{ "objects" : [ { "embark_ID" : 12886, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12886", "Disp_Access_No" : "2005.11", "_AccNumSort1" : "", "Disp_Create_DT" : "2003", "_Disp_Start_Dat" : "2003", "_Disp_End_Date" : "2003", "Disp_Title" : "North River, Marshfield, MA", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Carol Acquilano", "Sort_Artist" : "Acquilano, Carol", "Disp_Dimen" : "22 1/4 x 30 in. (56.5 x 76.2 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "sheet", "Medium" : "Paint and ink", "Support" : "paper", "Disp_Medium" : "Sumi ink and acrylic wash on paper", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds contributed in memory of Gallery friend Frank Zahniser", "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/2005.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21509", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 187, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/187", "Disp_Access_No" : "1975.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Sunny Ducks", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Daniel Arthur Allen", "Sort_Artist" : "Allen, Daniel Arthur", "Disp_Dimen" : "5 3/16 x 3 7/16 in. (13.1 x 8.8 cm)", "Disp_Height" : "5 3/16 in.", "Disp_Width" : "3 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Acrylic", "Support" : "board", "Disp_Medium" : "Acrylic on board", "Info_Page_Comm" : "Nearly 40 years after it entered MAG’s collection, Daniel Allen’s tiny painting was re-discovered by an intern updating records for the museum website. Its quirky sense of humor and mysterious narrative caught her eye. Intern Sarah Gerin says: “Sunny Ducks’ intrigue lies in its ambiguity. It is kind and comforting, yet still forlorn and remote. In the painting, there is no context for what interaction is taking place, where it is taking place, or even its significance. With its enigmatic imagery and striking sense of both kindness and solitude, this scene reveals a clever and playful approach to the universal themes of isolation, alienation, and human relationships.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of William Whiting and the Arthur Allen family in memory of Daniel Allen", "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/75.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16336", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 202, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/202", "Disp_Access_No" : "1978.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "The Night Before the Battle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Henry Beard", "Sort_Artist" : "Beard, James Henry", "Disp_Dimen" : "30 1/2 x 44 1/2 in. (77.5 x 113 cm)", "Disp_Height" : "30 1/2 in.", "Disp_Width" : "44 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "James Beard had first-hand experience as a captain in the Union army during the Civil War. This painting, completed in the year the war ended, is a dramatic statement about the ever-present possibility of death on the battlefield. [Gallery label text, 2007] Were it not for details like the skeleton keeping vigil behind the cannon, the cruciform composition of the flag draped over the sleeping soldier, and the scattered playing cards suggestive of luck and chance, this painting would be a simple narrative about the Civil War. However, such potent symbolism imbues the work with layers of spiritual significance. Perhaps the reminders of death and sacrifice that the artist included in his masterful painting emerged from his firsthand experience in the Union Army during the Civil War. The meticulously selected and carefully arranged details attest to the poignancy of the soldiers' situation and contrast with the implied violence that will occur on the morrow. [Gallery label text]", "Dedication" : "Gift of Dr. Ronald M. Lawrence", "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/78.15_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.15_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.15_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.15_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "17539", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "New access image derived by Lu Harper from Master scan", "View" : "" } , ] },{ "embark_ID" : 211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/211", "Disp_Access_No" : "1951.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "Boomtown", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "46 1/8 x 54 1/4 in. (117.2 x 137.8 cm)", "Disp_Height" : "46 1/8 in.", "Disp_Width" : "54 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Egg yolk and oil", "Support" : "canvas", "Disp_Medium" : "Egg yolk and oil on canvas", "Info_Page_Comm" : "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]", "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/51.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12375", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Transparency rescanned at much larger size for publication as _P2 image", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A7.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A7.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A7.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A7.jpg", "IsPrimary" : "0", "_SurrogateID" : "29919", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A8.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A8.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A8.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A8.jpg", "IsPrimary" : "0", "_SurrogateID" : "29920", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A10.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A10.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A10.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A10.jpg", "IsPrimary" : "0", "_SurrogateID" : "29921", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A6.jpg", "IsPrimary" : "0", "_SurrogateID" : "29945", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A9.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A9.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A9.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A9.jpg", "IsPrimary" : "0", "_SurrogateID" : "29946", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R1.tif", "IsPrimary" : "0", "_SurrogateID" : "37729", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R2.tif", "IsPrimary" : "0", "_SurrogateID" : "37730", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R3.tif", "IsPrimary" : "0", "_SurrogateID" : "37731", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R4.tif", "IsPrimary" : "0", "_SurrogateID" : "37732", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R5.tif", "IsPrimary" : "0", "_SurrogateID" : "37733", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 214, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/214", "Disp_Access_No" : "1992.78", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "The Sierras Near Lake Tahoe, California", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albert Bierstadt", "Sort_Artist" : "Bierstadt, Albert", "Disp_Dimen" : "14 15/16 x 21 1/16 in. (38 x 53.5 cm)", "Disp_Height" : "14 15/16 in.", "Disp_Width" : "21 1/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "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. ", "Dedication" : "Clara and Edwin Strasenburgh Fund and 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/92.78_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.78_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.78_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.78_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12517", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Note: Master image contains wrong accession # from photoshoot: 75.21. Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 218, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/218", "Disp_Access_No" : "1974.4", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1880-1890", "_Disp_Start_Dat" : "1880", "_Disp_End_Date" : "1890", "Disp_Title" : "Afternoon Light", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Albert Blakelock", "Sort_Artist" : "Blakelock, Ralph Albert", "Disp_Dimen" : "16 1/8 x 24 1/16 in. (41 x 61.1 cm)", "Disp_Height" : "16 1/8 in.", "Disp_Width" : "24 1/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This brooding, moody canvas was created by one of the most haunted souls in the history of American art. Ralph Blakelock, a man diagnosed as a paranoid schizophrenic and placed in a sanitarium for fifteen years, painted some of the most mysterious, expressive and poetic paintings in 19th century America. Indeed, his interest in and exploration of the unknown and the expressive were deeply admired by such radical 20th century abstract painters as Willem deKooning, Jackson Pollock and Franz Kline.... [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" : "No. 714 in the Nebraska Blakelock Inventory at the University of Nebraska.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12462", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4955, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4955", "Disp_Access_No" : "1973.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1902", "_Disp_Start_Dat" : "1902", "_Disp_End_Date" : "1902", "Disp_Title" : "Young Priestess", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William-Adolphe Bouguereau", "Sort_Artist" : "Bouguereau, William-Adolphe", "Disp_Dimen" : "71 1/4 x 32 in. (181 x 81.3 cm)", "Disp_Height" : "71 1/4 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Bouguereau's idealized figures, with their realistically-rendered surfaces and painstaking level of finish, show a technical mastery that still astonishes. Here the fluid fabrics of the priestess's garments and the drapery behind her contrast sharply with her pale flesh and the stone mosaic of the floor. The lack of context invites viewers to provide the figure with a narrative. This painting, completed when the artist was almost 80, demonstrates a return to the themes of classical antiquity that had been mainstays of his youthful work. Bouguereau had a typical Academic education: he studied anatomy, classical literature and archaeology along with drawing and painting, and spent a year in Rome where he took inspiration from Renaissance artists. A member of the Academy throughout his career, his paintings were regularly included in the annual Salon exhibitions. [Gallery label text, 2011]", "Dedication" : "Gift of Paul T. White in memory of Josephine Kryl White", "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/73.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18213", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Museum Print Editions scan purchased by Gallery Store for production purposes", "View" : "" } , ] },{ "embark_ID" : 6782, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6782", "Disp_Access_No" : "1913.10", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Morning Star", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eugen Bracht", "Sort_Artist" : "Bracht, Eugen", "Disp_Dimen" : "29 3/4 x 34 1/2 in. (75.6 x 87.6 cm)", "Disp_Height" : "29 3/4 in.", "Disp_Width" : "34 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "Dedication" : "Gift of Emily Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.10_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.10_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.10_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.10_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "20064", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5208, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5208", "Disp_Access_No" : "1954.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1913", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1913", "Disp_Title" : "Still Life with Pipe (Nature morte à la Pipe)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georges Braque", "Sort_Artist" : "Braque, Georges", "Disp_Dimen" : "16 x 13 in. (40.6 x 33 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "13 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" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/54.12_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/54.12_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/54.12_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/54.12_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38867", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 4958, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4958", "Disp_Access_No" : "1969.45", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1878-1882", "_Disp_Start_Dat" : "1878", "_Disp_End_Date" : "1882", "Disp_Title" : "The Bay of Estaque Seen from the East (La Baie de l'Estaque vue de l'est)", "Alt_Title" : "View of Mt. Marseilleveyre and the Isle of Maire (L'Estaque); La Montagne Marseilleveyre et l'Ile Maire; Le Golfe bleu (L'Estaque); Sea at L'Estaque", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul Cézanne", "Sort_Artist" : "Cézanne, Paul", "Disp_Dimen" : "21 1/4 x 25 5/8 in. (54 x 65.1 cm)", "Disp_Height" : "21 1/4 in.", "Disp_Width" : "25 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Paul Cézanne exhibited in the Impressionist exhibition of 1874, and was encouraged by Camille Pissarro to begin painting out of doors. He soon moved beyond the style of Impressionism and began building form with color to paintings that were more analytical than sensory. He frequently painted scenes of the small town of L’Estaque in southern France, where he lived and worked periodically from 1870 to 1885. In an 1876 letter to his friend the Impressionist painter Camille Pissarro, he wrote of his work in L’Estaque: "I have started two little motifs with a view of the sea…red roofs over the blue sea…The sun is so terrific here that it seems to me as if the objects are silhouetted not only in black and white, but in blue, red, brown and violet. I may be mistaken, but this seems to me to be the opposite of modeling." In this painting, he uses interlocking shapes of bright color and diagonal brushstrokes to create the sensation of volumes in the foliage, mountains, and water. [Label copy from Monet: Vision and Process exhibition, 2018] Cézanne's artistic goals developed through his contact with the Impressionists. Although he was not interested in rendering particular momentary impressions, he wished to record his "sensations" of nature. This painting typifies his technique-- suggesting form and volume through interlocking shapes that are rendered with bold, diagonal brushstrokes. The bright colors deftly evoke the strong light and crystalline atmosphere of southern France. [Gallery label text, 1999] ", "Dedication" : "Anonymous gift in tribute to Edward Harris and in memory of H. R. Stirlin of Switzerland", "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/69.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "40676", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned from TR1 transparency to make larger file, at request of borrower", "View" : "" } , ] },{ "embark_ID" : 278, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/278", "Disp_Access_No" : "1994.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1846-1847", "_Disp_Start_Dat" : "1846", "_Disp_End_Date" : "1847", "Disp_Title" : "Genesee Scenery", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Cole", "Sort_Artist" : "Cole, Thomas", "Disp_Dimen" : "6 1/4 x 4 3/8 in. (15.9 x 11.1 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "4 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "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]", "Dedication" : "Gift of Howard and Florence Merritt", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : ""Thomas Cole: Landscape into History" has picture of the finished version, ''Genesee Scenery,'' 1847, which is owned by The Museum of Art, Rhode Island School of Design, Providence. Subject of the painting is Oay-ga-ya-soh Creek at Letchworth State Park in Mount Morris, New York, identified by Letchworth park rangers.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94.40_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12634", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "THIS PAINTING IS NOT IN THE MAG COLLECTION. complete credit line: Museum of Art, Rhode Island School of Design; Jesse Metcalf Fund", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_A1.jpg", "IIIF_URL": 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"https://webkiosk.gallerysystems.com/Media/images/9cole5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/9cole5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/9cole5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/9cole5.tif", "IsPrimary" : "0", "_SurrogateID" : "23113", "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" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_R18.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_R18.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_R18.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94.40_R18.jpg", "IsPrimary" : "0", "_SurrogateID" : "28051", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 568, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/568", "Disp_Access_No" : "1983.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1909", "_Disp_Start_Dat" : "1909", "_Disp_End_Date" : "1909", "Disp_Title" : "Woman in an Ermine Collar", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kathleen McEnery Cunningham", "Sort_Artist" : "Cunningham, Kathleen McEnery", "Disp_Dimen" : "76 7/8 x 38 3/8 in. (195.3 x 97.5 cm)", "Disp_Height" : "76 7/8 in.", "Disp_Width" : "38 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Kathleen McEnery’s early training as an Urban Realist drew her to depict reality with an uncompromising eye. The artist was about twenty-two years old and living in Paris when she painted this bold and modern woman. McEnery lived in New York, Madrid, and Paris before she moved to Rochester, NY in 1914. [Gallery label text, 2007] Kathleen McEnery was about twenty-two years old and living in Paris when she painted Woman in an Ermine Collar. She lived and trained in New York, Madrid, and Paris before moving to Rochester in 1914. McEnery played a major role in Rochester’s cultural circles, and painted throughout her life while raising a family with her husband, Francis Cunningham of the Cunningham Car Company. McEnery’s training with the American realist master Robert Henri drew her to depict with honesty the conditions of modern life. The result is this woman’s unapologetic presence. She is an embodiment of the New Woman – a cultural phenomenon of the growing women’s rights movement, of which the artist was an ardent supporter. The New Woman rebelled against traditional gender roles and was independent, confident, and physically active. As this woman’s dashing manner illustrates, she was equally as comfortable in the public domain as would be any man. [Gallery label text, 2006] In New York City, Kathleen McEnery studied with Robert Henri. She also studied abroad and exhibited two paintings at the controversial 1913 Armory Show in New York City. After her marriage to Rochesterian Francis Cunningham, whose family owned the Cunningham Carriage Factory, she continued painting in a studio off the family's home on 10 South Goodman St., now on the campus of the Rochester Museum and Science Center. As Mrs. Cunningham, she was a member of the Gallery's Board of Managers from 1927 through 1971. The model's direct and intelligent expression and forthright pose suggests the "new woman," ready to be a participant in contemporary society rather than remain at home. Certainly, McEnery herself, who had graduated from Pratt Institute and lived on her own in New York City, fit that description as well. [Gallery label text, 2003]", "Dedication" : "Gift of Joan Cunningham Williams, Peter Cunningham, and Michael McEnery Cunningham", "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/83.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12491", "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" : 4211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4211", "Disp_Access_No" : "2005.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Negro Head", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Steuart Curry", "Sort_Artist" : "Curry, John Steuart", "Disp_Dimen" : "24 x 18 1/2 in. (61 x 47 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "18 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "According to the [previous owner], Curry met the subject of this painting, a sugar cane worker, on a trip to Cuba. [Gallery label text]", "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/2005.31_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.31_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.31_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.31_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33982", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100622", "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" : 342, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/342", "Disp_Access_No" : "1987.62", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Snow on Quai", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edwin Dickinson", "Sort_Artist" : "Dickinson, Edwin", "Disp_Dimen" : "21 x 18 in. (53.3 x 45.7 cm)", "Disp_Height" : "21 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Nancy Turner in memory of Richard Turner", "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/87.62_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.62_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.62_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.62_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12507", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 348, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/348", "Disp_Access_No" : "1951.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Cars in a Sleet Storm", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur Dove", "Sort_Artist" : "Dove, Arthur", "Disp_Dimen" : "15 x 21 in. (38.1 x 53.3 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painted in Geneva, NY, Cars in a Sleet Storm is representative of Arthur Dove’s personalized abstract vocabulary with which he responded to the world around him. Dove, along with Georgia O’Keeffe and Marsden Hartley, were members of a group of modernist American artists championed by the photographer Alfred Stieglitz in his 291 Gallery in Manhattan. [Gallery label text, 2007] Arthur G. Dove was a native of Geneva, New York, about 46 miles from Rochester. Early on, rural New York State did not satisfy Dove's desire for a more engaged artistic life, and a few years after the turn of the 20th century, he moved to New York City and then to Paris. On his return to the United States in 1910, he began to paint abstract landscapes, and is considered one of America's first abstract painters. Dove's work was actively exhibited by photographer Alfred Stieglitz in his Gallery 291 and Intimate Gallery, major centers of avant-garde art in the United States. Stieglitz also showed the work of Georgia O'Keeffe whom he married in 1924. Cars in a Sleet Storm was painted at the end of Dove's years in Geneva, where he had returned to manage his father's estate. Dove's own words align him with the 20th century movement away from identifiable subject matter:"I would like to make something that is real in itself, that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." He also commented, "… I no longer observed in the old way, and not only began to think subjectively but also to remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes." [Gallery label text, 2006]", "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/51.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25276", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned from 1999 James Via transparency", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.4_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.4_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.4_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.4_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "41492", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Color-corrected and cropped from M1 file as no print master existed. JPG derived from new print master.", "View" : "" } , ] },{ "embark_ID" : 352, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/352", "Disp_Access_No" : "1974.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1860", "_Disp_Start_Dat" : "1860", "_Disp_End_Date" : "1860", "Disp_Title" : "Genesee Oaks", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Asher Brown Durand", "Sort_Artist" : "Durand, Asher Brown", "Disp_Dimen" : "28 1/4 x 42 in. (71.8 x 106.7 cm)", "Disp_Height" : "28 1/4 in.", "Disp_Width" : "42 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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.", "Dedication" : "Gift of the Women's Council in honor of Harris K. Prior", "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/74.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12463", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4131, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4131", "Disp_Access_No" : "1984.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1789", "_Disp_Start_Dat" : "1789", "_Disp_End_Date" : "1789", "Disp_Title" : "Cleopatra Captured by Roman Soldiers after the Death of Mark Antony", "Alt_Title" : "", "Obj_Title" : "Cleopatra Captured by Roman Soldiers after the Death of Mark Antony", "Series_Title" : "", "Disp_Maker_1" : "Bernard Duvivier", "Sort_Artist" : "Duvivier, Bernard", "Disp_Dimen" : "45 x 58 in. (114.3 x 147.3 cm)", "Disp_Height" : "45 in.", "Disp_Width" : "58 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Duvivier received his initial training in Bruges and then moved to Paris, where he assimilated the severe Neoclassical style perfected by Jacques-Louis David. In this early work, Duvivier combined the poses of several antique statues to illustrate an episode recounted in Plutarch's "Life of Mark Anthony." Following Anthony's suicide, a Roman soldier attempts to forestall the Egyptian queen's own death by promising that Octavian Caesar will show her clemency. The subtle, glowing colors, precise attention to detail, and impeccable draughtsmanship presage the artist's occasional work as a miniaturist. [Gallery label text, 2008]", "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/84.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.40_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.40_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12493", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3889, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3889", "Disp_Access_No" : "1998.75", "_AccNumSort1" : "", "Disp_Create_DT" : "1883", "_Disp_Start_Dat" : "1883", "_Disp_End_Date" : "1883", "Disp_Title" : "The Printseller's Window", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Walter Goodman", "Sort_Artist" : "Goodman, Walter", "Disp_Dimen" : "52 1/4 x 44 3/4 in. (132.7 x 113.7 cm)", "Disp_Height" : "52 1/4 in.", "Disp_Width" : "44 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painted in the illusionistic technique of trompe l’oeil (French for “fool the eye),” The Printseller depicts a heavily-bearded shopkeeper cradling a small statuette of Cupid. The display case before him contains a variety of objects, including prints, books, coins in a porcelain dish, a magnifying glass, a wineglass, a strand of pearls and a metal tankard. Many of the prints are reproductions of famous paintings that would have been familiar to Walter Goodman’s audience of the early 1880s. A string of small photographs called cartes-de-visites stretches across the display case. These small photographic portraits, sized to mount on a visiting card, became extremely popular; a craze developed for collecting the cartes of celebrities as well as family and friends. Here, each represents a famous Victorian painter of Goodman’s time, including John Everett Millais, Rosa Bonheur, and Lawrence Alma-Tadema (fourth, sixth, and ninth from the left, respectively). A larger photographic portrait of the famous art critic John Ruskin is located in the center directly below the string of cartes. Although relatively unknown, Walter Goodman was an interesting and practiced artist with a varied career as a portraitist, illustrator and writer. Of Jewish heritage, he was the son of portraitist Julia Salaman Goodman. He was widely traveled and an intimate member of London’s theatrical society. He exhibited at the Royal Academy and the British Institution. ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.75_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.75_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.75_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.75_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "27092", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.75_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.75_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.75_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.75_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "29175", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 2000 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/418", "Disp_Access_No" : "1951.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1942", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1942", "Disp_Title" : "The Opposition", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Gropper", "Sort_Artist" : "Gropper, William", "Disp_Dimen" : "28 x 38 in. (71.1 x 96.5 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "38 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "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" : "1714", "Rel_Obj_Title" : "The Opposition" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12387", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 419, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/419", "Disp_Access_No" : "1951.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1943", "_Disp_Start_Dat" : "1943", "_Disp_End_Date" : "1943", "Disp_Title" : "The Wanderer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Grosz", "Sort_Artist" : "Grosz, George", "Disp_Dimen" : "30 x 40 in. (76.2 x 101.6 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ten years after fleeing Germany during Hitler’s rise to power, George Grosz painted The Wanderer in New York. As World War II raged over the ocean, Grosz created this intensely personal response to his experience as a German soldier in World War I and his 1933 emigration to the United States. [Gallery label text, 2007] Painted in the midst of World War II, The Wanderer is an expression of the artist’s recent life experience. George Grosz was an established painter in Germany who, like many others, spoke out against the totalitarian Nazi regime. For his own safety and that of his family, he relocated to the United States. The Wanderer was one of a group of so-called ‘hell pictures’; in a letter, he wrote: I work a lot…I painted a little picture – The Wanderer – myself of course…The resonance of explosion and destruction often shakes me bodily. The explosion and destruction was a reference to the war-torn European continent that he had left behind, as well as a reference to his own emotional volatility as he tried to adjust, with little success, to his new life in America, suggested in the painting by the seagrasses he knew from Long Island and Cape Cod beaches. The Wanderer was probably one of the newest paintings acquired for the Encyclopedia Britannica Collection, as the collection was formed in 1943, the same year that Grosz painted this work. Stylistically, the painting’s expression of personal and cultural angst – achieved through desolate subject matter, somber palette, and unquiet line – was very much an alternative view to the more upbeat images of wartime artists like Norman Rockwell. [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" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12388", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 427, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/427", "Disp_Access_No" : "1991.32", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Dutch Landscape", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Paul Gruppe", "Sort_Artist" : "Gruppe, Charles Paul", "Disp_Dimen" : "12 3/8 x 16 1/4 in. (31.4 x 41.3 cm)", "Disp_Height" : "12 3/8 in.", "Disp_Width" : "16 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Sara Quinlan Bequest", "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/91.32_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.32_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.32_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.32_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39391", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 13365, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13365", "Disp_Access_No" : "2005.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1837", "_Disp_Start_Dat" : "1837", "_Disp_End_Date" : "1837", "Disp_Title" : "Pittsford on the Erie Canal", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Harvey", "Sort_Artist" : "Harvey, George", "Disp_Dimen" : "17 1/2 x 23 1/2 in. (44.5 x 59.7 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "This scene is thought to be in the vicinity of King’s Bend Park just outside of Pittsford Village. [Gallery label text, 2007]", "Dedication" : "Gift of the Margaret M. McDonald Memorial 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/2005.33_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.33_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.33_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.33_A5.jpg", "IsPrimary" : "1", "_SurrogateID" : "27616", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 1-16-05", "View" : "" } , ] },{ "embark_ID" : 13277, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13277", "Disp_Access_No" : "2005.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1899", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of James Sibley Watson, Jr.", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George M. Haushalter", "Sort_Artist" : "Haushalter, George M.", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. Michael L. 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/2005.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39555", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4135, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4135", "Disp_Access_No" : "1949.63", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1645", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1650", "Disp_Title" : "Still Life", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jan Davidsz. de Heem", "Sort_Artist" : "Heem, Jan Davidsz. de", "Disp_Dimen" : "14 1/2 x 18 in. (36.8 x 45.7 cm)", "Disp_Height" : "14 1/2 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.63_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.63_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.63_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.63_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12373", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3914, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3914", "Disp_Access_No" : "1997.173", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Landscape with Figures", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joseph H. Hidley", "Sort_Artist" : "Hidley, Joseph H.", "Disp_Dimen" : "10 7/8 x 20 7/8 in. (27.6 x 53 cm)", "Disp_Height" : "10 7/8 in.", "Disp_Width" : "20 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on pine board", "Info_Page_Comm" : "This painting was never intended to hang on a wall. Rather, it was created as part of a wall to decorate a panel underneath a tall window in the parlor of a home in Eagle Mills, New York, near Albany. The artist was an unusual individual. In addition to painting scenes to decorate rooms in the Albany region, Joseph Hidley was a house painter, a carpenter, and arranger of stuffed birds and dried flowers. For his underwindow panels, he is thought to have derived his inspiration from European viewbooks, which is why this scene is reminiscent of a Swiss landscape. We are still trying to locate the original view that Hidley copied. [Gallery label text, 2002]", "Dedication" : "Gift of Nancy and Alan Cameros", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The object was removed from the Laveigne House, Brunswick, New York, October 20, 1988, according to the photocopy from the auction catalog in the curatorial file. The panel itself was originally located beneath a tall window in the home, per conservator Michael Heslip.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.173_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.173_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.173_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.173_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17123", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 507, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/507", "Disp_Access_No" : "1965.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Interlude", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Koch", "Sort_Artist" : "Koch, John", "Disp_Dimen" : "50 1/8 x 39 7/8 in. (127.3 x 101.3 cm)", "Disp_Height" : "50 1/8 in.", "Disp_Width" : "39 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "John Koch was a master of the tradition of American realism. His warm, intimate, and elegant New York City interiors glow with light that is reflected by well-polished furniture, floors, and silver. In this painting, the artist’s wife (piano teacher Dora Zaslavsky) offers a cup of tea to the nude artist’s model, while the artist sits in the background and contemplates his canvas. A variation on the theme of artists and models, Interlude also is an expression of the generosity of human relationships. As one of Zaslavsky’s former students wrote, “…her philosophy of care and concern for the individual student helps shape my teaching to this day.” [Summer 2015]", "Dedication" : "Gift of Mr. and Mrs. Thomas H. Hawks", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3173", "Rel_Obj_Title" : "Study for "Interlude" (I)" },{ "Rel_Obj_ID" : "3174", "Rel_Obj_Title" : "Study for "Interlude" (II)" } ], "Curator" : "Per MSearl, telephone number of family that lives in John Koch''s apartment is 212 873 2875. Family of UR student Joyce Cohen lives there (don''t know when this info is from - sometime before 2012). 11.14.12.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 522, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/522", "Disp_Access_No" : "1991.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Summer Street Scene in Harlem", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "20 1/16 x 24 1/8 in. (51 x 61.2 cm)", "Disp_Height" : "20 1/16 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Jacob Lawrence chronicled the migration of African Americans from the South to the North in the first half of the 20th century. In Summer Street Scene in Harlem, Lawrence’s style incorporates the flattened surfaces, distorted shapes, and bold colors of modernism to capture the energy and vitality of life in Harlem, New York. [Gallery label text, 2007]", "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/91.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12514", "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" : "" } , ] },{ "embark_ID" : 4985, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4985", "Disp_Access_No" : "1980.43", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1515", "_Disp_Start_Dat" : "1510", "_Disp_End_Date" : "1520", "Disp_Title" : "Adoration of the Magi", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Master of the Holy Blood", "Sort_Artist" : "Master of the Holy Blood", "Disp_Dimen" : "38 11/16 x 21 7/8 in. (98.2 x 55.5 cm)", "Disp_Height" : "38 11/16 in.", "Disp_Width" : "21 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "This painting depicts the New Testament story of one of the most popular devotional images in Christian art, the Adoration of the Magi. After Christ was born, three wealthy Magi, or Kings, from the east came to Jerusalem seeking the one “who was born king of the Jews.” When they found him near Bethlehem with Mary and Joseph, seen here standing behind the Virgin and infant Christ, they “bowed down and worshipped him, opened their treasures and presented him with gifts of gold, incense and myrrh.” [Gallery label text, June 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.43_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.43_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.43_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.43_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36529", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in its frame; frame cropped out in Photoshop", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.43_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.43_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.43_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.43_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "36530", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.43_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.43_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.43_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.43_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "36531", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in its frame; frame cropped out in Photoshop", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.43_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.43_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.43_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.43_A5.jpg", "IsPrimary" : "0", "_SurrogateID" : "36532", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.43_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.43_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.43_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.43_A6.jpg", "IsPrimary" : "0", "_SurrogateID" : "36533", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6636, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6636", "Disp_Access_No" : "1943.3", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1350-1400", "_Disp_Start_Dat" : "1350", "_Disp_End_Date" : "1400", "Disp_Title" : "The Annunciation to Zacharias", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Master of the Urbino Coronation", "Sort_Artist" : "Master of the Urbino Coronation", "Disp_Dimen" : "69 1/2 x 53 5/8 x 1 5/8 in. (176.5 x 136.2 x 4.1 cm)", "Disp_Height" : "69 1/2 in.", "Disp_Width" : "53 5/8 in.", "Dimen_Extent" : "with frame", "Medium" : "", "Support" : "canvas", "Disp_Medium" : "Fresco transferred to canvas", "Info_Page_Comm" : "This painting was once part of a cycle of frescoes in the church of Santa Lucia in Fabriano, a town northeast of Rome. The series probably depicted the story of the life of Saint John the Baptist, who, according to Christian tradition, was the precursor of Christ. The subject, taken from the first chapter of the gospel book of Luke, presents the vision of the aged Zacharias as he officiates at the altar of incense and learns from the Angel Gabriel that his wife Elizabeth, although “well stricken in years,” is to bear a son, John, who will “make ready a people” for the coming of the Lord. The crowds, who “waited…and marveled,” are at the right, dressed in the style of Florence during the 1300s. The pointed turban of the middle figure indicates that he is Jewish. The kneeling figure at the left is probably the donor of the painting. This painting was removed from the wall in the 1800s and has since been remounted on canvas. It has been connected to two others from the same church, The Crucifixion in the Museum of Fine Arts, Boston, and The Birth of John the Baptist in the Galleria Nazionale, Rome. [Gallery label text, June 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/43.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/43.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/43.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/43.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "19341", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100301 #2", "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" : 5061, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5061", "Disp_Access_No" : "1977.103", "_AccNumSort1" : "", "Disp_Create_DT" : "1633-1637", "_Disp_Start_Dat" : "1633", "_Disp_End_Date" : "1637", "Disp_Title" : "Portrait of a Man Holding the Frontispiece to Dürer's "Small Passion"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pietro Paolini", "Sort_Artist" : "Paolini, Pietro", "Disp_Dimen" : "49 3/4 x 40 3/4 in. (126.4 x 103.5 cm)", "Disp_Height" : "49 3/4 in.", "Disp_Width" : "40 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.103_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.103_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.103_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.103_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "38884", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned from TR1 to create a file of a size suitable for publication.", "View" : "" } , ] },{ "embark_ID" : 637, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/637", "Disp_Access_No" : "1986.132", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "The Beginning of the Fields", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fairfield Porter", "Sort_Artist" : "Porter, Fairfield", "Disp_Dimen" : "52 x 76 1/8 in. (132.1 x 193.4 cm)", "Disp_Height" : "52 in.", "Disp_Width" : "76 1/8 in.", "Dimen_Extent" : "without frame", "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": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.132_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.132_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.132_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.132_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12499", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 675, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/675", "Disp_Access_No" : "1962.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1917", "_Disp_Start_Dat" : "1917", "_Disp_End_Date" : "1917", "Disp_Title" : "In the Nevada Desert", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sven Birger Sandzén", "Sort_Artist" : "Sandzén, Sven Birger", "Disp_Dimen" : "32 x 48 in. (81.3 x 121.9 cm)", "Disp_Height" : "32 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of G. S. Soderlund", "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/62.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/62.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/62.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/62.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39405", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 686, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/686", "Disp_Access_No" : "1977.204", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Polgrennow Farm", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "W. Elmer Schofield", "Sort_Artist" : "Schofield, W. Elmer", "Disp_Dimen" : "30 x 36 1/8 in. (76.2 x 91.8 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "36 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Buswell-Hochstetter Bequest", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Displayed with other Schofield paintings at ACM 5-10-1977 for deacession consideration This Schofield painting had a credit line of “anonymous gift” and the ledger said the source is unknown—found in storage, in the collection by 1977. But in the file there is an e-mail to Lu Harper from a scholar who gives a reference to the painting being reproduced in 1923 in Buffalo’s “Academy Notes” where it says it was then owned by Mrs. Henry Buswell (=Bertha). In the Buswell donor file, on an inventory of her estate is indeed listed a landscape by Schofield, and no other Schofield at MAG came from her. Ledger does not show a Schofield painting accessioned in 1955. Credit line changed to the standard Buswell credit line 12/2015. KSchauber, Curatorial Research Ass''t.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.204_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.204_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.204_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.204_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25637", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo was taken after conservation treatment was performed on this object by Susan Blakney of West Lake Conservators in January 2008 (small tear/puncture in lower center of canvas repaired).", "View" : "" } , ] },{ "embark_ID" : 707, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/707", "Disp_Access_No" : "1941.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1907", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1907", "Disp_Title" : "Election Night", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Sloan", "Sort_Artist" : "Sloan, John", "Disp_Dimen" : "26 3/8 x 32 1/4 in. (67 x 81.9 cm)", "Disp_Height" : "26 3/8 in.", "Disp_Width" : "32 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night. [Gallery label text, 2007] John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging. On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene. Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.” [Gallery label text, 2003]", "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/41.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12359", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 710, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/710", "Disp_Access_No" : "1975.139", "_AccNumSort1" : "", "Disp_Create_DT" : "1866", "_Disp_Start_Dat" : "1866", "_Disp_End_Date" : "1866", "Disp_Title" : "Home Late", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mortimer Smith", "Sort_Artist" : "Smith, Mortimer", "Disp_Dimen" : "40 x 46 in. (101.6 x 116.8 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "46 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Home Late is the earliest identified painting by Mortimer Smith. The shadowy interior of the frontier cabin demonstrates his mastery of the genre scene: the rifle hanging from the ceiling side by side with drying meats and vegetables, supper cooking in the kettle suspended in the stone fireplace, and the dog sleeping peacefully by the fire. Smith is equally adept at capturing the warm glow cast by the fire as it contrasts with the cold light of the winter scene beyond the doorway. The child pausing in the doorway heightens the emotional ambiguity of the scene as he surveys the cabin's interior, perhaps to gauge the mood within as he returns home late from skating. Smith's landscape and genre scenes suggest familiarity with his better-known contemporaries, like Albert Bierstadt and Eastman Johnson. Certainly, early exposure to the work exhibited at the Cosmopolitan Art Association in Sandusky provided Smith with models of painting styles that continued to influence him throughout his life. [Gallery label text]", "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/75.139_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.139_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.139_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.139_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "31885", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "cropped from CMYK file used in Seeing America Catalogue for web use", "View" : "" } , ] },{ "embark_ID" : 5058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5058", "Disp_Access_No" : "1972.75", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1630-1640", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1640", "Disp_Title" : "The Fox and the Heron", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frans Snyders and workshop", "Sort_Artist" : "Snyders, Frans", "Disp_Dimen" : "47 1/8 x 61 1/4 in. (119.7 x 155.6 cm)", "Disp_Height" : "47 1/8 in.", "Disp_Width" : "61 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "Dedication" : "Gift of Dr. and Mrs. James V. Aquavella", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.75_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.75_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.75_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.75_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "29171", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 1995 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.75_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.75_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.75_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.75_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "30877", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Related image from National Museum, Stockholm", "View" : "" } , ] },{ "embark_ID" : 720, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/720", "Disp_Access_No" : "1988.6", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1852", "_Disp_Start_Dat" : "1847", "_Disp_End_Date" : "1857", "Disp_Title" : "Peeling Onions", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lilly Martin Spencer", "Sort_Artist" : "Spencer, Lilly Martin", "Disp_Dimen" : "36 x 29 in. (91.4 x 73.7 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "29 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of the Women's Council in celebration of the 75th anniversary of the Memorial Art Gallery", "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/88.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12511", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4996, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4996", "Disp_Access_No" : "1944.15", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "St. Margaret with a Donor", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Vrancke van der Stockt", "Sort_Artist" : "Stockt, Vrancke van der", "Disp_Dimen" : "18 1/8 x 7 7/8 in. (46 x 20 cm)", "Disp_Height" : "18 1/8 in.", "Disp_Width" : "7 7/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "This painting, which shows a woman in contemporary dress kneeling in devotion before an open prayer book, her patron saint behind her, was once the right wing of a small triptych, or three-part altarpiece. Saint Margaret, who is recognizable through her attributes, or identifying symbols, holds a cross; a fanged dragon is at her feet. According to the story, Margaret spent her life following the teachings of Christ. The governor of Antioch in the ancient Roman province of Syria, now modern Turkey, fell in love with Margaret’s beauty and asked her to marry him. She rejected his proposal, vowing to remain a virgin. The governor sent her to prison, where the Devil appeared to Margaret as a dragon. She was saved by her Christian faith: when the dragon swallowed Margaret, she made the sign of the cross, which split the dragon in two and allowed her to escape from his belly unharmed. The left panel of the altarpiece, now in the Allen Memorial Art Museum of Oberlin University in Oberlin, Ohio, is a mirror image of this scene and depicts the woman’s husband also kneeling in devotion with his patron saint behind him. The center panel of the altarpiece to which the couple offers their prayers was probably a painting of the Virgin and infant Christ. [Expanded from gallery label text, June 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.15_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.15_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.15_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.15_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "14532", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.15_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.15_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.15_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.15_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "14533", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.15_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.15_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.15_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.15_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "19342", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "inhouse scan by Douglas Holleley--note: file on cd needs reorienting and cropping. Lu did both for EmbARK version. There''s another, not as good scan on the cd.", "View" : "" } , ] },{ "embark_ID" : 747, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/747", "Disp_Access_No" : "1916.9", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "The White Bridge", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Henry Twachtman", "Sort_Artist" : "Twachtman, John Henry", "Disp_Dimen" : "30 1/4 x 25 1/8 in. (76.8 x 63.8 cm)", "Disp_Height" : "30 1/4 in.", "Disp_Width" : "25 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Impressionism, a radically modern style upon its inception in France in the 1860s, came late to American shores. The Impressionist artist sought to capture impressions of light, color, and shape in a spontaneous way. [Gallery label text, 2007] John Twachtman’s finest paintings were inspired by the beauty of the land on which he lived with his family. Located in Greenwich, Connecticut, the picturesque property included a portion of Horseneck Brook, across which Twachtman built an ornamental but functional footbridge. Here, his children swam in the summer and rowed their boat beneath the bridge’s arched deck. The bridge may have been inspired by similar structures in Venice, where the artist lived in the 1880s and 90s. Twachtman was one of America’s premier impressionist painters and a founding member of the Ten American Painters, a group that included Thomas Dewing and William Merritt Chase, artists whose works are also on view at MAG. The White Bridge’s bright colors, energetic brushwork, and light-filled canvas link Twachtman’s work with that of French impressionist Claude Monet. [Gallery label text, 2004]", "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/16.9_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/16.9_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/16.9_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/16.9_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12337", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4784, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4784", "Disp_Access_No" : "1983.55", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1850-1900", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1900", "Disp_Title" : "Rama, Sita and Lakshmana Return to Ayodhya", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Indian", "Sort_Artist" : "Unknown, Indian", "Disp_Dimen" : "11 1/4 x 17 15/16 in. (28.6 x 45.6 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "17 15/16 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Opaque watercolor", "Support" : "paper", "Disp_Medium" : "Opaque watercolor, ink, silver and gold paint on paper", "Info_Page_Comm" : "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.", "Dedication" : "Gift of Helen H. Reiff in memory of Robert F. Reiff", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Indian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.55_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.55_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.55_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.55_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "55110", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21447, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21447", "Disp_Access_No" : "1974.50.29", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Design for Tea Labels: Cat Preparing Tofu", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "8 1/8 x 7 3/8 in. (20.7 x 18.8 cm)", "Disp_Height" : "8 1/8 in.", "Disp_Width" : "7 3/8 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pen and black ink on thin Japan tissue", "Info_Page_Comm" : "Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.50.29_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.50.29_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.50.29_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.50.29_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27483", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21423, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21423", "Disp_Access_No" : "1974.50.42", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Design for Tea Labels: Crane with a Banner", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "7 7/8 x 7 1/2 in. (20 x 19.1 cm)", "Disp_Height" : "7 7/8 in.", "Disp_Width" : "7 1/2 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pen and black ink on thin Japan tissue", "Info_Page_Comm" : "Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album. Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea. The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.50.42_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.50.42_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.50.42_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.50.42_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27498", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21433, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21433", "Disp_Access_No" : "1974.50.13", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Design for Tea Labels: Man Sifting Tea", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "7 7/8 x 6 15/16 in. (20 x 17.7 cm)", "Disp_Height" : "7 7/8 in.", "Disp_Width" : "6 15/16 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pen and black ink on thin Japan tissue", "Info_Page_Comm" : "Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album.", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.50.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.50.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.50.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.50.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27466", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21451, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21451", "Disp_Access_No" : "1974.50.33", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Design for Tea Labels: Samurai with a Sword", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "7 11/16 x 7 1/16 in. (19.5 x 18 cm)", "Disp_Height" : "7 11/16 in.", "Disp_Width" : "7 1/16 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pen and black ink on thin Japan tissue", "Info_Page_Comm" : "Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea. The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.50.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.50.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.50.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.50.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27488", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4133, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4133", "Disp_Access_No" : "1972.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1891", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1891", "Disp_Title" : "Aurélien-Marie Lugné-Poë (1869-1940)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edouard Vuillard", "Sort_Artist" : "Vuillard, Edouard", "Disp_Dimen" : "8 3/4 x 10 1/2 in. (22.2 x 26.7 cm)", "Disp_Height" : "8 3/4 in.", "Disp_Width" : "10 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper mounted on panel", "Info_Page_Comm" : "This likeness captures the intense fervor of the artist's friend and patron, Aurélien-Marie Lugné-Poë (1869-1940), an actor and daring theatrical producer who helped Vuillard obtain his first commission for a theatrical poster. The artist's use of broad areas of flat color to define form and volume in this intimate portrait is typical of the Nabis painters, a group of artists influenced by Paul Gauguin and with whom Vuillard was aligned. [Gallery label text, 1999]", "Dedication" : "Gift of Fletcher Steele", "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/72.18_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.18_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.18_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.18_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12452", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.18_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.18_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.18_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.18_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "39026", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Derived from 72.18_M1; no print level photography was made at the time this photo was made, so a new print image was derived from the _M1 and then a JPG from that TIF. 8/31/12 KS", "View" : "" } , ] },{ "embark_ID" : 777, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/777", "Disp_Access_No" : "1986.135", "_AccNumSort1" : "", "Disp_Create_DT" : "1977", "_Disp_Start_Dat" : "1977", "_Disp_End_Date" : "1977", "Disp_Title" : "St. Fichera", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jerome Witkin", "Sort_Artist" : "Witkin, Jerome", "Disp_Dimen" : "50 1/4 x 48 1/4 in. (127.6 x 122.6 cm)", "Disp_Height" : "50 1/4 in.", "Disp_Width" : "48 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Eric Greenleaf", "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/86.135_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.135_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.135_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.135_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39390", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] }, ] }