{ "objects" : [ { "embark_ID" : 185, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/185", "Disp_Access_No" : "1967.27", "_AccNumSort1" : "", "Disp_Create_DT" : "1962", "_Disp_Start_Dat" : "1962", "_Disp_End_Date" : "1962", "Disp_Title" : "Homage to the Square: Soft Resonance", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Josef Albers", "Sort_Artist" : "Albers, Josef", "Disp_Dimen" : "48 x 48 in. (121.9 x 121.9 cm)", "Disp_Height" : "48 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on composition board", "Info_Page_Comm" : "Have you ever had the experience of picking out an article of clothing in a store and bringing it home, only to find out that it wasn’t the color you thought it was? This is often the result of the effect of different kinds of lighting on our perception of color. Josef Albers spent thirty years studying how our sense of color is influenced and sometimes tricked. As Albers said in his book, Interaction of Color, “color deceives continually.” His Homage to the Square series is an elegant exploration of the way people perceive colors differently depending on the colors nearby. If the same yellow square in the center of this painting were surrounded by a dark red color, do you think the yellow square would appear lighter or darker than it does in this painting? [Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.27_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.27_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.27_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.27_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12436", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 194, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/194", "Disp_Access_No" : "1963.21", "_AccNumSort1" : "", "Disp_Create_DT" : "1943", "_Disp_Start_Dat" : "1943", "_Disp_End_Date" : "1943", "Disp_Title" : "Haircut by the Sea", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton Avery", "Sort_Artist" : "Avery, Milton", "Disp_Dimen" : "44 x 32 in. (111.8 x 81.3 cm)", "Disp_Height" : "44 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Roy R. Neuberger", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/63.21_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.21_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.21_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/63.21_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12413", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 10476, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10476", "Disp_Access_No" : "2001.27", "_AccNumSort1" : "", "Disp_Create_DT" : "October 1922", "_Disp_Start_Dat" : "10/1922", "_Disp_End_Date" : "10/1922", "Disp_Title" : "Autumn Brook", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Bellows", "Sort_Artist" : "Bellows, George", "Disp_Dimen" : "16 1/2 x 24 in. (41.9 x 61 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "With his unflinching paintings of brutal boxing matches and urban tenements, George Bellows made a name for himself in the early years of the century as a central Urban Realist artist. In this later painting, "Autumn Brook," the modernist influence of expressive color, space and line is visible in Bellows’ lyrical painting of the countryside near his summer home in Woodstock, NY. [Gallery label text, 2007] "Autumn Brook" contains the archetypal elements present in Bellows's finest Woodstock landscapes, including water, rolling hills, mountains, animal life, vegetation, and a dramatic sky. Bellows's choice of vivid colors celebrates the magnificence of nature and the artist's joy at finding himself immersed in it. The active brush strokes prove his ability to paint with a controlled sense of abandon. [Gallery label text]", "Dedication" : "Bequest of Muriel Englander Klepper and Marion Stratton Gould Fund In honor of Marjorie B. Searl", "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/2001.27_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.27_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.27_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2001.27_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13430", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 205, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/205", "Disp_Access_No" : "1947.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "Evening Group", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Bellows", "Sort_Artist" : "Bellows, George", "Disp_Dimen" : "25 x 30 in. (63.5 x 76.2 cm)", "Disp_Height" : "25 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on composition board", "Info_Page_Comm" : "This painting portrays the artist with his wife, Emma, and daughter, Anne, on vacation on Monhegan Island off the coast of Maine. Two neighbor children occupy the right side of the canvas. [Gallery label text, 2007] In the summer of 1914, painter George Bellows convinced his wife, Emma, to travel to Monhegan Island off the coast of Maine along with their young daughter, Anne. There, he hoped to paint more of the stunning seascapes he had worked on so successfully in past years. Evening Group depicts Emma and Anne on the left, the artist in the middle, and two neighbor children on the right. Based in New York City during much of the year, Bellows found that the harsh beauty of places like Monhegan Island provided him with subjects that contrasted dramatically with his acclaimed urban scenes. He first visited the island in 1911 in the company of his teacher and mentor, Robert Henri, and wrote enthusiastically to Emma: “The Island is only a mile wide and two miles long, but it looks as large as the Rocky Mountains. It’s three times as high as Montauk [Long Island] and all black and grey rock. Beautiful pine forests and wonderful varieties of all kinds…” In another letter, he lamented “my head is full of millions of great pictures which I will never have time to paint.” [Gallery label text, 2005]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3002", "Rel_Obj_Title" : "Study for "Evening Group"" } ], "Curator" : "Note that the online catalogue raisonne lists the inclusion of this work in a 1926 exhibition at the Los Angeles Museum of Art, but an exhibition of that date that might contain this work could not be found.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/47.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/47.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/47.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/47.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12371", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42bellows1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42bellows1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42bellows1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/42bellows1.tif", "IsPrimary" : "0", "_SurrogateID" : "23028", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "CMYK tif image from Monroe Litho for Seeing America catalogue. Cannot be converted to RGB for web use without considerable color adjustment.", "View" : "" } , ] },{ "embark_ID" : 211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/211", "Disp_Access_No" : "1951.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "Boomtown", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "46 1/8 x 54 1/4 in. (117.2 x 137.8 cm)", "Disp_Height" : "46 1/8 in.", "Disp_Width" : "54 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Egg yolk and oil", "Support" : "canvas", "Disp_Medium" : "Egg yolk and oil on canvas", "Info_Page_Comm" : "Early in his career, Thomas Hart Benton was involved in the American abstract movement, Synchromism. In the 1920s, Benton embarked on a style that incorporated Synchromist rhythmic line and expressive color with representational imagery of rural America. With this major shift in style, Benton established the Regionalist movement. Many consider Boomtown to be the artist’s first Regionalist masterpiece. [Gallery label text, 2007] Boomtown is one of the masterpieces of the Gallery's collection because of its impressive and unique depiction of an American landscape. When Thomas Hart Benton sketched this panoramic scene from a second floor window, the smoky fire on the horizon signified progress, not pollution. Borger, Texas was a boomtown that sprang to life in 1926 after a refinery company hit a gusher that produced 5000 gallons of oil a day. Benton is one of the three major American Regionalists (the other two are Grant Wood and John Steuart Curry), so called because most of their subjects were about life in the rural heartland of America. While Benton was not a fan of contemporary modernist painting, and in fact disdained artists who painted in the abstract style, he couldn't help but be influenced by the curvy and streamlined aesthetic of his times and the way in which artists were reinterpreting three-dimensional space. Consider the way in which the people, buildings and landscape are layered from top to bottom on the canvas, rather than being laid out carefully from front to back in the manner of traditional artistic renderings. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12375", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Transparency rescanned at much larger size for publication as _P2 image", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A7.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A7.jpg", "PreviewPath" : 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"Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R5.tif", "IsPrimary" : "0", "_SurrogateID" : "37733", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 214, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/214", "Disp_Access_No" : "1992.78", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "The Sierras Near Lake Tahoe, California", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albert Bierstadt", "Sort_Artist" : "Bierstadt, Albert", "Disp_Dimen" : "14 15/16 x 21 1/16 in. (38 x 53.5 cm)", "Disp_Height" : "14 15/16 in.", "Disp_Width" : "21 1/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Bierstadt was one of the most gifted artists to depict the stunning mountain views of the expanding frontier, far west of the Hudson River region that had inspired earlier American landscape painters. He was a member of the generation of artist-explorers who traveled with expeditions or in their footsteps and recorded the visual experience. MAG's painting quietly but masterfully convinces us of the grandeur of mountains and sky by including the tiny deer to give a sense of scale, and by suffusing the surface of the painting with a warm, glowing palette. ", "Dedication" : "Clara and Edwin Strasenburgh Fund and Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.78_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.78_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.78_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.78_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12517", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Note: Master image contains wrong accession # from photoshoot: 75.21. Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 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" : 223, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/223", "Disp_Access_No" : "1989.70", "_AccNumSort1" : "", "Disp_Create_DT" : "1950", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1950", "Disp_Title" : "Untitled (Relational Painting)", "Alt_Title" : "", "Obj_Title" : "Untitled (Relational Painting)", "Series_Title" : "", "Disp_Maker_1" : "Ilya Bolotowsky", "Sort_Artist" : "Bolotowsky, Ilya", "Disp_Dimen" : "30 3/8 x 20 in. (77.2 x 50.8 cm)", "Disp_Height" : "30 3/8 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.70_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.70_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.70_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.70_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12512", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 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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"https://webkiosk.gallerysystems.com/Media/images/9cole5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/9cole5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/9cole5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/9cole5.tif", "IsPrimary" : "0", "_SurrogateID" : "23113", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "CMYK tif image from Monroe Litho for Seeing America catalogue. Cannot be converted to RGB for web use without considerable color adjustment.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_R18.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_R18.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_R18.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94.40_R18.jpg", "IsPrimary" : "0", "_SurrogateID" : "28051", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 284, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/284", "Disp_Access_No" : "1926.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1908", "_Disp_Start_Dat" : "1908", "_Disp_End_Date" : "1908", "Disp_Title" : "Main Street Bridge, Rochester", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Colin Campbell Cooper", "Sort_Artist" : "Cooper, Colin Campbell", "Disp_Dimen" : "26 1/4 x 36 in. (66.7 x 91.4 cm)", "Disp_Height" : "26 1/4 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Rochester's Main Street crosses the Genesee River on a bridge connecting the east and west sides of the city. Until the 1960s, commercial buildings like the ones in this painting flanked north and south sides of the bridge, effectively hiding the river below. Since 1989, the bridge has been elegantly ornamented by Albert Paley’s steel railings, framing a dramatic view of the rushing Genesee. In 1911, Colin Campbell Cooper wrote: "Mrs. Cooper [painter Emma Lampert Cooper] says that the Main Street Bridge picture, whenever it has been shown at art exhibitions, has attracted much attention, because people are surprised that such a foreign looking place can be found in America…People always compare it with the Ponte Vecchio at Florence, which rather proves my assertion that 'any old thing' is good enough when the sun falls on it right." [Gallery label text, 2007]", "Dedication" : "Gift of Hiram W. 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(74.6 x 62.5 cm)", "Disp_Height" : "29 3/8 in.", "Disp_Width" : "24 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Nathaniel Hurd (1730-1778), silversmith, goldsmith, and engraver, was a member of a distinguished Boston family of silversmiths. In addition to creating a number of silver pieces, he was well-known for his bookplates, which were designed for many distinguished colonial families including Loyalists and a signer of the Declaration of Independence, and were based on heraldic motifs (to which they may or may not have been entitled). Hurd also designed a plate for his own family, as well as bookplates for both Harvard and Dartmouth Colleges. The bookplates provide an unusual link to the social and intellectual climate of the times, and literally speak volumes about sociocultural aspirations of eighteenth-century America. Hurd was a contemporary of Copley’s. This ca. 1765 portrait, Copley’s first to depict a fellow artisan in working costume, had been preceded by an earlier miniature that Copley had painted of Hurd in 1755. [Gallery label text, 1996] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12367", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 296, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/296", "Disp_Access_No" : "1951.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1939-1940", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1940", "Disp_Title" : "Whitestone Bridge", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralston Crawford", "Sort_Artist" : "Crawford, Ralston", "Disp_Dimen" : "40 1/4 x 32 in. (102.2 x 81.3 cm)", "Disp_Height" : "40 1/4 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ralston Crawford’s strong linear style and simplified form and palette in Whitestone Bridge are representative of the modern Precisionist style. Precisionist artists celebrated industrialization and technology with a visual language that evoked the purity and perfection of the machine. [Gallery label text, 2007] The Whitestone Bridge, linking The Bronx and Queens, was opened in 1939 just in time for the New York World's Fair. The suspension bridge routed travelers coming to the Fair from Upstate and New England away from the congestion of New York City. At the same time, Crawford was moving away from painting traditional landscapes and searching for a vocabulary that was closer in spirit to the streamlined, industrial aesthetic that he was observing in the world around him. The Whitestone Bridge was an excellent match for his artistic aspirations. The sleek and futuristic lines of the Whitestone Bridge matched the Trylon and Perisphere logo of the World's Fair, which was intended to signify progress and the World of Tomorrow. By 1944, when this painting was acquired by the Encyclopedia Britannica Collection, the sleek and elegant Whitestone Bridge had become an icon of contemporary design. The curator traveled to New York City to determine whether the bridge really looks as though it extends back into space with no land visible on the other side. And, in fact, Crawford's thrilling vantage point can be experienced by taking the bus across the bridge - for a brief instant, the first-time crosser experiences the view that Crawford recorded: a slim line of road, held up by wires, sailing across the water with no end in sight. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3071", "Rel_Obj_Title" : "Study for "Whitestone Bridge"" },{ "Rel_Obj_ID" : "3583", "Rel_Obj_Title" : "Study for "Whitestone Bridge"" },{ "Rel_Obj_ID" : "297", "Rel_Obj_Title" : "Study for Fortune Magazine" },{ "Rel_Obj_ID" : "298", "Rel_Obj_Title" : "Study for Fortune Magazine" },{ "Rel_Obj_ID" : "3367", "Rel_Obj_Title" : "Whitestone Bridge" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12382", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Image is 800ppi but only 2.5 x 3.5". Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 599, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/599", "Disp_Access_No" : "1957.84", "_AccNumSort1" : "", "Disp_Create_DT" : "by 1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "In the Patio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kathleen McEnery Cunningham", "Sort_Artist" : "Cunningham, Kathleen McEnery", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of a Friend of the Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.84_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.84_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.84_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.84_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17014", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11211", "Disp_Access_No" : "3.1994L", "_AccNumSort1" : "", "Disp_Create_DT" : "by 1915", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1915", "Disp_Title" : "Portrait of Charlotte Whitney Allen", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kathleen McEnery Cunningham", "Sort_Artist" : "Cunningham, Kathleen McEnery", "Disp_Dimen" : "41 3/4 x 35 3/4 in. (106 x 90.8 cm)", "Disp_Height" : "41 3/4 in.", "Disp_Width" : "35 3/4 in.", "Dimen_Extent" : "with frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Courtesy of the David Hochstein Memorial Music School", "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/3.94L_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/3.94L_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/3.94L_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/3.94L_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21357", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG v. 53", "View" : "" } , ] },{ "embark_ID" : 568, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/568", "Disp_Access_No" : "1983.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1909", "_Disp_Start_Dat" : "1909", "_Disp_End_Date" : "1909", "Disp_Title" : "Woman in an Ermine Collar", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kathleen McEnery Cunningham", "Sort_Artist" : "Cunningham, Kathleen McEnery", "Disp_Dimen" : "76 7/8 x 38 3/8 in. (195.3 x 97.5 cm)", "Disp_Height" : "76 7/8 in.", "Disp_Width" : "38 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Kathleen McEnery’s early training as an Urban Realist drew her to depict reality with an uncompromising eye. The artist was about twenty-two years old and living in Paris when she painted this bold and modern woman. McEnery lived in New York, Madrid, and Paris before she moved to Rochester, NY in 1914. [Gallery label text, 2007] Kathleen McEnery was about twenty-two years old and living in Paris when she painted Woman in an Ermine Collar. She lived and trained in New York, Madrid, and Paris before moving to Rochester in 1914. McEnery played a major role in Rochester’s cultural circles, and painted throughout her life while raising a family with her husband, Francis Cunningham of the Cunningham Car Company. McEnery’s training with the American realist master Robert Henri drew her to depict with honesty the conditions of modern life. The result is this woman’s unapologetic presence. She is an embodiment of the New Woman – a cultural phenomenon of the growing women’s rights movement, of which the artist was an ardent supporter. The New Woman rebelled against traditional gender roles and was independent, confident, and physically active. As this woman’s dashing manner illustrates, she was equally as comfortable in the public domain as would be any man. [Gallery label text, 2006] In New York City, Kathleen McEnery studied with Robert Henri. She also studied abroad and exhibited two paintings at the controversial 1913 Armory Show in New York City. After her marriage to Rochesterian Francis Cunningham, whose family owned the Cunningham Carriage Factory, she continued painting in a studio off the family's home on 10 South Goodman St., now on the campus of the Rochester Museum and Science Center. As Mrs. Cunningham, she was a member of the Gallery's Board of Managers from 1927 through 1971. The model's direct and intelligent expression and forthright pose suggests the "new woman," ready to be a participant in contemporary society rather than remain at home. Certainly, McEnery herself, who had graduated from Pratt Institute and lived on her own in New York City, fit that description as well. [Gallery label text, 2003]", "Dedication" : "Gift of Joan Cunningham Williams, Peter Cunningham, and Michael McEnery Cunningham", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12491", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print master derived 11/23/09 by Lu Harper for Seeing America lesson plans. Needs to be okayed by Curatorial for any other use.", "View" : "" } , ] },{ "embark_ID" : 10601, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10601", "Disp_Access_No" : "3.1997L", "_AccNumSort1" : "", "Disp_Create_DT" : "1941", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1941", "Disp_Title" : "Morning", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Steuart Curry", "Sort_Artist" : "Curry, John Steuart", "Disp_Dimen" : "48 1/8 x 69 1/4 in. (122.2 x 175.9 cm)", "Disp_Height" : "48 1/8 in.", "Disp_Width" : "69 1/4 in.", "Dimen_Extent" : "with frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas over board", "Info_Page_Comm" : "", "Dedication" : "Lent by the estate of Dr. Daniel B. Schuster, M.D.", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/3.97L_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/3.97L_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/3.97L_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/3.97L_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28245", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 333, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/333", "Disp_Access_No" : "1951.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1931-1932", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1932", "Disp_Title" : "Landscape with Garage Lights", "Alt_Title" : "Garage Lights", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Stuart Davis", "Sort_Artist" : "Davis, Stuart", "Disp_Dimen" : "32 x 41 7/8 in. (81.3 x 106.4 cm)", "Disp_Height" : "32 in.", "Disp_Width" : "41 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Stuart Davis began as a student of the Urban Realist style, but upon seeing the many European modernist works on display at the New York Armory Show of 1913, the artist found his passion for abstraction. The influence of the broken-up and flattened surfaces of Cubism and the syncopated rhythms of American jazz contributed to Davis’ personal style. [Gallery label text, 2007] Gloucester, one of Massachusetts's oldest seaports, was a summer home for painter Stuart Davis from the time he was a young man of twenty-two. This view of the harbor clearly captivated him by the early 1930s, and preliminary studies of this painting reveal how carefully he considered the scene and translated it into paint, all the while deliberately conveying a sense of simplicity and speed in its execution. After a Parisian stay in the late 1920s, Davis returned to the United States with a new way of seeing things. The goal for him was to paint an expressive, abstracted version of the world around him, rather than a photographic simulacrum. As modernism challenged the nature of reality and how it is perceived, Davis reminds us here that it is possible to see two sides of a building at once, and that often it really looks like only half of a ship is in the water even though our brains convince us that the other half is hidden behind the fish warehouse. Flatness and simplification of forms were characteristics that distinguished work of influential European painters like Picasso and Matisse, whose work Davis would have encountered during his stay in France. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3088", "Rel_Obj_Title" : "Study for "Landscape with Garage Lights"" },{ "Rel_Obj_ID" : "3089", "Rel_Obj_Title" : "From Sketchbook 3, Drawing for "Landscape with Garage Lights"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12383", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.3_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "53893", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned transparency at larger size for reproduction. New JPG derived from that larger TIF.", "View" : "" } , ] },{ "embark_ID" : 341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/341", "Disp_Access_No" : "1957.79", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1908", "_Disp_Start_Dat" : "1903", "_Disp_End_Date" : "1913", "Disp_Title" : "Portrait in a Brown Dress", "Alt_Title" : "Lady in Yellow", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas W. Dewing", "Sort_Artist" : "Dewing, Thomas W.", "Disp_Dimen" : "20 x 15 1/2 in. (50.8 x 39.4 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "15 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Around the same time that Thomas Dewing painted this portrait of a young woman reading a book, American art critic Charles Caffin wrote about Dewing's work: "Generations of repressed emotion have made [Dewing's women] incapable of passion; strenuousness survives only in supersensitive nerves; their sole religion is the worship of self…They are motionless in an atmosphere from which all human warmth has been sucked, in a vacuum drained of intellectual and emotional nourishment. These bodily shapes are not of flesh and blood; they are the essence distilled from the withering of what is womanly, the mere fragrance of dead rose-leaves." Thomas Dewing's depictions of genteel, ethereal young women engaged in contemplative and artistic pursuits stand in contrast to the bold and vigorous "New Woman," the feminist model of woman who emerged during this same period. The "New Woman" earned a living and wanted the vote and was not content to be marginalized in gauzy environments like the ones created by Dewing. This painting is in its original frame, which is similar to those designed by Stanford White, who created opulent and decorative environments for many of Dewing's Gilded Age patrons. (1). Charles H. Caffin, The Story of American Painting: The Evolution of American Painting from Colonial Times to the Present (New York: Frederick A. Stokes Company, 1907) , 189. [Gallery label text]", "Dedication" : "Gift of Mr. and Mrs. Alexander Millar Lindsay III, in memory of Jesse Williams and Grace Curtice Lindsay and their daughter, Carolyn Lindsay White", "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/57.79_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.79_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.79_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.79_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12405", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 342, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/342", "Disp_Access_No" : "1987.62", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Snow on Quai", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edwin Dickinson", "Sort_Artist" : "Dickinson, Edwin", "Disp_Dimen" : "21 x 18 in. (53.3 x 45.7 cm)", "Disp_Height" : "21 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Nancy Turner in memory of Richard Turner", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.62_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.62_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.62_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.62_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12507", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 348, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/348", "Disp_Access_No" : "1951.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Cars in a Sleet Storm", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur Dove", "Sort_Artist" : "Dove, Arthur", "Disp_Dimen" : "15 x 21 in. (38.1 x 53.3 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painted in Geneva, NY, Cars in a Sleet Storm is representative of Arthur Dove’s personalized abstract vocabulary with which he responded to the world around him. Dove, along with Georgia O’Keeffe and Marsden Hartley, were members of a group of modernist American artists championed by the photographer Alfred Stieglitz in his 291 Gallery in Manhattan. [Gallery label text, 2007] Arthur G. Dove was a native of Geneva, New York, about 46 miles from Rochester. Early on, rural New York State did not satisfy Dove's desire for a more engaged artistic life, and a few years after the turn of the 20th century, he moved to New York City and then to Paris. On his return to the United States in 1910, he began to paint abstract landscapes, and is considered one of America's first abstract painters. Dove's work was actively exhibited by photographer Alfred Stieglitz in his Gallery 291 and Intimate Gallery, major centers of avant-garde art in the United States. Stieglitz also showed the work of Georgia O'Keeffe whom he married in 1924. Cars in a Sleet Storm was painted at the end of Dove's years in Geneva, where he had returned to manage his father's estate. Dove's own words align him with the 20th century movement away from identifiable subject matter:"I would like to make something that is real in itself, that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." He also commented, "… I no longer observed in the old way, and not only began to think subjectively but also to remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes." [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25276", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned from 1999 James Via transparency", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.4_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.4_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.4_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.4_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "41492", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Color-corrected and cropped from M1 file as no print master existed. JPG derived from new print master.", "View" : "" } , ] },{ "embark_ID" : 352, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/352", "Disp_Access_No" : "1974.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1860", "_Disp_Start_Dat" : "1860", "_Disp_End_Date" : "1860", "Disp_Title" : "Genesee Oaks", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Asher Brown Durand", "Sort_Artist" : "Durand, Asher Brown", "Disp_Dimen" : "28 1/4 x 42 in. (71.8 x 106.7 cm)", "Disp_Height" : "28 1/4 in.", "Disp_Width" : "42 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Asher B. Durand was commissioned to paint this magnificent vista overlooking the Genesee River Valley in Geneseo, New York, by a member of the Wadsworth family, the village founders. At one time, they owned all the land from Geneseo to Rochester. [Gallery label text, 2007] No matter what the weather, this view across the Genesee Valley near Geneseo is as breathtaking now as it was over two hundred years ago, when landowner James S. Wadsworth commissioned Hudson River school founder Asher B. Durand to record the beauty of the landscape in a painting. In the summer of 1859, Durand traveled from New York City to the Genesee Valley to make preparatory sketches. Trained as an engraver, he recorded many of the details that he saw, but in addition, his personal belief in the immanence of the divine in the natural world motivated him to present a landscape that seems to extend infinitely. Statuesque oak trees, many of which are still standing on the land, dominate the painting. In this region, the trees were more than a decorative feature. When the Wadsworths began to sell and lease land to local farmers, they included a clause in the contract requiring that a number of trees remain after the land was cleared. This was a holdover from British husbandry; the result was a countryside that was not only beautiful but that provided sun and moisture control for humans and animals alike. Genesee Oaks was Durand's tribute to the splendor of this valley. [Gallery label text] Durand visited the Genesee country but once, sketching in the Geneseo area during late June and July of 1859. Of his trip he wrote to his son in August: "With all my troubles I believe I have learnt more about the management of colors in the painting of trees than by all my previous practice, altho' I have never produced so little in the same span of time, not having made but four studies in five weeks." During the following year, back in his studio, Durand painted Genesee Oaks, based on the sketches he had made. The painting was commissioned by James Samuel Wadsworth, a local squire, who owned the work when it was exhibited at the National Academy of Design in 1861. Seven oil studies done near Geneseo in 1859 are photographed in Durand's studio after 1878. A photograph shows three small sculptures of cows, two standing, one reclining that may have served as models for the animals in the painting. Howard S. Merritt Peters, Susan Dodge, ed. Memorial Art Gallery: An Introduction to the Collection. (Rochester, NY: The Memorial Art Gallery, 1988). p.182-3.", "Dedication" : "Gift of the Women's Council in honor of Harris K. Prior", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12463", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 356, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/356", "Disp_Access_No" : "1941.26", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1904", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1909", "Disp_Title" : "William H. Macdowell", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Eakins", "Sort_Artist" : "Eakins, Thomas", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Thomas Eakins painted multiple portraits of his father-in-law, William H. Macdowell. Eakins’s sensitive portraits and genre scenes defined American realist art at the end of the 19th century. His art and commitment to realism were enormously influential to the artists of the Urban Realist movement. [Gallery label text, 2007] Thomas Eakins was one of America's greatest painters, whose realistic portrayals of people at work and at play have become icons of American culture. He immortalized many friends and family members by using them as subjects, among them his father-in-law, William Macdowell, an engraver and self-styled philosopher, whom Eakins painted and photographed numerous times. In the Gallery's portrait, Macdowell's aged face, rendered with scrupulous care and detail, emerges from a somber background. In this direct and straightforward manner, Eakins suggests Macdowell's strength of character and distinctive personality. [Gallery label text]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Originally purchased through R. T. Miller fund-- later shifted to Marion Stratton Gould fund. The reason could not be determined.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.26_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.26_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.26_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.26_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38866", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 372, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/372", "Disp_Access_No" : "1946.38", "_AccNumSort1" : "", "Disp_Create_DT" : "1916", "_Disp_Start_Dat" : "1916", "_Disp_End_Date" : "1916", "Disp_Title" : "Zirchow VI", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lyonel Feininger", "Sort_Artist" : "Feininger, Lyonel", "Disp_Dimen" : "32 3/16 x 39 9/16 in. (81.7 x 100.5 cm)", "Disp_Height" : "32 3/16 in.", "Disp_Width" : "39 9/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Born in America, Lyonel Feininger spent much of his adult life living and painting in Germany. He developed his own personal style of Cubism in which splinters of form and space are rhythmic and interlocking. At the time the Nazis took over the German government and its cultural properties in the 1930s, the National Museum of Halle owned Zirchow VI. The Nazi campaign against abstract art, labeled “degenerate,” led to the sale of the museum’s collection of modern paintings including Zirchow VI. [Gallery label text, 2007] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/46.38_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.38_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.38_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.38_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13416", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10613, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10613", "Disp_Access_No" : "1998.72", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Mother and Child", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lynne Feldman", "Sort_Artist" : "Feldman, Lynne", "Disp_Dimen" : "41 x 31 in. (104.1 x 78.7 cm)", "Disp_Height" : "41 in.", "Disp_Width" : "31 in.", "Dimen_Extent" : "with frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Myrtle Logan Pleune Estate", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.72_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.72_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.72_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.72_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17670", "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" : 381, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/381", "Disp_Access_No" : "1981.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Seer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Helen Frankenthaler", "Sort_Artist" : "Frankenthaler, Helen", "Disp_Dimen" : "93 1/2 x 85 1/8 in. (237.5 x 216.2 cm)", "Disp_Height" : "93 1/2 in.", "Disp_Width" : "85 1/8 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "Helen Frankenthaler, who died on December 27, 2011, was a major American painter. Over the course of her long career, she experimented with new techniques that included pouring oil paint thinned with turpentine directly on large pieces of unprimed canvas, which permitted the paint to saturate the cloth and create loose and fluid fields of color. The emphasis on color of the second generation of abstract artists resulted in the term "Color Field Painters" to describe the work of Frankenthaler, Morris Louis, Kenneth Noland, and others. Her spontaneous style and meditative aesthetic were perhaps the result of the philosophy that she expressed in a 2003 New York Times interview: “There are no rules. Let the picture lead you where it must go.” In addition to "Seer", MAG also owns four prints created by Frankenthaler. ", "Dedication" : "Gift of the Women's Council on the occasion of the Council's 40th anniversary", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/81.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/81.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/81.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/81.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12483", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 388, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/388", "Disp_Access_No" : "1946.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Composition", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henri Gaudriot", "Sort_Artist" : "Gaudriot, Henri", "Disp_Dimen" : "20 x 16 in. (50.8 x 40.6 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "composition board", "Disp_Medium" : "Oil on composition board", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/46.20_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.20_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.20_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.20_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15722", "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" : 396, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/396", "Disp_Access_No" : "1973.12", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1915", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1920", "Disp_Title" : "Beach at Blue Point", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Glackens", "Sort_Artist" : "Glackens, William", "Disp_Dimen" : "25 1/4 x 30 1/8 in. (64.1 x 76.5 cm)", "Disp_Height" : "25 1/4 in.", "Disp_Width" : "30 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Like many American painters, including Winslow Homer, William Glackens was an artist-reporter early in his career. He met Robert Henri in Philadelphia, shared a studio with him, and went to Paris with him in 1895. Upon Glackens's return, he moved to New York City. He exhibited with The Eight in 1908, and chaired the Armory Show in 1913. By 1914, he was devoting all of his time to painting, and espoused subjects like this one, colorful depictions of Americans at play. Many of his paintings reflect the influence of French impressionists, particularly Pierre Auguste Renoir. [Gallery label text, 2003]", "Dedication" : "Elizabeth R. Grauwiller Bequest", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12454", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 404, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/404", "Disp_Access_No" : "1946.60", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1941", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1946", "Disp_Title" : "Check-Up", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Douglas Warner Gorsline", "Sort_Artist" : "Gorsline, Douglas Warner", "Disp_Dimen" : "38 x 31 in. (96.5 x 78.7 cm)", "Disp_Height" : "38 in.", "Disp_Width" : "31 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of a Friend of the Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/46.60_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.60_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.60_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.60_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "43327", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned from transparency by KSchauber as there were no print or master level images. JPG derived from this new scan.", "View" : "" } , ] },{ "embark_ID" : 418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/418", "Disp_Access_No" : "1951.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1942", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1942", "Disp_Title" : "The Opposition", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Gropper", "Sort_Artist" : "Gropper, William", "Disp_Dimen" : "28 x 38 in. (71.1 x 96.5 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "38 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Lawmakers were threatening to cut significant federal funding for the arts when political cartoonist and painter William Gropper satirized the United States Senate in The Opposition. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.” [Gallery label text, 2007] William Gropper was best known for his caustic commentary on the American political and social scene. He depicted realistic and identifiable subjects; The Opposition was one of a number of paintings and illustrations that came out of his 1934 assignment for the magazine Vanity Fair, to sketch legislators in action in Washington. Gropper made no bones about his distaste for politics and used his art to further his point of view: "I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate and the House of Representatives have had such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country. No matter how far removed from politics artists may be, it seems to strike home. Only recently one blasting speech of a reactionary representative resulted in not only doing away with the Section of Fine Art, but also dismissing the Graphic Division of the OWI [Office of War Information] and nullifying art reportage for the War Department." Gropper's start as a newspaper illustrator informed the creative processes of the rest of his life. His work retained his journalist's interest in issues of the day, giving it a particularly topical essence presented in a dynamic, expressionistic format. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "1714", "Rel_Obj_Title" : "The Opposition" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12387", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 419, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/419", "Disp_Access_No" : "1951.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1943", "_Disp_Start_Dat" : "1943", "_Disp_End_Date" : "1943", "Disp_Title" : "The Wanderer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Grosz", "Sort_Artist" : "Grosz, George", "Disp_Dimen" : "30 x 40 in. (76.2 x 101.6 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ten years after fleeing Germany during Hitler’s rise to power, George Grosz painted The Wanderer in New York. As World War II raged over the ocean, Grosz created this intensely personal response to his experience as a German soldier in World War I and his 1933 emigration to the United States. [Gallery label text, 2007] Painted in the midst of World War II, The Wanderer is an expression of the artist’s recent life experience. George Grosz was an established painter in Germany who, like many others, spoke out against the totalitarian Nazi regime. For his own safety and that of his family, he relocated to the United States. The Wanderer was one of a group of so-called ‘hell pictures’; in a letter, he wrote: I work a lot…I painted a little picture – The Wanderer – myself of course…The resonance of explosion and destruction often shakes me bodily. The explosion and destruction was a reference to the war-torn European continent that he had left behind, as well as a reference to his own emotional volatility as he tried to adjust, with little success, to his new life in America, suggested in the painting by the seagrasses he knew from Long Island and Cape Cod beaches. The Wanderer was probably one of the newest paintings acquired for the Encyclopedia Britannica Collection, as the collection was formed in 1943, the same year that Grosz painted this work. Stylistically, the painting’s expression of personal and cultural angst – achieved through desolate subject matter, somber palette, and unquiet line – was very much an alternative view to the more upbeat images of wartime artists like Norman Rockwell. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12388", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 431, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/431", "Disp_Access_No" : "1951.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1943", "_Disp_Start_Dat" : "1943", "_Disp_End_Date" : "1943", "Disp_Title" : "Non-Fiction", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Gwathmey", "Sort_Artist" : "Gwathmey, Robert", "Disp_Dimen" : "29 x 24 in. (73.7 x 61 cm)", "Disp_Height" : "29 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In the 1940s, Robert Gwathmey focused his artist’s eye upon the lives of African-American sharecroppers in the South. Non-Fiction shows a common sight on southern farms; older children tended to the young when both parents worked all day in the fields. The barbed wire and minstrel figure symbolize the dual oppressions of segregation and racism. [Gallery label text, 2007]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12389", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 436, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/436", "Disp_Access_No" : "1963.27", "_AccNumSort1" : "", "Disp_Create_DT" : "1904", "_Disp_Start_Dat" : "1904", "_Disp_End_Date" : "1904", "Disp_Title" : "The Bathers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Childe Hassam", "Sort_Artist" : "Hassam, Childe", "Disp_Dimen" : "48 3/16 x 148 1/4 in. (122.4 x 376.6 cm)", "Disp_Height" : "48 3/16 in.", "Disp_Width" : "148 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting hung originally in the home of C.E.S. Wood, a Portland, Oregon lawyer, writer and art collector. Murals were a common feature of turn-of-the-20th-century interiors, as they complemented the unified design popularized by artists and designers like William Morris and Gustav Stickley. Monumental buildings like the Boston Public Library as well as cozy residential bungalows were decorated by artists who covered blank walls with colorful, imaginative, and romantic scenes like The Bathers. MAG’s painting by Impressionist painter Childe Hassam was installed as part of a larger mural in the library/studio of the Portland, Oregon, home of Charles Erskine Scott Wood. A lawyer, writer, connoisseur, and friend of Hassam, Wood was influenced by the late 19th century Arts & Crafts aesthetic that disdained the ornate and cluttered surroundings of the Victorian period and aspired to simplicity and harmonious design. Wood wrote to his friend, the artist J. Alden Weir, that Hassam “whirled in and painted me a whole wall for my studio, and they tell me it is beautiful.” [Gallery label text, 2008] ", "Dedication" : "Gift of Mr. and Mrs. Ogden Phipps", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "There are a number of descendants of C.E.S. Wood, who commissioned this painting from Hassam. In October 2008 Marjorie Searl spoke with Nancy Robinson von Gimbut, a greatgranddaughter of C.E.S. Wood. She was born in Rochester and lived on Fonthill Road in Brighton. Her father was David Robinson, who was born in England and was in the Air Service. Her email address is nvongimbut@yahoo.com", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/63.27_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.27_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.27_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/63.27_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12414", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 452, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/452", "Disp_Access_No" : "1960.37", "_AccNumSort1" : "", "Disp_Create_DT" : "1959", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1959", "Disp_Title" : "Ruby Gold", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hans Hofmann", "Sort_Artist" : "Hofmann, Hans", "Disp_Dimen" : "55 3/8 x 40 1/2 in. (140.7 x 102.9 cm)", "Disp_Height" : "55 3/8 in.", "Disp_Width" : "40 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "According to painter Hans Hofmann, “there are bigger things to be seen in nature than the object.” Ruby Gold demonstrates this idea through the dramatic interplay of color, form, and expression. Hofmann was one of the most influential teachers of Abstract Expressionism, the painting style for which he is known. While other painters, such as Jackson Pollock, pioneered the style, Hofmann taught it to generations of students and helped to cement its role as a dominant form of painting in the U.S. from the 1950s onward. He created his signature works, like Ruby Gold, in the last eight years of his life, when, at age 78, he stopped teaching and devoted himself exclusively to painting. [Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/60.37_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/60.37_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/60.37_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/60.37_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "40794", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk number 131024", "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" : 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" : 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" : 507, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/507", "Disp_Access_No" : "1965.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Interlude", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Koch", "Sort_Artist" : "Koch, John", "Disp_Dimen" : "50 1/8 x 39 7/8 in. (127.3 x 101.3 cm)", "Disp_Height" : "50 1/8 in.", "Disp_Width" : "39 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "John Koch was a master of the tradition of American realism. His warm, intimate, and elegant New York City interiors glow with light that is reflected by well-polished furniture, floors, and silver. In this painting, the artist’s wife (piano teacher Dora Zaslavsky) offers a cup of tea to the nude artist’s model, while the artist sits in the background and contemplates his canvas. A variation on the theme of artists and models, Interlude also is an expression of the generosity of human relationships. As one of Zaslavsky’s former students wrote, “…her philosophy of care and concern for the individual student helps shape my teaching to this day.” [Summer 2015]", "Dedication" : "Gift of Mr. and Mrs. Thomas H. Hawks", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3173", "Rel_Obj_Title" : "Study for "Interlude" (I)" },{ "Rel_Obj_ID" : "3174", "Rel_Obj_Title" : "Study for "Interlude" (II)" } ], "Curator" : "Per MSearl, telephone number of family that lives in John Koch''s apartment is 212 873 2875. Family of UR student Joyce Cohen lives there (don''t know when this info is from - sometime before 2012). 11.14.12.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 522, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/522", "Disp_Access_No" : "1991.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Summer Street Scene in Harlem", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "20 1/16 x 24 1/8 in. (51 x 61.2 cm)", "Disp_Height" : "20 1/16 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Jacob Lawrence chronicled the migration of African Americans from the South to the North in the first half of the 20th century. In Summer Street Scene in Harlem, Lawrence’s style incorporates the flattened surfaces, distorted shapes, and bold colors of modernism to capture the energy and vitality of life in Harlem, New York. [Gallery label text, 2007]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12514", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 527, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/527", "Disp_Access_No" : "1967.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1960-1961", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1961", "Disp_Title" : "Untitled (Two Faced Women)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alfred Leslie", "Sort_Artist" : "Leslie, Alfred", "Disp_Dimen" : "80 x 100 1/2 in. (203.2 x 255.3 cm)", "Disp_Height" : "80 in.", "Disp_Width" : "100 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas mounted on board", "Info_Page_Comm" : "By mid-century, American artists—influenced primarily by artists who had fled Europe during the 1930-1940s—had firmly established themselves as the leading force in abstract painting and sculpture. The Gallery, continuing its practice of acquiring contemporary art, grew significantly during this period to include the work of the first and second generation of Abstract Expressionists like Al Leslie, former faculty members of the German Bauhaus like Joseph Albers, as well as artists who absorbed and transformed the aesthetic lessons of abstraction and integrated them back into representational imagery. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.9_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.9_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.9_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.9_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28453", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 534, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/534", "Disp_Access_No" : "1913.6", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1911-1912", "_Disp_Start_Dat" : "1911", "_Disp_End_Date" : "1912", "Disp_Title" : "Morning on the River", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jonas Lie", "Sort_Artist" : "Lie, Jonas", "Disp_Dimen" : "50 x 60 in. (127 x 152.4 cm)", "Disp_Height" : "50 in.", "Disp_Width" : "60 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Jonas Lie captures the new American landscape of industry and technology by painting the gritty underside of the Brooklyn Bridge. [Gallery label text, 2007]", "Dedication" : "Gift of Ruth Sibley Gade in memory of James G. Averell", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12334", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 538, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/538", "Disp_Access_No" : "1974.103", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1923-1924", "_Disp_Start_Dat" : "1923", "_Disp_End_Date" : "1924", "Disp_Title" : "Boy with Dice", "Alt_Title" : "Shoeshine Boy", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Luks", "Sort_Artist" : "Luks, George", "Disp_Dimen" : "30 5/16 x 26 5/16 in. (77 x 66.8 cm)", "Disp_Height" : "30 5/16 in.", "Disp_Width" : "26 5/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting of a shoeshine boy is a part of a series Luks made of young boys who worked on the streets of New York. [Gallery label text, 2007 Luks, like Glackens, was originally from Philadelphia and moved to New York City in 1896. He was one of The Eight who exhibited together at Macbeth Gallery in 1908, and his painting of a boy with dice reflects his interest in depicting aspects of life in the lower classes. Here, a boy who looks to be no more than ten is smoking, more than likely earning his own living as a shoeshine boy, and supplementing his income by gambling. The painting, inscribed To Elizabeth, was given by the artist to his student, Elizabeth Olds, who studied with him at the Art Students League in New York City. Elizabeth Olds was an accomplished printmaker and, like her teacher, believed in the importance of art for all people, not just the upper classes. [Gallery label text, 2003]", "Dedication" : "Gift of Mr. and Mrs. Thomas H. Hawks, in honor of Harris K. Prior", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.103_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.103_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.103_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.103_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12459", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 543, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/543", "Disp_Access_No" : "1914.4", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "New Orleans Man", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Lee MacCameron", "Sort_Artist" : "MacCameron, Robert Lee", "Disp_Dimen" : "22 x 18 in. (55.9 x 45.7 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Robert Lee MacCameron was celebrated in Europe and the United States for his insightful portraits. He moved to London in 1888, where he worked as an illustrator, before going to Paris to study at the École des Beaux-Arts. There, he studied with the major artists of the day, including Jean-Léon Gérôme and James McNeil Whistler. His portrait commissions ranged from European nobility to prominent American politicians, including Presidents McKinley and Taft. In addition, MacCameron painted scenes and portraits of the diverse ethnic mix that populated American cities at the turn of the century. [Forman Gallery, Summer 2015]", "Dedication" : "Gift of the Rochester Art Club", "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/14.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12641", "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" : 552, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/552", "Disp_Access_No" : "1943.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "People's Follies No. 3", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Reginald Marsh", "Sort_Artist" : "Marsh, Reginald", "Disp_Dimen" : "25 7/8 x 39 in. (65.7 x 99.1 cm)", "Disp_Height" : "25 7/8 in.", "Disp_Width" : "39 in.", "Dimen_Extent" : "", "Medium" : "Egg tempera", "Support" : "board", "Disp_Medium" : "Egg tempera on composition board", "Info_Page_Comm" : "Reginald Marsh inherited the Urban Realist interest in the act of seeing and being seen. His art often addressed sexuality in the urban environment, as in this painting of a burlesque hall. [Gallery label text, 2007]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/43.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/43.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/43.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/43.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12364", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 576, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/576", "Disp_Access_No" : "1913.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1910", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1910", "Disp_Title" : "The Golden Carnival", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Willard L. Metcalf", "Sort_Artist" : "Metcalf, Willard L.", "Disp_Dimen" : "36 x 39 in. (91.4 x 99.1 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "39 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Emily Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12335", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.7_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.7_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.7_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.7_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "41033", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned in-house from transparency and re-color corrected to create larger file for RIT iPad project, 2013", "View" : "" } , ] },{ "embark_ID" : 581, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/581", "Disp_Access_No" : "1983.112", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Sunset over the Sea", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Moran", "Sort_Artist" : "Moran, Thomas", "Disp_Dimen" : "5 1/8 x 10 1/4 in. (13 x 26 cm)", "Disp_Height" : "5 1/8 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "Dedication" : "Given in memory of Dr. James Sibley Watson and Hildegarde Lasell Watson by their daughter-in-law, Nicoleta Z. Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.112_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.112_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.112_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.112_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12490", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 584, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/584", "Disp_Access_No" : "1953.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1941", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1941", "Disp_Title" : "My Hills of Home", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anna Mary Robertson Moses", "Sort_Artist" : "Moses, Anna Mary Robertson", "Disp_Dimen" : "18 x 36 in. (45.7 x 91.4 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "If you asked people to name an American artist, chances are that many of them would say “Grandma Moses,” for her name has come to be associated with a distinctive style of painting and rural subjects that strike a common national chord. Grandma Moses first began to paint in her seventies, after arthritis made it impossible for her to continue to embroider. A New York collector driving through Moses’s home town of Hoosick Falls, New York, saw her paintings in a drugstore, bought them, and bought more after visiting her at her farm. She had her first exhibition in 1940. In her biography, she wrote: "I look back on my life like a good day's work, it was done and I feel satisfied with it. I was happy and contented, I knew nothing better and made the best out of what life offered. And life is what we make it, always has been, always will be." [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "12579", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "53.3.DI1 watermarked for use on website--see PRR record.", "View" : "" } , ] },{ "embark_ID" : 3891, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3891", "Disp_Access_No" : "1998.74", "_AccNumSort1" : "", "Disp_Create_DT" : "1907", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1907", "Disp_Title" : "Sunday Morning", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jerome Myers", "Sort_Artist" : "Myers, Jerome", "Disp_Dimen" : "37 1/2 x 44 1/2 in. (95.3 x 113 cm)", "Disp_Height" : "37 1/2 in.", "Disp_Width" : "44 1/2 in.", "Dimen_Extent" : "with frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Jerome Myers said of his art, “I went to the gutter for my subject, but they were poetic gutters.” [Gallery label text, 2007] Jerome Myers was called "the gentle poet of the slums" for his compassionate images of immigrant life in New York's Lower East Side. Myers recorded the unglamorous, yet commonplace aspects of city life, as did fellow painters John Sloan and Robert Henri, members of The Eight or the Ashcan School. However, his vision of the city's poor never evoked a sense of wretchedness: "Why catch humanity by the shirt-tail," he said, "when I could see more pleasant things?" Though tame to us today, paintings like Sunday Morning were considered progressive, even "revolutionary" when they were painted, because of their subject matter. However, when it came to exhibiting with The Eight, Robert Henri didn't think that Myers's work was forceful enough. As a founder of the innovative American Association of Painters and Sculptors in 1911, Myers helped to pave the way for the watershed 1913 Armory Show in New York City, the exhibition that introduced European modernism to an enthusiastic but occasionally bewildered public. [Gallery label text, 2006]", "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/98.74_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.74_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.74_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.74_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12547", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 617, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/617", "Disp_Access_No" : "1951.11a-b", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Jawbone and Fungus (recto); Untitled (Abstraction) (verso)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georgia O'Keeffe", "Sort_Artist" : "O'Keeffe, Georgia", "Disp_Dimen" : "17 x 20 in. (43.2 x 50.8 cm)", "Disp_Height" : "17 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With her unique vision and expression, Georgia O’Keeffe epitomizes the modern American artist. Her simple, pared down shapes and closely cropped still-lifes of bones and flowers turn objects into landscapes of their own. [Gallery label text, 2007] Painting on the verso, an untitled abstraction, dates to ca. 1923", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.11a_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.11a_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.11a_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.11a_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12378", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.11b_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.11b_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.11b_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.11b_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "55251", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4258, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4258", "Disp_Access_No" : "5.1997L", "_AccNumSort1" : "", "Disp_Create_DT" : "1922", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1922", "Disp_Title" : "Interlude", "Alt_Title" : "The Lute Players", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Maxfield Parrish", "Sort_Artist" : "Parrish, Maxfield", "Disp_Dimen" : "84 x 60 in. (213.4 x 152.4 cm)", "Disp_Height" : "84 in.", "Disp_Width" : "60 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on linen canvas", "Info_Page_Comm" : "Maxfield Parrish, leading illustrator and muralist of the early twentieth century, painted Interlude to hang at the Eastman Theatre in Rochester. Through architect Lawrence Grant White, George Eastman commissioned three murals for the theater, which served as both silent movie palace and philharmonic hall. Interlude was Eastman’s favorite, a “peacherina,” he wrote White. The radiant quality of Interlude is due to Parrish’s high technical standards and theatrical sense of color—electrical reds, vivid purples, and lush apricots. A shade of cobalt straight from the tube was applied so ingeniously that it became known as “Parrish blue.” He painted glaze upon glaze to create a hard photographic finish that betrayed no brush strokes. Interlude was moved to the Memorial Art Gallery in 1997 to provide it with more stable temperature and humidity conditions. In its place at the Eastman Theatre is a full-size color reproduction. Elizabeth Brayer, George Eastman Historian [Summer 2015]", "Dedication" : "Lent by the Eastman School of Music of the University of Rochester", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "See reproduction of a photo of a model posing for this painting in Alma Gilbert''s "Parrish and Photography," Plainfield, NH, 1998, fig. 13a. During the pandemic in 2020-21, the Eastman School suggested they were thinking of deaccessioning this work and selling it, as they were in a financial bind. A suggestion was made that MAG buy the painting from the ESM. In January 2021, Dr. Binstock approached UR President Sarah Mangelsdorf to discuss the situation, and later sent this message to MAG''s Board: "This is just an update to let you know that Peter [Brown] and I met with President Mangelsdorf and she received our comments on the subject of the Maxfield Parrish painting sympathetically. We believe that at this time the Maxfield Parrish matter is closed, and that there is no risk that the Univ. will seek to sell the painting." See full documentation in object file.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/5.97L_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/5.97L_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/5.97L_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/5.97L_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "17393", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of the Eastman Theater", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/5.97L_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/5.97L_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/5.97L_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/5.97L_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "38863", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "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" : 13806, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13806", "Disp_Access_No" : "2006.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "The Pendulum", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Irene Rice Pereira", "Sort_Artist" : "Pereira, Irene Rice", "Disp_Dimen" : "31 x 42 in. (78.7 x 106.7 cm)", "Disp_Height" : "31 in.", "Disp_Width" : "42 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In 1931, Irene Rice Pereira traveled aboard a steamer ship to Europe. The larger-than-life machine forms she encountered on the ship inspired the abstract and streamlined machine imagery of "The Pendulum." [Gallery label text, 2007]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21891", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This image is not intended for web display. This image was scanned from a photo sent from the dealer.", "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" : 637, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/637", "Disp_Access_No" : "1986.132", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "The Beginning of the Fields", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fairfield Porter", "Sort_Artist" : "Porter, Fairfield", "Disp_Dimen" : "52 x 76 1/8 in. (132.1 x 193.4 cm)", "Disp_Height" : "52 in.", "Disp_Width" : "76 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.132_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.132_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.132_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.132_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12499", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 640, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/640", "Disp_Access_No" : "1963.29", "_AccNumSort1" : "", "Disp_Create_DT" : "1913-1915", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1915", "Disp_Title" : "Woodland Bathers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Maurice Prendergast", "Sort_Artist" : "Prendergast, Maurice", "Disp_Dimen" : "19 1/2 x 26 1/2 in. (49.5 x 67.3 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "26 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas mounted on board", "Info_Page_Comm" : "Despite many differences in style and subject matter, Maurice Prendergast exhibited with the Urban Realist artists in the beginning of the century. His style of breaking up the surface of his paintings with color and light was a shock to American viewers. An art critic wrote in 1908, “Hung in a group, these canvases of Mr. Prendergast look… like an explosion in a color factory.” [Gallery label text, 2007] Prendergast looked to European artists for his inspiration. One of the most modern painters working in America in the first decade of the century, his colors were often applied in post-impressionist daubs, like Seurat, and the space in his works was compressed and unrealistic. Like Glackens, he enjoyed painting scenes of leisure, particularly bathing scenes like this one. He exhibited in the 1908 Macbeth Gallery show, along with Henri and the others, and while his work had little in common with many of the members of The Eight, he was as interested as they were in defying the conventions that had been established by the National Academy. [Gallery label text, 2003]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/63.29_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.29_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.29_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/63.29_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12415", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 653, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/653", "Disp_Access_No" : "1968.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "Abstract Painting: Red", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ad Reinhardt", "Sort_Artist" : "Reinhardt, Ad", "Disp_Dimen" : "82 x 22 in. (208.28 x 55.88 cm)", "Disp_Height" : "82 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ad Reinhardt took a philosophical point of view when it came to making fine art and explaining its significance. An influential writer on the subject, he is remembered for having made the following statement: “Art is Art, and Life is Life.” The spirit of this statement is well represented by this painting, which has a very subtle composition that only emerges for the viewer after close inspection. For Reinhardt, to appreciate the true significance of art one shouldn’t compare it to anything else. Art is an idea that is revealed only through pure form and content. For Reinhardt, art cannot teach you about the world. It can only teach you about art. [Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.47_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.47_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.47_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.47_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12439", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 664, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/664", "Disp_Access_No" : "1974.98", "_AccNumSort1" : "", "Disp_Create_DT" : "1944", "_Disp_Start_Dat" : "1944", "_Disp_End_Date" : "1944", "Disp_Title" : "Soldier on Leave", "Alt_Title" : "Little Girl Observing Lovers on a Train", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Norman Rockwell", "Sort_Artist" : "Rockwell, Norman", "Disp_Dimen" : "22 x 20 in. (55.9 x 50.8 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "During World War II, Norman Rockwell painted positive and uplifting scenes of the American homefront. Rockwell, America’s most popular illustrator, created "Soldier on Leave" for the [August 12, 1944] cover of the widely-read magazine, 'The Saturday Evening Post.' [Gallery label text, 2007] Norman Rockwell’s Saturday Evening Post covers have shaped much of the American public’s imagination about what is American about America. This painting appeared on the magazine’s cover on August 12, 1944, in the midst of World War II. Allied Forces had landed on the beaches of France on D-Day, June 6, two months prior to the magazine’s publication date, and there was reason to believe that the war would not go on much longer. In the meantime, soldiers were continuing to be drafted and wartime romances were intensified by the threat of separation. The scene in Soldier on Leave was a common story: young lovers take what comfort they can from each other in spite of their lack of privacy, knowing their time together is brief. Rockwell frequently used Vermont neighbors as models for his paintings. This painting is no exception, and to complete the realistic setting, he posed his models in an actual train that was loaned to him by the Rutland Railroad. [Gallery label text, 2004] ", "Dedication" : "Gift of Dr. and Mrs. Robert M. Boynton", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.98_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.98_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.98_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.98_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "27605", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 1-16-05", "View" : "" } , ] },{ "embark_ID" : 702, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/702", "Disp_Access_No" : "1945.45", "_AccNumSort1" : "", "Disp_Create_DT" : "1900-1905", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1905", "Disp_Title" : "Sullivan Street", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Everett Shinn", "Sort_Artist" : "Shinn, Everett", "Disp_Dimen" : "8 x 10 in. (20.3 x 25.4 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "10 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In a city of many tough neighborhoods, New York’s Sullivan Street was one of the toughest. Shinn’s depiction of the isolated figure in the foreground evokes the condition of modern man in an urban environment—a recurring theme in the art of the Urban Realists. [Gallery label text, 2007] In 1897, encouraged by his mentor Robert Henri, Shinn moved from Philadelphia to New York City. Like Luks and Glackens, he was an artist-reporter as well as a painter. He exhibited with The Eight in 1908 at Macbeth Gallery. Sullivan Street was owned by the artist until 1945, when the Memorial Art Gallery purchased the canvas directly from him. With just a few strokes of his brush, Everett Shinn has recreated an overcast winter street scene filled with mood and mystery. Sullivan Street is in Greenwich Village, around the corner from Shinn's studio on Waverly Place and near Washington Square Park, whose leafless trees can be seen beyond the buildings on the right. [Gallery label text, 2003]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/45.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/45.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/45.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/45.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "22001", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "color corrected from Jim Via''s original transparency", "View" : "" } , ] },{ "embark_ID" : 708, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/708", "Disp_Access_No" : "1951.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1909", "_Disp_Start_Dat" : "1909", "_Disp_End_Date" : "1909", "Disp_Title" : "Chinese Restaurant", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Sloan", "Sort_Artist" : "Sloan, John", "Disp_Dimen" : "26 x 32 1/4 in. (66 x 81.9 cm)", "Disp_Height" : "26 in.", "Disp_Width" : "32 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "John Sloan’s interest in the working class was not only aesthetic, it was also political. By 1909, Sloan was an active member of the Socialist party and used his art to shine a light on the equally noble and interesting lives of the lower classes. Marrying style to subject, Sloan’s loose brushwork and dark colors epitomize the Ashcan style. [Gallery label text, 2007] In 1909, many artists and collectors would not have considered a Chinese restaurant to be an appropriate subject for a painting. The artist, John Sloan, was part of a group of artists labeled “Ashcan” painters early in the century, because of their frequent choice of the less genteel aspects of urban life. Now, Sloan’s paintings are recognized as major documents of American life and this painting, like many others on view in this installation, is often loaned to museums in the United States and overseas. Also called “The Eight,” Sloan and his seven colleagues exhibited together in a landmark show at Macbeth Gallery in 1908 in response to the jurying system of the National Academy and its more traditional members that frequently excluded less conventional artists. It’s amusing to consider that in 1943, when the Encyclopedia Britannica collection was being assembled, that a painting created in 1909 would be considered contemporary. However, it may have been included in recognition of the fact that John Sloan painted his contemporary world as he saw it. In fact, in 1943, the freshness of Sloan’s style and the timeless nature of the scene painted thirty-four years previously did not seem out of keeping with many works from the 1940s. And Sloan was still quite an active artist at this point in his life. [Gallery label text, 2006] As recommended by his mentor, painter Robert Henri, John Sloan derived most of his subjects from close observation of his surroundings. Such was the case on the night of February 23, 1909, when he went out to eat at a restaurant on Sixth Avenue, not far from Herald Square. He wrote, “I saw a strikingly gotten up girl with dashing red feathers in her hat playing with the restaurant's fat cat. It would be a good thing to paint. I may make a go at it.” Characteristically, Sloan waited for a bit before undertaking the work, and on March 15 wrote, “I started a memory painting of the Chinese Restaurant girl I saw some four weeks ago." His intermittent working style is revealed by a diary entry on March, 18, in which he described not only working on the painting, but going to the restaurant again to “refresh my memory of the place.” In 1944, the painting joined a corporate collection of outstanding contemporary art formed by the Encyclopedia Britannica. In 1951, the Memorial Art Gallery acquired fourteen paintings from the collection – this painting and work by Thomas Hart Benton, Georgia O'Keeffe, and Stuart Davis, among others. [Gallery label text, 2003]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.12_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.12_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.12_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.12_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33004", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk in curatorial office", "View" : "" } , ] },{ "embark_ID" : 707, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/707", "Disp_Access_No" : "1941.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1907", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1907", "Disp_Title" : "Election Night", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Sloan", "Sort_Artist" : "Sloan, John", "Disp_Dimen" : "26 3/8 x 32 1/4 in. (67 x 81.9 cm)", "Disp_Height" : "26 3/8 in.", "Disp_Width" : "32 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night. [Gallery label text, 2007] John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging. On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene. Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.” [Gallery label text, 2003]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12359", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 21189, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21189", "Disp_Access_No" : "2008.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "Midtown Plaza 1962 - 1987", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edith Lunt Small", "Sort_Artist" : "Small, Edith Lunt", "Disp_Dimen" : "47 x 78 in. (119.4 x 198.1 cm)", "Disp_Height" : "47 in.", "Disp_Width" : "78 in.", "Dimen_Extent" : "with frame", "Medium" : "Acrylic", "Support" : "plywood", "Disp_Medium" : "Acrylic on plywood", "Info_Page_Comm" : "", "Dedication" : "Gift of Midtown Rochester Properties LLC", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Marjorie Searl on July 8: Title in Embark has been modified from "Midtown Plaza" to "Midtown Plaza 1962 - 1987" as that is the title that was used in the legal document transferring ownership from Midtown Plaza Corporation to MAG in 2008. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.11_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.11_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.11_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.11_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "27627", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "An additional master scan from the transparency Andy created, was scanned by UR Communications for a large-size image (12.5" @ 300 dpi). This file is in the master scan folder, 2008.11_M5.tif.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.11_1.pdf", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.11_1.pdf", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.11_1.pdf", "IIIF_URL": "http://iiif.gallerysystems.com/2008.11_1.pdf", "IsPrimary" : "0", "_SurrogateID" : "36656", "Image_Type" : "pdf file", "Photo_Credit" : "", "Remarks" : "", "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" : 739, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/739", "Disp_Access_No" : "1956.65", "_AccNumSort1" : "", "Disp_Create_DT" : "1942", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1942", "Disp_Title" : "Galaxy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fritz Trautmann", "Sort_Artist" : "Trautmann, Fritz", "Disp_Dimen" : "35 x 29 1/2 in. (88.9 x 74.9 cm)", "Disp_Height" : "35 in.", "Disp_Width" : "29 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "For thirty-three years Fritz Trautmann’s passion for painting inspired his students in MAG’s Creative Workshop. Over his lifetime, he developed an approach to color that was scientific as well as mystical, and in 1942 he painted Galaxy to teach his theories to students. MAG purchased the painting from the artist in 1956. It has been a visitor favorite ever since. Despite appearances, not a single drop of black paint was used, as Trautmann believed it dampened the natural vibrations of color. Focusing on what he considered the four primary colors rather than the traditional three, Trautmann wrote, Galaxy symbolizes the great truth that every phenomenon in life involves ALL of life. Each globe of Galaxy is composed of EXACTLY THE SAME ELEMENTS. The entire spectrum wraps itself around each globe with unvarying uniformity. Warm red plays across the field from the left, bright yellow streams down from above, cold blue comes in from the right, and deep violet rises from the bottom. [Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.65_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.65_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.65_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.65_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "13419", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.65_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.65_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.65_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.65_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "28765", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.65_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.65_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.65_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.65_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "41035", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned in-house from transparency and re-color corrected to create larger file for RIT iPad project, 2013", "View" : "" } , ] },{ "embark_ID" : 747, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/747", "Disp_Access_No" : "1916.9", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "The White Bridge", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Henry Twachtman", "Sort_Artist" : "Twachtman, John Henry", "Disp_Dimen" : "30 1/4 x 25 1/8 in. (76.8 x 63.8 cm)", "Disp_Height" : "30 1/4 in.", "Disp_Width" : "25 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Impressionism, a radically modern style upon its inception in France in the 1860s, came late to American shores. The Impressionist artist sought to capture impressions of light, color, and shape in a spontaneous way. [Gallery label text, 2007] John Twachtman’s finest paintings were inspired by the beauty of the land on which he lived with his family. Located in Greenwich, Connecticut, the picturesque property included a portion of Horseneck Brook, across which Twachtman built an ornamental but functional footbridge. Here, his children swam in the summer and rowed their boat beneath the bridge’s arched deck. The bridge may have been inspired by similar structures in Venice, where the artist lived in the 1880s and 90s. Twachtman was one of America’s premier impressionist painters and a founding member of the Ten American Painters, a group that included Thomas Dewing and William Merritt Chase, artists whose works are also on view at MAG. The White Bridge’s bright colors, energetic brushwork, and light-filled canvas link Twachtman’s work with that of French impressionist Claude Monet. [Gallery label text, 2004]", "Dedication" : "Gift of Emily Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/16.9_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/16.9_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/16.9_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/16.9_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12337", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 754, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/754", "Disp_Access_No" : "1966.25", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Batavia", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Esteban Vicente", "Sort_Artist" : "Vicente, Esteban", "Disp_Dimen" : "60 x 72 in. (152.4 x 182.9 cm)", "Disp_Height" : "60 in.", "Disp_Width" : "72 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of The Longview Foundation", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "See Art Committee box in Archives: in letter to Committee from Harris Prior dated July 17, 1970, he mentions that Tom Hess, editor of Art News magazine, arranged for MAG to advance $1500 to artist Tony Smith in 1965 for a work to be determined, and that in exchange Hess arranged for MAG to receive this painting from the Longview Foundation.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/66.25_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66.25_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66.25_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/66.25_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12434", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 824, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/824", "Disp_Access_No" : "1915.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "The Artist's Daughter (Marion Bridge)", "Alt_Title" : "Mrs. Ezra R. Bridge", "Obj_Title" : "The Artist's Daughter (Marion Douglas Volk Bridge, 1888-1973)", "Series_Title" : "", "Disp_Maker_1" : "Douglas Volk", "Sort_Artist" : "Volk, Douglas", "Disp_Dimen" : "40 x 30 in. (101.6 x 76.2 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Douglas Volk was known for his portraiture. This painting of his daughter, Marion, is a nice example of his work. Volk was the son of Leonard Wells Volk, the sculptor of Life Mask and Hands of Abraham Lincoln (98.37.1-.2a-b) and Abraham Lincoln and the Emancipation Proclamation statuette (2008.29) in the collection of the Memorial Art Gallery. As the child of an artist, Douglas Volk was surrounded by art from an early age. He travelled to Paris as a young man where he studied under the academic painter, Jean-Léon Gérôme. Volk went on to have a long and distinguished career in the United States where he exhibited widely, was the recipient of numerous awards, and taught generations of artists at Cooper Union, the Art Students League, and the National Academy of Design. ", "Dedication" : "Gift of Mrs. George Dickman", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Betsy Brayer notes that donor Josephine Dickman was one of George Eastman''s art advisors.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12336", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 768, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/768", "Disp_Access_No" : "1925.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1922", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1922", "Disp_Title" : "Three Trees, Winter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Harold Weston", "Sort_Artist" : "Weston, Harold", "Disp_Dimen" : "16 x 20 in. (40.6 x 50.8 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In 1922, the year he painted "Three Trees, Winter," Harold Weston wrote: "I stopped beside a big hemlock tree and reached around the great trunk to feel its vigor, its reality, its life existing essence. My ear, laid against the wet bark, seemed to hear the pulse, the flow of life-creating sap....[R]oots plunged into the soil, made it one with the earth and gave it life. As a primitive pagan I bowed before the mystery of that world spirit that giveth life to nature and to man." Weston has recently emerged as one of the premier painters of the Adirondack landscape. His modernist sensibility - abstract forms, expressive lines and colors - renew the viewer's understanding and appreciation of traditional vistas. In the words of collector Duncan Phillips, "There is a young American painter who stirs in me the hope for a re-birth on this new soil of something that was not lost to the art of painting with the passing of Vincent van Gogh." [Gallery label text, 2007] ", "Dedication" : "Gift of Emily Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/25.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/25.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/25.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/25.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12345", "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" : 11298, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11298", "Disp_Access_No" : "2002.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1942-1943", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1943", "Disp_Title" : "Frederick Douglass and Abraham Lincoln Discussing Emancipation", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hale Woodruff", "Sort_Artist" : "Woodruff, Hale", "Disp_Dimen" : "11 1/4 x 11 in. (28.6 x 27.9 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "overall", "Medium" : "Tempera", "Support" : "masonite", "Disp_Medium" : "Tempera on masonite", "Info_Page_Comm" : "In 1942-43, a mural competition was held for the newly built Recorder of Deeds Building in Washington, D.C. The topic was "The Contribution of the Negro to the American Nation." Hale Woodruff submitted this imagined grouping of Frederick Douglass, President Lincoln, and members of Lincoln's cabinet. While Woodruff did not win the competition, his mural study is a dramatic reminder of the alliance of two of America's most courageous leaders, Lincoln and Douglass, during a period that threatened to destroy the American union. While Douglass never, in reality, met with Lincoln's cabinet, he did meet with Lincoln and repeatedly urged the president to issue the Emancipation Proclamation. Woodruff stressed the significance of Douglass's role by appropriating the historical image engraved by Ritchie and adding an animated Douglass and the colorful American flag. [Gallery label text, 2004]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.20_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.20_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.20_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2002.20_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17112", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 22758, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22758", "Disp_Access_No" : "2012.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1919", "_Disp_Start_Dat" : "1919", "_Disp_End_Date" : "1919", "Disp_Title" : "Farmyard", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Marguerite Zorach", "Sort_Artist" : "Zorach, Marguerite", "Disp_Dimen" : "20 1/4 x 16 in. (51.4 x 40.6 cm)", "Disp_Height" : "20 1/4 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Bequest of Grace Harris, MD", "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/2012.1_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2012.1_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2012.1_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2012.1_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "45040", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "These photos and variants can be found on the disk entitled "MAG 160210"", "View" : "" } , ] }, ] }