{ "objects" : [ { "embark_ID" : 356, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/356", "Disp_Access_No" : "1941.26", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1904", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1909", "Disp_Title" : "William H. Macdowell", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Eakins", "Sort_Artist" : "Eakins, Thomas", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Thomas Eakins painted multiple portraits of his father-in-law, William H. Macdowell. Eakins’s sensitive portraits and genre scenes defined American realist art at the end of the 19th century. His art and commitment to realism were enormously influential to the artists of the Urban Realist movement. [Gallery label text, 2007] Thomas Eakins was one of America's greatest painters, whose realistic portrayals of people at work and at play have become icons of American culture. He immortalized many friends and family members by using them as subjects, among them his father-in-law, William Macdowell, an engraver and self-styled philosopher, whom Eakins painted and photographed numerous times. In the Gallery's portrait, Macdowell's aged face, rendered with scrupulous care and detail, emerges from a somber background. In this direct and straightforward manner, Eakins suggests Macdowell's strength of character and distinctive personality. [Gallery label text]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Originally purchased through R. T. Miller fund-- later shifted to Marion Stratton Gould fund. The reason could not be determined.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.26_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.26_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.26_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.26_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38866", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 334, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/334", "Disp_Access_No" : "1953.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Composition", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Stuart Davis", "Sort_Artist" : "Davis, Stuart", "Disp_Dimen" : "17 1/2 x 19 1/2 in. (44.5 x 49.5 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "19 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Mr. and Mrs.Thomas G. Spencer", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12391", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 333, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/333", "Disp_Access_No" : "1951.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1931-1932", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1932", "Disp_Title" : "Landscape with Garage Lights", "Alt_Title" : "Garage Lights", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Stuart Davis", "Sort_Artist" : "Davis, Stuart", "Disp_Dimen" : "32 x 41 7/8 in. (81.3 x 106.4 cm)", "Disp_Height" : "32 in.", "Disp_Width" : "41 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Stuart Davis began as a student of the Urban Realist style, but upon seeing the many European modernist works on display at the New York Armory Show of 1913, the artist found his passion for abstraction. The influence of the broken-up and flattened surfaces of Cubism and the syncopated rhythms of American jazz contributed to Davis’ personal style. [Gallery label text, 2007] Gloucester, one of Massachusetts's oldest seaports, was a summer home for painter Stuart Davis from the time he was a young man of twenty-two. This view of the harbor clearly captivated him by the early 1930s, and preliminary studies of this painting reveal how carefully he considered the scene and translated it into paint, all the while deliberately conveying a sense of simplicity and speed in its execution. After a Parisian stay in the late 1920s, Davis returned to the United States with a new way of seeing things. The goal for him was to paint an expressive, abstracted version of the world around him, rather than a photographic simulacrum. As modernism challenged the nature of reality and how it is perceived, Davis reminds us here that it is possible to see two sides of a building at once, and that often it really looks like only half of a ship is in the water even though our brains convince us that the other half is hidden behind the fish warehouse. Flatness and simplification of forms were characteristics that distinguished work of influential European painters like Picasso and Matisse, whose work Davis would have encountered during his stay in France. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3088", "Rel_Obj_Title" : "Study for "Landscape with Garage Lights"" },{ "Rel_Obj_ID" : "3089", "Rel_Obj_Title" : "From Sketchbook 3, Drawing for "Landscape with Garage Lights"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12383", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.3_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "53893", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned transparency at larger size for reproduction. New JPG derived from that larger TIF.", "View" : "" } , ] },{ "embark_ID" : 292, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/292", "Disp_Access_No" : "1944.2", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1765", "_Disp_Start_Dat" : "1760", "_Disp_End_Date" : "1770", "Disp_Title" : "Unfinished Portrait of Nathaniel Hurd (1729-1777)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Singleton Copley", "Sort_Artist" : "Copley, John Singleton", "Disp_Dimen" : "29 3/8 x 24 5/8 in. (74.6 x 62.5 cm)", "Disp_Height" : "29 3/8 in.", "Disp_Width" : "24 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12367", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 205, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/205", "Disp_Access_No" : "1947.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "Evening Group", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Bellows", "Sort_Artist" : "Bellows, George", "Disp_Dimen" : "25 x 30 in. (63.5 x 76.2 cm)", "Disp_Height" : "25 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on composition board", "Info_Page_Comm" : "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]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3002", "Rel_Obj_Title" : "Study for "Evening Group"" } ], "Curator" : "Note that the online catalogue raisonne lists the inclusion of this work in a 1926 exhibition at the Los Angeles Museum of Art, but an exhibition of that date that might contain this work could not be found.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/47.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/47.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/47.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/47.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12371", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42bellows1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42bellows1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42bellows1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/42bellows1.tif", "IsPrimary" : "0", "_SurrogateID" : "23028", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "CMYK tif image from Monroe Litho for Seeing America catalogue. Cannot be converted to RGB for web use without considerable color adjustment.", "View" : "" } , ] },{ "embark_ID" : 192, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/192", "Disp_Access_No" : "1934.1", "_AccNumSort1" : "", "Disp_Create_DT" : "before 1831", "_Disp_Start_Dat" : "1821", "_Disp_End_Date" : "1830", "Disp_Title" : "Colonel Nathaniel Rochester", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This formal gentleman was the founder of the city of Rochester, New York. His portrait was originally thought to have been painted by John James Audubon, but current scholarship has weighed in against that opinion. Nathaniel Rochester was an enterprising individual, which was a characteristic of many early settlers. He founded businesses and churches, and held governmental positions. He was the first president of the Rochester Athenaeum, the precursor to the Rochester Institute of Technology, and he was instrumental in the organization of Monroe County and the building of the Erie Canal. His practical and inventive bent may have led him to wear four-lens spectacles, which allowed him to read small print and see at a distance using the same pair of glasses. [Gallery label text, 2007]", "Dedication" : "Gift of Thomas J. Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conversation between Marjorie Searl and Holly Cumberland (Rochester family descendant) regarding acquisition and attribution of painting (December 7, 2009); Holly wanted to alert us to the book "Nathaniel" written by her grandfather, Rochester Rogers, whose son Nathaniel died of throat cancer in 1945. In the book, Rogers alludes to the painting of Nathaniel Rochester, and that it was acquired for MAG by Thomas Watson. Holly''s contention is that Thomas Watson bought the painting believing that it was by Audubon, and that as Rochester Rogers and Thomas Watson were friends, there would have been ample opportunity for Watson to have ascertained from his friend Rogers that it was in fact by Audubon. However, as I explained to Holly, it was Rochester Rogers'' sister Helen who strongly supported the Audubon attribution, so this comment does not change the fact that there is virtually no objective and external evidence pointing to this portrait''s being by Audubon, other than an anonymous inscription on the back of the painting.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/34.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/34.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/34.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/34.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12350", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 373, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/373", "Disp_Access_No" : "1955.181", "_AccNumSort1" : "", "Disp_Create_DT" : "1954", "_Disp_Start_Dat" : "1954", "_Disp_End_Date" : "1954", "Disp_Title" : "Plant", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kurt K. Feuerherm", "Sort_Artist" : "Feuerherm, Kurt K.", "Disp_Dimen" : "36 x 15 5/8 x 1/8 in. (91.4 x 39.7 x 0.3 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "15 5/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "masonite", "Disp_Medium" : "Oil on panel and paper", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.181_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.181_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.181_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.181_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "40683", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Post-treatment by the artist, who set down some lifting sections.", "View" : "" } , ] },{ "embark_ID" : 374, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/374", "Disp_Access_No" : "1956.6", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1956", "_Disp_Start_Dat" : "1951", "_Disp_End_Date" : "1961", "Disp_Title" : "Semaphore", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kurt K. Feuerherm", "Sort_Artist" : "Feuerherm, Kurt K.", "Disp_Dimen" : "47 x 23 in. (119.4 x 58.4 cm)", "Disp_Height" : "47 in.", "Disp_Width" : "23 in.", "Dimen_Extent" : "", "Medium" : "Casein and oil, paper and tape", "Support" : "masonite", "Disp_Medium" : "Casein and oil, paper and tape collage on masonite", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "40684", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Post-treatment by the artist, who set down some lifting sections.", "View" : "" } , ] },{ "embark_ID" : 447, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/447", "Disp_Access_No" : "1926.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1924", "_Disp_Start_Dat" : "1924", "_Disp_End_Date" : "1924", "Disp_Title" : "Tom Cafferty", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Henri", "Sort_Artist" : "Henri, Robert", "Disp_Dimen" : "22 1/4 x 20 1/8 in. (56.5 x 51.1 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "20 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Robert Henri, the leader of the Urban Realist movement, sought truth in art above all else. Henri promoted this revolutionary idea in support of a uniquely American art. [Gallery label text, 2007] In addition to providing guidance and inspiration (as well as occasional financial assistance) to many artists, Robert Henri was himself a very fine painter. Wherever he taught, he gathered around him eager and enthusiastic students who benefited from his instruction. He moved to New York in 1900 and taught at William Merritt Chase's school for a few years. In 1909, he established his own school, and also taught painting at the radical Ferrer School established by former Rochesterian Emma Goldman. Although a member of the National Academy of Design, Henri actively promoted non-juried exhibitions and the work of younger, less traditional artists. Dictums such as "Know what the old masters did…They made their language. You make yours. All the past can help you" gave his followers the confidence to paint in their own way. During the 1920s, Henri lived in Ireland and painted a young boy named Tom Cafferty, who was the subject of this painting and a number of others. Characteristically, Henri painted him in a very loose and colorful style, with energetic brush strokes. [Gallery label text, 2003]", "Dedication" : "Gift of Mrs. Granger A. Hollister", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "See May 2010 article in Apollo magazine about the McGlothlin collection in Florida, promised to the Virginia Musuem of Fine Arts; they own another version of this portrait which is titled "Listening Boy." KSchauber, Curatorial Research Ass''t See discussion of Henri''s portraits of Tom Cafferty and other Irish children in the Gerald Peters Gallery catalogue "Robert Henri: The Painted Spirit," 2005, pp. 29-31", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.1_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.1_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.1_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.1_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "33959", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100622", "View" : "" } , ] },{ "embark_ID" : 455, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/455", "Disp_Access_No" : "1941.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1894", "_Disp_Start_Dat" : "1894", "_Disp_End_Date" : "1894", "Disp_Title" : "The Artist's Studio in an Afternoon Fog", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "24 x 30 1/4 in. (61 x 76.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "30 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In the course of his long and distinguished career, Winslow Homer shifted his focus from robust descriptions of American life to studies of interaction between man and the powerful forces of nature, particularly the ocean. This evocative painting of his studio at his family’s compound on the coast of Maine in Prout’s Neck, near Portland, is considered one of Homer’s most masterful works. [Gallery label text, 2007] A foggy day on the coastal peninsula of Prout's Neck, Maine, inspired Winslow Homer to paint one of his most elegant and contemplative works. His studio and family home stand silhouetted between the darker cliffs in the foreground and the paler sky. The painting's composition balances strong diagonal and horizontal elements in the lower half with a monolithic sky punctuated by a circle of sun. Homer was known for his many paintings of rural America, as well as his illustrations of the Civil War. In 1883, Homer left New York City, where he had been living, and settled permanently in Prout's Neck. During his years there, he produced some of the most thrilling marine paintings in the history of American art. [Gallery label text, 2006]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "In 1991 a NYC composer named Dana Paul Perna, visited the Gallery and was so inspired by this work that he composed "Prout''s Neck" a work for piano/harp/percussion and strings. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.32_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.32_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.32_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.32_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12358", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.32_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.32_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.32_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.32_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "53274", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Re-derived from original master because derivative images determined to be too warm.", "View" : "" } , ] },{ "embark_ID" : 469, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/469", "Disp_Access_No" : "1949.85", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Forbidden Playground", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Whitney F. Hoyt", "Sort_Artist" : "Hoyt, Whitney F.", "Disp_Dimen" : "24 1/2 x 31 1/2 in. (62.2 x 80 cm)", "Disp_Height" : "24 1/2 in.", "Disp_Width" : "31 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Purchased through an Anonymous Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 483, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/483", "Disp_Access_No" : "1936.61", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1892-1893", "_Disp_Start_Dat" : "1892", "_Disp_End_Date" : "1893", "Disp_Title" : "Early Moonrise in Florida", "Alt_Title" : "July Moonrise in Florida (Eastman Catalog)", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Inness", "Sort_Artist" : "Inness, George", "Disp_Dimen" : "24 3/8 x 36 1/4 in. (61.9 x 92.1 cm)", "Disp_Height" : "24 3/8 in.", "Disp_Width" : "36 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "For George Inness, an adherent of the mystical Swedenborgian faith, landscape elements and colors had specific symbolic qualities. For example, he wrote that the moon is a ‘natural emblem of faith,’ reassuring the faithful that divine light still exists even though it is not directly visible in the night sky. In Inness’s philosophical system, blue is the color of faith. [Gallery label text, 2007]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.61_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.61_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.61_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.61_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12351", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.61_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.61_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.61_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.61_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "41491", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "36.61_M1 color-corrected and cropped to create new Print Master as none existed. JPG derived from that Print Master", "View" : "" } , ] },{ "embark_ID" : 525, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/525", "Disp_Access_No" : "1958.15", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1958", "_Disp_Start_Dat" : "1953", "_Disp_End_Date" : "1963", "Disp_Title" : "The Scale", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Lentine", "Sort_Artist" : "Lentine, John", "Disp_Dimen" : "38 1/4 x 19 in. (97.2 x 48.3 cm)", "Disp_Height" : "38 1/4 in.", "Disp_Width" : "19 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 540, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/540", "Disp_Access_No" : "1951.44", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1883-1884", "_Disp_Start_Dat" : "1883", "_Disp_End_Date" : "1884", "Disp_Title" : "Sunset", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Inness", "Sort_Artist" : "Inness, George", "Disp_Dimen" : "18 x 30 1/4 in. (45.7 x 76.8 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "30 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "wood", "Disp_Medium" : "Oil on wood", "Info_Page_Comm" : "", "Dedication" : "Gift of the Estate of Emily and James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Lu Harper notes that Emily Sibley Watson’s logbook notes her purchase of a George Inness painting entitled “Homeward” from Wm. Clausen via Empire Moulding Works in Rochester for $1600.  She had originally purchased an Inness titled “Evening Glow” on June 1, 1903 for $300 and then returned it and purchased “Homeward” in December. As this work bears a somewhat generic title, it may be that this painting is actually "Homeward," but barring discovery of a label or a written description of the work with that title, impossible to say for sure. --KSchauber, Curatorial Research Ass''t ", "Images": [ ] },{ "embark_ID" : 549, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/549", "Disp_Access_No" : "1941.30", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Judge and Mrs. Arthur Yates", "Alt_Title" : "Conversation Piece", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "M. M. Manchester", "Sort_Artist" : "Manchester, M. M.", "Disp_Dimen" : "36 x 58 3/4 in. (91.4 x 149.2 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "58 3/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "Dedication" : "Gallery Purchase", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Exhibited in the 1940s with the title "Conversation Piece"", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.30_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.30_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.30_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.30_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12357", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 571, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/571", "Disp_Access_No" : "1948.18", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Birth of a Ghost", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "A. L. Melenbacker", "Sort_Artist" : "Melenbacker, A. L.", "Disp_Dimen" : "42 x 28 in. (106.7 x 71.1 cm)", "Disp_Height" : "42 in.", "Disp_Width" : "28 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund purchase from the 1948 Rochester Finger Lakes Exhibition", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/48.18_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/48.18_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/48.18_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/48.18_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29075", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, do not use for web or print", "View" : "" } , ] },{ "embark_ID" : 576, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/576", "Disp_Access_No" : "1913.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1910", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1910", "Disp_Title" : "The Golden Carnival", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Willard L. Metcalf", "Sort_Artist" : "Metcalf, Willard L.", "Disp_Dimen" : "36 x 39 in. (91.4 x 99.1 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "39 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Emily Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12335", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.7_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.7_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.7_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.7_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "41033", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned in-house from transparency and re-color corrected to create larger file for RIT iPad project, 2013", "View" : "" } , ] },{ "embark_ID" : 617, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/617", "Disp_Access_No" : "1951.11a-b", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Jawbone and Fungus (recto); Untitled (Abstraction) (verso)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georgia O'Keeffe", "Sort_Artist" : "O'Keeffe, Georgia", "Disp_Dimen" : "17 x 20 in. (43.2 x 50.8 cm)", "Disp_Height" : "17 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With her unique vision and expression, Georgia O’Keeffe epitomizes the modern American artist. Her simple, pared down shapes and closely cropped still-lifes of bones and flowers turn objects into landscapes of their own. [Gallery label text, 2007] Painting on the verso, an untitled abstraction, dates to ca. 1923", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.11a_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.11a_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.11a_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.11a_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12378", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.11b_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.11b_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.11b_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.11b_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "55251", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 624, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/624", "Disp_Access_No" : "1958.17", "_AccNumSort1" : "", "Disp_Create_DT" : "1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "Spring through the Willows", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William C. Palmer", "Sort_Artist" : "Palmer, William C.", "Disp_Dimen" : "31 1/2 x 40 3/4 in. (80 x 103.5 cm)", "Disp_Height" : "31 1/2 in.", "Disp_Width" : "40 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Early in his career, William Palmer was a muralist for the WPA, earning $24 a week for his hospital and post office commissions. He went on to found the School of Art at the Munson-Williams-Proctor Arts Institute in Utica, and became a highly regarded painter of colorful, abstract New York landscapes. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.17_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.17_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.17_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.17_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39539", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 646, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/646", "Disp_Access_No" : "1956.64", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Seascape - Dubrovnik", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Svetozar Radakovich", "Sort_Artist" : "Radakovich, Svetozar", "Disp_Dimen" : "35 3/4 x 48 in. (90.8 x 121.9 cm)", "Disp_Height" : "35 3/4 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "without frame", "Medium" : "Mixed media", "Support" : "panel", "Disp_Medium" : "Mixed media on masonite panel", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.64_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.64_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.64_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.64_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36578", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 648, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/648", "Disp_Access_No" : "1952.61", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Porto Rico", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henry Ward Ranger", "Sort_Artist" : "Ranger, Henry Ward", "Disp_Dimen" : "11 1/2 x 15 1/2 in. (29.2 x 39.4 cm)", "Disp_Height" : "11 1/2 in.", "Disp_Width" : "15 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "Dedication" : "Gift of M. Knoedler Company, New York", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 678, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/678", "Disp_Access_No" : "1957.14", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1896", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1901", "Disp_Title" : "Mrs. William Shakespeare", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Singer Sargent", "Sort_Artist" : "Sargent, John Singer", "Disp_Dimen" : "29 3/8 x 24 1/2 in. (74.6 x 62.2 cm)", "Disp_Height" : "29 3/8 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "John Singer Sargent was the most fashionable portrait painter working in England and the United States in the late 1800s. He was not only a gifted artist, but an accomplished pianist and linguist. The novelist Henry James once remarked that London society at the turn of the century saw John Singer Sargent and his friends “…all swimming just now in a sea of music,” with Sargent being “as much a player as a painter.” The sitter of this portrait, Louise Weiland (c. 1850–1911), was brought up at the court of Dresden, Germany. She married the British singer, composer, and conductor William Shakespeare, one of Sargent’s closest friends, in 1875. Mrs. Shakespeare was best known for the musical salons she held in her London home, which brought together artists, musicians, and members of high society. She was described by her friend Eva Ducat as a quiet woman who “hid brilliant gifts under a gentle, deprecating manner.” According to Ducat, Sargent tried to capture Mrs. Shakespeare’s characteristic wistful expression by telling her sad stories as he painted her portrait. [Forman Gallery, Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Note that Sargent catalogue raisonne lists a different provenance than MAG records list. C.r. notes a replica painted for another family member which has been unaccounted for since 1912-- provenance may have been mixed up between the two? --KSchauber", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.14_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.14_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.14_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.14_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12401", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 726, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/726", "Disp_Access_No" : "1941.34", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1806", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1811", "Disp_Title" : "Russell Sturgis (1750 - 1826)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Stuart", "Sort_Artist" : "Stuart, Gilbert", "Disp_Dimen" : "28 3/4 x 24 1/8 in. (73 x 61.3 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill. [Gallery label text, 2007]", "Dedication" : "Purchased through the R. T. Miller, Jr. Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "727", "Rel_Obj_Title" : "Elizabeth Perkins Sturgis (1756 - 1843)" } ], "Curator" : "Portrait of Russell Sturgis, prominant fur-merchant of Boston and friend of Stuart who painted three portraits of him. Russell Sturgis was born in Barnstable, MA in 1750. He lived in Boston from 1777 until 1826. Married Elizabeth Perkins of Boston in 1773. He died in Boston in 1826. Portrait was painted approximately in 1806. Sturgis is painted in a black suit with white ruffled stock against a grey-olive background. Original carved, gilt frame.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.34_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.34_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.34_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.34_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12360", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print master derived 11/23/09 by Lu Harper for Seeing America lesson plans. Needs to be okayed by Curatorial for any other use.", "View" : "" } , ] },{ "embark_ID" : 727, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/727", "Disp_Access_No" : "1941.35", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1806", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1811", "Disp_Title" : "Elizabeth Perkins Sturgis (1756 - 1843)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Stuart", "Sort_Artist" : "Stuart, Gilbert", "Disp_Dimen" : "28 3/4 x 23 1/8 in. (73 x 58.7 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "23 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill. [Gallery label text, 2007]", "Dedication" : "Purchased through the R. T. Miller, Jr. Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "726", "Rel_Obj_Title" : "Russell Sturgis (1750 - 1826)" } ], "Curator" : "Portrait of Elizabeth Perkins Sturgis (Mrs. Russell Sturgis), companion portrait to that of Russell Sturgis. Elizabeth Perkins Sturgis was born in Boston in 1756. Married Russell Sturgis in 1773 and died in Boston in 1843. She is dressed in a brown silk dress with black lace shawl and white fichu and is painted against an olive-grey background seated in a green brocade chair. She wears a be-ribboned, white lace cap. Original carved, gilt frame.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.35_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.35_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.35_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.35_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12361", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 781, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/781", "Disp_Access_No" : "1951.14", "_AccNumSort1" : "", "Disp_Create_DT" : "1943", "_Disp_Start_Dat" : "1943", "_Disp_End_Date" : "1943", "Disp_Title" : "Troupers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Karl Zerbe", "Sort_Artist" : "Zerbe, Karl", "Disp_Dimen" : "31 x 36 in. (78.7 x 91.4 cm)", "Disp_Height" : "31 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "", "Medium" : "Encaustic", "Support" : "board", "Disp_Medium" : "Encaustic on board", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.14_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.14_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.14_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.14_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13380", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 947, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/947", "Disp_Access_No" : "1953.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "The Little Cloud", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Ehrich", "Sort_Artist" : "Ehrich, William", "Disp_Dimen" : "14 x 10 1/2 x 3 1/2 in. (35.6 x 26.7 x 8.9 cm)", "Disp_Height" : "14 in.", "Disp_Width" : "10 1/2 in.", "Dimen_Extent" : "", "Medium" : "Stone", "Support" : "", "Disp_Medium" : "Stone", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.26_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.26_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.26_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.26_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27185", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 974, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/974", "Disp_Access_No" : "1958.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1958", "_Disp_Start_Dat" : "1958", "_Disp_End_Date" : "1958", "Disp_Title" : "Abraham, Abraham", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Luise Kaish", "Sort_Artist" : "Kaish, Luise", "Disp_Dimen" : "33 3/4 in. (85.7 cm)", "Disp_Height" : "33 3/4 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of the Jewish Community of Rochester in honor of Fred Forman on the occasion of his election to the Chairmanship of the National Campaign committee of the United Jewish Appeal", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 1134, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1134", "Disp_Access_No" : "1957.75", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1790", "_Disp_Start_Dat" : "1785", "_Disp_End_Date" : "1795", "Disp_Title" : "Eagle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "30 x 21 in. (76.2 x 53.3 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "", "Medium" : "Pine", "Support" : "", "Disp_Medium" : "Pine", "Info_Page_Comm" : "", "Dedication" : "The Charles A. Carruth Memorial Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "This eagle is similar in style to one on the old Salem Customs House. One of two 18th century American sculptures acquired through funds raised in memory of Mr. Charles A. Carruth, devoted Gallery friend and Gallery Consultant.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.75_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.75_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.75_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.75_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12404", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1588, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1588", "Disp_Access_No" : "1941.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1883", "_Disp_Start_Dat" : "1883", "_Disp_End_Date" : "1883", "Disp_Title" : "Piazzo San Marco", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Duveneck", "Sort_Artist" : "Duveneck, Frank", "Disp_Dimen" : "13 3/8 x 10 15/16 in. (34 x 27.8 cm)", "Disp_Height" : "13 3/8 in.", "Disp_Width" : "10 15/16 in.", "Dimen_Extent" : "plate", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Bequest of Ida Lynch", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per note in file, inscribed on old mat: Fine early proof before the face of the boy at extreme left is darkened and before additional work in sky. Print Collection Bulletin, Vol. III, no. 2, p. 6 (Knoedler)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "19068", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2809, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2809", "Disp_Access_No" : "1958.133", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Pendant", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Svetozar Radakovich", "Sort_Artist" : "Radakovich, Svetozar", "Disp_Dimen" : "16 1/2 x 2 3/4 in. (41.9 x 7 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "2 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver and moonstone", "Info_Page_Comm" : "", "Dedication" : "Purchase Prize from The 2nd Exhibition of American Jewelry and Related Objects", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.133_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.133_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.133_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.133_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18013", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3061, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3061", "Disp_Access_No" : "1951.42", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1892", "_Disp_Start_Dat" : "1887", "_Disp_End_Date" : "1897", "Disp_Title" : "A Summer Day", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Merritt Chase", "Sort_Artist" : "Chase, William Merritt", "Disp_Dimen" : "16 1/8 x 20 in. (41 x 50.8 cm)", "Disp_Height" : "16 1/8 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "", "Medium" : "Pastel", "Support" : "canvas", "Disp_Medium" : "Pastel on canvas", "Info_Page_Comm" : "Painter William Merritt Chase and his family summered in a home built for them by the distinguished architect Stanford White in Shinnecock Hills. In that small community near Southampton, Long Island, Chase had established a summer school of art. Hundreds of students convened in the region from 1891 - 1902, dotting the landscape with their easels as they attempted to capture on canvas the truth of nature en plein air ("in the open air"). Typical of this period are the artist's paintings and drawings of his three young daughters exploring the landscape near their vacation retreat. High-keyed summery colors and rapid Impressionistic strokes convey the brilliance of the sky, the wildflowers and the ocean. [Gallery label text]", "Dedication" : "Gift of the Estate of Emily and James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.42_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.42_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.42_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.42_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12386", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4132, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4132", "Disp_Access_No" : "1953.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1903", "_Disp_Start_Dat" : "1903", "_Disp_End_Date" : "1903", "Disp_Title" : "Waterloo Bridge, Veiled Sun", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Monet", "Sort_Artist" : "Monet, Claude", "Disp_Dimen" : "25 1/2 x 39 1/4 in. (64.8 x 99.7 cm)", "Disp_Height" : "25 1/2 in.", "Disp_Width" : "39 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Monet loved London for its fog. During his 1901 visit to the city, he attempted to capture the evanescent effects of its misty climate in a series of views of Waterloo Bridge under varying conditions. Each time the light and weather shifted, he began a new canvas or returned to the one that recorded that particular atmosphere. Monet did not complete the paintings in London. He perfected them in his studio in France over the next three years. Thus, this painting records not only the artist's immediate response to the scene, but also his memory of it. [Gallery label text, 1999]", "Dedication" : "Gift of the Estate of Emily and James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.6_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12393", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.6_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.6_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.6_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.6_A5.jpg", "IsPrimary" : "1", "_SurrogateID" : "45619", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG 160620 Mixed Images.", "View" : "" } , ] },{ "embark_ID" : 5163, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5163", "Disp_Access_No" : "1955.176", "_AccNumSort1" : "", "Disp_Create_DT" : "1800", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1800", "Disp_Title" : "Pierre-François Bernier (1779-1803)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-August-Dominique Ingres", "Sort_Artist" : "Ingres, Jean-August-Dominique", "Disp_Dimen" : "18 1/4 x 15 in. (46.4 x 38.1 cm)", "Disp_Height" : "18 1/4 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper mounted on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.176_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.176_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.176_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.176_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14501", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8116, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8116", "Disp_Access_No" : "1936.74", "_AccNumSort1" : "", "Disp_Create_DT" : "1865-1870", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1870", "Disp_Title" : "The End of the Workday (La fin de la journée)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean François Millet", "Sort_Artist" : "Millet, Jean François", "Disp_Dimen" : "29 1/4 x 37 x 3/4 in. (74.3 x 94 x 1.9 cm)", "Disp_Height" : "29 1/4 in.", "Disp_Width" : "37 in.", "Dimen_Extent" : "overall", "Medium" : "Pastel", "Support" : "paper", "Disp_Medium" : "Pastel and crayon on paper", "Info_Page_Comm" : "On one of their many long, evening walks, Millet said to his brother Pierre: “It is astonishing toward the approach of night, how grand everything on the plain appears, especially when we see figures thrown out against the sky. Then they look like giants.” The End of the Workday showcases Millet’s fascination with the hour of twilight, which moved him by its power to transform human and other natural forms into strange shapes, evocative of dreams. The pastel, which shows a peasant silhouetted against the fading sky, putting on his jacket after a day of labor, is classic Millet. Best known as a painter of peasants, a politically and socially complex subject matter in France of the 1800s, his scenes of rural life focused on the human figure as much if not more than the landscape. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.74_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.74_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.74_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.74_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39423", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8255, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8255", "Disp_Access_No" : "1948.14", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1828", "_Disp_Start_Dat" : "1823", "_Disp_End_Date" : "1833", "Disp_Title" : "Wild Horse (Cheval Sauvage)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eugene Delacroix", "Sort_Artist" : "Delacroix, Eugene", "Disp_Dimen" : "14 3/16 x 10 11/16 in. (36 x 27.1 cm)", "Disp_Height" : "14 3/16 in.", "Disp_Width" : "10 11/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/48.14_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/48.14_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/48.14_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/48.14_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22762", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }