{ "objects" : [ { "embark_ID" : 4799, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4799", "Disp_Access_No" : "1989.45", "_AccNumSort1" : "", "Disp_Create_DT" : "1875", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1875", "Disp_Title" : "The Sculpture Gallery", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sir Lawrence Alma-Tadema", "Sort_Artist" : "Alma-Tadema, Lawrence", "Disp_Dimen" : "30 1/4 x 23 1/4 in. (76.8 x 59.1 cm)", "Disp_Height" : "30 1/4 in.", "Disp_Width" : "23 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Alma-Tadema is known for his historical and anecdotal scenes set in classical antiquity or medieval Europe. The Sculpture Gallery is one of a number of scenes showing patrons at an ancient art gallery or sculptor’s studio. Here a slave—recognizable by the tablet hanging around his neck—displays a basin ornamented with Scylla, the mythological sea-serpent. The 19th-century collecting audience could likely identify the "Infant Hercules Struggling with a Snake," from the Capodimonti Museum in Naples at the left, and on the right, the statue of Helen, mother of Emperor Constantine, from the Capitoline museum in Rome. The Roman visitors are modelled on members of Alma-Tadema's family, including the artist’s wife and children, at the center. The artist travelled widely and visited historic sites, gaining a reputation for his accuracy in depicting ancient settings and artifacts. However, it was modern technology that helped him achieve this renown: the artist collected professional photographs of artworks and artifacts found on archaeological digs, using these images as the basis for his scenes. [Gallery label text, 2011]", "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/89.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29174", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from an undated and uncredited transparency. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 199, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/199", "Disp_Access_No" : "1965.60", "_AccNumSort1" : "", "Disp_Create_DT" : "1870", "_Disp_Start_Dat" : "1870", "_Disp_End_Date" : "1870", "Disp_Title" : "Steamship James Fisk, Jr.", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Bard", "Sort_Artist" : "Bard, James", "Disp_Dimen" : "29 1/4 x 49 1/2 in. (74.3 x 125.7 cm)", "Disp_Height" : "29 1/4 in.", "Disp_Width" : "49 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "The large steamship in this painting, the James Fisk, Jr., was a ferryboat with a side paddlewheel, decorated with oversized flags and at least six gold eagles. It was named for its owner, a powerful financier who lived a colorful life that was ended by a scandalous shooting. Fisk also owned the Bristol, which can be seen in the distance. Known for his pristine depictions of ferries and steamboats, self-taught artist James Bard painted so accurately that it was said that shipbuilders could rebuild their boats based on his works. [Gallery label text, 2002]", "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/65.60_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.60_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.60_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.60_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12430", "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" : 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" : 222, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/222", "Disp_Access_No" : "1941.24", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1862-1863", "_Disp_Start_Dat" : "1862", "_Disp_End_Date" : "1863", "Disp_Title" : "Trial Scene ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Gilmour Blythe", "Sort_Artist" : "Blythe, David Gilmour", "Disp_Dimen" : "22 1/4 x 27 in. (56.5 x 68.6 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "27 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Blythe’s painting shows a scene of frontier justice in a rough building serving as a courtroom. A backwoods “lawyer” at the center either defends or makes his case against a shackled prisoner at the right. However, some elements of the scene, including the onlookers—some armed with long guns, some distracted by a card game—and the pot and sack at the lower left labelled “tar” and “feathers,” reveal that this is an extrajudicial proceeding. The prisoner whittles unconcernedly while his fate is decided, suggesting that this is a typically satirical genre scene for Blythe, who made other paintings of farcical trials and caricatured politics. [Gallery label text, 2019]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Originally purchased through R. T. Miller fund-- later shifted to Marion Stratton Gould fund. The reason could not be determined.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12354", "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 before any other use.", "View" : "" } , ] },{ "embark_ID" : 4954, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4954", "Disp_Access_No" : "1955.61", "_AccNumSort1" : "", "Disp_Create_DT" : "1869", "_Disp_Start_Dat" : "1869", "_Disp_End_Date" : "1869", "Disp_Title" : "Washerwomen of Fouesnant", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William-Adolphe Bouguereau", "Sort_Artist" : "Bouguereau, William-Adolphe", "Disp_Dimen" : "30 x 23 5/8 in. (76.2 x 60 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "23 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In Fouesnant, a bay in Brittany, Bouguereau found the source material that would fuel his work for years to come. Academic artists viewed scenes of peasants performing their usual daily chores as a modern-day counterpart to the rustic figures of antiquity so beloved in historical paintings. Despite their circumstances, peasants in Academic paintings were usually depicted as clean, well-fed and neatly dressed. Here a girl carrying laundry resembles a caryatid, a classical figure used to support an architectural pediment. [Gallery label text, 2011]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.61_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.61_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.61_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.61_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29169", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 1993 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 228, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/228", "Disp_Access_No" : "1984.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1846", "_Disp_Start_Dat" : "1846", "_Disp_End_Date" : "1846", "Disp_Title" : "The Indian Hunter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "DeWitt Clinton Boutelle", "Sort_Artist" : "Boutelle, DeWitt Clinton", "Disp_Dimen" : "32 5/8 x 47 1/8 in. (82.9 x 119.7 cm)", "Disp_Height" : "32 5/8 in.", "Disp_Width" : "47 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" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.47_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.47_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.47_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.47_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12494", "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. Color was adjusted closer to the scan in the Seeing America book...less yellow than Access image shown here.", "View" : "" } , ] },{ "embark_ID" : 5166, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5166", "Disp_Access_No" : "1964.19", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1857", "_Disp_Start_Dat" : "1852", "_Disp_End_Date" : "1862", "Disp_Title" : "Religious Procession", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jules-Adolphe-Aimé Louis Breton", "Sort_Artist" : "Breton, Jules-Adolphe-Aimé Louis", "Disp_Dimen" : "15 x 18 in. (38.1 x 45.7 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A detail of the central figures from Breton's Blessing of the Wheat in Artois, 1857, at the Musee d'Orsay", "Dedication" : "Gift of Mrs. John Finigan", "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/64.19_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.19_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.19_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.19_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14504", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 268, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/268", "Disp_Access_No" : "1951.38", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Figure with Flamingoes", "Alt_Title" : "The Flamingoes", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frederick Stuart Church", "Sort_Artist" : "Church, Frederick Stuart", "Disp_Dimen" : "15 x 12 in. (38.1 x 30.5 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of the Estate of Emily and James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Note that Church was considered such an expert on flamingoes and their anatomy that he was the subject of an article in Harpers Weekly (November 1, 1890) entitled "The Flamingo," as well as an article in the New York Herald (Aug 51912) describing how he had completed his 84th flamingo picture. See curatorial file. --KSchauber, Research Ass''t", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.38_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.38_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.38_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.38_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "29239", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary Image do not use for web or print", "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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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" : 4801, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4801", "Disp_Access_No" : "1950.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1830", "_Disp_Start_Dat" : "1830", "_Disp_End_Date" : "1830", "Disp_Title" : "View of Dedham", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Constable", "Sort_Artist" : "Constable, John", "Disp_Dimen" : "9 1/2 x 12 1/8 in. (24.1 x 30.8 cm)", "Disp_Height" : "9 1/2 in.", "Disp_Width" : "12 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "W. G. Constable identified the scene as the valley of the Stour in Essex; Dedham too is in Essex County", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/50.36_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/50.36_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/50.36_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/50.36_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22752", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6593, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6593", "Disp_Access_No" : "1991.80", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840-1845", "_Disp_Start_Dat" : "1840", "_Disp_End_Date" : "1845", "Disp_Title" : "A Mill Wheel (Une roue de moulin)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-Baptiste-Camille Corot", "Sort_Artist" : "Corot, Jean-Baptiste-Camille", "Disp_Dimen" : "8 5/8 x 13 3/16 in. (21.9 x 33.5 cm)", "Disp_Height" : "8 5/8 in.", "Disp_Width" : "13 3/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "cardstock", "Disp_Medium" : "Oil on cardstock mounted on canvas", "Info_Page_Comm" : "Corot’s practice of painting directly from nature lasted throughout his long career. His ability to paint the transitory effects of light with subtlety and sensitivity is most characteristic in his landscapes. The simple composition of The Mill Wheel, with its subtle tonal and almost monochromatic color gradations, also shows Corot’s interest in the new medium of photography. ", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "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/91.80_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.80_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.80_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.80_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26160", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 5154, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5154", "Disp_Access_No" : "1938.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1871-1872", "_Disp_Start_Dat" : "1871", "_Disp_End_Date" : "1872", "Disp_Title" : "Between Coubron and Montfermeil, Undergrowth (Entre Coubron et Montfermeil)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-Baptiste-Camille Corot", "Sort_Artist" : "Corot, Jean-Baptiste-Camille", "Disp_Dimen" : "13 3/4 x 17 1/2 in. (34.9 x 44.5 cm)", "Disp_Height" : "13 3/4 in.", "Disp_Width" : "17 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Granger A. Hollister", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "This painting appears on a memo in 1977 where it appears that this work was deaccessioned and exchanged with Newhouse Galleries in New York for another painting. The Corot painting deaccessioned and sold was in fact 55.63, "Souvenir de Douai." The mention of this work, 38.8, was apparently a confusion between the two Corot paintings. --KSchauber, Curatorial Research Assistant", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/38.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/38.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/38.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/38.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14436", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4137, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4137", "Disp_Access_No" : "1943.11", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1872", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1877", "Disp_Title" : "The Stonebreaker", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gustave Courbet", "Sort_Artist" : "Courbet, Gustave", "Disp_Dimen" : "17 1/2 x 21 1/2 in. (44.5 x 54.6 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "21 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painting is an essentially concrete art and can only consist in the representation of real and existing things. - Gustave Courbet (1861) Courbet was the leading painter of a movement called Realism. Many French citizens began to advocate for democratic and socialist reforms after the Revolution of 1848 overturned the monarchy of King Louis-Philippe. Realist painters depicted modern subjects drawn from the everyday lives of the working class. The subject matter of The Stonebreaker is similar to that of Courbet’s The Stonebreakers, which Courbet exhibited at the Salon in 1850. The earlier painting, destroyed in World War II, depicted two men dressed in heavy, tattered clothing crushing rocks near a road. Because of its raw and, according to some viewers, politically motivated subject matter, The Stonebreakers was extremely controversial with the French public. The Gallery’s The Stonebreaker, painted over 20 years later, reflects a more intimate view of the laborer, solitary as he eats his midday meal. ", "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/43.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/43.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/43.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/43.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12365", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5150, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5150", "Disp_Access_No" : "1978.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1872", "_Disp_Start_Dat" : "1872", "_Disp_End_Date" : "1872", "Disp_Title" : "Near Andresy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles François Daubigny", "Sort_Artist" : "Daubigny, Charles François", "Disp_Dimen" : "17 x 32 1/2 in. (43.2 x 82.6 cm)", "Disp_Height" : "17 in.", "Disp_Width" : "32 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "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/78.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22372", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Master files exist on disk MAG v. 56", "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" : 380, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/380", "Disp_Access_No" : "1971.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "Still Life with Fruit", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Francis", "Sort_Artist" : "Francis, John", "Disp_Dimen" : "25 3/16 x 30 3/8 in. (64 x 77.2 cm)", "Disp_Height" : "25 3/16 in.", "Disp_Width" : "30 3/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "At first glance, it is tempting to interpret this painting as a celebration of mid-century American bounty. However, a second look finds half-eaten fruit pierced by a knife, bruised peaches, and a hungry hornet, images that suggest overripeness and decay. These elements can be traced back to 16th and 17th century Dutch still life traditions, particularly vanitas paintings that warned of the ephemeral nature of life. Whether or not John Francis – originally an itinerant, self-taught portrait painter – was consciously invoking old master painting traditions, his involvement with the artistic community in Philadelphia would have exposed him to sophisticated subjects and tastes that, perhaps, he incorporated into his work. [Gallery label text, 2009]", "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/71.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12638", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 392, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/392", "Disp_Access_No" : "1952.35", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1850-1860", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1860", "Disp_Title" : "Portrait of Angeline Wildey Dixon (1817 - 1903)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jefferson Gauntt", "Sort_Artist" : "Gauntt, Jefferson", "Disp_Dimen" : "35 3/4 x 28 1/2 in. (90.8 x 72.4 cm)", "Disp_Height" : "35 3/4 in.", "Disp_Width" : "28 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Angeline Wildey Dixon, born circa 1817 - died Feb. 26, 1903 (Tarrytown, NY) Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860. The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY. Although painted separately, Mr. and Mrs. Dixon appear to share a couch against a large window through which an elaborate landscape can be seen. Both are dressed in stylish and sophisticated attire. It was considered poor taste for men to wear much jewelry; instead, their wives displayed the family’s wealth. Angeline Dixon wears four gold rings and a bracelet with carved black stones. As popular hairstyles of the time covered the ears, earrings fell out of fashion for a time and the hand became the center of interest. Her cameo brooch, carved from shell, is attached to a gold chain with a pendant or watch fob similar to the one worn by her husband. Excerpted from installation text, Oct. 2010 Colleen Piccone, Curatorial Dept. ", "Dedication" : "Gift of Mrs. George B. Penny", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "391", "Rel_Obj_Title" : "Portrait of Sophia Josephine Dixon" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/52.35_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/52.35_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/52.35_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/52.35_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28607", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo was derived from the after treatment photography (TIF with color bar) provided by WACC.", "View" : "" } , ] },{ "embark_ID" : 393, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/393", "Disp_Access_No" : "1952.36", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1850-1860", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1860", "Disp_Title" : "Portrait of Hiram Westley Dixon (1817- 1888)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jefferson Gauntt", "Sort_Artist" : "Gauntt, Jefferson", "Disp_Dimen" : "35 3/4 x 28 1/2 in. (90.8 x 72.4 cm)", "Disp_Height" : "35 3/4 in.", "Disp_Width" : "28 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Hiram Wesley Dixon, Born circa 1817- died Dec. 1, 1888 (Tarrytown, NY) Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860. Tombstone, Oct. 2010, Colleen Piccone The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY. Although painted separately, Mr. and Mrs. Dixon appear to share a couch against a large window through which an elaborate landscape can be seen. Both are dressed in stylish and sophisticated attire. Hiram W. Dixon was the owner of a hardware store in Hudson. In 1856, Mr. Dixon was elected a messenger of the Electoral College to carry the vote to Washington. A newspaper article reported that each year he “predicted the election returns and his selections were as predictable as the Gallup polls.” In 1864, he was a director of The First National Bank of Hudson and in 1866, appointed postmaster of the Hudson post-office. In 1866, the family became members of the First Reformed Protestant Dutch Church in Hudson. Mr. Dixon was also involved in real estate and insurance in Tarrytown where there is a street named for him. Text Panel, Oct. 2010, Colleen Piccone ", "Dedication" : "Gift of Mrs. George B. Penny", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "22808", "Rel_Obj_Title" : "Farmers Bank Note" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/52.36_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/52.36_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/52.36_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/52.36_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28608", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo was derived from the after treatment photography (TIF with color bar) provided by WACC.", "View" : "" } , ] },{ "embark_ID" : 391, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/391", "Disp_Access_No" : "1942.45", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1850-1860", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1860", "Disp_Title" : "Portrait of Sophia Josephine Dixon", "Alt_Title" : "Mrs. Robert Fulton White", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jefferson Gauntt", "Sort_Artist" : "Gauntt, Jefferson", "Disp_Dimen" : "50 1/4 x 40 1/8 in. (127.6 x 101.9 cm)", "Disp_Height" : "50 1/4 in.", "Disp_Width" : "40 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Attributed to Jefferson Gauntt American, 1806 – 1864 Sophia Josephine Dixon, born circa 1852 - date of death unknown Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860. Tombstone, Oct. 2010, Colleen Piccone A favorite of MAG visitors, the portrait of Sophia Josephine Dixon was conserved in 2006 through a Lower Hudson Conference Conservation Treatment Grant and has been on view in the 19th century American gallery. We are happy to reunite her with her parents, Hiram and Angeline Dixon, whose portraits were conserved in 2008 through the Henry Luce Foundation American Art Conservation Grant. This is the first time that MAG has exhibited the portraits together as a family. They were given to the Gallery by Sophia Josephine’s daughter, Mrs. George B. Penny. The Dixons’ daughter, Sophia Josephine, holds her pet goldfinch on a string, illustrating her patience and nurturing nature in training a wild bird as her pet. Her white dress with blue ribbon sash, lace pantaloons and straw hat are those of a well-bred young girl from a successful American family. In the early nineteenth century, girls were generally depicted in domestic settings. By 1831, however, “The Mother’s Book” by Lydia Child argued that girls as well as boys would benefit from open air and should be allowed to play outside. The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY. Excerpted from installation text, Oct. 2010 Colleen Piccone, Curatorial Dept. ", "Dedication" : "Gift of Mrs. George Barlow Penny", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "392", "Rel_Obj_Title" : "Portrait of Angeline Wildey Dixon (1817 - 1903)" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.45_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.45_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.45_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.45_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12363", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4964, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4964", "Disp_Access_No" : "1957.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1890-1899", "_Disp_Start_Dat" : "1890", "_Disp_End_Date" : "1899", "Disp_Title" : "Interior of a Mosque", "Alt_Title" : "Mosque at Cairo", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-Léon Gérôme", "Sort_Artist" : "Gérôme, Jean-Léon", "Disp_Dimen" : "23 3/8 x 35 3/8 in. (59.4 x 89.9 cm)", "Disp_Height" : "23 3/8 in.", "Disp_Width" : "35 3/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An enthusiastic amateur archaeologist, Gérôme painted dozens of Eastern scenes over his long career, including a number of mosque interiors. Although the mosque seen here has not been identified, the artist was known to have travelled in Asia Minor, the Middle East, and North Africa, and it is believed that this elaborate interior is a composite, made up of details from a number of specific sites. The worshippers assume accurate postures for their devotions, from the initial upright recitation of vows to the final prostration before God. Gérôme was a firm proponent of the Academic style: he taught at the Ecole des Beaux-Arts in Paris, and won national honors and the patronage of royalty. Although his pupils had included icons of modernism such as Fernand Leger and Everett Shinn, Gérôme was initially opposed to any challenges to the supremacy of the Academy. In the face of increasing opposition to his conservative viewpoint, he declared that the work of the Impressionists was “insipid and badly executed.” [Gallery label text, 2011]", "Dedication" : "Gift of Mr. and Mrs. F. Harper Sibley", "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/57.18_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.18_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.18_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.18_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38927", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned from transparency", "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" : 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" : 442, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/442", "Disp_Access_No" : "1976.3", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1890", "_Disp_Start_Dat" : "1885", "_Disp_End_Date" : "1895", "Disp_Title" : "Hummingbird with Cattleya and Dendrobium Orchids", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Martin Johnson Heade", "Sort_Artist" : "Heade, Martin Johnson", "Disp_Dimen" : "22 1/4 x 14 3/8 in. (56.5 x 36.5 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "14 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Two masterpieces of nature – the hummingbird and the orchid – were subjects that Martin Johnson Heade painted repeatedly. Beginning in 1863, Heade made the first of three trips to Brazil to paint the bird that remained a life-long obsession. Heade wrote, “A few years after my appearance in this breathing world I was attacked by the all-absorbing hummingbird craze and it has never left me since.” The exotic South American jungle was a far cry from the marshes and fields of Heade’s native New England, but both landscapes inspired his passion for the natural world and nurtured the intertwined development of his scientific interest and his artistic brilliance. [Gallery label, 2009]", "Dedication" : "Harris K. Prior Memorial Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The hummingbird in this painting is a Calliphlox amethystina", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12471", "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" : 612, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/612", "Disp_Access_No" : "1978.187", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In this painting, Ann Lacey (the mother of Pierrepont and Eliza (78.188 and 78.189)) holds a book in her hand. Her traditional pose suggests that she was a cultured and literate individual. The portraits of the Lacey family were passed down through the generations in the family home in Scottsville, New York, until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. [Excerpted from gallery label text, 2006] M. W. Hopkins American, 1789 - 1844 Ann Gennett Pixley Lacey (1809 - 1841) ca. 1835 - 1836 Oil on canvas Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn, 78.187 Ann Gennett was born in Kirkland, New York, and her family later moved to nearby Chili. Around 1830, she married Allen Tobias Lacey, son of a neighboring farmer and political associate of her father. She was the mother of Pierrepont and Eliza, whose portraits hang nearby. In the painting, she is shown holding a small book, a popular motif that suggests literacy and a certain level of affluence. Ann Lacey died of cancer at the age of 32 and she is buried in the Fellows Cemetery in Chili. Shortly thereafter, Allen Lacey remarried, and in 1847, the family moved west to farm in Marshall, Michigan. {Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial} The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "613", "Rel_Obj_Title" : "Eliza Pixley Lacey (1834 - 1839)" },{ "Rel_Obj_ID" : "614", "Rel_Obj_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12637", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18240", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 613, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/613", "Disp_Access_No" : "1978.188", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Eliza Pixley Lacey (1834 - 1839)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "M. W. Hopkins American, 1789 - 1844 Eliza Pixley Lacey (1834 - 1839) ca. 1835 - 36 Oil on canvas Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn, 78.188 M.W. Hopkins painted several portraits of young girls holding flower baskets. Eliza was painted when she was about two, and may have been Hopkins’ youngest and most endearing sitter. Portrait painting was not Hopkins’ sole occupation; he was also a farmer and ornamental painter who decorated carriages and signs. Eliza was only five when she died. She is buried in Fellows Cemetery in Chili along with her mother, Ann, whose portrait hangs nearby. {Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial} The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial} ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "612", "Rel_Obj_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)" },{ "Rel_Obj_ID" : "614", "Rel_Obj_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.188_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.188_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.188_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.188_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12636", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18241", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/614", "Disp_Access_No" : "1978.189", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "Disp_Dimen" : "42 x 30 1/8 in. (106.7 x 76.5 cm)", "Disp_Height" : "42 in.", "Disp_Width" : "30 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The Lacey family lived and farmed in Scottsville, New York, a small village south of Rochester on the Oatka Creek. Like many families of means, they used the services of a local artist to have their likenesses painted, since photography as we know it did not exist. For many years, this artist was thought to be Noah North, but recent scholarship points to Milton Hopkins, with whom North probably apprenticed. Painting was not Hopkins' sole occupation. As well, he farmed and was a carriage and sign painter, and was involved in anti-Masonic, abolitionist, and temperance politics. Pierrepont Lacey was born in 1832, and like many little boys, he probably was not comfortable posing for a painting in his best clothes. The family dog, Gun, most likely didn't stand still for long, either, so it may have been quite a challenge for the artist to capture the likenesses of boy and dog. When Pierrepont was fifteen, his family moved to Marshall, Michigan. He grew up, married, and was the father of one son. Milton Hopkins moved to Ohio shortly after this portrait was painted, where he continued to paint portraits and work for the Underground Railroad. [Gallery label text, 2000] Like many young boys, Pierrepont Lacey was probably not comfortable posing for a painting dressed in his best suit and red shoes. Gun, the family dog, was most likely a restless subject for the artist to capture, as well. There are six known portraits by Hopkins showing children dressed in their finest clothes, often accompanied by their dogs. All of the children’s parents were connected to the artist through their activities in anti-Masonic, abolitionist, and temperance politics. MAG’s nearly full-size portrait is one of the most engaging likenesses done by Hopkins and has become an American folk art icon. [Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial] The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. [Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}] ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "612", "Rel_Obj_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)" },{ "Rel_Obj_ID" : "613", "Rel_Obj_Title" : "Eliza Pixley Lacey (1834 - 1839)" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.189_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.189_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.189_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.189_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12478", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18242", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 5163, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5163", "Disp_Access_No" : "1955.176", "_AccNumSort1" : "", "Disp_Create_DT" : "1800", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1800", "Disp_Title" : "Pierre-François Bernier (1779-1803)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-August-Dominique Ingres", "Sort_Artist" : "Ingres, Jean-August-Dominique", "Disp_Dimen" : "18 1/4 x 15 in. (46.4 x 38.1 cm)", "Disp_Height" : "18 1/4 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper mounted on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.176_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.176_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.176_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.176_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14501", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 483, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/483", "Disp_Access_No" : "1936.61", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1892-1893", "_Disp_Start_Dat" : "1892", "_Disp_End_Date" : "1893", "Disp_Title" : "Early Moonrise in Florida", "Alt_Title" : "July Moonrise in Florida (Eastman Catalog)", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Inness", "Sort_Artist" : "Inness, George", "Disp_Dimen" : "24 3/8 x 36 1/4 in. (61.9 x 92.1 cm)", "Disp_Height" : "24 3/8 in.", "Disp_Width" : "36 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "For George Inness, an adherent of the mystical Swedenborgian faith, landscape elements and colors had specific symbolic qualities. For example, he wrote that the moon is a ‘natural emblem of faith,’ reassuring the faithful that divine light still exists even though it is not directly visible in the night sky. In Inness’s philosophical system, blue is the color of faith. [Gallery label text, 2007]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.61_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.61_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.61_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.61_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12351", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.61_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.61_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.61_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.61_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "41491", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "36.61_M1 color-corrected and cropped to create new Print Master as none existed. JPG derived from that Print Master", "View" : "" } , ] },{ "embark_ID" : 5156, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5156", "Disp_Access_No" : "1938.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1880-1889", "_Disp_Start_Dat" : "1880", "_Disp_End_Date" : "1889", "Disp_Title" : "Cottage Interior", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Josef Israels", "Sort_Artist" : "Israels, Josef", "Disp_Dimen" : "8 x 7 in. (20.3 x 17.8 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "7 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Bequest of Mrs. Granger A. Hollister", "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/38.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/38.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/38.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/38.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14437", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 489, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/489", "Disp_Access_No" : "1975.138", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1876", "_Disp_Start_Dat" : "1871", "_Disp_End_Date" : "1881", "Disp_Title" : "Back from the Orchard", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eastman Johnson", "Sort_Artist" : "Johnson, Eastman", "Disp_Dimen" : "10 3/8 x 6 5/8 in. (26.4 x 16.8 cm)", "Disp_Height" : "10 3/8 in.", "Disp_Width" : "6 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "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/75.138_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.138_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.138_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.138_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12465", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 499, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/499", "Disp_Access_No" : "1974.29", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1860", "_Disp_Start_Dat" : "1855", "_Disp_End_Date" : "1865", "Disp_Title" : "A Showery Day, Lake George", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Frederick Kensett", "Sort_Artist" : "Kensett, John Frederick", "Disp_Dimen" : "14 1/8 x 24 1/8 in. (35.9 x 61.3 cm)", "Disp_Height" : "14 1/8 in.", "Disp_Width" : "24 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" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.29_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.29_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.29_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.29_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12461", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 549, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/549", "Disp_Access_No" : "1941.30", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Judge and Mrs. Arthur Yates", "Alt_Title" : "Conversation Piece", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "M. M. Manchester", "Sort_Artist" : "Manchester, M. M.", "Disp_Dimen" : "36 x 58 3/4 in. (91.4 x 149.2 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "58 3/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This grand portrait might have been a focal point in Judge and Mrs. Yates’s parlor. Judge Yates built the first steam saw mill in Tioga County, and was justice of the peace and postmaster. Whether the furnishings, book, and clothing accurately depict the Yates’s possessions is impossible to say. They are meant to convince us of the pair’s position within the local gentry. Yards of satiny fabric held in place by a curtain holdback speak of luxury. Mrs. Yates’s jewelry, lace collar, cuffs and trimmed handkerchief, were the accoutrements of a lady of means. Judge Yates holds a book by English theologian William Paley entitled Natural Theology, a text regularly consulted by well-read gentlemen of the 19th century. While we know very little about Mr. Manchester, the artist, we can safely say that he was familiar with the grand tradition of portraiture that frequently placed subjects within ennobling, but not always authentic, settings. [Gallery label text, 2002]", "Dedication" : "Gallery Purchase", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Exhibited in the 1940s with the title "Conversation Piece"", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.30_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.30_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.30_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.30_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12357", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5172, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5172", "Disp_Access_No" : "1978.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1875", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1875", "Disp_Title" : "Harbor Town", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Maris", "Sort_Artist" : "Maris, Jacob", "Disp_Dimen" : "14 1/4 x 23 1/2 in. (36.2 x 59.7 cm)", "Disp_Height" : "14 1/4 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "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/78.5_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.5_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.5_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.5_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26153", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 5153, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5153", "Disp_Access_No" : "1936.67", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Sheep", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anton Mauve", "Sort_Artist" : "Mauve, Anton", "Disp_Dimen" : "15 x 27 in. (38.1 x 68.6 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "27 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "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/36.67_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.67_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.67_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.67_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13059", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4969, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4969", "Disp_Access_No" : "1939.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1882", "_Disp_Start_Dat" : "1882", "_Disp_End_Date" : "1882", "Disp_Title" : "The Rocks at Pourville, Low Tide", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Monet", "Sort_Artist" : "Monet, Claude", "Disp_Dimen" : "25 5/16 x 31 in. (64.3 x 78.7 cm)", "Disp_Height" : "25 5/16 in.", "Disp_Width" : "31 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting belongs to a series of works produced during the spring and summer of 1882, while Monet visited Pourville, a town on the Normandy coast. As he explored the beach and the rocks exposed at low tide, Monet found a startling diversity of viewpoints that enabled him to create some of his most dramatic and unexpected compositions. In all of them, Monet placed himself far out across the beach, a little to the east of Pourville. He juxtaposed the cliffs in the far distance with the fragmented forms of the rock shelves in the foreground, using unique brushstrokes to convey the movement and light of the water and clouds. Monet’s technique gradually changed from completing paintings out of doors to one of making hundreds of concentrated studies on location. He then compiled and reworked these many sketches in his studio, where he created the final canvases. [Label copy from Monet: Vision and Process exhibition, 2018]", "Dedication" : "Gift of Emily 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/39.22_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.22_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.22_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.22_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "44019", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Recorrected from M1 image as there was no print master version. A new JPG was derived from the new print master.", "View" : "" } , ] },{ "embark_ID" : 4477, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4477", "Disp_Access_No" : "1991.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1864", "_Disp_Start_Dat" : "1864", "_Disp_End_Date" : "1864", "Disp_Title" : "Towing a Boat, Honfleur", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Monet", "Sort_Artist" : "Monet, Claude", "Disp_Dimen" : "21 3/4 x 32 5/16 in. (55.2 x 82.1 cm)", "Disp_Height" : "21 3/4 in.", "Disp_Width" : "32 5/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""All that is painted directly, at a given moment, has a force, power, and vitality which can never be duplicated in a studio." --Eugène Boudin, to his student Claude Monet Claude Monet’s early paintings were solidly grounded in the work of the preceding generation of French landscape painters called the Barbizon school. Their insistence on painting en plein air, or out of doors, led to Monet’s passion for capturing the transience of light. Towing a Boat, Honfleur, painted ten years before the term Impressionism was coined, captures the moment that night overtakes sunset. It is one of the earliest of Monet’s many seascapes. As an experiment in reproducing the changing effects of light under different atmospheric conditions, the painting shows his process of abstracting nature into simplified forms and exaggerated color contrasts. [Label copy from Monet: Vision and Process exhibition, 2018]", "Dedication" : "Gift of Marie C. and Joseph C. Wilson", "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/91.35_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.35_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.35_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.35_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25404", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 628, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/628", "Disp_Access_No" : "1964.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1857-1858", "_Disp_Start_Dat" : "1857", "_Disp_End_Date" : "1858", "Disp_Title" : "Still Life Number 26: Silver Basket of Fruit", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rubens Peale", "Sort_Artist" : "Peale, Rubens", "Disp_Dimen" : "13 7/8 x 20 in. (35.2 x 50.8 cm)", "Disp_Height" : "13 7/8 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "tin", "Disp_Medium" : "Oil on tin", "Info_Page_Comm" : "In March, 1856, Rubens Peale wrote: “I painted all day on Number 15 and Number 26 as it has been very stormy today, nothing going on out doors…. After this, however, visitors came to stay and part of the house was given over to them.” What is somewhat surprising is that Peale, a member of the illustrious family of artists and naturalists, did not begin painting until he was seventy-one. Until then, his work had focused on museums and farming. Considering the artist’s limited visual acuity, the texture and color of the fruit and basket in this quiet still life are all the more remarkable. [Gallery label text, 2005] ", "Dedication" : "Gift of Helen C. Ellwanger", "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/64.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.40_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.40_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12422", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 635, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/635", "Disp_Access_No" : "1965.3", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1890", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1900", "Disp_Title" : "Articles Hung on a Door", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Frederick Peto", "Sort_Artist" : "Peto, John Frederick", "Disp_Dimen" : "30 x 21 3/4 in. (76.2 x 55.2 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "21 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" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12427", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5165, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5165", "Disp_Access_No" : "1939.14", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Wooded Landscape", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Théodore Rousseau", "Sort_Artist" : "Rousseau, Théodore", "Disp_Dimen" : "6 1/4 x 8 1/2 in. (15.9 x 21.6 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. John Gade, Mrs. O'Donnell Iselin, and Mr. F. Harper Sibley in memory of their father, Hiram W. Sibley", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Not cited in Schulman''s 1999 catalogue raisonne.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.14_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.14_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.14_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.14_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26141", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 4976, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4976", "Disp_Access_No" : "1974.127", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Landscape Near Guillena", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Emilio Sanchez-Perrier", "Sort_Artist" : "Sanchez-Perrier, Emilio", "Disp_Dimen" : "10 1/2 x 13 7/8 in. (26.7 x 35.2 cm)", "Disp_Height" : "10 1/2 in.", "Disp_Width" : "13 7/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Guillena is in the province of Seville, in Andalusia, Spain", "Dedication" : "Gift of Gallery Council", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Found in storage in 1974. Note from Bernard Barryte in curatorial file indicates he believes the work may have originally come in in 1956, but it is unclear why he thought that. No record of its acquisition in 1956 could be found. An undated typed list of objects [found in Registrar''s office files] recommended for disposal includes a listing for “E. Sanchez Perrier River Scene—oil on wood” which is listed as having come from the Council—“left from Flea Market, April in Paris.” That may be this work; the April in Paris event was indeed in 1956. A Sanchez-Perrier landscape was included in a Rochester Art Club exhibition in 1895 (Sixteenth Annual Exhibition and Art Loan Exhibition, no. 48), lent by Mrs. Granger Hollister-- was that the same work, and is that then the source of this painting? As the original donor could not be determined, Gallery Council was credited with this gift. --KSchauber, Curatorial Research Ass''t ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.127_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.127_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.127_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.127_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "20620", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "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" : 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" : 727, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/727", "Disp_Access_No" : "1941.35", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1806", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1811", "Disp_Title" : "Elizabeth Perkins Sturgis (1756 - 1843)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Stuart", "Sort_Artist" : "Stuart, Gilbert", "Disp_Dimen" : "28 3/4 x 23 1/8 in. (73 x 58.7 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "23 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill. [Gallery label text, 2007]", "Dedication" : "Purchased through the R. T. Miller, Jr. Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "726", "Rel_Obj_Title" : "Russell Sturgis (1750 - 1826)" } ], "Curator" : "Portrait of Elizabeth Perkins Sturgis (Mrs. Russell Sturgis), companion portrait to that of Russell Sturgis. Elizabeth Perkins Sturgis was born in Boston in 1756. Married Russell Sturgis in 1773 and died in Boston in 1843. She is dressed in a brown silk dress with black lace shawl and white fichu and is painted against an olive-grey background seated in a green brocade chair. She wears a be-ribboned, white lace cap. Original carved, gilt frame.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.35_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.35_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.35_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.35_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12361", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 726, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/726", "Disp_Access_No" : "1941.34", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1806", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1811", "Disp_Title" : "Russell Sturgis (1750 - 1826)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Stuart", "Sort_Artist" : "Stuart, Gilbert", "Disp_Dimen" : "28 3/4 x 24 1/8 in. (73 x 61.3 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill. [Gallery label text, 2007]", "Dedication" : "Purchased through the R. T. Miller, Jr. Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "727", "Rel_Obj_Title" : "Elizabeth Perkins Sturgis (1756 - 1843)" } ], "Curator" : "Portrait of Russell Sturgis, prominant fur-merchant of Boston and friend of Stuart who painted three portraits of him. Russell Sturgis was born in Barnstable, MA in 1750. He lived in Boston from 1777 until 1826. Married Elizabeth Perkins of Boston in 1773. He died in Boston in 1826. Portrait was painted approximately in 1806. Sturgis is painted in a black suit with white ruffled stock against a grey-olive background. Original carved, gilt frame.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.34_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.34_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.34_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.34_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12360", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print master derived 11/23/09 by Lu Harper for Seeing America lesson plans. Needs to be okayed by Curatorial for any other use.", "View" : "" } , ] },{ "embark_ID" : 4979, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4979", "Disp_Access_No" : "1973.151", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1895", "_Disp_Start_Dat" : "1890", "_Disp_End_Date" : "1900", "Disp_Title" : "The Stream", "Alt_Title" : "Bridge and Stream (from MAG label on backing board)", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frits Thaulow", "Sort_Artist" : "Thaulow, Frits", "Disp_Dimen" : "23 3/4 x 28 3/4 in. (60.3 x 73 cm)", "Disp_Height" : "23 3/4 in.", "Disp_Width" : "28 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Thaulow spent much time painting in France. This scene probably represents Manéhouville, a village on the Schie River near Dieppe in Normandy. A friend of many of the Impressionists, although he did not experiment with colors of light as they did, Thaulow convinced Claude Monet to visit Norway one winter to paint the snow. [Gallery label text, 1999] ", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Norwegian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.151_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.151_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.151_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.151_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "26146", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 812, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/812", "Disp_Access_No" : "1978.190", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Allen Tobias Lacey (1802 - 1872)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Unknown, 19th century Allen Tobias Lacey (1802 - 1872) ca. 1840 Oil on canvas Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn, 78.190 Allen Tobias Lacey was a prosperous farmer and businessman who lived in nearby Scottsville in the 1830s. He was active in Whig politics and the anti-Masonic movement, where he may have met M.W. Hopkins, the social activist and folk artist who painted the portraits of his wife, Ann Lacey and two children, Pierrepont and Eliza, on view nearby. However, Mr. Lacey’s portrait is believed to be painted by another artist at a later date. Can you observe at least two differences between Mr. Lacey’s portrait and those of his family? This is the first time that Mr. Lacey’s portrait has been exhibited with those of his wife and children, thanks to a conservation grant from the Henry Luce Foundation. {Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial} The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial} ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18239", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.190_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.190_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.190_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.190_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "36552", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This image was derived from an after treatment photo provided by Williamstown Art Conservation Center in 2011.", "View" : "" } , ] },{ "embark_ID" : 811, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/811", "Disp_Access_No" : "1977.196", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1851", "_Disp_Start_Dat" : "1852", "_Disp_End_Date" : "1861", "Disp_Title" : "American Harvesting (after Jasper Cropsey)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "32 1/2 x 44 1/4 in. (82.6 x 112.4 cm)", "Disp_Height" : "32 1/2 in.", "Disp_Width" : "44 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "While we may not know who painted this work, we can trace its inspiration. In 1851 Jasper Cropsey's painting American Harvesting was in the American Art-Union's annual exhibition in New York. The American Art-Union, formed in 1844, promoted American artists by purchasing and exhibiting their works. To familiarize more Americans with these artists, engravings were made and distributed to members. Possibly, one of these engravings was owned by the artist who did the Gallery's painting. Several other versions of this work exist and were most likely inspired by the same print. A version of the this image was printed by Currier & Ives, entitled 'A Summer Landscape: Haymaking." Cropsey's painting is currently in the collection of the <a href="http://www.artmuseum.iu.edu">Indiana University Art Museum</a>. [Gallery label text, 2002]", "Dedication" : "Anonymous gift", "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/77.196_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.196_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.196_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.196_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13420", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.196_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.196_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.196_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.196_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "21368", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Image of American Harvesting in the collection of the Indiana University Art Museum. Approved by IUAM to go on our website as a detail image", "View" : "" } , ] },{ "embark_ID" : 6633, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6633", "Disp_Access_No" : "1991.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1895-1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1900", "Disp_Title" : "Harem Scene", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Daniel Israel", "Sort_Artist" : "Israel, Daniel", "Disp_Dimen" : "35 1/2 x 23 1/2 in. (90.2 x 59.7 cm)", "Disp_Height" : "35 1/2 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The scene depicted here is an example of Orientalism, the portrayal of Eastern figures and scenes-both real and imagined-by western artists. This was a popular aspect of Academic painting. Here a girl tries on jewelry while an older woman, perhaps her maid, looks on approvingly. The intimate alcove of a vast, columned interior allows the artist to show his skill at rendering the patterned fabrics, such as the hanging drapery and the maid's robe, and the jewels that spill from the inlaid chest behind the girl. The 19th century provided many opportunities for artists to travel to Asia and Africa as those lands were being explored, exploited and colonized by European countries. While some paintings were anthropologically correct, based on the artists' experiences, others chose to portray the people of these faraway lands in settings and poses that demonstrated the vast perceived difference between their circumstances and Europeans'. Women, especially, were held up as object lessons of decadence and sensuality in ways Europeans would not have been. [Gallery label text, 2011]", "Dedication" : "Anonymous gift", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Austrian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Found in collection. Note in file from 8/19/91 to send the painting to (T287) to Williamstown for treatment. It also says "Let''s accession the painting with the number 91.15 -- worksheet attached to Lee''s copy of this memo for completion. mv"", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.15_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.15_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.15_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.15_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "26155", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "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" : 6873, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6873", "Disp_Access_No" : "1983.52", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1800-1850", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1850", "Disp_Title" : "The God Shiva, His Consort Parvati, and a Musician", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Indian", "Sort_Artist" : "Unknown, Indian", "Disp_Dimen" : "7 1/2 x 10 5/8 in. (19.1 x 27 cm)", "Disp_Height" : "7 1/2 in.", "Disp_Width" : "10 5/8 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Opaque watercolor", "Support" : "paper", "Disp_Medium" : "Opaque watercolor, ink, gold and silver paint on paper", "Info_Page_Comm" : "Shiva as the divine ascetic and the embodiment of the creative-destructive force can be identified by many attributes, each having symbolic value. He wears a tiger/leopard skin wrap (he has conquered pride), snakes coil around his hair, neck, and arms (cosmic energy, regeneration), he holds an axe (destruction) and a deer (regeneration, control of man's unsteady mind). His matted hair contains the crescent moon (time), from the top of his head flows the river Ganga (fertility), and he has a third eye in the center of his forehead (wisdom). Shiva's consort or female half, Parvati, shown in quite elaborate dress, sits next to him as a musician entertains them. The white bull in the lower corner is Nandi, Shiva's vahana or vehicle, who, in India, is often worshiped in Shiva's place.", "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/83.52_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.52_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.52_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.52_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14767", "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" : 4824, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4824", "Disp_Access_No" : "1968.61", "_AccNumSort1" : "", "Disp_Create_DT" : "between 1844 and 1865", "_Disp_Start_Dat" : "1844", "_Disp_End_Date" : "1865", "Disp_Title" : "The First Whisper of Love", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Frederick Watts", "Sort_Artist" : "Watts, George Frederick", "Disp_Dimen" : "16 1/2 x 13 1/2 in. (41.9 x 34.3 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "13 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "As a young man, George Frederick Watts briefly studied at the Royal Academy, and he was a friend and peer of both academic and Pre-Raphaelite artists, but his brushwork was looser than that utilized by either of those schools, and his subject matter generally more mystical than literary or historical. Here, Cupid distracts a youth holding a bow by whispering in his ear. It was not uncommon for Watts to paint multiple versions of a composition, and this is one of four versions of this painting. As early as 1844, the artist gave sketches of the composition to a sweetheart, but the degree of finish to this canvas suggests a date later in his career. Watts was known to rework his paintings over a long period of time, so it may have been started in the 1840s and not considered finished for many years. An intriguing comparison is an 1865 portrait of the artist taken by famed Victorian photographer Julia Margaret Cameron: Whisper of the Muse depicts a similar scene, with a youthful muse providing inspiration to Watts, who poses as a musician. [Gallery label text, 2011]", "Dedication" : "Gift of Dr. Robert F. Metzdorf", "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/68.61_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.61_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.61_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.61_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22377", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG v. 56", "View" : "" } , ] },{ "embark_ID" : 767, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/767", "Disp_Access_No" : "1964.59", "_AccNumSort1" : "", "Disp_Create_DT" : "1811", "_Disp_Start_Dat" : "1811", "_Disp_End_Date" : "1811", "Disp_Title" : "Study for "Christ Rejected"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benjamin West", "Sort_Artist" : "West, Benjamin", "Disp_Dimen" : "30 7/8 x 42 1/8 in. (78.4 x 107 cm)", "Disp_Height" : "30 7/8 in.", "Disp_Width" : "42 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper laid down on panel", "Info_Page_Comm" : "According to the Christian gospels, Jesus was brought before Caiaphus and his fellow high priests, who rejected Jesus and gave him to Pilate to be crucified. Even today, among contemporary clergy and theologians, there is debate about the historical circumstances of Christ's death. Benjamin West depicted the traditional narrative in a compressed manner, bringing together elements of the events that were to follow: the crucifix and the instruments of the passion lie in the foreground; Mary, the mother of Jesus, and Mary Magdalene anticipate Jesus' suffering with looks of sorrow and horror; Roman soldiers stand by with spears. The artist was born in pre-Revolutionary Philadelphia, studied in Italy, and settled permanently in England, where he became the second president of the Royal Academy of Arts. He became known for his dramatic historical and religious subjects. West taught the first generation of American artists, including Gilbert Stuart and Matthew Pratt. The finished version of Christ Rejected is monumental, at 16' x 23', and it hangs at the Pennsylvania Academy of the Fine Arts in Philadelphia. [Gallery label text, 2004] ", "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/64.59_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.59_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.59_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.59_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12423", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 773, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/773", "Disp_Access_No" : "1973.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1859", "_Disp_Start_Dat" : "1859", "_Disp_End_Date" : "1859", "Disp_Title" : "View of the Pitkin House and East Avenue", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Willson", "Sort_Artist" : "Willson, Charles", "Disp_Dimen" : "20 3/8 x 30 1/4 in. (51.8 x 76.8 cm)", "Disp_Height" : "20 3/8 in.", "Disp_Width" : "30 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The building that currently is the Boy Scout headquarters – 474 East Avenue, near Prince Street – was formerly a private home. It was originally built for William Pitkin, a druggist who became banker, mayor of the city, and married Sophia Rochester, daughter of Rochester’s founder. After the Pitkins moved closer to downtown (legend says that Sophia missed living near her parents, who lived on Spring Street – East Avenue was considered out in the country in those days), the home became the residence of Daniel Powers, self-made millionaire. In 1906, a third story was added to the building. [Gallery label text, 2007] ", "Dedication" : "Gift of Maurice R. Forman", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Also known as the Gilman Perkins House", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "17282", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R2.jpg", "IsPrimary" : "0", "_SurrogateID" : "17283", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R3.jpg", "IsPrimary" : "0", "_SurrogateID" : "17284", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R4.jpg", "IsPrimary" : "0", "_SurrogateID" : "17285", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R5.jpg", "IsPrimary" : "0", "_SurrogateID" : "17287", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "20954", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8191, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8191", "Disp_Access_No" : "1971.25", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Yellow Sail (La Voile Jaune)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Felix Ziem", "Sort_Artist" : "Ziem, Felix", "Disp_Dimen" : "19 3/4 x 32 3/4 in. (50.2 x 83.2 cm)", "Disp_Height" : "19 3/4 in.", "Disp_Width" : "32 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Elizabeth Weis", "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/71.25_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.25_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.25_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.25_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25731", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 2/18/08", "View" : "" } , ] }, ] }