2
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Painting
The Hudson River, New York
Gates of the Hudson from Fort Putnam, West Point
Jasper Francis Cropsey, 1823 - 1900
Cropsey, Jasper Francis
United States
1823 - 1900
Male
10 3/8 x 16 7/8 in. (26.4 x 42.9 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1857-1858
1857
1858
1800-1900, 19th century, Hudson River School, landscapes, paintings
Painting
lower centerback of stretcher, on crossbar
1973.39
item
Memorial Art Gallery
9/8/1999
73.39TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
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digital image
Memorial Art Gallery
Imaging complete
8/4/2000
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Painting
Portrait of a Woman
Kees van Dongen, (Rotterdam, Netherlands, 1877 – 1968, Monte Carlo, Monaco)
Dongen, Kees van
Netherlands
1877 - 1968
Male
39 3/8 x 27 3/4 in. (100 x 70.5 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1903
1898
1908
1900-2000, European art
Painting
backing boardbacking boardback of frame, partially torn awayback of frameback of frameback of framebacking boardback of frame, Written twicebacking boardbacking boardbacking boardbacking boardbacking boardbacking board
1966.27
item
Memorial Art Gallery
1/30/2001
66.27SL1
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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)
.
.
.
approximate installation dimensions
frame
.
.
.
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
Imaging complete
6/23/2000
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Detail cows and figure under trees
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Painting
Mary Smith Booth (1744-1824)
Ralph Earl, 1751 - 1801
Earl, Ralph
United States
1751 - 1801
Male
38 x 31 in. (96.5 x 78.7 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1790
1790
1790
1600-1800, 18th century, paintings, portraits, women
Painting
left, center
1957.13
item
Memorial Art Gallery
9/8/1999
57.13SL1
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full
2 x 2
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Memorial Art Gallery
Imaging Complete
3/13/2002
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Sculpture
The Fawn
John B. Flannagan, 1895 - 1942
Flannagan, John B.
United States
1895 - 1942
Male
15 1/2 x 12 x 11 in. (39.4 x 30.5 x 27.9 cm)
.
.
.
Granite
Granite
1928
1928
1928
1900-2000, 20th century, deer, sculpture
Sculpture
1974.2
item
Memorial Art Gallery
9/8/1999
74.2TR1
Transparency
Memorial Art Gallery
Side
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Memorial Art Gallery
Side
Imaging complete
2/19/2001
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Painting
Man with a Book Seated in a Landscape
Thomas R. A. Gainsborough, (Sudbury, England, 1727 - 1788, London)
Gainsborough, Thomas R. A.
England
1727 - 1788
Male
24 x 20 in. (61 x 50.8 cm)
.
.
.
Oil
Oil
ca. 1747
1742
1752
1600-1800, 18th century, landscapes, men, paintings, portraits
Painting
Although the name of the sitter is unknown, Gainsborough gives the viewer several clues that help place him in a social context: the gentleman holds a book, indicating he is learned; he leans on a stone pillar, with a pastoral landscape and a river behind him, suggesting he is a landowner.
This portrait, made when Gainsborough was in his mid-20s, is a typical example of his early style.
[Gallery label text, 2008]
1975.115
item
Memorial Art Gallery
11/2/2000
75.115TR1
transparency
4 x 5
00/00/00
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75.115DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/75.115_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)
.
.
.
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
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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
Beach at Blue Point
William Glackens, 1870 - 1938
Glackens, William
United States
1870 - 1938
Male
25 1/4 x 30 1/8 in. (64.1 x 76.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1915
1910
1920
1900-2000, 20th century, Ashcan School and friends, leisure activities, paintings, seascapes
Painting
Like many American painters, including Winslow Homer, William Glackens was an artist-reporter early in his career. He met Robert Henri in Philadelphia, shared a studio with him, and went to Paris with him in 1895. Upon Glackens's return, he moved to New York City. He exhibited with The Eight in 1908, and chaired the Armory Show in 1913. By 1914, he was devoting all of his time to painting, and espoused subjects like this one, colorful depictions of Americans at play. Many of his paintings reflect the influence of French impressionists, particularly Pierre Auguste Renoir.
[Gallery label text, 2003]
lower right
1973.12
item
Memorial Art Gallery
9/8/1999
73.12TR1
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Memorial Art Gallery
4 x 5
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73.12DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/73.12_A1.jpg
M425_p187.tif
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M425_p187(10).tif
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73.12DI#2
digital image
9/7/2012
http://127.0.0.1:5000/Media/images/73.12_A2.jpg
Sculpture
The West Wind
Thomas Ridgeway Gould, 1818 - 1881
Gould, Thomas Ridgeway
United States
1818 - 1881
Male
70 1/2 x 23 x 33 1/4 in. (179.1 x 58.4 x 84.5 cm)
.
.
.
overall
Marble
Marble
1876
1876
1876
1800-1900, 19th century, allegories, sculpture, women
Sculpture
Who was the West Wind? In Greek mythology, the West Wind was Zephyrus, one of the four wind gods. Perhaps the maker of this work, who was influenced by the mythological subjects that he saw in Italy, was describing the West Wind by showing its effect on the figure’s hair and skirt. Another interpretation suggests that the sculpture is an idealized expression of the United States’s westward expansion. It was exhibited at the Centennial Exhibition in Philadelphia on the occasion of the nation’s hundredth birthday in 1876. The starred belt on the waistband of the figure’s clothing could refer to the stars on the American flag.
When English poet Percy Shelley wrote his Ode to the West Wind in 1820, he closed it with these immortal words:
O Wind,
If Winter comes, can Spring be far behind?
[Gallery label text, 2004]
base
1966.18
item
Memorial Art Gallery
9/8/1999
66.18TR1
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Memorial Art Gallery
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digital image
Memorial Art Gallery
3/4 view
Imaging complete
2/5/2001
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in print from 1876 Exposition
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Print
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
12 1/8 x 17 in. (30.8 x 43.2 cm)
.
.
.
Printer's ink
Printer's ink
1942
1942
1942
1900-2000, 20th century, lithographs, politics in art, Social Realism
Print
lower rightlower right, in the platelower left, in the plate
1989.59
item
Memorial Art Gallery
9/8/1999
89.59DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/89.59_A1.jpg
89.59TR1
transparency
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00/00/00
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89.59DI#2
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/89.59_A2.jpg
Painting
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
28 x 38 in. (71.1 x 96.5 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
1942
1942
1942
1900-2000, 20th century, American Scene/Regionalism, Encyclopedia Britannica Collection, men, paintings, politics in art, Social Realism
Painting
William Gropper satirized the United States Senate in The Opposition as lawmakers were threatening to cut significant federal funding for the arts. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
William Gropper supported himself with his political cartoons, satirical drawings, and illustrations, most of which pointed out how the burdens of society were largely borne by the working class.
[Gallery label text, 2024]
Lawmakers were threatening to cut significant federal funding for the arts when political cartoonist and painter William Gropper satirized the United States Senate in The Opposition. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
[Gallery label text, 2007]
William Gropper was best known for his caustic commentary on the American political and social scene. He depicted realistic and identifiable subjects; The Opposition was one of a number of paintings and illustrations that came out of his 1934 assignment for the magazine Vanity Fair, to sketch legislators in action in Washington. Gropper made no bones about his distaste for politics and used his art to further his point of view:
"I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate and the House of Representatives have had such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country. No matter how far removed from politics artists may be, it seems to strike home. Only recently one blasting speech of a reactionary representative resulted in not only doing away with the Section of Fine Art, but also dismissing the Graphic Division of the OWI [Office of War Information] and nullifying art reportage for the War Department."
Gropper's start as a newspaper illustrator informed the creative processes of the rest of his life. His work retained his journalist's interest in issues of the day, giving it a particularly topical essence presented in a dynamic, expressionistic format.
[Gallery label text, 2006]
lower left
1951.5
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Memorial Art Gallery
9/8/1999
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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)
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approximate installation dimensions
frame
.
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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
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Memorial Art Gallery
5/20/2005
2005.33DI1
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00/00/00
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1/20/2006
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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
Hummingbird with Cattleya and Dendrobium Orchids
Martin Johnson Heade, 1819 - 1904
Heade, Martin Johnson
United States
1819 - 1904
Male
22 1/4 x 14 3/8 in. (56.5 x 36.5 cm)
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.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1890
1885
1895
1800-1900, 19th century, birds, flowers in art, paintings
Painting
Two masterpieces of nature – the hummingbird and the orchid – were subjects that Martin Johnson Heade painted repeatedly. Beginning in 1863, Heade made the first of three trips to Brazil to paint the bird that remained a life-long obsession. Heade wrote, “A few years after my appearance in this breathing world I was attacked by the all-absorbing hummingbird craze and it has never left me since.”
The exotic South American jungle was a far cry from the marshes and fields of Heade’s native New England, but both landscapes inspired his passion for the natural world and nurtured the intertwined development of his scientific interest and his artistic brilliance.
[Gallery label, 2009]
lower rightback of frameback of frameback of frameback of frame, almost illegible. The Haseltine Galleries closed in 1894.back of frame
1976.3
item
Memorial Art Gallery
9/8/1999
76.3TR1
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Memorial Art Gallery
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8/28/2000
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76.3DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/76.3_A3.jpg
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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.
approximate installation dimensions
frame
.
.
.
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
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2/20/2001
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00/00/00
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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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.
approximate installation dimensions
frame
.
.
.
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
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Memorial Art Gallery
2 1/4 x 2 3/4
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Memorial Art Gallery
Imaging complete
8/3/2000
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Painting
Portrait of Elizabeth Jordaens, Daughter of the Artist
Jacob Jordaens, (Antwerp, 1593 - 1678, Antwerp)
Jordaens, Jacob
Flanders
1593 - 1678
Male
27 1/2 x 21 3/4 in. (69.9 x 55.2 cm)
.
.
.
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.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1640
1635
1645
1600-1800, 17th century, paintings, portraits, women
Painting
1974.102
item
Memorial Art Gallery
1/22/2001
74.102SL1
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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)
.
.
.
without frame
image
.
.
.
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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6/23/2000
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Print
The 1920's... The Migrants Arrive and Cast Their Ballots
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
34 3/8 x 26 in. (87.3 x 66 cm)
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.
.
overall
vertical
image
.
.
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sheet
Printer's ink
Printer's ink
1974
1974
1974
1900-2000, 20th century, Images of Black People, politics in art, serigraphs, Social Realism
Print
In 1975, Jacob Lawrence and twelve other artists were asked to respond to the question, "What does independence mean to me?" The prints made by the artists comprise the Kent Bicentennial Portfolio: Spirit of Independence, commissioned in honor of the American Bicentennial.
Jacob Lawrence's parents migrated from the south to New York City, so the theme of migration was one that had great meaning to his personal history. He said, "During the post World War I period millions of black people left southern communities in the United States and migrated to northern cities. This migration reached its peak during the 1920's. Among the many advantages the migrants found in the north was the freedom to vote. In my print, migrants are represented expressing that freedom."
[Gallery label text]
lower rightlower centerlower rightlower right
Jacob and Gwendolyn Lawrence
1975.120.8
item
Memorial Art Gallery
9/8/1999
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75.120.8DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/75.120.8_A1.jpg
Painting
Judge and Mrs. Arthur Yates
Conversation Piece
M. M. Manchester, active ca. 1840
Manchester, M. M.
United States
active ca. 1840
Male
36 x 58 3/4 in. (91.4 x 149.2 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1840
1835
1845
1800-1900, 19th century, folk art, men, paintings, portraits, women
Painting
This grand portrait might have been a focal point in Judge and Mrs. Yates’s parlor. Judge Yates built the first steam saw mill in Tioga County, and was justice of the peace and postmaster.
Whether the furnishings, book, and clothing accurately depict the Yates’s possessions is impossible to say. They are meant to convince us of the pair’s position within the local gentry. Yards of satiny fabric held in place by a curtain holdback speak of luxury. Mrs. Yates’s jewelry, lace collar, cuffs and trimmed handkerchief, were the accoutrements of a lady of means. Judge Yates holds a book by English theologian William Paley entitled Natural Theology, a text regularly consulted by well-read gentlemen of the 19th century. While we know very little about Mr. Manchester, the artist, we can safely say that he was familiar with the grand tradition of portraiture that frequently placed subjects within ennobling, but not always authentic, settings.
[Gallery label text, 2002]
verso, Visible before relining
1941.30
item
Memorial Art Gallery
9/8/1999
41.30TR1
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Memorial Art Gallery
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7/14/2000
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Memorial Art Gallery
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Painting
Ice Cream Cones
Reginald Marsh, 1898 - 1954
Marsh, Reginald
United States
1898 - 1954
Male
24 x 30 in. (61 x 76.2 cm)
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overall
frame
.
.
.
without frame
Egg tempera
Egg tempera
1938
1938
1938
1900-2000, 20th century, MAG Lending Library, paintings, women
Painting
lower right
1945.70
item
Memorial Art Gallery
9/8/1999
45.70TR1
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Memorial Art Gallery
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Memorial Art Gallery
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7/14/2000
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Painting
Towing a Boat, Honfleur
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
21 3/4 x 32 5/16 in. (55.2 x 82.1 cm)
.
.
.
overall
horizontal
traveling frame
.
.
.
overall
stretcher
.
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.
frame
Oil
Oil
1864
1864
1864
1800-1900, 19th century, boats, men, paintings, seascapes
Painting
"All that is painted directly, at a given moment, has a force, power, and vitality which can never be duplicated in a studio." --Eugène Boudin, to his student Claude Monet
Claude Monet’s early paintings were solidly grounded in the work of the preceding generation of French landscape painters called the Barbizon school. Their insistence on painting en plein air, or out of doors, led to Monet’s passion for capturing the transience of light.
Towing a Boat, Honfleur, painted ten years before the term Impressionism was coined, captures the moment that night overtakes sunset. It is one of the earliest of Monet’s many seascapes. As an experiment in reproducing the changing effects of light under different atmospheric conditions, the painting shows his process of abstracting nature into simplified forms and exaggerated color contrasts.
[Label copy from Monet: Vision and Process exhibition, 2018]
lower leftback of frame
1991.35
item
Memorial Art Gallery
8/8/2000
91.35CPRT1
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5 x 7
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Memorial Art Gallery
1/9/2008
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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
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Memorial Art Gallery
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http://127.0.0.1:5000/Graphics/blank.gif
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
Old Woman with a Bible
Ammi Phillips, 1788 - 1865
Phillips, Ammi
United States
1788 - 1865
Male
33 1/2 x 28 in. (85.1 x 71.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1834
1829
1839
1800-1900, 19th century, folk art, paintings, portraits, women
Painting
We take for granted the ability to record our families' faces. Even the likenesses of those long-dead are etched in our memories by their photographs. But before cameras and film, the only way to save a "likeness" was to create a life or death mask, draw or paint a picture, or make a sculpture.
In rural New York State, many portraits were done by painters like Ammi Phillips who had a minimal amount of training. Their customers, in turn, passed paintings down through the generations until all too often, the identity of the sitters was lost.
If we don't know whose portrait this was, and if Ammi Phillips was not an academically trained artist, why do we continue to appreciate this work and keep it in a museum? The directness of human spirit that these paintings convey combined with the intricacy of design and patterning create a work filled with the "visual delight" that we search for in a work of art.
[Gallery label text, 2008]
This woman’s identity has not been preserved, but we might speculate with confidence that she was a devout person, as her arm is placed so firmly on the Bible. Notice, too, how carefully the artist painted the fabric of her day-cap, the embroidery on her shawl, and even the tasseled trim of the curtains.
[Gallery label text, 2008]
1984.22
item
Memorial Art Gallery
9/8/1999
84.22TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.22SL1
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full
2 x 2
00/00/00
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.22DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/84.22_A1.jpg
84.22DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/84.22_A2.jpg
84.22SL2
slide
detail face during conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.22SL3
slide
detail embroidery band
2 x 2
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glossy
full
8 x 10
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4phillips1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/4phillips1.tif
Painting
Miss Sophia Hoare
Sir Joshua Reynolds, (Plymouth, England, 1723 - 1792, London)
Reynolds, Joshua
England
1723 - 1792
Male
36 x 28 in. (91.4 x 71.1 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1783
1783
1783
1600-1800, 18th century, George Eastman Collection, paintings, portraits, women
Painting
Joshua Reynolds was the leading portrait painter in 18th-century England, the first president of London’s Royal Academy, and a respected art critic. He frequently modeled his sitters’ poses on those seen in Old Master painting and ancient classical sculpture. Reynolds’ use of rich color, strong lighting, and loose brushwork greatly influenced the next generation of British portraitists, including Sir Thomas Lawrence and Sir Henry Raeburn.
The young woman in this portrait, Sophia Hoare (c. 1765-1836), was the daughter of Richard Hoare, an heir to the founder of England’s oldest private bank. Sophia’s portrait was commissioned by William Grimston, whom she married in February 1783. Reynolds noted the transaction in his account books: “Miss Hoare, paid by Mr. Grimpstone, £ 78 15s.; a very proper attention on the part of the fiancé.”
[Forman Gallery, Summer 2015]
1977.1
item
Memorial Art Gallery
5/12/2000
77.1TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
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glossy
5 x 7
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negative
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77.1DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/77.1_A1.jpg
77.1DI#2
digital image
7/7/2015
http://127.0.0.1:5000/Media/images/77.1_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Print
The County Election (after George Caleb Bingham)
John Sartain, (London, England, 1808 - 1897, Philadelphia, Pennsylvania)
Bingham, George Caleb
United States
1811 - 1879
Male
Original artist
After
Sartain, John
United States
1808 - 1897
Male
Engraver
25 5/8 x 32 3/16 in. (65.1 x 81.8 cm)
.
.
.
Printer's ink
Printer's ink
Hand-colored line, stipple and mezzotint engraving on chine colle
1854
1854
1854
1800-1900, 19th century, mezzotints, politics in art
Print
This scene is a commentary on American elections as well as on a specific Election Day in 1850. On that day, in Saline County, Missouri, the artist George Caleb Bingham ran for a place in the State Legislature. E. D. Sappington, the candidate lifting his shiny top hat, was the winner. Sappington, with his workers, tried to buy votes with liquor, and because he was related to the judge and one of the clerks, the election’s outcome aroused suspicion. While Bingham did not contest the results, The County Election makes a powerful statement about his thoughts concerning the corrupt proceedings. The artist represents himself as the figure in the stovepipe hat seated on the courthouse steps, attended by a friendly dog and two men in white hats who pause to look over his shoulder.
John Sartain was a highly successful engraver and publisher. He is well-known for his mezzotints of paintings by some of America’s major artists, including Emanuel Leutze and Thomas Sully. His descendants continued to make important contributions to the world of 19th century American art.
[Gallery label text, October 2010]
lower rightlower center
1991.73
item
Memorial Art Gallery
9/8/1999
91.73SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
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http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.73DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/91.73_A1.jpg
Painting
The Fox and the Heron
Frans Snyders and workshop, (Antwerp, 1579 - 1657, Antwerp)
Snyders, Frans
Flanders
1579 - 1657
Male
Artist
Workshop of Frans Snyders
Flanders
Male
Artist
47 1/8 x 61 1/4 in. (119.7 x 155.6 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1630-1640
1630
1640
1600-1800, 17th century, birds, fables & fairy tales, foxes, paintings
Painting
Monumental and decorative animal painting developed in Antwerp in the 17th century in the immediate circle of Rubens. Snyders, whose workshop was famous for this type of work, often also collaborated on the animals, flowers, and fruit in his friend Rubens's paintings. The rendering of materials such as the fur of the fox, the plumage of the bird, and the transparency of the glass jar add to the interest in texture.
"The Fox and the Heron" is a story from Aesop's Fables. In the background, the fox invites the heron for dinner and offers only a bowl of soup, impossible for the heron to eat. In the foreground, the heron in turn invites the fox. Dinner is served in a long-necked glass jar and the fox can only lick the outside.
Moral: One bad turn deserves another!
[Gallery label text, August 1996]
lower corners
1972.75
item
Memorial Art Gallery
1/22/2001
72.75TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.75SL1
slide
full
2 x 2
00/00/00
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full
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72.75DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.75_A1.jpg
72.75DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.75_A2.jpg
72.75DI#3
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/72.75_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.75_R1.jpg
Painting
Oxen on the Beach
Joaquin Sorolla y Bastida, (Valencia, Spain, 1863 – 1923, Madrid)
Sorolla y Bastida, Joaquin
Spain
1863 - 1923
Male
29 x 43 in. (73.7 x 109.2 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1910
1910
1910
1900-2000, 20th century, men, oxen, paintings, seascapes
Painting
Sorolla discovered Impressionism during an 1885 visit to Paris and took its revolutionary approach to light and color back to Spain with him. There he developed his own style, characterized by large, strong brushstrokes, and soon his international reputation was established. Sorolla's special ability to render the play of bright sunlight on the sea, on sand, and on figures along the beach has been praised by critics. "Oxen on the Beach," which features all three surfaces, is a brilliant display of Sorolla's talents.
[adapted from gallery label text, 1999]
lower right
1914.8
item
Memorial Art Gallery
1/17/2001
14.8TR1
transparency
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
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14.8SL1
slide
full
2 x 2
00/00/00
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14.8DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/14.8_A1.jpg
14.8DI2
digital image
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/related_images/14.8_R1.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
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
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http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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
Sculpture
Winged Genius
Assyrian artist, (active )
Assyrian artist
Iraq
33 3/8 x 29 1/8 x 2 1/2 in. (84.7 x 73.9 x 6.4 cm)
.
.
.
with mount
overall
.
.
.
with base
overall
Alabaster
Alabaster
Assyrian; made in Nimrud
ca. 865 BCE-860 BCE
865 BCE
860 BCE
1000 BCE - 500 CE, ancient art (Mediterranean & Near East), Assyrian, reliefs, reliefs
Sculpture
This mythical guardian figure, called a Genius, wears a two-horned helmet and fringed garment and carries a double-handled dagger, all attributes of his divine nature. His hands gesture protectively toward a flowering tree, just visible at the right edge of the sculpture. This relief, once brightly painted, is a fragment from the Northwest palace built by the Assyrian king Ashirnasirpal II (883—859 BCE) in his capital city at Kalhu, now the Iraqi city of Nimrud. Dozens of huge stone slabs carved with scenes of human and divine figures decorated the palace walls.
[Gallery label text, 2009]
This relief is a fragment of a larger composition of similar figures that once decorated one of the palaces of King Ashurnasirpal II, who ruled Assyria from 883 to 859 BCE. He established his capital at Kalhu, now the Iraqi city of Nimrud. Carved in a technique typical of Assyrian bas-reliefs, with contours deeply channeled to make them discernible in diffuse light, the figure’s facial features and musculature are carefully modeled. The hair and garments are also carved in detail, enhancing the decorative effect that the Assyrians favored in such reliefs.
The wings and the two-horned helmet worn by the figure, called a Genius, are attributes of his divinity. That he is a protective deity is implied by his gesture toward the tree form, which suggests the care of a farmer for planted crops. The palmettes of a tree behind the figure’s right foot separated this figure from a similar one, now in the Vatican Museum in Rome, facing in the opposite direction.
The motif of tending to these tree forms appears on many of the more than 315 Assyrian reliefs in collections outside of Nimrud, and is believed to represent an act that was part of ritual ceremonies. While such ceremonies remain unexplained, their frequent representation in palace reliefs suggests their importance to Assyrian court life.
"I, Ashurnasirpal, the king whose glory is mighty, took Kalhu and changed its ancient mound… A palace of boxwood, mulberry, cedar, cypress, pistachio, tamarisk, and poplar… for my royal dwelling and for my lordly pleasure I founded therein, I adorned and made glorious.”
King Ashurnasirpal II, who ruled Assyria from 883-859 BCE, so described the founding of his new capital city at Kalhu (modern-day Nimrud) on the banks of the Tigris River. Ashurnasirpal’s most elaborate project was the construction of the Northwest Palace, which included state apartments, a throne room, administrative offices, a harem and a tomb. Built during his reign and completed by his successors, the palace was decorated with huge stone slabs that were carved with scenes of figures in relief and inscribed with a record of important events during Ashurnasirpal’s reign. The Gallery’s relief, Winged Genius, probably comes from this palace.
[Gallery label text, 2004]
1944.10
item
Memorial Art Gallery
3/20/2001
44.10SL1
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full
2 x 2
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4 x 5
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44.10DI1
digital image
Memorial Art Gallery
Imaging complete
2 x 2
11/29/2001
http://127.0.0.1:5000/Media/images/44.10_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.10SL2
slide
detail of hands
2 x 2
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44.10DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.10_A2.jpg
44.10DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.10_A3.jpg
44.10DI#4
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/44.10_A4.jpg
44.10DI#5
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/44.10_A5.jpg
44.10DI#6
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/44.10_A6.jpg
44.10DI#7
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/44.10_A7.jpg
44.10DI#8
digital image
Detail of lower hand
00/00/00
http://127.0.0.1:5000/Media/images/44.10_A8.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/CrossroadsGuide.pdf
Sculpture
Crest Mask: Male Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)
.
.
.
overall
overall
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes the mask a fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. Chi wara masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
The small pieces of red cloth attached to the snout of this male Chi Wara may have originated in the woolen bandages imported by the French during the First World War. In Bamana culture, red is the color of danger and is often restricted to men of certain status.
[Gallery label text, 2009]
1969.107
item
Memorial Art Gallery
11/28/2000
69.107SL2
slide
worn w fiber costume
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107SL1
slide
full
2 x 2
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69.107DI1
digital image
full
2 x 2
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69.107DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A1.jpg
69.107DI#3
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A3.jpg
69.107DI#4
digital image
Side
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A4.jpg
69.107DI#5
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A5.jpg
69.107DI#6
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A6.jpg
69.107TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Metalwork
Burial Mask
Chimú artist, (active )
Chimú artist
Peru
Primary
9 5/16 x 17 3/8 x 9/16 in. (23.7 x 44.1 x 1.5 cm)
.
.
.
overall
overall
Gold, silver and copper alloy
Gold, silver and copper alloy
Chimú; made in Chicama Valley, Peru
1100-1470
1100
1470
1000-1400, 1400-1600, Chimu, funerary objects, masks, metalwork, Pre-Columbian art of Central & South America
Metalwork
This Burial Mask was created by a Chimu artist in the Chicama Valley on the North Coast of Peru between 1100 and 1470. Ruling from their capital city of Chan Chan, the Chimú state controlled a vast empire in the north and central coasts of Peru. They employed tens of thousands of artists, including skilled metalworkers that produced objects of precious metal for the nobility.
Masks such as this would never have been worn by the living. They played an essential role in death and burial and were placed on the funerary bundle. These decorative masks helped indicate the rank of the deceased.
The ornate, circular ear ornaments may have held actual feathers. The upper portion of the mask is decorated with puma heads and bent, stylized figures of warriors wearing elaborate feathered headdresses. Separate ornaments may have been attached to the mask near the eyes, around the nose and along the side of the face. The nose, which was raised in relief, has been lost.
[Gallery label text, 2009]
1947.9
item
Memorial Art Gallery
11/21/2000
47.9TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.9SL1
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full
2 x 2
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47.9DI1
digital image
4 x 5
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http://127.0.0.1:5000/Media/images/47.9_A1.jpg
47.9DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Ceramics
Horse
Chinese artist
Chinese artist
China
Primary
24 1/4 x 8 x 23 11/16 in. (61.6 x 20.3 x 60.2 cm)
.
.
.
overall
overall
Terracotta
Terracotta
0
0
500-1000, ceramics, Chinese, horses, sculpture
Ceramics
1930.26
item
Memorial Art Gallery
3/10/2001
30.26SL2
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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side
4 x 5
00/00/00
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30.26DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/30.26_A1.jpg
30.26SL1
slide
full
2 x 2
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http://127.0.0.1:5000/Graphics/blank.gif
30.26DI#3
digital image
Side
7/15/2010
http://127.0.0.1:5000/Media/images/30.26_A3.jpg
30.26DI#4
digital image
Three-quarter
7/15/2010
http://127.0.0.1:5000/Media/images/30.26_A4.jpg
30.26DI#5
digital image
Three-quarter
7/15/2010
http://127.0.0.1:5000/Media/images/30.26_A5.jpg
30.26DI#6
digital image
Three-quarter
7/15/2010
http://127.0.0.1:5000/Media/images/30.26_A6.jpg
30.26DI#7
digital image
Three-quarter
7/15/2010
http://127.0.0.1:5000/Media/images/30.26_A7.jpg
30.26DI#8
digital image
Three-quarter
7/15/2010
http://127.0.0.1:5000/Media/images/30.26_A8.jpg
30.26DI#9
digital image
Front
7/15/2010
http://127.0.0.1:5000/Media/images/30.26_A9.jpg
30.26DI#10
digital image
Back
7/15/2010
http://127.0.0.1:5000/Media/images/30.26_A10.jpg
Ceramics
Tomb Tile
Chinese artist
Chinese artist
China
Primary
18 7/16 x 52 5/16 in. (46.9 x 132.8 cm)
.
.
.
overall
overall
Terracotta
Terracotta
1-299 CE
1
299
1000 BCE - 500 CE, animals in art, ceramics, Chinese, funerary objects, tiles
Ceramics
Probably from the Henan province of central China.
1942.16
item
Memorial Art Gallery
1/30/2001
42.16SL1
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
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.16SL2
slide
detail-horse
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.16SL3
slide
detail-lion
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.16DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/42.16_A1.jpg
42.16DI2
digital image
detail
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/42.16_A2.jpg
42.16DI3
digital image
detail
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/42.16_A3.jpg
42.16DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Ceramics
Jaguar Vessel
Greater Nicoya artist, (active )
Greater Nicoya artist
Costa Rica
Primary
14 x 9 3/4 x 11 1/2 in. (35.6 x 24.8 x 29.2 cm)
.
.
.
Clay
Clay
Pataky
Greater Nicoya Culture Zone; made in Costa Rica
1000-1350
1000
1350
cats, Pre-Columbian art of Central & South America, vessels
Ceramics
This vessel has all the features of a jaguar: ferocious snarling face, sharp teeth, long tail and golden black-spotted coat. The hollow legs and the mouth contain small clay balls that rattle when the jar is shaken, in imitation of the jaguar’s growl. Admired for their strength and agility, jaguars were a powerful and ubiquitous symbol frequently adopted by shamans as an alter-ego. Here the jaguar is depicted in a human-like crouch with the “hands” placed on the knees – a position not possible for this animal. In fact, what we’re witnessing is a typical meditation pose of a shaman and the transformation into his/her animal form.
[Gallery label text, 2009]
1969.90
item
Memorial Art Gallery
2/3/2001
69.90SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.90SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.90DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.90_A2.jpg
69.90DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.90_A1.jpg
69.90DI3
digital image
front
00/00/00
http://127.0.0.1:5000/Media/images/69.90_A3.jpg
69.90DI4
digital image
side
00/00/00
http://127.0.0.1:5000/Media/images/69.90_A4.jpg
69.90DI5
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/69.90_A5.jpg
69.90DI6
digital image
back
00/00/00
http://127.0.0.1:5000/Media/images/69.90_A6.jpg
Furniture
Inner Coffin of Pa-debehu-Aset
Egyptian artist
Egyptian artist
Egypt
Primary
72 1/16 x 20 7/8 x 18 7/8 in. (183 x 53 x 48 cm)
.
.
.
overall
Wood
Wood
332 BCE-30 BCE
332 BCE
30 BCE
1000 BCE - 500 CE, coffins & sarcophagi, Egyptian, funerary objects
Furniture
This pair of nesting coffins once held the mummy of Pa-debehu-Aset, an Egyptian official from the city of Asyut, midway down the River Nile.
Pa-debehu-Aset’s mummy, now lost, would have been placed in the anthropoid, or human-shaped, coffin. The anthropoid coffin would have nested in and been protected by the rectangular outer coffin, called a shrine coffin because it resembles the sacred shrine of a god. Both of Pa-debehu-Aset’s coffins are decorated with images and symbols of the gods, goddesses, spells and prayers that would guide his soul into the afterlife.
Like all ancient Egyptians, Pa-debehu-Aset believed that the mummy was the eternal dwelling place for the spirits of the deceased. The divine powers of gods and goddesses would protect him during his life and after his death. Because of its human shape, the anthropoid coffin could serve as a substitute body should Pa-debehu-Aset’s mummy be destroyed.
[Gallery label text, 2009]
2000.11.2
item
Memorial Art Gallery
1/25/2002
2000.11.2SL6
slide
detail, front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL5
slide
detail, front twd feet
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL4
slide
detail, head front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL3
slide
full side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL2
slide
full back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL1
slide
full front
2 x 2
1/4/2002
http://127.0.0.1:5000/Media/images/2000.11.2.jpg
2000.11.2SL7
slide
in case,preMAG
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2TR1
transparency
full front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2TR2
transparency
full back
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2TR3
transparency
full side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2TR4
transparency
detail face front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2TR5
transparency
detail front twd feet
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2DI2
digital image
back
1/4/2002
http://127.0.0.1:5000/Media/images/2000.11.2_A2.jpg
2000.11.2DI3
digital image
side view
1/4/2002
http://127.0.0.1:5000/Media/images/2000.11.2_A3.jpg
2000.11.2DI4
digital image
detail
2 x 2
1/4/2002
http://127.0.0.1:5000/Media/images/2000.11.2_A4.jpg
2000.11.2DI5
digital image
detail
2 x 2
1/4/2002
http://127.0.0.1:5000/Media/images/2000.11.2_A5.jpg
2000.11.2DI6
digital image
detail, front
1/4/2002
http://127.0.0.1:5000/Media/images/2000.11.2_A6.jpg
2000.11.2DI1
digital image
full front
2 x 2
1/4/2002
http://127.0.0.1:5000/Media/images/2000.11.2_A1.jpg
2000.11.2SL8
slide
detail- side of head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL9
slide
detail- feet from side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL11
slide
detail- register-top of coffin body
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL11
slide
detail- middle register- top of coffin
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL12
slide
detail- figures on back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.2SL13
slide
detail- central register
2 x 2
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/2000.11.2_A7.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.2_A8.jpg
Furniture
Shrine Coffin of Pa-debehu-Aset
Egyptian artist
Egyptian artist
Egypt
Primary
80 5/16 x 25 9/16 x 27 3/4 in. (204 x 65 x 70.5 cm)
.
.
.
overall
Wood
Wood
332 BCE-30 BCE
332 BCE
30 BCE
1000 BCE - 500 CE, coffins & sarcophagi, Egyptian, funerary objects
Furniture
This pair of nesting coffins once held the mummy of Pa-debehu-Aset, an Egyptian official from the city of Asyut, midway down the River Nile.
Pa-debehu-Aset’s mummy, now lost, would have been placed in the anthropoid, or human-shaped, coffin. The anthropoid coffin would have nested in and been protected by the rectangular outer coffin, called a shrine coffin because it resembles the sacred shrine of a god. Both of Pa-debehu-Aset’s coffins are decorated with images and symbols of the gods, goddesses, spells and prayers that would guide his soul into the afterlife.
Like all ancient Egyptians, Pa-debehu-Aset believed that the mummy was the eternal dwelling place for the spirits of the deceased. The divine powers of gods and goddesses would protect him during his life and after his death. Because of its human shape, the anthropoid coffin could serve as a substitute body should Pa-debehu-Aset’s mummy be destroyed.
[Gallery label text, 2009]
2000.11.1
item
Memorial Art Gallery
1/25/2002
2000.11.1SL1
slide
full, left side
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.1_side2.jpg
2000.11.1TR2
transparency
full, right side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.1TR1
transparency
full, left side
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
2000.11.1SL4
slide
detail, left side
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.1_detail.jpg
2000.11.1SL3
slide
3/4 with end
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.1.jpg
2000.11.1SL2
slide
full, right side
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.1_side.jpg
2000.11.1TR3
transparency
3/4 with end
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.1DI3
digital image
3/4 with end
1/30/2002
http://127.0.0.1:5000/Media/images/2000.11.1_A3.jpg
2000.11.1DI2
digital image
side view
2 x 2
1/30/2002
http://127.0.0.1:5000/Media/images/2000.11.1_A2.jpg
2000.11.1DI1
digital image
side view
2 x 2
1/30/2002
http://127.0.0.1:5000/Media/images/2000.11.1_A1.jpg
2000.11.1DI4
digital image
detail
1/30/2002
http://127.0.0.1:5000/Media/images/2000.11.1_A4.jpg
2000.11.1SL5
slide
detail, base
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.1SL6
slide
detail, single figure top center
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.1SL7
slide
detail, 2 figures on left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.11.1SL4
slide
at dealers
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Manuscript
Psalter-Hours (Office of Liège)
French artist, (active )
French artist
France
Primary
6 1/2 x 5 3/4 in. (16.5 x 14.6 cm)
.
.
.
Ink
Ink
ca. 1260-1275
1260
1275
1000-1400, illuminated manuscripts, Medieval
Manuscript
This manuscript includes a calendar with illuminations of the “labors of the month” and the zodiac; the Psalms; and various prayers and texts to be read at specific hours of the day.
[Gallery label text, June 2013]
1953.68
item
Memorial Art Gallery
9/8/1999
53.68SL1
slide
full page February
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI1
digital image
Detail: Christ Blessing
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A1.jpg
53.68SL2
slide
Detail- February
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL3
slide
Detail- March page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL4
slide
detail- April page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL5
slide
Detail- May page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL6
slide
Detail- June page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL7
slide
Detail- July page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL8
slide
detail- August page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL9
slide
detail- September page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL10
slide
detail- October page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL11
slide
detail- November page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL12
slide
detail- December page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL13
slide
Detail letter D "Annunciation to the Shepherds"
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL14
slide
full page-Psalm 68
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL15
slide
detail-Initial E, Psalm 80
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL16
slide
detail- Doubting Thomas
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL17
slide
detail- Holy Spirit appearing to 2 Apostles
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL18
slide
detail- Betrayal of Christ
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL19
slide
detail- Psalm 26 Initial O
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL20
slide
detail- Psalm 38 Initial O
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL21
slide
detail- "David Kills Goliath Psalm 51
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL22
slide
detail- Christ before Pilate
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL23
slide
detail- Flagellation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL24
slide
Detail- Christ Carring the Cross
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL25
slide
full page- Crucifixtion
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL26
slide
detail- Crusifixtion
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL27
slide
detail- Deposition Initial D
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL28
slide
full page -Pieta
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL29
slide
detail- Pieta
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL30
slide
full page "3 Marys at Tomb" office of Easter
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL31
slide
detail- 3 Marys at Tomb
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL32
slide
detail- Ave Qui Ayn ne
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68SL33
slide
full page Christ Blessing
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI2
digital image
Detail: Labors of the Month: February
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A5.jpg
53.68DI3
digital image
Detail: Labors of the Month: April
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A6.jpg
53.68DI4
digital image
Detail: Labors of the Month: August
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A2.jpg
53.68DI5
digital image
Detail: Labors of the Month: December
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A16.jpg
53.68DI8
digital image
Detail: Labors of the Month: June
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A10.jpg
53.68DI7
digital image
Detail: Labors of the Month: July
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A3.jpg
53.68DI6
digital image
Detail: Doubting Thomas
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A12.jpg
53.68DI9
digital image
Detail: Labors of the Month: March
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A7.jpg
53.68DI10
digital image
Detail: Labors of the Month: May
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A8.jpg
53.68DI11
digital image
Detail: Labors of the Month: November
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A4.jpg
53.68DI12
digital image
Detail: David in the sea with Christ blessing
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A9.jpg
53.68DI13
digital image
Detail: Labors of the Month: September
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A14.jpg
53.68DI14
digital image
Detail: the Three Marys at the Tomb
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A13.jpg
53.68DI15
digital image
Detail: three Marys at the Tomb
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A15.jpg
53.68DI16
digital image
Detail: Virgin with a demon meeting Theophilus
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A11.jpg
53.68SL34
slide
detail Vigil of the Dead
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI17
digital image
Detail- May page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI18
digital image
full page February
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI19
digital image
detail- August page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI20
digital image
detail- December page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI21
digital image
Detail- July page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI22
digital image
Detail- June page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.68DI23
digital image
Detail- March page
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
Detail: Entombment
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A22.jpg
digital image
Detail: Jesus before Pilate
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A20.jpg
digital image
Detail: Crucifixion
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A18.jpg
digital image
Detail: Jesus Carrying the Cross
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A17.jpg
digital image
Detail: David playing bells
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A24.jpg
digital image
Detail: Deposition from the Cross
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A26.jpg
digital image
Detail: Holy spirit appearing to Apostles
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A27.jpg
digital image
Detail: Annunciation to Shepherds
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A29.jpg
digital image
Detail: Abraham carrying souls of the blessed
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A31.jpg
digital image
Detail: Entombment
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A32.jpg
digital image
Detail: Flagellation
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A33.jpg
digital image
Detail: David reaching to God
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A34.jpg
digital image
Detail: Labor of the Months: February
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A35.jpg
digital image
Detail: David and the face of God
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A30.jpg
digital image
Detail: Labors of the Months: October
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A19.jpg
digital image
Detail: Betrayal of Christ
00/00/00
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digital image
Detail: Entombment
00/00/00
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digital image
Detail: Crucifixion
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A25.jpg
digital image
Detail: Doeg beheading a priest
00/00/00
http://127.0.0.1:5000/Media/images/53.68_A28.jpg
53.68DI#63
digital image
detail of p. 232v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.232v_A2.jpg
53.68DI#24
digital image
Detail
7/28/2014
http://127.0.0.1:5000/Media/images/53.68 dedication_A1.jpg
53.68DI#25
digital image
p. 1r
7/28/2014
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53.68DI#26
digital image
p. 1v
7/28/2014
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53.68DI#27
digital image
p. 2r
7/28/2014
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53.68DI#28
digital image
p. 2v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.2v_A1.jpg
53.68DI#29
digital image
p. 3r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.3r_A1.jpg
53.68DI#30
digital image
p. 3v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.3v_A1.jpg
53.68DI#31
digital image
p. 4r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.4r_A1.jpg
53.68DI#32
digital image
p. 4v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.4v_A1.jpg
53.68DI#33
digital image
p. 5r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.5r_A1.jpg
53.68DI#34
digital image
p. 5v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.5v_A1.jpg
53.68DI#35
digital image
p. 6r
7/28/2014
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53.68DI#36
digital image
p. 6v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.6v_A1.jpg
53.68DI#37
digital image
p. 7r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.7r_A1.jpg
53.68DI#38
digital image
pp. 16v-17r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.16v-17r_A1.jpg
53.68DI#39
digital image
p. 17r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.17r_A1.jpg
53.68DI#40
digital image
p. 35v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.35v_A1.jpg
53.68DI#41
digital image
p. 47v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.47v_A1.jpg
53.68DI#42
digital image
p. 58r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.58r_A1.jpg
53.68DI#43
digital image
p. 59r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.59r_A1.jpg
53.68DI#44
digital image
p. 70r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.70r_A1.jpg
53.68DI#45
digital image
p. 83r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.83r_A1.jpg
53.68DI#46
digital image
p. 95v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.95v_A1.jpg
53.68DI#47
digital image
detail p. 95v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.95v_A2.jpg
53.68DI#48
digital image
pp. 95v-96r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.95v-96r_A1.jpg
53.68DI#49
digital image
p. 97v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.97v_A1.jpg
53.68DI#50
digital image
p. 108v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.108v_A1.jpg
53.68DI#51
digital image
p. 135v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.135v_A1.jpg
53.68DI#52
digital image
p. 153v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.153v_A1.jpg
53.68DI#53
digital image
p. 166v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.166v_A1.jpg
53.68DI#54
digital image
p. 174r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.174r_A1.jpg
53.68DI#55
digital image
p. 181v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.181v_A1.jpg
53.68DI#56
digital image
p. 184v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.184v_A1.jpg
53.68DI#57
digital image
p. 188r
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.188r_A1.jpg
53.68DI#58
digital image
p. 191v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.191v_A1.jpg
53.68DI#59
digital image
p. 195v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.195v_A1.jpg
53.68DI#60
digital image
p. 199v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.199v_A1.jpg
53.68DI#61
digital image
p. 226v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.226v_A1.jpg
53.68DI#62
digital image
p. 232v
7/28/2014
http://127.0.0.1:5000/Media/images/53.68.232v_A1.jpg
53.68DI64
digital image
Fore-edge
7/18/2022
http://127.0.0.1:5000/Media/images/Inventory pictures/53.68_I1.jpg
Sculpture
St. James
French artist, (active )
French artist
France
Primary
34 3/8 x 16 x 11 in. (87.3 x 40.6 x 27.9 cm)
.
.
.
overall
overall
Limestone
Limestone
French; made in Auxerre, Burgundy?
late 15th Century
1467
1499
1400-1600, Renaissance & Baroque, sculpture, St. James
Sculpture
In the Middle Ages, faithful Christians made pilgrimages to sacred sites in Europe and the Holy Land. One of the most important was to the cathedral of Santiago de Compostela in northwest Spain, dedicated to the Apostle Saint James the Greater. Numerous altars dedicated to Saint James were located in churches along the route, allowing the travelers to pray daily for a successful journey. This statue was originally placed in a niche above such an altar.
Here, Saint James is dressed as a pilgrim, wearing a broad-brimmed, black hat with the image of a scallop shell, a traditional Christian symbol of pilgrimage. He holds the customary staff that supported the pilgrim, giving him strength to overcome the forces of evil and arrive safely at the cathedral. The figure carries a scrip, or alms sack, that is also decorated with the scallop shell. The scrip symbolizes that the pilgrim, trusting in the Lord, carried very little money.
The sculpture retains much of its original coloring; slight traces of gilding can be seen on the edge of the saint’s cloak and the knobs of his staff.
[Gallery label text, June 2013]
front of base, S in red; other letters in black
1994.49
item
Memorial Art Gallery
1/29/2001
94.49TR1
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.49SL1
slide
full-frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
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http://127.0.0.1:5000/Graphics/blank.gif
glossy
5 x 7
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http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 3
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http://127.0.0.1:5000/Graphics/blank.gif
94.49SL2
slide
full-profile left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.49SL3
slide
full-profile right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.49SL4
slide
detail, head frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.49SL5
slide
detail-purse w shell
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.49SL6
slide
detail-base
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.49DI1
digital image
2 x 3
00/00/00
http://127.0.0.1:5000/Media/images/94.49_A1.jpg
94.49DI#2
digital image
3/1/2010
http://127.0.0.1:5000/Media/images/94.49_A2.jpg
94.49DI#3
digital image
3/1/2010
http://127.0.0.1:5000/Media/images/94.49_A3.jpg
94.49DI#4
digital image
3/1/2010
http://127.0.0.1:5000/Media/images/94.49_A4.jpg
94.49DI#5
digital image
Detail
3/1/2010
http://127.0.0.1:5000/Media/images/94.49_A5.jpg
Ceramics
Black-Figure Kylix with Dionysian Revelers
Greek artist, (active )
Greek artist
Greece
Primary
3 1/8 x 10 1/4 x 9 1/16 in. (8 x 26.1 x 23 cm)
.
.
.
overall
overall
Terracotta
Terracotta
6th Century BCE
600 BCE
501 BCE
kylikes, AAT
1000 BCE - 500 CE, ceramics, Greek, kylix
Ceramics
1929.90
item
Memorial Art Gallery
2/4/2001
29.90SL1
slide
full-outside rim
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
side view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
top view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
details
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
details
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
side view
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.90SL3
slide
full-inside view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.90SL2
slide
detail-handle end
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.90DI3donotuse
digital image
full-inside view
00/00/00
http://127.0.0.1:5000/Media/images/29.90_A5.jpg
29.90DI2donotuse
digital image
detail-handle end
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.90DI1
digital image
Memorial Art Gallery
full
Imaging Complete
00/00/00
http://127.0.0.1:5000/Media/images/29.90_A1.jpg
29.90DI4
digital image
Memorial Art Gallery
detail
Imaging Complete
00/00/00
http://127.0.0.1:5000/Media/images/29.90_A2.jpg
29.90DI5
digital image
Memorial Art Gallery
detail
Imaging Complete
00/00/00
http://127.0.0.1:5000/Media/images/29.90_A3.jpg
29.90DI6
digital image
Memorial Art Gallery
detail
Imaging Complete
00/00/00
http://127.0.0.1:5000/Media/images/29.90_A4.jpg
29.90DI7
digital image
00/00/00
http://127.0.0.1:5000/Media/images/29.90_A6.jpg
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.90DI#8
digital image
9/29/2009
http://127.0.0.1:5000/Media/images/29.90_A7.jpg
29.90DI#9
digital image
Side
9/29/2009
http://127.0.0.1:5000/Media/images/29.90_A8.jpg
29.90DI#10
digital image
Side
9/29/2009
http://127.0.0.1:5000/Media/images/29.90_A9.jpg
29.90DI#11
digital image
interior
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A10.jpg
29.90DI#12
digital image
Side
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A11.jpg
29.90DI#13
digital image
Side
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A12.jpg
29.90DI#14
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A13.jpg
29.90DI#15
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A14.jpg
29.90DI#16
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A15.jpg
29.90DI#17
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A16.jpg
29.90DI#18
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A17.jpg
29.90DI#19
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A18.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/BerkeleyGuide.pdf
Stonework
Ceremonial Grinding Stone (Flying-Panel Metate)
Flying Panel Metate
Central Highlands or Atlantic Watershed artist, (active )
Central Highlands or Atlantic Watershed artist
Costa Rica
12 1/2 x 27 x 21 in. (31.8 x 68.6 x 53.3 cm)
.
.
.
Stone
Stone
Central Highlands or Atlantic Watershed; made in Costa Rica
1200-1550 CE
1200
1550
1000-1400, altars, Huetar, Pre-Columbian art of Central & South America
Stonework
A metate is a tool for grinding and preparing food. Because of its crucial role in ancient people’s everyday existence (see photo to the right) over time the metate evolved into a ritual object. Carved from a single piece of stone, the delicate open work on this flying-panel metate was accomplished by skilled artists using only tools made from stone or wood.
Both real and supernatural creatures decorate the base. The central figure is a shaman in the form of a crocodile. Respected for its power and swiftness on land and in the water, the crocodile is a fitting representation for a shaman.
Metates were also employed as funeral biers in the most prestigious tombs; the body was laid out on two or three metates placed side by side. The more elaborate "flying-panel" examples may have been manufactured especially for high-rank burials.
[Gallery label text, 2009]
1972.10
item
Memorial Art Gallery
2/3/2001
72.10SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.10DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A1.jpg
72.10SL2
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.10SL2
slide
with 44.52
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.10DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A2.jpg
72.10DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A3.jpg
72.10DI4
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A4.jpg
72.10DI5
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A5.jpg
72.10DI6
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A6.jpg
72.10DI8
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A8.jpg
72.10DI9
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A9.jpg
72.10DI10
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A10.jpg
72.10DI11
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A11.jpg
72.10DI12
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A12.jpg
72.10DI14
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A14.jpg
72.10DI15
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A15.jpg
72.10DI16
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A16.jpg
72.10DI17
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A17.jpg
72.10DI18
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A18.jpg
72.10DI19
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A19.jpg
72.10DI20
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A20.jpg
72.10DI7
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A7.jpg
72.10DI13
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/72.10_A13.jpg
Furniture
Cassone
Roman artist
Roman artist
Italy
Primary
25 3/8 x 63 1/8 x 23 1/4 in. (64.5 x 160.3 x 59 cm)
.
.
.
overall
overall
Walnut
Walnut
16th Century
1500
1599
1400-1600, chests & cabinets, Renaissance & Baroque
Furniture
1928.468
item
Memorial Art Gallery
1/30/2001
28.468SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
28.468SL2
slide
center deatil
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
28.468DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/28.468_A1.jpg
28.468DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/28.468_A2.jpg
28.468DI3
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/28.468_A3.jpg
28.468DI4
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/28.468_A4.jpg
Painting
Allegory of Hearing
Music: an Allegory
Roman artist
Roman artist
Italy
Primary
Vos, Maarten de
Flanders
1532 - 1603
Male
Artist after
After
18 x 60 in. (45.7 x 152.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
after 1581
1582
1591
1400-1600, allegories, music in art, paintings, Renaissance & Baroque
Painting
back of frameback of frameback of frameback of framecradlecradlecradlecradlecradlecradle, Inscribed twicecradlecradle, Inscribed twicecradle, inscribed twice; the dimensions of the panel in inchescradlecradle, in cursive
1998.21
item
Memorial Art Gallery
10/28/1999
98.21SL1
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
http://127.0.0.1:5000/Graphics/blank.gif
98.21DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/98.21_A2.jpg
98.21TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.21DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.21DI3
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/98.21_A1.jpg
98.21DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/98.21_I1.jpg
98.21DI#5
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/98.21_A3.jpg
98.21DI#6
digital image
Detail
6/22/2010
http://127.0.0.1:5000/Media/images/98.21_A4.jpg
98.21DI#7
digital image
Detail
6/22/2010
http://127.0.0.1:5000/Media/images/98.21_A5.jpg
98.21DI#8
digital image
Detail
6/22/2010
http://127.0.0.1:5000/Media/images/98.21_A6.jpg
Sculpture
Sarcophagus with Portrait Medallion, Shepherd, and Two Lion Heads
Roman artist
Roman artist
Italy
Primary
19 11/16 x 72 1/16 x 20 7/8 in. (50 x 183 x 53 cm)
.
.
.
overall
overall
Marble
Marble
250-274
250
274
sarcophagi, AAT
1000 BCE - 500 CE, coffins & sarcophagi, Judeo-Christian, lions, Orpheus, Roman
Sculpture
This marble coffin, or sarcophagus, once featured a matching marble lid. The central round frame holds a portrait of the deceased, likely a later personalization carved by the sculpture workshop at the time of purchase. Roman sarcophagi were not buried, but displayed with other markers and monuments along the main roads outside the city gates.
[Gallery label text, 2009]
1949.72
item
Memorial Art Gallery
1/29/2001
49.72TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.72SL1
slide
full-front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full back
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
detail end
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
detail end
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
detail center
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
detail lion
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail center
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail end
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail end
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail lion right
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail lion left
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full back
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
4 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.72SL2
slide
full-back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.72SL3
slide
1/2-front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.72SL4
slide
detail-lion
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.72SL5
slide
detail-end-large hole
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.72SL6
slide
detail-end small opening
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
slide
detail-eye central medalion
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.72SL8
slide
detail-central medalion
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.72DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/49.72_A1.jpg
49.72DI2
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/49.72_A2.jpg
49.72DI#3
digital image
Back
6/10/2009
http://127.0.0.1:5000/Media/images/49.72_A3.jpg
49.72DI#4
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.72_A4.jpg
49.72DI#5
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.72_A5.jpg
49.72DI#6
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.72_A6.jpg
49.72DI#7
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.72_A7.jpg
49.72DI#8
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.72_A8.jpg
49.72DI#9
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.72_A9.jpg
49.72DI#10
digital image
11/18/2019
http://127.0.0.1:5000/Media/images/49.72_A10.jpg
Sculpture
Togatus
Roman artist
Roman artist
Italy
Primary
68 7/8 x 31 1/4 x 20 in. (174.9 x 79.4 x 50.8 cm)
.
.
.
Marble
Marble
1st century
0
99
1000 BCE - 500 CE, men, Roman, statues
Sculpture
This man was a significant public figure in ancient Roman society. His toga—the traditional status garment symbolic of Roman citizenship—the scroll in his hand, and the box of scrolls at his feet mark his high status. He may have been one of the 300 Roman Senators who addressed important matters of civic law, religious practice, or foreign policy, all aspects of Roman life controlled by the Senate.
[Gallery label text, 2009]
1973.146
item
Memorial Art Gallery
3/20/2001
73.146SL1
slide
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
face frontal
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
face side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail robe
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
face frontal
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
face side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full side left
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full side right
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146DI1
digital image
Memorial Art Gallery
Full
Imaging complete
8 x 10
11/29/2001
http://127.0.0.1:5000/Media/images/73.146_A2.jpg
73.146DI2
digital image
Memorial Art Gallery
detail
Imaging complete
8 x 10
11/29/2001
http://127.0.0.1:5000/Media/images/73.146_A1.jpg
73.146SL2
slide
full side view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146SL3
slide
full- outside
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146SL4
slide
detail-head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146SL5
slide
full length profile left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.146DI1
digital image
Detail
6/25/2009
http://127.0.0.1:5000/Media/images/73.146_A3.jpg
Sculpture
Tyche, Patron Deity of a Municipality
Roman artist
Roman artist
Italy
Primary
11 1/4 x 8 11/16 x 10 5/8 in. (28.6 x 22 x 27 cm)
.
.
.
with base
overall
.
.
.
with base
overall
.
.
.
without base
overall
Marble
Marble
1st Century-2nd Century
0
199
1000 BCE - 500 CE, Roman, sculpture, Tyche
Sculpture
Seleucus I, the founder of Antioch, commissioned the sculptor Eutychides to create a colossal bronze statue of Tyche, the Greek goddess of fortune. Tyche’s mural crown depicting city walls and towers identified her as the patron of Antioch and the bringer of its fortunes. Eutychides’ statue sat just inside the city walls, and became famous throughout the region due to the widespread distribution of copies like this sculpture in the collection of the Memorial Art Gallery.
[Gallery label text, 2009]
1949.73
item
Memorial Art Gallery
3/20/2001
49.73SL1
slide
full- 3/4 right
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.73DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/49.73_A1.jpg
49.73SL2
slide
full- 3/4 left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.73SL3
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.73SL4
slide
detail eye
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.73DI2
digital image
view from front
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/49.73_A2.jpg
49.73DI#3
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/49.73_A3.jpg
49.73DI#4
digital image
Side
3/30/2009
http://127.0.0.1:5000/Media/images/49.73_A4.jpg
49.73DI#5
digital image
Side
3/30/2009
http://127.0.0.1:5000/Media/images/49.73_A5.jpg
49.73DI#6
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.73_A6.jpg
Sculpture
Head of a Buddha
Thai artist, (active )
Thai artist
Thailand
Primary
12 1/2 x 8 1/4 x 8 1/2 in. (31.8 x 21 x 21.6 cm)
.
.
.
Bronze
Bronze
1350-1757
1350
1757
1000-1400, 1400-1600, 1600-1800, Buddha, sculpture, Thai
Sculpture
1930.33
item
Memorial Art Gallery
3/20/2001
30.33SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4view no base
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4view w base
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4view no base
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4view no base
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3/4 view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 view
7 x 9
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
30.33SL2
slide
detail-eye
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 view
7 x 9
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
30.33DI1
digital image
front 7/8
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/30.33_A1.jpg
30.33DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
The God Ganesa
Thai artist, (active )
Thai artist
Thailand
Primary
8 5/8 in. (21.9 cm)
.
.
.
Bronze
Bronze
14th century
1300
1399
1000-1400, Ganesa, Thai
Sculpture
1981.10
item
Memorial Art Gallery
3/20/2001
81.10SL1
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
81.10DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/81.10_A1.jpg
81.10DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/81.10_A2.jpg
81.10DI#3
digital image
Three-quarter
3/28/2011
http://127.0.0.1:5000/Media/images/81.10_A3.jpg
81.10DI#4
digital image
Three-quarter
3/28/2011
http://127.0.0.1:5000/Media/images/81.10_A4.jpg
81.10DI#5
digital image
Back
3/28/2011
http://127.0.0.1:5000/Media/images/81.10_A5.jpg
81.10DI#6
digital image
profile
3/28/2011
http://127.0.0.1:5000/Media/images/81.10_A6.jpg
Painting
Outlet of Lake George
Outlet of Lake George - Rogers Rock in the Distance
Jacob C. Ward, 1809 - 1891
Ward, Jacob C.
United States
1809 - 1891
Male
21 3/4 x 30 in. (55.2 x 76.2 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
ca. 1840
1835
1845
1800-1900, 19th century, American art, landscapes, movement, paintings, trees in art
Painting
1947.19
item
Memorial Art Gallery
9/8/1999
47.19TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.19SL1
slide
full
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
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.19DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/47.19_A1.jpg
47.19SL2
slide
detail of figure
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.19DI#2
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/47.19_A2.jpg
Painting
The Death of Richard II
Francis Wheatley, (London, 1747 - 1801)
Wheatley, Francis
England
1747 - 1801
Male
78 x 60 in. (198.1 x 152.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1792-1793
1792
1793
1600-1800, 18th century, armor, men, paintings, violence, world history
Painting
Francis Wheatley was best known for his historical paintings, scenes of daily life, and portraits. He trained at the Royal Academy in London and became the director of the Society of Artists in 1774. Debts and an unfortunate affair with the wife of a colleague led to his abrupt departure from England to Ireland. He returned in 1783, when he began painting illustrations for works by contemporary authors. The success of these “painted illustrations” led to major commissions, including the one for this monumental painting from the print publisher Robert Bowyer.
One of Bowyer’s most ambitious projects was an illustrated edition of David Hume’s "The History of England." It comprised not only a lavish publication, but the creation of a “History Gallery” for the public display of the original paintings. According to Bowyer’s prospectus, the paintings were intended “to rouse the passions, to fire the mind with emulation of heroic deeds, or to inspire it with detestation of criminal actions.”
Wheatley responded to this challenge by depicting the more dramatic version of Richard’s death, in which he was beheaded rather than starved in prison. The theatrical gestures and expressions, lurid coloring, and bold brushwork serve to heighten the violent drama of the events. In the end, the project was a financial disaster; the paintings from the gallery, including Wheatley’s "The Death of Richard II," were sold in a lottery in 1807.
[Label text from It Came From the Vault exhibition, 2013]
1987.1
item
Memorial Art Gallery
11/3/2000
87.1TR1
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.1SL1
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
87.1DI1
digital image
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/87.1_A1.jpg
87.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Study for "The Death of Richard II"
Francis Wheatley, (London, 1747 - 1801)
Wheatley, Francis
England
1747 - 1801
Male
14 1/2 x 11 1/2 in. (36.8 x 29.2 cm)
.
.
.
Oil
Oil
ca. 1792-1793
1792
1793
European art
Painting
1987.2
item
Memorial Art Gallery
11/3/2000
87.2TR1
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.2SL1
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
87.2DI1
digital image
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/87.2_A1.jpg
Sculpture
Standing Figure of the Finance Minister Maya
Egyptian artist
Egyptian artist
Egypt
Primary
33 9/16 x 11 in. (85.2 x 28 cm)
.
.
.
without mount
overall
.
.
.
with mount
overall
Limestone
Limestone
ca. 1330 BCE
1335 BCE
1325 BCE
2000 - 1000 BCE, Before 2000 BCE, Egyptian, men, reliefs
Sculpture
The inscription identifies this relief as belonging to the tomb of Maya, the son of Iwy and Werit. Maya, the Overseer of the Royal Treasury who served the pharaohs Tutankhamun, Aya and Horemhab, also supervised the preparation of the tombs of Tutankhamun and Ay in the Valley of the Kings. An inscription from another part of the tomb, now in Liverpool, England, tells us that Tutankhamun himself ordered Maya to journey from Aswan, a city in the south, to the shores of the Mediterranean. His instructions were to levy taxes in order to establish offerings for all the gods of Egypt.
In this relief, Maya is shown wearing an elaborate wig, the individual curls of which are tied at their ends. His facial features are distinctive, particularly his aquiline nose and strong chin. His accessories include two collars of disk beads that represent the “gold of honor.” Pharaohs of the period gave this type of collar to distinguished administrators as a reward for their service.
Richard Lepsius, a famous German Egyptologist, studied the tomb of Maya during the 1900s. He and his team published drawings that place the Gallery’s relief on the exterior south side of the entrance to the antechamber of the tomb.
[Excerpted from gallery label text, 2004]
1942.55
item
Memorial Art Gallery
3/20/2001
42.55TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.55SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.55TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
3.5 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
42.55DI1
digital image
Memorial Art Gallery
Imaging complete
2 X 2
11/29/2001
http://127.0.0.1:5000/Media/images/42.55_A1.jpg
42.55DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.55DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.55_A2.jpg
42.55DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.55_A3.jpg
42.55DI5
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.55_A4.jpg
42.55DI6
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.55_A5.jpg
42.55DI#7
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/42.55_A6.jpg
42.55DI#8
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/42.55_A7.jpg
Ceramics
Krater
Mycenaean artist, (active )
Mycenaean artist
Greece
18 1/2 in. (47 cm)
.
.
.
top
.
.
.
base
.
.
.
Terracotta
Terracotta
Mycenaean; made in Cyprus
1275 BCE-1225 BCE
1275 BCE
1225 BCE
2000 - 1000 BCE, ceramics, Greek, kraters
Ceramics
A krater is a large, wide-mouthed jar, often used for mixing wine and water. These two kraters [51.203, 51.204] were found on Cyprus, an important island in the trade routes of the ancient Mediterranean and location of a significant Mycenaean colony. They likely served a funerary function, holding wine at the funeral feast, or containing the cremated remains of the deceased.
The similar scenes on these two kraters represent the popular Mycenaean decorative motif of horse-drawn war chariots. The vase painter represented the two horses as a single body with two heads, two tails, and two pairs of forelegs and hind legs.
The scene may refer to honors for a fallen warrior as described by Homer in the Iliad, where, during the Trojan War, the Greek hero Achilles led a solemn chariot procession in tribute to his dead companion Patroclus.
[Gallery label text, 2009]
1951.203
item
Memorial Art Gallery
2/4/2001
51.203TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203SL1
slide
full-chariot side
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
12/17/2001
http://127.0.0.1:5000/Media/images/51.203_A1.jpg
51.203SL2
slide
detail-chariot
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203SL2
slide
detail-figure
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203SL4
slide
full side w handle
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203DI#3
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A2.jpg
51.203DI#4
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A3.jpg
51.203DI#5
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A4.jpg
51.203DI#6
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A5.jpg
51.203DI#7
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A6.jpg
51.203DI#8
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A7.jpg
51.203DI#9
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A8.jpg
51.203DI#10
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A9.jpg
51.203DI#11
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A10.jpg
51.203DI#12
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A11.jpg
51.203DI#13
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A12.jpg
51.203DI#14
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A13.jpg
51.203DI#15
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203-204_A1.jpg
51.203TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Ceramics
Krater
Mycenaean artist, (active )
Mycenaean artist
Greece
Primary
17 1/2 in. (44.5 cm)
.
.
.
base
.
.
.
top
.
.
.
Terracotta
Terracotta
Mycenaean; made in Cyprus
1275 BCE-1225 BCE
1275 BCE
1225 BCE
2000 - 1000 BCE, ceramics, Greek, horses, kraters
Ceramics
A krater is a large, wide-mouthed jar, often used for mixing wine and water. These two kraters [51.203, 51.204] were found on Cyprus, an important island in the trade routes of the ancient Mediterranean and location of a significant Mycenaean colony. They likely served a funerary function, holding wine at the funeral feast, or containing the cremated remains of the deceased.
The similar scenes on these two kraters represent the popular Mycenaean decorative motif of horse-drawn war chariots. The vase painter represented the two horses as a single body with two heads, two tails, and two pairs of forelegs and hind legs.
The scene may refer to honors for a fallen warrior as described by Homer in the Iliad, where, during the Trojan War, the Greek hero Achilles led a solemn chariot procession in tribute to his dead companion Patroclus.
[Gallery label text, 2009]
1951.204
item
Memorial Art Gallery
2/4/2001
51.204TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL1
slide
full-side with charriot
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
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
details
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
details
1 x 1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204TR1
transparency
1 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
1x1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204DI1
digital image
Memorial Art Gallery
View includes 51.203, cropped out in digital version
Imaging complete
2 x 3
12/17/2001
http://127.0.0.1:5000/Media/images/51.204_A1.jpg
51.204SL2
slide
full-handle side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL3
slide
detail-handle
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL4
slide
detail-chariot
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL5
slide
detail-stripes & mark
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL6
slide
detail-stripes
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL7
slide
detail-bottom
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/51.204_A2.jpg
51.204DI#3
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A3.jpg
51.204DI#4
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A4.jpg
51.204DI#5
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A5.jpg
51.204DI#6
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A6.jpg
51.204DI#7
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A7.jpg
51.204DI#8
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A8.jpg
51.204DI#9
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A9.jpg
51.204DI#10
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A10.jpg
51.204DI#11
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A11.jpg
51.204DI#12
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A12.jpg
51.204DI#13
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A13.jpg
51.204DI#14
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A14.jpg
51.204DI#15
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203-204_A1.jpg
Textiles
Chilkat Robe (Naaxéin)
Tlingit artist, (active )
Tlingit artist
United States
Primary
52 3/4 x 62 1/2 in. (134 x 158.8 cm)
.
.
.
overall
overall
.
.
.
overall
overall
Wool
Wool
Fringe is entirely reproduction.
Tlingit; made in Alaska
0
0
Native American, Native American art, textiles
Textiles
For years, Indigenous activists have led efforts to reclaim the remains of their ancestors and sacred cultural objects currently housed in museums, universities, and other cultural institutions.
In 1990, U.S. federal law established the Native American Graves Protection and Repatriation Act (NAGPRA) to facilitate this process. In December 2023, NAGPRA ruled that museums must obtain consent from lineal descendants, Tribes, and Native Hawaiian organizations before allowing any exhibition of, access to, or research on these objects.
MAG has removed works from display that are classified under the statute in compliance and in support of the repatriation of these items to their original caretakers, including this work.
Living along the Chilkat River of Southern Alaska, the Chilkat people are a single kwan, or geographical grouping, of the larger Tlingit culture. Male and female clan leaders honor their ancestors, both human and animal, by wearing Chilkat robes at festivals called potlatches and other important events. The Chilkat robe (or naaxéin) is a woven ceremonial cape traditionally worn and danced by the chief and other important members of Tlingit society. When danced, the motions of the performer include the dramatic manipulation of the long fringe, further enlivening the animal forms on the robe.
The patterns on Chilkat robes represent animals important to Tlingit clans. These designs manipulate and rearrange specific animal forms, often adding additional faces and multiple eyes. This Chilkat robe features a diving humpback whale in the center panel. The whale is pictured both from above and in profile. Seated ravens shown in profile fill the two side panels of the robe. The arrangement of the overall design takes into account the position of these individual components when the robe is worn.
[Gallery label text, 2009]
1968.35
item
Memorial Art Gallery
9/8/1999
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.35SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.35DI#1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/68.35_A1.jpg
69.35DI#2
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A2.jpg
69.35DI#3
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A3.jpg
69.35DI#4
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A4.jpg
69.35DI#5
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A5.jpg
69.35DI#6
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A6.jpg
69.35DI#7
digital image
Detail
1/13/2009
http://127.0.0.1:5000/Media/images/68.35_A7.jpg
69.35DI#8
condition
digital image
Verso
1/9/2009
http://127.0.0.1:5000/Media/images/Conservation photos/68.35/68.35_C1.JPG
68.35DI#9
cond
digital image
Verso
1/9/2009
http://127.0.0.1:5000/Media/images/Conservation photos/68.35/68.35_C2.JPG
68.35TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.35DI#10
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.35_A8.jpg
Painting
Rama, Sita and Lakshmana Return to Ayodhya
Indian artist, (active )
Indian artist
India
Primary
11 1/4 x 17 15/16 in. (28.6 x 45.6 cm)
.
.
.
sheet (irregular)
sheet (irregular)
.
.
.
image
image
Opaque watercolor
Opaque watercolor
Jaipur, Rajasthan
ca. 1850-1900
1850
1900
1800-1900, 1900-2000, Indian, Lakshmana, paintings, Rama, Ramayana, Sita
Painting
This painting shows a scene at the end of the epic Indian poem, The Ramayana. Rama and Lakshmana have saved Sita and they all fly home on the aerial chariot Pushpaka to see Rama crowned king of Ayodhya. They ride with twenty-three million monkeys and bears who helped them defeat the demon king Ravana. When Ravana asked Brahma to make him indestructible to gods and demons, he underestimated the power of ordinary men and animals, who became his downfall after his abduction of Rama's wife, Sita.
upper centerupper centerlower centerverso, dealers' marks
1983.55
item
Memorial Art Gallery
10/6/2000
83.55TR1
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.55SL1
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
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.55DI1
digital image
full
2 1/4
6/20/2002
http://127.0.0.1:5000/Media/images/83.55_A1.jpg
negative
1 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.55DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Crest Mask: Female Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
30 1/2 x 7 5/8 x 8 in. (77.5 x 19.4 x 20.3 cm)
.
.
.
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. The masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
[Gallery label text, 2009]
1993.14
item
Memorial Art Gallery
9/8/1999
93.14SL1
slide
3/4 view
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
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.14DI1
digital image
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/93.14_A1.jpg
93.14DI#2
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A2.jpg
93.14DI#3
digital image
side
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A3.jpg
93.14DI#4
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A4.jpg
93.14DI#5
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A5.jpg
93.14TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif